Siva Worship!!!

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Siva Worship

Extracts from Dr. R.Nagaswamy’s SIVABHAKTI book.

 

We have seen that Saint Appar (Tamil Rishi who sang Devaram) followed the Vaidika system. The vedic hymns called Mantras are used as sacred chants. In its early phase, or what may be called the pure Vedic tradition, emphasis was on offering sacrifices in fire altars, in which the mantras were the chants. But during the later phase, the same hymns came to be chanted to invoke the God in sculptural images. Side by side ritual treatises existed, classifying the mode and order of rites and their meanings. These ritual treatises are designated by the term Tantra. While the term mantra stands for Vedic Chants, the word Tantra stood for using these chants in image worship. The Tantras were also known as Agamas. For example performing abhisheka to an image with water, milk, ghee, curd, pancagavya, sandal paste, oil

etc. and decorating with flower garlands etc. are clearly the domain of Agamas and not the Vedic hymns, though the Mantras are chanted during the abhisheka. As will be seen in the sequence the process of abhisheka, offering of flowers, incense, dipa etc. are prominently mentioned which reveal that the system adopted in the temples was undoubtedly Agamic. There are pointed references to Tantrism in the Tevaram hymns themselves. The Kamikagama, an early Saivite text, holds knowledge as Para (Supreme) and apara (secondary) Sivajnana is said to be the Supreme knowledge, while Vedas and other texts are called Apara. Both were taught by Siva.

 

“Lord thou art yourself(1) Mantra and Tantra (6256) you are Mantra, Tantra and medicines (6731). Hail ye Lord, who became Mantra and Tantra (6819). He graced as Tantra and Mantra (7187). Mantra and Tantra constitute the Lord’s feet (6304). Mantra and Tantra of the Brahmins.”

 

The Tantras are divided into, Kriya, Carya, Yoga and Jnana kandas. The Tevaram hymns fully reflect the concepts found in these four parts. The Tevaram saints consider Siva as the embodiment of both Tamil and Sanskrit. We find that Sanskritic tradition has been thoroughly assimilated into the Tamil language and tradition. Several vedic, upanishadic and agamic concepts are expressed in delightful poetic Tamil, they are dearer to the heart than the originals. For example the following verse may be seen reading as bhuloka bhuvarloka Suvarlokamay Bhuttangalaya Parama.

 

Before the ritual aspects, as mentioned as Appar’s hymns, are taken up for consideration, some of the names of Siva as they appear in the hymns are listed below.

 

Ekamurti Purana Jnanamurti Nityamanala Paramamurti Bhutanatha Ashta murti Vedanatha Rudramurti Adinatha Punyamurti Paramanu Desamurti Bhava Akasamurti Bhuta ganannatha Kalamurti Rudra Lokamurti Umapati Kalakantan Kapali Deva Devadeva Karikala Trayambaka Vama Sankara Vamadeva Sadasiva Para Ekapada Parapara Nirmala Parama Niramaya Paramayogi Svayambhu Paramjyoti Linga Pasupati

 

The numerals and syllables arise from Siva. He is numeral and the script thereof. He is the very nature of syllable. Siva’s nature is described as the supreme aspect (Para Siva or Parabrahma) and the Sabda Svarupa (Sabda brahma) identified with Sadasiva. The letters from ‘a’ to ‘ha’, making a total of fifty with which, words, sentences, and their meaning are formed and grasped, emanated from Siva.(2) (Vyoma rupat Parat Sivat Sabdah. Tato aksharah, Tasmat sabda rasi Ajitagama). The Mrgendra agama goes a step further and considers the syllables as the first form of Mahesa. (Sakteh nadah abhavat binduh, aksharam, matrka tatah; Murtih adya Mahesasya Sarva Vacyanuyayini). Appar’s frequent references to syllabic nature of Siva concurs with that of Agamic teachings. The Akshara of the Agamas is the sacred

syllable ‘Aum’ which is immutable and eternal(3). Lord is Omkara says Appa. Siva resides as the inner meaning of Omkara, subsides in half a mantra.

 

After defining the nature of Siva (Siva svarupa) and also the origin, myths and meaning of Linga, which will be discussed later, the Agamas, speak of the mode of worship as Sivarcana Vidhi. Appar employs the same word Vidhi, for puja.

 

The worship of an Image is preceded by the purificatory rites called “the five purifications” (panca suddhi); the purification of self, place, objects used, image and the hymns. Taking bath, smearing the body with sacred ashes, and performing meditation as stiputlated are called self purification.These are mentioned in Appar’s Tevaram. “After taking bath in the river Kaveri, in the early hours of morning, the devotees prform daily niyama (religious rites) which include wearing sacred ashes on the body and reciting mantras like Namasivaya.”

 

These observances go by the name physial purification (Sarira Suddhi), the self purification whih is also a part of atmasuddhi, consists of meditative process in which the individual’s self is made divine in stages to be pure enough to perform the outward worship. This internal worship visualises the mind or soul as the linga to which offering is made at the mental level. This partially follows the yogic path is called antaryaga, which include ahimsa, daya, jnana, tapas, satya and Bhavana each one being considered a flower. Appear refers to this process.

 

“With body as the temple and mind the priest, truthfulness as the purificatory rite, with the soul as the crystal Linga, we offer puja to Lord Siva. In this puja, devotion is poured as abhisheka of ghee, water and milk. The food taken forms the havis or the Naivedya”, says Appar (4897). Apart from the true nature of antaryaga clearly rendered in this verse, Appar uses the term ‘Vaymaiye tuyman” (Vaymai skt Satya) as purification indicating that the concept of panca suddhi was well established (Suddhi is the exact equivalent of the Tamil word Tuymai). A text Jnananta paribhasha states that the yogins contemplate their body as the temple, the mind as their entreway and the individual soul as linga and perform abhisheka using devotion as abhisheka dravya and worship (arcane) meditatively. This includes

the oblation of “eight flowers” which in this case are ahimsa, sayta, asteya etc. Appar devotes one full hymn of ten vers to ashtapushpa the ‘eight flowers’ which he says are to be used to adore the ashta murti, the eight natured god; Appar also says that these ashtapushpas are defined and prescribed in Agamic texts (Urai Cey nul ali en malar attida - in tamil).

 

Abhisheka

Abhisheka, the sacred bath with milk, curd, ghee, pancagavya pancamrta, sandal paste, waters from holy rivers etc. play an important role in Saivite temple-ritual. Innumerable references are to be found in Appar’s verses to all forms of abhisheka. “To carry pots full of water, to give sacred bath to the deity is a noble act. What have I done without bringing pure water from the holy Kaveri and bathe the deity to the chant of RikVedic hymns, and smear the deity with Kumkum paste” (4884). ‘I follow those who carry water with flower buds to perform abhisheka.. The Lord receives sacred bath with ghee, milk, curd tender cocoanut, the five honey (pancamrta) the “Cow’s five”. (anancu- Pancagavya). The priests perform the ritual bath, with river water, after wearing ashes and practicing daily ritual

observances (nitya niyamam). While abhisheka with water, milk, curd, ghee, pancagavya, pancamrta, tender cocoanut etc. are called attudal (pouring) by Appar, he calls the use of sandal, kumkum, turmeric and chandu, as cattudal, (smearing). The agamas distinguish the two, calling the former snapana and the later lepana(4). Appar’s use of the two word attudal and cattudal, clearly establish the Agamic usage.

 

Offering flowers, incense (gandha) dhupa, and dipa form essential parts of puja, according to Agamas. Several hundred verses in Tevaram, mention these aspeacts of Puja. “The lotus feet of the Lord are adored with fragrant flowers full of honey. Always offer worship with flower garlands, dhupa and candu (Paste). Gangadhara Siva is adored with one thousand flowers carefully selected. The Lord bestows grace on those who offer dhupa and dipa. Even the celestials adore him daily with fragrant flowers dhupa, dipa and fragrant incense.The flower offering is made during every sandhi by the Gods. The abhisheka is performed with pure water, reciting sruti hymns (Vedic) followed by dipa and stotras (prayer hymns). “Such worships are called pujai, (pucanai, Arccanai, Valipadu, adoration as per Vidhi”. It is also

necessary to note the following words used by Appar-Sruti, stuti, stotra, prarthita, arcita and Pujita.

After dhupa and dipa, cooked food is offered as Naivedya which also goes by the term havis, a word used by Appar. There are also references to bali offerings to secondary and directional deities, Appar calling it nityabali.

 

The efficacy of the Pancakshara mantra ‘Namassivaya’ is sung in one hymn of ten verses. “The sacred chant Namassivaya is the great companion that would destroy sins and fears, and bestow noble castes even on those who are born low. It is called the good path Nanneri and the Saivite path. The above are some of the references among several in Appar’s Tevaram to the Pancaksharas and Pancamantras. Mantrapushpa is offered by reciting both Vedic and (Dravida) Tamil hymns. That Siva resides in the mind of devotees who recite Rk hymns in turn and betake to the lotus feet of Lord as Sarana.

 

The next stage in the daily worship according to Agamas,(5) is the offering of music (vocal and instrumental) and dance which are also mentioned in several verses of Appar.

 

Thus Appar refers in his verses to various aspects of Sivarcana, making use of the same terminology as found in Agamic literature.

 

That the Saiva worship is offered to Siva Linga, is clearly made out by Appar in the verse cited. Also referring to the worship of Candesvara, it is said that he made a Linga (thapara) by heaping up sands and performed abhisheka with milk. Siva svarupa according to Appar is detailed in the Linga purana (Linga puranattu ullanai). ‘Combining in Himself the aspects of Trinity Brahma, Vishnu and Rudra, he manifested in the shaft.’ The Linga is also referred to as ‘the plantead peg’ (Nadutari). The story of Brahma and Vishny trying to fathom the head and foot of Siva and their failure, and Siva manifesting as a Linga is also explicitly mentioned by Appar.

The lingas could be made of stone, ratna, metal, wood or clay for daily worship and may be cala lingas or acala lingas. Another class of lingas(6) mentioned by the Agamas called Kshanika lingas, include the ones made of cowdung, butter, grain flour, cooked rice, fruit, Jaggery, sand, tender leaves, sandal, rudraksha, and flowers. There is no prescribed form or measurement for making these kshanika lingas, each one is said to confer a particular benefit. Appar refers to the linga made of sand by Candikesvara, which he calls Thapara. Appar also refers to the inward worship (antaryaga), in which the mind is called the Mani linga.” Mind when pure is compared to a crystal and as such the mind linga is stated to be ‘crystal linga’. In a significant verse Appar refers to figures (linga) made of flowers, gold

and verses, the last being an allusion to mantra murti. The reference to the figures made of flowers and gold seem to point to kshanika lingas. That lingas made of stone were also in use at the time of Appar, which is referred to as ‘kal tun’ stone shaft(6932). The Agamas clearly indicate that it is Sadasiva who is invoked and adored in Sivalingas. His five names Tatpurusha, Aghora, Vamadeva, Sadyojata and Isana play a vital role at every stage of the temple ritual. The texts also refer to the five colours of the five faces. Appar refers to these five names and five colours of the Caturamukha form.Siva as Parama is said to be fond of the five mantras, ‘Pancamantra’, Sadasiva the five faced god represents various tattvas of five, like the five elements, the five organs of perception, five senses of perception, five organs of actions, called the panca bhutas, Jnanendriya, Karmendriya, Panca tanmatra, the mental states. Appar uses the very word

Pancendrya (6520).

 

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The Presence of Sadasiva

At this stage an understanding of the concept of Sadasiva is vital for realizing not only the essentials of Saiva faith, but also the concept of Linga, that has been a subject of great debate among Indologists. Eminent scholars like Dr. Stella Kramrisch have dealt with the Sadasiva form of Siva in her work ‘The Presence of Siva’.(7)

Deriving their inspirations from the Vedas and Upanishads the Agamas declare that the Supreme Reality-the Brahman manifests itself in two ways as Para Brahman and Sabda Brahman, the former identified with Parasiva and the later with Sadasiva. As the Supreme is beyond the reach of mind and speech he is called Parasiva. Sadasiva, the Sabda Brahman is of the form of pranava – the sacred syllable “Aum”.(8)

There are two types of union in worships that human beings could achieve the inward union and the outward union (antaryaga and bahiryaga). The yogins who follow the eightfold yogic path (ashtanga yoga) whose minds are crystal like and who are cleansed of all impurities can alone achieve the inward union. It is not easy for all to achieve this union. Perhaps one in a million may be successful and that too rarely. But the external union (bahir yaga) can be achieved even by the ignorant. Conscious of this, the all pervading Supreme assumes five forms of Brahman (panca Brahma tanus) who is verily Sadasiva bestowing enjoyment (Bhukti) and release (mukti). It is this Sadasiva, the Panca Brahma tanus, who is worshipped in a linga by all living beings. When we speak of worshipping a linga, it is in effect the worship

of Sadasiva.(9)

Sadasiva is of five forms, called Tatpurusha, Aghora, Sadyojata, Vamadeva and Isana. The names are said to connote appropriate meaning as follows: Since He resides in all individuals in their respective bodies, he is Tatpurusha (Tasya Tasya Purishu Vasati iti Tatpurusha). As he is the most benign – not terrible he is Aghora (gorah na bhavati iti Aghorah). As he bestows the fruits of three ‘V’s (three Vargas) Dharma, Artha and Kama, He is Vama. As all living beings come into existence by his sheer will, he is Sadyojata. As Lord (Isa) of all beings, he is Isana.(10)

Siva, who is immutable and pure, existence and knowledge remains in five aspects by his own power (avastha). These five aspects are called the five faces (panca mukha) or the five forms (panca Brahma tanu) of Siva also known as Sadasivva. It is this concept that finds expression in art forms, as the panca mukha lingas or Caturmukha lingas, showing the four faces issuing from the central shaft of the linga, the top linga form, without the face, representing Isana.

Occasionally the fifth head is also shown on top. The Isana form is implied whether the fifth head is shown or not. So also whether the other four faces are shown or not in a Linga, the four forms are invariably implied. In other words, any linga, worshipped constitute the Sadasiva form comprising all his five aspects..

Sadasiva Linga

While performing daily rites to the Siva linga in the sanctum of Siva temples, the presence of the Supreme is invoked in the linga in his special form of Sadasiva with five heads and ten arms holding various emblems. All the Agamas and the paddhatis stipulate that this form should be ‘invoked’ in the linga to which all the worships area offered.(11)

The text Acintya visva Sadakhya gives the following description of the form to be invoked in the linga for daily rites.

In the linga should be invoked the Supreme Lord as Sadasiva, like a pure crystal. He should be endowed with five faces, each face with three eyes; their heads adorned with Jatamakuta; the God should have ten arms wielding trident, axe, sword, vajra and abhaya with the right arms and noose, snake, ankusa, bell, and fire with the left arms. The Lord should be invoked as a beautiful youth, with all the thirtytwo lakshanas, adorned with jewels and wearing silken garments. He is seated in a padmasana pose, with a pleasant countenance.(12)

The other Agamas like Vira, Raurava, Suprabheda and Kamika, mention Sadasiva form, to be invoked in the Sivalinga during daily rites. In all these texts, the five faces and ten hands of Sadasiva murti are described in full. The Rauravagama adds two legs(13). A variant reading of the same text gives ten legs. The Suprabheda(14) gives a slightly different version and adds that He is of the nature of thirtysix Kalas. Sadasiva in the form of Vidyadeha should be invoked on top of the linga, according to Kamika.(15) Siva is eternal, of the nature of existence, knowledge and bliss, pervades all the Tattvas, unparalleled and is beyond perception. He cannot be limited by speech. He is beyond the sphere of speech and mind and is formless Nishkala. This Nishkala (unmanifest) is made Sakala (manifest) in the linga by

reciting hymns. Just as fire inherent in a dry wood is made to appear by churning with another wooden piece so also the Supreme is ever present in a Linga by hymnal invocation.(16)

The Meaning of The Emblems

While the description of the image is in conformity with the texts the Kamika goes a step further and gives the esoteric meaning of the various emblems of Sadasiva. The following meaning are therefore of interest. The crescent moon on the head represents knowledge (Candras sarvanjata rupas). The tern arms represent the eight directions and the nether world and heaven; the three gunas satva, rajas and tamas are personified by the Trisula.

(Trisulam tri gunam proktam); Parasu indicates existence (Satta parasu uchyate); the sword represents the valour of Siva (khadgam Isa pratapa syad).

The impregnable nature is represented by vajra (vajram durbhedyata bhavet). The fire is the destructive power consuming the fetters; it illuminates the objects and is mahamaya. (Vanhi samharini Saktih pasanam basmasatkari, prakasika padarthanam maha maya urdhva jivani). The snake is the perceiving power and also the power of execution (naga upadrishtata saktih sarvesham cha vidhayiki). The pasa represents the three fetters maya, karma and mala (pasam pasatrayam vidyat maya karma malattmakam). The bell is the sound reminding the mantra from (ghanta nadatmakam rupam mantravigraha bodhakam). The abhaya hand is the protective power to the whole world (abhayam sarvalokanam saktih vai paripalini). The God brings happiness and enjoyment to the souls (yad bhogyah atmanas praptis tu atraiva niyamo ankusam).

 

The Five Faces

The Sadasiva form is constituted by the five bodies called Panchabrahma tanus viz. Isana, Tatpurusha, Aghora, Vamadeva and Sadyojata. The position, the direction and the meaning of each face and form are listed in almost all agamic sastras, and silpa treatises. The Tatpurusha faces east; Aghora south; Sadyojata west: Vamadeva north; and Isana the top of the linga. Each face is said to have its own colour, countenance, and also esoteric meaning which are detailed in a chart by Dr. Stella Kramrisch.(18) Except the Aghora form the other three are alike. Aghora will have a terrific countenance, protruding teeth, skull ornament, and rounded eyes like a Bhairava. Siva’s left half is Parvati and as such the Vamadeva form in the left should have a feminine countenance. In his Harihara form of Siva, Vishnu is

represented on the left. The Vamadeva has Vishnu’s countenance and functions as the protector of the universe. It is also known that Vishnu and Sakti are one and the same power. Vamadeva combines the aspects of Parvati and Vishnu.

The five forms seek to represent five elements (panca bhutas) like the earth, water, fire, air and eather; the five organs of perception viz. nose, eyes, tongue, ear and skin called the jnanendriyas; the five senses of perception (tanmatras) sound, touch, colour, taste and smell; the five organs of actions (karmendriyas) foot, hand, mouth, generative organ and excretionary organ, the ontological cosmogenic principles manas, buddhi, ahankara, citta and antahkarana; and also prana, apana, vyana, udana, and samana. “One should know all things of phenomenal world as of a five fold character for the reason that the eternal variety of Siva is of the character for the reason that the eternal variety of Siva is of the character of the Brhman(19). The five fold acts of Lord, (creation), sustenance, destruction,

concealment and benediction are the acts of Sadyojata Vamadeva, Aghora, Tatpurusha and isana respectively(20).

The Tamil text Thirumandiram gives all the esoteric meaning of the five faces of Sadasiva (verses 1730 to 1740).

The Linga

It has been mentioned earlier that the Linga worshipped in the temple represents the Sadasiva form. The Agamic text, Ajita states that just as the phallus is the symbol of a man so also the symbol of Sadasiva is Siva linga(21). The word linga, is used to denote double meaning, standing for both ‘phallus’ and ‘symbol’. The phallic nature of linga and the myths connected with it as in the famous text like Mahabharata, have been dealt with elaborately by eminent scholars and there is no need to discuss the same here, except to point out that the Siva linga is said to be the linga symbol of Sadasiva.

The second concept that is dealt with in the Ajitagama is the quarrel between Brahma and Vishnu abut their superiority. The text states their fight arose out of delusion or ignorance.(22) Siva appeared before them as an effulgent light, the Jyotirlinga and the two returned unable to fathom the root or end. Siva bestowed knowledge through his jyoti and removed their ignorance. The linga represents this aspect of Sadasiva.

Here we have two aspects one the phallic nature and two the pillar of fire going to make the linga emblem, possibly pointing to two different traditions commingling at remote antiquity in the worship of linga.

The shaft portion of the linga consists of three parts – the square, octoganal and circular from the bottom; the square represents Brahma, the centre Vishnu and the top Rudra. All the texts state that the linga in its vertical axis represents five aspects of godhood as Brahma, Vishnu, Rudra Mahesvara and Sadasivva. In its horizontal axis the five forms – Tatpurusha, Aghora, Vamadeva, Sadyojata, and isana constitute the Sadasiva form.

Worship And Festivals

The worship of linga takes the form of daily rites (nitya pujas) and daily and periodical festivals (nityotsavas and mahotsavas). The nitya puja takes two important modes (a) the worship of the Supreme in an image (icon) and (b) in fire – the former called Puja and the later homa or agnikarya. It has been shown that while performing nitya puja to the linga, the Sadasiva is invoked in the shaft of the linga. The puja to the deity consists of avahana, dhyana, padya, arghya, acamana, abhisheka, kusuma gandha, dhupa, dipa, naivedya, upahara, bali nritta, gita and Vadya. At every stage of the daily puja, the five forms of Sadasiva receive special worship. Acamana, the offering of water for sipping should be shown in front of all the five faces of the linga.(23) Siva is fond of abhisheka (abhisheka priya Siva).

Water from sacred rivers, ponds or wells, pancagavya, pancamrita, sandal oil etc. are used in anointment rites. Pancagavya is made of five products of the cow, milk, curd, ghee, cowdung and cow’s urine. These are mixed in suitable proportions for the abhisheka. The five products are placed – the milk at the centre, curd in the east, ghee in the south, gomutra in the north, and the cowdung in the west, each corresponding to the five forms of Sadasiva, reciting the five mantras like the Tatpurusha, Aghora, Sadyojata, Vamadeva and Isana(24). After the abhisheka, five leaves patras with five petals are offered to each of the five faces(25). Vedic hymns and stotras are offered as sacred flowers which are called mantrapushpas. The five mantras adoring Tatpurusha etc. are recited at appropriate faces.

The daily rites include food offerings consisting of cooked rice. Even in the process of cooking the five forms of Sadasiva are invoked. Thus water is poured into the cooking and rice with boiled milk to the Sadyojata face. Each offering should be shown in front of the respective face but for the Isana the offering is shown near the top of the Linga.(26)

During the nitya puja, five musical instruments called Pancamaha sabdas are played. A special drum called pancamukha vadya is played. Each of the face of this vadya represents one of the forms of Sadasiva as Isana, Tatpurusha etc.

Sadasiva In Agni

Siva manifests equally both in the linga and the sacrificial fire. While in the linga He receives puja, in the fire altar, He receives havis.(27) It has been mentioned earlier that in temple rituals, puja is offered to linga and homa is peformed in agni both being invariable essentiabls of the daily rites. In both the cases the main God invoked is Sadasiva. Siva’s presence in fire is as much real as in an image. However, as the fire remains only for a short period during the homa the impact it leaves is only marginal. But the Agamas specifically state that Siva manifests as Sadasiva both in linga and the homa.(28) At the beginning of the homa, Sadasiva should be invoked in the heart of the fire, the very same way he is invoked in the icon. The offerings are made with five mantras, Sadyojata etc.(29) The

Agnipurana refers to three stages of fire; offering in the daily pujangahoma – first stage is called abhighara wherein the five facts (Tatpurusha, Vamadeva etc.) are individually adored; In the secnd stage the faces are conjointly worshipped in twos, going by the name vaktranusandhana; In the third stage all the five faces are invoked in one form and is called Vaktra ekikaranam.(30)

In the rituals the abhisheka of sacred water with a kumbha occupies an important place. During both the special snapana and also the Kumbhabhisheka rites, Sadasiva is invoked in the main Kumbha.(31)

In the nityotsavas, a metal linga called golaka linga, is carried in procession with padukas, sula and Uma mahesvara. This golaka linga made of gold in the form of a sheath, will have five precious stones embedded one on each face representing Tatpurusha, Aghora etc.(32)

When the devotee thus worships a linga it is the presence of Sadasiva that is contemplated at every stage.

By the time of Appar, the Sadasiva form in all its aspects – the five forms of Siva, faces, colours, functions etc. are fully developed, as he refers to several of this concepts in his verses. He frequently uses the term Sadasiva (6568, 6971, 7211 etc.). Siva’s other names Vamadeva, Isana are also mentioned (6136). At one place He is called the four faced – nanmukhattan natane Jnanamurti (4758). This is a direct reference to the caturmukha linga aspect, the fifth one Isana is also alluded to in the same place by the term Jnanamurti (4758). His five colours blue (nilam), diamond (Vayiram), green (paccai), red (sempon) and pale yellow (Palingu) are also referred to (6991). At another place a different expression is found to indicate the colours as pearl (Muttu) representing the Sadyojata aspect, crystal

(mani) for the Aghora form, manikka for the Tatpurusha form, Karpaka Kolundu for the Vamadeva form and Vayiram-for the Isana form (6540). That Siva is of the nature of the five basic elements pancabhutas-earth, water, fire, air and ether is mentioned in many places (6934) At one place, Appar refers to the panca maha sabdas (Kulal, mondai Talam, Vinai and carcari wind instrument, percussion instrument, metal cymbals, stringed instrument and the pani for sarira sound. There is however no pointed reference to the five fold activities of Siva. At one place there seems to be what may be called the five acts, when Appar says aindu puriyan. It might however, also refer to the five threaded – Pancavati.

One verse of Appar is however of great interest. Referring to this C.V. Narayana Iyer, in his Saivism in South India(33), says “Padigam 6106 is a poem where all the allusions are apparently to the Saiva Agamas etc. Some of them are very easy to understand while others are not. One of the stanza seems to give an explanation of the five hoods of Siva’s one serpent. It says five are the Tattvas of that which is worn on the waist. The line can be understood in the light of Thirumular’s line which says the serpant is one; its hoods are five. The commentator of the later explains the serpent to mean the five senses. So the serpent is the Jivatma, resting upon Siva, the Paramatma. This meaning is supported by the next line of the Tevaram stanza where Appar says that it is He who

became “the five and the separate groups five. The meaning is that Siva himself became the Five Tanmatras, five Karmendriyas, five Jnanendriyas, and the other groups of five. These are the Tattvas through which the Jivatma has worldly enjoyment. But when the knowledge dawns upon Jivatma, the senses are subdued and the Jivatma finds its resting place in Paramatma or Siva.. Thus interpreted properly Appar, wants us to have this conception of the rather unseemly figure of Siva with the snake of His body”.

The concerned verse reads:

“anjum anjum oradi aria misai

anju pol anai arttu atin Tattvam

anjum anjum oror anjum ayavan

anjumam em ahatturai Adiye”. (6106)

 

The interpretation given by Narayana Ayer could be modified and further improved as follows. “The Supreme who resides in my heart is Sadasiva, (anjum) who is the five, the five, the five and the five. Oror anju in the third line should be taken to represent two fives. In the third line, Appar clearly refers to the groups of four fives. The panca bhutas, the panca tanmatras, the panca karmendryas, and the panca Jnanendryas. The faculties of intellect which are recognised as four Tattvas in most cases as Manas, Buddhi, ahamakara and Citta, are also sometimes grouped into five with the addition of antahkarana as the fifth element. Appar says in the first line that Sadasiva was given abhisheka with the five and the five –referring to the Ipancagavya and pancamrta. adi –i.e. to bathe or have abhisheka done.

The first line anjum anjum oradi refers to the abhisheka with Pancamrita and panca gavya. The second line refers to the band on the waist – the five. Here the five may represent the five hoods of the serpent worn by the Lord. Then Appar says specifically “the Tattva of this is the five, the five, the five, the five and the five”. That each hood would represent one group of five. Thus five groups of five are referred to by Appar; therefore, he is aware of the five fold faculty of the intellect. The Lord is referred to as Adi, that is Sadasiva. It has been shown elsewhere, that Appar refers to the five Karmendriyas, (Tolil Pancendrya), the Pancabhutas – the Panca tanmatra, and also the Panca Jnanendriyas. Thus this particular verse would indicate Appar’s reference to the five Tattvas and also Sadasiva who manifests as all these.

The Three Sandhis

The Lord is worshipped three times a day on sandhis. According to the grhyasutras the twice-borns-dvijas are expected to do the sandhi rituals, three times a day which includes adoration and meditation. The Somasambupaddhati, prescribes the Saiva sandhya vidhi, the sandhya of the Saivvites. While the dvijas of the smrti school invoke Gayatri, Savitri and Sarasvati, the Saivites are to invoke Brahmi, Vaishnavi and Rudri.(34) Some Agamas and paddhatis like the Somasambhu do not refer to the Vaidika Sandhya but enjoin only the Saiva Sandhya, while other Agamas like Kamika, Vira etc. prescribe both the sandhyas.(35) The Somasambhu Paddhati refers to the sandhyas as Brahmi Sandhya dhyana, Vaishnavi sandhya dhyana, and Raudri sandhya dhyana.(36). It is significant to note that Appar uses the phrase Sandhi dhyanittal

which further confirm our conviction that ‘Appar’s terminology should be taken as technical vocabulary.

Ashta Pushpas

Ashta, pushpas i.e. eight flowers, are considered sacred for worshipping Siva. In a number of places Appar refers to the worship of Siva with ashtapushpas also attamamalar (5315). One complete hymn of ten verses addressed to the presiding deity of Thiruvirattana of Thiruvadigai, is devoted to the greatness of these eight flowers. Each of the ten verses in this Padigam refers to the ashta pushpa (5770). The last verse interestingly extols the ashta pushpas offered to the Ashta murti form of Siva of Virattam. The worship with ashta pushpa, would destroy the powerful bondage (valvinai) that is the effect of past actions. The Karanagama(37), gives the names of the eight flowers as 1) arka (2) Pankaja (3) bilva (4) nanddhyavartam (5) Patali (6) Karavira (7) Campaka and (8) nilotpala. Among these flowers Appar

refers arka (erukku) Tamarai (Pankaja), Nandivattam (Nandyavarta) Karavira, Campaka and alli. Only Bilva does not seem to be mentioned specifically.

Panca Mantras

Appar refers to the Parama reciting Panca mantras. Panca mantram odum paraman. (5334) Mantra means the vedic hymn. It also stands for sacred verses, or names, muttered or recited in one’s own mind. Siva resides in the mind of those who recite – Mantirippar manattullanai (6874). There are five vedic hymns, addressed to the five form of Siva as Tatpurusha, Aghora, Sadyojata, Vamadeva and Isana. The Brahadjabala Upanishad would hold the five hymns – Sadyojatam Prapadyami etc. as the Pancabrahma mantras, Sadyojatadi Panca brahmamantraih(38). The five mantras as given in the Mahanarayaniya upanishad are:

Sadyo Jatam Prapadyami Sadyo Jataya vai namah

Bhave bhave natibhave bhajasva mam Bhavodbhavaya namah.

 

Vamadevaya namo Jyeshthaya namah Sreshthaya

namo Rudraya namah Kalaya namah

Kalavikaranaya namo Balavikaranaya

namo Balapramathanaya namah sarva

bhuta damanaya namo Manonmanaya namah

 

Aghorebhyotha ghorebhy ghora ghoratarebbhyas

Sarvatah sarva Sarvebhyah namaste astu

Visvarupebhyas.

 

Tatpurushhaya vidmahe Mahadevaya

Dhimahi. Tanno Rudrah pracodayat

 

Isanah sarvavidyanam, Isvarah

Sarvabhutanam Brahmadhipati

Brahmanadhipati Brahma Sivo me

Astu Sadasivom.(39)

 

In all the offerings, abhisheka etc. to Linga, the Sadasiva aspect of Siva is invoked with these five mantras. It has been shown the Sadasiva form is specifically mentioned by Appar, both by name and also by form. Hence the mention Panca mantra, obviously refers to these five hymns. But what is significant is that the Lord-Parama-himself is said to recite these mantras. We have seen that Siva himself said to recite vedas. It should also be noted that Appar at another place says that the five letters – Namassivaya are the mantras that arise from Pada. Padattelu mantiram anjeluttu odi. (5175). The siva- jnanaparibhasha manjari(40) gives a different interpretation as well. The five mantras are said to consists (1) Five syllables (2) Six syllables (3) eight syllables (4) nine syllables and (5) Ten syllables.

They are said to bestow moksha, abhivriddhi, kamya, Santi and Pushthi.

Kalasam Attal

Abhisheka occupies an important part in the temple ritual as prescribed in Agamas. It is an essential element during the rites, festivals and consecration ceremonies. The water in the pot represent Varuna, the presiding deity of the waters. He is called Raja – King among the Devas. He carries all the divine powers, to various Gods.

In the case of Siva temples, there are two main pots called the Pradhana Kalasa or the Siva Kumbha ad the other Vardhani, representing Parvati. The abhisheka pot is called Kalasa in Agamas. There are special abhishekas with 108, 1008 pots. The Agamas use invariably the term ‘Kalasa’ to denote the pot used in abhisheka. For example – Ajita “Kalasa sthapanarthaya mandapam karayet”(41). Ashthadhika sahasraih kalsaih uttamottamam, Kalasa lakshanam etc. (P. 13.56) The term Kalasamattal used by Appar in the 7th Century also indicate how deep the agamic mode of worship has taken roots in Tamil soil.

Linga Worship

Differing views are expressed by scholars on the introduction of Linga cult in the Tamil country. K.V. Soundararajan holds that the linga cult without the Yoni was introduced in Tamilnad around 730 A.D. and the Yoni Pitha itself was introduced around the beginning of the 9th Century A.D. (Soundararajan K.V. Cult in Pallava temples, Transactions of the Archaeological Society of South India 1962-65 – Madras-pp. 143-165. It has been shown by me, that this proposition is fraught with many inconsistencies. (Nagaswamy R. Sankara Parvati Endowment Lecture, Madras University). It is not necessary to discuss in detail, the discussion on this subject.

Appar makes pointed reference to Linga in his verses, at more than one place. It has already been shown that laying emphasis on inward worship Appar states that mind should be worshipped as Linga “Manam mani Lingam”. Referring to the manifestation of Siva in the pillar of fire when Brahma and Vishnu tried to fathom the head and foot of Siva, Appar says Linga Puranattu Ullanai (6984). In some places Siva is called ‘Kaltun’ Nadutari, Jotilinga (6577) Sthapara etc.. which are clearly allusions to the Linga form of Siva. Similarly Jnanasambandar, his contemporary also uses the term linga in a number of places.

In a verse extolling the Lingodhbhava aspect Appar says hat when Vishnu and Brahma searched everywhere and failed, this Punyamurti emanated from the Linga (6173).

“Sengannanum Brammanum tammule

Engum Tedit tirindavar Kankilar

Ingurren enru LINGATTE Tonrinan

 

This is a positive reference to Linga. Sambandar’s poem on Capdesa (1-62.4) states that Candesa performed abhisheka with milk to the linga made of sand, indicating thereby, that the object of worship was Linga and that it received abhisheka and that the worship of Linga should have been prevelant in Tamilnad atleast for a few centuries earlier.

“The Brahmins whose tongue constantly recite Vedas and angas adore him (1-P.15). They recite Mantra-Vedas (1.17). At Venupuram are those who have learnt Srutis (1.26). Lord Siva is the embodiment of the three sacred fires of the Vedas (1-30). The Brahmins, who have controlled their senses as a result of Vedic learning, adore him (1-40). The Brahmins of Sirkali, recite Vedas, and meditate in the Sandhis (1.147). Siva resides fully in the Ahuti (offering) offered by the Brahmins (Bhusuras) learned in the Vedas (P.164). He is both Vedas and Vedamarga (1-171). The Brahmins, following Vedic injunctions spread darbha grass and with ghee and samit twigs in hand offer sacifice in the glowing fire (1-282). Both Tamil and Sanskrit take refuge in his sacred foot. That he is the very feeling of 18 puranas and fur vedas

and also six angas (1-301). The Brahmins, adore his sacred feet by reciting vedas (2.357). Those who perform arccana to Lord Siva are, Sentamilar and those reciting the divine Vedas and well versed in all arts (3.720). The Brahmins follow (‘Vaidika’ and Matapas (great penance) (3.721). The sky is filled with smoke raising from the sacrifice (Velvi) tended with Vedas and Brahmanas, (Mantra and Mamarai) (3.721). The smoke raising from ‘ahuti’ offered in glowing fire encompasses the sky and rains (3.807). Seated by the side of the three fires and with the arm that performed sacrifices in them, Ahuti is offered by the great Brahmins (3.807). The Brahmins learn Vedas in the very early hours of the morning and adore the three fires (3.809).

Tevaram

It is well known that the Buddhists take refuge in the triratna – saying Buddhan Saranam Gacchami, Dharman saranam Gacchami and Sangam Saranam Gacchami. This usage, I take saranam – refuge in you obviously was common to all faiths. The Devas, says Appar, assembled together and recited the Rg vedic hymns in turn and prayed “Lord You are our Sarana.” Siva incarnates in his auspices form in their hearts. The recitation of Vedic hymns in turns in assemblies, ghoshtis has survived to this day. In this system, those assembled divide themselves into two parties, each party will recite a part of the hymn and the second party will recite the other part. The term murai is called varam in Sanskrit. The Parthivasekharapuram copper plate of the Ay chieftain Karunantadakkan refers to such varam recitations. The

Vaishnavites of Tamilnad, recite the Tamil Divyaprabandhas in this varam method. The Tamil saivite hymns of the three saints are called Tevaram. There are differences of opinion about the origin of this word as to whether it was derived from Devar-haram (divine garland) or Tevu-Varam singing in varam method. It is interesting to mention that these hymns were originally called Thiruppadiyams