Jyothir linga Somanatham - The moon descends to earth

The Shiva Purana goes:

Somanadham Someswaram Samastha Gunaparagam |
Gora-Padhaka thavagnim Jyothir-Swaroopam Namamyaham ||

Along the sandy coastline of Northwest India, the Lord descended on earth in a column of fire. He made a divine appearance, one seen by few but sung by many. A flaming Linga of light came to reside along the silent sands of the western sea coast.

It is believed that the Chandra (Soman) was the chosen husband for the 27 beautiful daughters of King Daksha. Good natured and fair, Soman was not just kind to his many wives but presented himself with grace and charm unmatched. But this didn’t last long, Soman’s interested clearly drifted towards one of his wives and he began to favor Rohini over the others and gave her far more attention than the rest.

This angered his remaining wives and they went back heart broken to their father and complained to King Daksha over Soman’s new inclination. King Daksha’s anger knew no boundaries and he cursed Soman that he would lose all the beauty and charm that he was proud of till now.

Having realized his mistake Soman sort the help of the Devas who directed him to Brahma to help him get rid of his curse. Brahma advised him to descend to earth, and meditate on the Mrityunjaya mantra attributed to Lord Shiva at Somnath and seek his favor to get rid of the curse.

Soman (alias Chandra – Moon) descended to earth and along the confluence of the river Saraswati he stood on one leg and started to chant the Mrityunjaya mantra. He chanted for years until finally, Lord Shiva who was pleased with his penance appeared before him in the form of a light or Jyotir Swarupa. Lord Shiva couldn’t reverse the curse but he promised Soman that for one fortnight in a month he would grow to appear bright, charming, and glow to his fullest form for one night but the other fortnight of the month he would fade into darkness. Shiva promised him that he would be seated among his locks or jatas waxing and waning through the month. The waxing phase of the moon is called Krishna Paksham and the waning phase is called Sukla Paksham.

Within the shrine chamber is a sacred Jyothir linga, covered in red, with the Moon on its crown. Someswara Linga is potent for it has also been worshipped by Chandrabagha devi, making this place a Shakti peetham. The devi shrine resides behind the Shiva Linga itself. It was in later centuries that a temple was built to house the fiery Lord and his consort.














Also read: PRAN PRATISHTHA by Sardar Shri Vallabhbhai Patel

The meaning of Jyotir Linga

Jyotir Lingas, is a common household term, spoken by few with reverence and remembered by many in terms of geographical locations and associated temples. As we all know, there are 12 Jyotir Lingas in the Indian subcontinent. But what are Jyotir Linga? What makes up this Linga? Why are they so different from all the others?

Jyotir Lingas are associated with the vision of a column of fire. The only known sculpture of this kind is Shiva Lingodbhava. Yet these Lingas are of a different kind and are believed to be flame or the fiery form of the very Lord Himself.

When one begins to dwell into Jyotir lingas, the other symbolisms cease to exist. His association with the more obvious phallic symbol, the cults of tantriks and His connection to Devi and the miracle of birth depicted within the garbha griha do not seem to hold the same clout. We cannot associate Shiva with any one symbolism alone, He means different things to different people depending on their level of spiritual evolution at different times.

The presence of Jyotir lingas appears in many disconnected stories ranging from subduing ones vanity, to disconnection from the cycle of death and rebirth, to killing all demons but maintaining constant meditation to Lord Shiva for spiritual upliftment. Some of these stories have one underlying thread, and that is Shiva appearing as a column of fire or a flame or in a fiery form in each case. What appears in each temple is a simple unassuming stone Linga, like any other Linga found around the country, but with a difference.

When a devout person worships the Lord and rises up his spiritual ladder, he does not see the Linga anymore, but he witnesses a flame, or light in the place of a Linga. He witnesses the column of fire in his mind's eye. 12 jyotir lingas were brought into the Indian landscape as early as the Tretayuga, each temple built in a different era and therefore bringing with it a variety in architecture depending on the century and dynasty they were built under. The Jyotir Lingas are themselves far more ancient and didn't have an associated temple when they first came up.

Shiva stotras list out the names and locations of 12 Jyotir Lingas still in existence, and the belief goes as follows:














Yethaani Jyotir Lingaani shaayaam pratham pathenaram|
sapta janmaakritam paapam smaranine vinasthi|
Sri Shiva sharanam prabhatyey||

Meaning: These are the Jyothir Lingas of Lord Shiva, whose names if recited in the morning and evening every day with devotion destroys the accummulated sins of the aspirant over the last 7 births, and gives him all the Siddhis and brings the aspirant to rest at the feet of Lord Shiva Himself.

Having done this, and having lived as a devout Shaivite, there is then a possibility that the aspirant actually witnesses the flames of enlightenment within the Jyotir Linga.

When the priest becomes a lady

Click on photo to enlarge

Thiruvanaikkaval, Srirangam:

We walked into the temple, the thick stone walls beat out the heat. The cool dark interiors were most welcoming for any tired traveler seeking the blessings of the Lord. Its a small temple but here we witnessed tradition in full swing. It was the time for the Uchyakala puja, at the stroke of 12.00pm

It was not a Cinderella we saw, but quite something else. Having completed the worship and abhishekam of the Mother goddess at the Amman shrine, a priest came dressed in a maroon silk saree with rudraksha beads round his neck. Two beaded necklaces hung down from a well covered chest and a benign look on his face made him look very close to the Goddess Herself.

He walked in gracefully, his calm face adding to the charm. He wore a crown on his head, a brilliant maroon velveted crown with semi precious stones depicting Lord Shiva Jambukeshwara on it. He carried a pot with water almost making it appear like Parvati, the consort of the Lord who had descended to bathe Him with her very hands. He looked divine, straight out of the 11th century walking into the temple today.

The thick wooden doors creaked open, and he slipped through while the crowd savored the spectacle they had just witnessed. We waited for a few moments more, understanding why he was dressed that way when the doors were thrown open to all.

The very incarnate of the Goddess who had bathed the Lord now held the flame up to Him. The Arti started and each lamp with a million tiny flames was served up in circular motion to the Lord who stayed behind a grill window. The fire rose into the air, the smoke clouding the interiors, a figure raised his hands, adorned with a crown on his head that was taken straight out of Krishnadeva Raya's closet. I wondered what else there was hidden within these small towns that boast more of our living culture than the cities.

Minutes after the flames rose, and the bells rang, the crowd was allowed to visit the sacred shrine of the Lord representing water. We all moved in, taking our respective queues but no where could we set eyes on that Goddess again. She was just gone.

P.S. This is just my rough attempt to capture that moment to you. Please excuse lack of proportion in the sketch.

Within a watery bed of peace

An untouched world
So far away
In silent watery peace
Does the Lord reside
In constant meditation
The only sound heard – OM

The peace unreachable
The greenery untouched
The sound of crystal clear water
In constant bath
Draped in the ripples of life
Shimmering in the sunlight

Who carved these stones
These sacred emblems
Or did they rise out of the rock alone
Power in the air, purity in the water
Devotion in anyone’s mind
Whoever comes near

Far away from the madness called life
Far away from all the noise
In the lap of velvet green
As silvery waters flow
Cold and pure, waking up the soul
Revealing to mankind secrets unknown

Is it only for the pure hearted
The divine in His realm displays
The joys of peace and tranquility
The wonder called life unfolds
Its beauty within now touched now felt
An experience unknown, and yet so close

The cool crystal waters flow
Washing my feet, washing my soul
As I look on to see in rows
Sacred emblems lined up in stone
A vast ocean so sacred
Lies ahead untouched, unknown

The depth of faith is so strong
The world of emotions so true
The pinnacle of love felt in every drop
That flows this sacred land
Washing you in all your splendor
Bathing you in constant meditation

The water so cool and crystal clear
Purity in melted snow
Fresh, reviving, energy giving
Life giving water freely flowing
Washing away all fears
A silent mind rests in peace.

Ammavasai: Notes in the dark

The night sets in
The clouds clear
The ocean of stars
Display their grandeur.

The moon shies away
Hides within her dark veil
Leaving silence to drape
The earth below

Peace in world
A silent universe
Not a drop of light
In the space around

A moonless night
The sea calm
The wind low
The trees silent

The sound of bells
A musical note
The glowing horns
Of a gentle bull

The earth moves
The tremors felt
The bull breathes out
The basic words

The words flow in silent stream
The vibrations felt
The air holds
Feelings unsaid

The sound of water
Trickling down
The hymns pierce the darkness
The Lord bathes in milk

The ocean of purity
Fills again
Life giving water
Covers the Lord

The sounds reverberate
The Rudram rolls
The earth rumbles
The energy unfolds

The words flow out
A cloak of letters
Like droplets dance
Over His shimmering Self

The milk of knowledge
Rolls out to all
Life that we don’t know of
Killing fear within

A drumbeat heard
The cowbells roll
The mridangam resounds
In the darkness

The sound of ghunguru
Sweet sounds rise
The air moves
And the dance unfolds

A world in the dark
Refreshingly new
The Lord awakens
To protect our souls

The beat rises
The heart pounds
The sea recedes
The sand shakes

The wind challenged
The waves crash
The foam rises
The Lord descends

The power of life
The energy within
Unfolds and floods the heart
That pounds in the dark

The sun and moon
In His eyes they shine
The black waves sway
Cutting through the air

The music rolls
The Rudram recited
The drums beats rise
The wind is covered in sound

The Lord dances on
His feet he raises
A blessing that says
Fear not the darkness now!

Narasimha - From twilight to enlightenment

Shrimad akalanka paripurna shashikoti |
shridhara manohara satapatakanta ||
palaya kupalaya bhavambudhi nimagnam |
daityavarakala narasimha narasimha ||

Into the sea of black, the dark universe came to light. Brought by the death of Hiranyakashipu, the great demon slain by the Lord Narasimha Himself. Such was his form; fiery are his eyes, so terrific that the demon succumbed to Him in the twilight. There He immerses Himself into the Ocean of Knowledge, the ocean of destruction, the end of all evil.

Protector of the people, killer of the demons of the mind, Brahma reveals the power of Lord Narasimha in his Bija, in His mantra Kavacha. A kavacha that protects the body and the mind from evil. The pearls of wisdom locked in every word that falls in a garland of letters on every part of the body worshipped by the Bhakta.

"O Lord Nrisimha, the consort of Goddess Sri, the goddess of fortune. You are the death of the greatest demon. I am sinking into the ocean of birth and death, O Kripalaya, the treasurer of all mercy, please protect me.

You ripped apart the great demon with your nails. The blood that poured forth wet your heart turning it red like it was smeared with fresh Kumkum. O Lord Nrisimha, You are the shelter for all including Kamala, the goddess of fortune."

Within this wilderness of sound and sacred letters we hear yet another kind of mantra

Devah samastah khalu gopi mukhyaha |
gandharva vidyadhara kinnarash cha ||
yat pada-mulam satatam namanti |
tam narasimham sharanam gato shmi ||

"I have taken shelter of Lord Nrsimha unto whose lotus feet celestials, yogis, gandharvas, vidyadharas and kinnaras, are constantly offering their obeisances."

A part of 5 verses called the Panchamrita, it reflects the adoration of Lord Narasimha by attributing various names to him and by describing the various celestial beings who shower flowers and sing His praise.

This particular verse reflects the celestial beings like Gandharvas, vidhyadharas and kinnaras. The richness of our mythologies is reflected in dance, music, sculpture and literature. The depths of mythology are revealed in various forms of expression, those which will fit anybody's sense of aesthetics.

On the one end it clearly reflects the beauty of human emotion, the reflection of the soul, of Bhakti in the heart of the aspirant who sings in praise of the Lord Narasimha.

On the other hand, it makes me really wonder whether we are missing an entire section of reality purely based on our inadequacy to understand the "real world" around us. With such rich knowledge and explanation, such various forms of expression there was definitely a lot more to this sacred science.

There was a time when a prince waited for the sweet words of love to fall to him, to know his dear lady loved him well. And out of thin air appeared sweet pearls of love, inscribed in beetle leaf and touched his heart as an Apsara flew the skies above.

A snake hooded flower - Nagalinga flower

Click the photo to see larger view

Nature has its ways of bringing the Lord to us. Simple forms that bloom into flowers and seem to depict one of the most sacred forms known to us. The "Nagalingapoo" or Naga Linga flower is one such flower that brings the beauty of the Lord right before us.

They say the beauty of the Lord lies within a lotus, a thousand petaled lotus. Blooming out, holding the Linga within itself, sheltered deep inside housed by the flower that seems to cover it like a serpent, a multi hooded serpent.

Glowing with beauty
a flower speaks out
in the middle of the forest
God's own creation

Small wonders blooming around
singing away in the sunlight
a creation so unique
passes away unnoticed

A gigantic tree
with deeper roots
holding out delicate flowers
for the world to see

Behold this beauty
shining pink
within a pond of fragrance
filling the air

Joyous birds chirp
amidst her branches
holding out in full bloom
telling the world

The Lord appears
in various forms
some so simple
just don't look beyond

The Lord resides
in the hearts of all
displaying His beauty
through a simple flower!

The serpent king guards
in graceful curve
the very Lord Himself
Enclosed in a universal whole

Five petals hold
Love for the Lord
potent seeds with divine sound
Forever singing His praise.



















Photo courtesy for the first picture: Yan Manarsar (yan)

Part3 - Through the eyes of Goddess Kamakshi

The goddess who brings out Lord Shiva's more subdued quiet side is Kamakshi Amman, residing within her kumkum-smeared chamber seems to have the supreme power that brings to light the pleasant nature of the Lord.

Kamakshi Amman, with the moon on her crown, silently resides in her chamber, warm, pleasant and ever loving. She appears to be far away but is closest to the Lord at Kailasa. Another form of Parvati herself, Kamakshi Amman is exuberant, taking on various forms, Kali being one of them. In the silent chamber she stays, the Lord is heard in her heartbeat.

Within the walls of a temple
The silent mother stands
Dressed in all her finery
Glowing from within
She blesses the world

The crescent moon glows
On her crown across her brow
Like twinkling stars they shine
The jewelery on her glow
O mother sweet mother of mine

Within the icy abode
Of mount Kailasa she resides
The consort of the Lord
Forever on his side
Watching the world go by

The darkness of the night they kill
The crescent moon shines forth
The snake dances with a jeweled crown
The only light to behold
A loving game of dice

The ganas dance, nandi looks on
Kamakshi Amman rolls the dice of love
Sweetness from her hands it flows
Music to my ears
A coy smile, a giggle here

She brings his wild self down
She embraces him close
Forever they stay knotted in love
The sun and moon descend
Into the ocean of love below

Potency of Lord Shiva – Part 2

Through the dance of Kali:

Another Goddess who draws my attention to the wild fury of Lord Shiva is the Goddess Kali. This play is different; it’s in the rhythm of bharatnatya. In the grace and the movement of the body. The Urdhva tandava is a form of expression, one that is matched only by Kali when she dances alongside Lord Shiva. It’s a different kind of mano laya, where this energetic Goddess redefines every step of grace and beauty. Where chemistry is a result of a power game at a superior level, where the drums resound into the air, followed by the rhythmic sounds of ghunguru as two feet merge into a single united sound of higher bliss. Where energy flows unlimited in the expression of abhinaya, when there is passion in the air, where there is mischief in the eyes as the Goddess challenges the Lord to His every step in dance!

The drums resound beat by beat,
The echo brings forth two wilder beings
The blazing fire reveals
Steady motion in sure steps
Energy slowly unleashed

A theatrical world of sound
Breaks open in reverberation
Among stone walls of an ancient temple
The tremors felt within the heart
As the drums bring forth this madness

Uncontrolled chemistry
The fire in their eyes it glows
The wilder nature of love
Their flowing hair envelops
Locking them into a potent spell

He moves His body effortlessly
Her grace gentle, beautiful and coy
In the darkness of the night
Their sure steps rhythmically hit the ground
Raising dust into the air

Their eyes meet their bodies’ move
They flow so graciously the world beholds
Their fiery eyes and their wavy hair
Makes them a complete potent pair
Locked in deep musical embrace

As the rhythm rises high,
The sounds of the drums thunder by
The earth shakes the world awake
To witness the rhythm of creation displayed
Raw power unadulterated it flows

Potency of Lord Shiva – Part 1

Lord Shiva is known to be a silent deity, potent and distant and fairly unattainable. It’s through the various forms of the Goddess that the nature of Lord Shiva is revealed. His passive self is brought out by the nature of three Goddesses who bring out various aspects of his otherwise silent potent self.

Through the force of the Ganges:

Standing in her waters one gets the sure feeling of her presence. Forceful, sure and sweeping cold, her energy is such that one can feel the excitement in her melting waters. A kind of chemistry that seems to be a song between the Ganges and Shiva
Gangadhara. Where the Lord can be heard in silent meditation among the mountains, the same mountain walls along whose sides she seems to play like a child. It’s like the sound of her anklets and her giggles can be heard as she lashes her waters down the hillsides. The charming Ganges has potent chemistry in her mind as she tries to disturb the Lord by washing his divine feet with her pure waters. A wild Ganges, excitable in her temperament, plays a charming game of Love in the very locks that release her mighty presence down to earth. Wild eyed, childlike, twinkling in the moonlight, a smile so charming and complete with a child like flirtation as she washes the world by trying to disturb the Lord in deep meditation.

He sits in silent meditation
Among the cold Himalayan mountains
His breath reverberating through its rocky walls
Brought down with the shimmering Ganges

Among these low sounds one listens
To the merry sounds of anklets
Of jingling bangles and earrings
Of a young dancing damsel
As she plays around her waters
Locked in his long dark hair.

A knot untied, a force unleashed
She giggles as she flows down
Potent chemistry released
The Lord silently lets go
Her waters to the earth they fall
O behold the charming lady flow

Wild fire between them
In a chilling night
Just the sounds in her waters reveal
The chemistry within
The force of love released.

Rasa lila among her waters
Rasa lila among the mountains
Music in my mind I behold
Of what the Lord held so close
Everlasting love let to profusely flow.

Kailashnatha temple, poetry in stone

Kailashnatha temple, Kanchipuram

Kailashnatha temple, a creation out of love to Lord Shiva lies in the scorching heat of Tamil landscape. Built during the reign of the Pallavas, this temple survived the ravages of war torn Tamil Nadu. Inscriptions in this temple suggest that the Chalukyas attacked Kanchipuram and Pulakesin won the battle leaving a mark on this temple with his sword.

Imagine this landscape with armies lined up outside with fluttering flags declaring a Chalukyan victory over the Pallavas. Deep within the cool interiors of this temple, a King worships the black faceted Lingam for this victory.

The Pallava queens patronized the smaller shrines outside, hosting smaller Shiva lingas with the Somaskanda panel in the background. Pulakesin put his signature over these walls, declaring his victory but did not have the temple pulled down to dust and rubble. There was mutual cultural respect in religion though there was hatred on the political front. The worst they could have done is probably replace the idols in this temple with those "Made in Chalukya land".

It is a showcase of evolution in architecture, directly after the Shore temple at Mahabalipuram in chronological order, from the Art History perspective. The inscriptions tells stories of tantrik practices as well as stories of the devotion of the faithful who donated various sculptures to the making of this temple.

Among the most common depictions of Shiva visible here in order of presentation are the Somaskanda panel depicting the Lord sitting with Parvati and Somaskanda their little son. Following it is Bhikshatana, another huge depiction of the naked mendicant, who seduced the wives of the rishis in a Brahmanical village. The only other strong reference made beyond Shiva is that of Durga who is depicted with her leg resting on the Lion.

The Linga embedded within the main shrine chamber as well as the smaller chambers around the temple are made of polished black stone imported into Kanchipuram. The Lingam within the temple is faceted, and a little too large for the chamber it is placed within.

The main vimana or roof of the temple, has been renovated and bears no resemblance to the original structure, thanks to ASI( Archaeological survey of India). This temple is the second in series to be built with a tall vimana and a rather insignificant gopuram(entrance way). Its unique architecture also displays a Lingam being consecrated with the chamber of the gopuram, an element of architecture which was never reproduced later.

Walking through the peace surrounded by these ancient walls, one can breathe in fresh air, potent with stories of ancient Tantrik faith which are not necessarily evil as projected. This temple brings alive a believe in the Mother goddess and Lord Shiva, a mixture that is too intoxicating within these walls, if you are emotional enough to feel its presence.

Varanasi – Along the Ganges

(Click the picture to enlarge)

An ancient city
Floating in deep waters
The land of light
The warmth penetrates
Into an over whelmed heart

Deep waters lash her by
As boats toss gently
Flowing down along her sides
Take with it life
Belief and love

The Ganges, sweet mother
Pure as she flows by
Covers the holy city
Taking the soul
Into her watery heavens

Oh sweet people
Don't you see
This beautiful city
Cradled in her lap
Tossing gently

The smoke from the pyre rise
Yet another soul departs
Where death is common site
Along her burning ghats
Reflect in her pure waters

A mirror to the self
A world departed
A world at hand
A cremation ground
A reality unfolds

And yet life moves on
With the vision of death
Burning into flames
A lamp I hold
A small flame of light

The Ganges in her motion
Sweeps the dust off my feet
Sweeps the ashes
The residue of lost life
Into her silent veil

And here Lord Shiva lies immersed
In her deep waters
His home his world
In a pure watery heaven
Along the Scindia Ghat

And as the sun departs
Leaving darkness to consume
The world rises up in flame
To worship the mother again
Yet another day

Smoke and incense rise
This time sweet fragrance
Cover the ghat now dotted
With lamp lights along her sides
And hymns fill in the ears

Fire for the soul departed
Fire to worship her waters
Fire the light for the living
Fire the way for the dead
Fire my guide through this dark life

The force I feel
Her wholesome self
The thundering sounds
As she wets me feet
A feeling sublime

A magical city
Where life meets death
Where illusion falls
Where reality strikes
And leaves me in a silent spell

Something about this land
Its potency its silence
Its faith its everlasting glory
Unshakable, a thick icy sheet
A curtain of illusion falls.

Aham Gangai Matha Namaskaromi.

Photo courtesy: Vaisnava.cz - The Hare Krishna inspiration
© 2001-2007

Who am I?

A child I was, sitting alone
"Who am I", did I ask
A little girl so young so true
I am my parent's child

A girl I was, walking around
Experiments with life
"Who am I", did i ask
A blank look, silence passed me by

A lady soon, married and well
"Who am I" did I ask
His wife I am, his family mine
A future new and vibrant

A family now, two children grown
"Who am I" did I ask
A mother of two, a parent now
The future in my hands I hold

A career so great, money flows
"Who am I" did I ask
A lady strong, ambitious for sure
A career woman unfolds

The world claps, applause in my ears
"Who am I" did I ask
The greatest for now, a celebrity
The world praises my achievements.

The bones ache, life passes me by
"Who am I" did I ask
My daughter's success, a proud parent she made
My children's mother am I

Lying on my bed, the last breaths of life
"Who am I" do I ask
Oh lord, a blind woman was I
Now with a wasted life.

P.S. Inspired by a question we all ask when young but fail to answer with every passing moment of life.

Shivaratri - A night to remember

The dust had finally settled and all turmoil in the mind seemed to subside. Srinivasan, raced back from work to get to the showroom. Srinivasan felt strange about himself. His folks were not around for his people had gone back. There was really no one left to show his new car to.

Yet it didn’t bother him, Srinivasan loved automobiles and felt it was money well spent if he purchased a car he would want to drive. Srinivasan didn't have too much time. It was closing in on sunset and he had yet to start his worship.

At the showroom, the car was brought forward, and all papers were handed over. Srinivasan looked up to the sky and then to the sales man who was performing the final puja before this gorgeous automobile hit the road. He took off his slippers and watched the flames catch on the camphor. He watched the fire (arti) go up circling the car warding off all evil. The kumkum was smeared over his head and at various points of the car, the bonnet with the logo and the driver’s steering wheel. He smiled to himself thinking…Strange, that even a very modern mind was all to happy to have the traditional fire of enlightenment bless and protect his car, a gift of his well earned money on the road now.

With four lemons squashed under each car wheel, the automobile was now blessed for a new journey on the road – new safe journey on the road.

With the car now, feeling this luxury on the road, Srinivasan headed home trying to catch up with lost time. His worship started in the next hour after all his preparation. The house went into darkness, and the lamplights made beautiful patterns on his polished marble floor. He began his recitation, his mind concentrating and his heart overwhelmed and heavy. He had wanted a good day to bring his car home and he didn’t manage to find any from the panchangam his grandmother had looked up. The Lord had decided the day. It couldn't get better. Srinivasan smiled, the car was finally home, on the night of Shivaratri, a gift for himself, a gift from the Lord.

The prayers rolled on, in rhythmic beat with the lamps burning even brighter now glowing in his heart. Each verse fell out in amazing clarity, the voice grew stronger and the sound echoed through the house. The mind was at rest, the peace enveloping and the world was now plunged into silence. Srinivasan opened his eyes and stared at the Divine icon, the Linga, and then at the Trishul in the light of the oil lamps. This Shivaratri meant a lot more to him.

Srinivasan felt no pride, no sense of achievement; no feeling that he had made another mark in his life, or crossed another milestone. He felt free, free in the mind, free in the heart, free from all human bondage, free from appreciation, free from ego massage, free from any kind of human approval. The car was his love for driving, the car was his love for automobiles, the car was his symbol of freedom, the car was his small luxury and he was happy to have it. Nobody else mattered, nothing else mattered. The night of Shivaratri left him sleepless, thinking about life and the Lord's strange ways of telling him how valuable he was. A wish was fulfilled, a gift from heaven had come home this divine evening - unplanned.

Om Namah Shivaya

Jogeshwar temple

(Click picture to enlarge)

The drum is the soul
that wakes the rhythm in the mind
the sound hits my senses
and calls for the dance
the essence hits the walls
and bounces back around
a tremor felt
to shake up the heart

The stones respond
the essence touched
the echo around
this stony corridor
the foot forward
an arched back holds
the flowering fingers
for the lord to behold

Love in my eyes
a sweeping sound
a rhythm calm but enveloping
as all winds stop
a performance unknown
a stretch of the self
to reveal through the body
grace unfelt

These stony walls
so close together
hidden presence
within the air
the reverberating sound
the multiple reflect
emotions so powerful
deep within the self

Music reveals for all to feel
a world beyond
a world unseen
sound the only way
to gather the truth
that cannot be understood
but needs to be felt

An arrangement in stone
so neat so precise
to make the rhythm elevate itself
to resound around
these vast walls of life
and bring out the aesthetics
of the hidden self

The heartaches again
the mind yarns
helplessly locked
within the cage
the mind so strong
Oh help me god
to get out of this body
my prison today.

Photo courtesy: Joshi Uncle

Dude Cool Laloo

Chennai: Felicitation of Sri Satya Sai Baba.

It was during the auspicious days when Sri Satya Sai Baba landed in Chennai for his felicitation on the event of bringing waters to Chennai – the completion of the Telugu Ganga Project. In the Chola period they would have built a temple town and called it Gangaikondacholapuram and given food to the poor, these days they give speeches and ask for more money and more water.

The esteemed podium was honored with the presence of the Chief Minister and his battalion of loyalists each giving speeches honoring the Great Man and hoping he would do more for society or give them his money so that they can try and do it with least effect!

This was a shower of speeches rather tongue in cheek making the audience smile on and off over each ones witty statements on how today's government is run. In the middle of all this sat one man, a milkman from the north who had done very well for himself I should say.

This man, originally a possible milkman, subsequently chief minister of one of the most ancient rich lands of the sub continent and now Railway Minister has done more than his fair share to puzzle the world. Speaking in broken English and even more polished Bhojpuri, he is probably the only not so well educated man who stormed into an audience of IIM graduates (paradise mind you) to give a discourse on his success story, leaving a world of superior intellects speechless.

The same man walks up the dias, shared equally by Tamil intellects to give his speech on Sri Satya Sai Baba...

Starting his speech in broken English and subsequently rolling off in Bhojpuri to a Tamilian audience (he couldn't care less) he claimed to have been an atheist all his life. But something has moved him about this Great Man and today he feels deep in his heart that there is a supreme being somewhere and Baba seems to have shown him the way. Today he believes in him strongly and has been moved by this Great Man's presence in his life. Having said all this in a very elaborate animated way, Laloo walks up to the Great Man and touches his feet with reverence. The Tamil folk on the dias just look on...

Now for the other side of the story. They say this man was not invited (well he was not part of this project); he came because he wanted to meet the Great Man. He came like a common man, equally happy should the organizers have given him a seat with the common folk playing audience. He was invited to the dias since he held a high post in politics. He walked about the stage, pranced around like it was his living room not caring for the speeches reeling out in the background. He hit the restroom when he wished and walked around with an air of simplicity. His purpose was fulfilled. Having bundled his ego up for a short while, he came visiting Chennai because he wanted to meet Baba and not because he wanted to make his presence felt in Tamil Nadu politics.

I tell you, I like him, when I see him in new light this guy is simply cool.

Photo courtesy: The Hindu Online.

Mamallapuram: a world so new

Shore temple, Mahabalipuram:

It was another routine visit to Mahabalipuram, taking my NRI relatives to this very ancient site! As I reeled out the history, my mother continued to entertain the battalion of children we had brought along with us.

Sitting along the green grass carpet of a now well-maintained shore temple we watched all the others who had shown up to this temple on the fateful day before New Year. Shore temple looked even worse than Kumbh Mela, with all of India's population coming to visit these ancient beauties. And we had plenty of variety.

It was interesting to see the groups who came there. To start with we had a very lost-out Italian tourist group who were groping in the darkness of a vast history lying in front of them and trying hard to wade their way through the current Indian population.

In all the garbled language that fell out I heard "Andare turistico per favore".

We watched another group go by, rather uncouth, numbering fifteen guys of what I call - Local Tamil Romeos, who were definitely not there to understand Indian history...they were there to have fun and completely misplaced in this audience.
Hooting around, spilling all the Tamil slang one could hear of in a single day, this group marched on carelessly.

Soon we had another family coming by and sitting next to us. This was a Punjabi family, with a sardarji boy holding a recently bought shankh (conch shell) in his hand and attempting very hard to blow it. What rolled out was a troubled grunt, warning the young sardarji boy and everyone around him that he was not doing something quite right. Instantly his father took the Shank and blew hard, giving the most perfect sound that resonated through the air! My excited mother jumped up and said "yes! That’s the way, you got it", leaving the elderly sardarji completely excited about his accomplishment. What resulted was a series of enthusiastic sounds, now having no reason to stop, leaving my mother wondering why she even went saying "Encore".

Following suit on the green grass was a Kannadiga family who sat down right next door, watching the temple, turned away saying:

"Idu yedu chennagilla. Thumba 'simple' ayiththu. Hampi Vijayanagara thumba chennagiththe".

Ma was not too happy with the comment, for she had the instinctive urge to tell them that for the period this temple was built it was a fantastic accomplishment. She wished she could educate them that what they have back there at Hampi is a mature version, the prototype of which stands right here. She wished they could appreciate everything instead of bringing in regional comparison.

Back at the temple, my cousin and I happened to see a very spiritual group descending from Meghalaya/ Manipur with exceptional devotion. They removed their slippers and threw coins into the Linga Pitha of a now dead temple, where even the Shiva linga was missing in the smaller shrine.

While my cousin tried to wade his way through, we noticed another family from the north, maybe UP, well dressed and decent walking out of the temple, saying:

"Murti pata nahi hai, magar mandir achcha hai"

Another group that showed up was Red clad from Melmaruvattur. These were a group of 20 women, all dressed in red and going about a Shiva pilgrimage, worshipping the Lord in every form possible. Well "the women in red" pranced around in a hurry, speaking garbled Tamil into the air, rushing up to the temple to take a glimpse of the Lord long gone.

I sat back reflecting on this country and its people, who display their faith in more ways than one, so different from each other and yet so united towards a single deity.

Om Namah Shivaya.

Shiva temple, Villianur

(Click the image to enlarge)

This is a small quaint temple, near Pondichery hosting a unique Shiva linga. The Linga being made of mud does not endure a direct abhishekam hence the Linga is always covered in the brass vessel before the water is poured. It’s a small temple that speaks volumes on devotion.

I walked around, savoring every minute of this temple. As we did the pradakshanam and walked behind the main sanctum, 63 Nayanars caught my attention. A quick photo and it was a snap to keep.

A collapsible gate separated them from me. 63 Nayanars with hands folded stared out at me. They looked imprisoned to say the least. I looked free, or was it the other way around? It seemed like a one to one with them. We stared at each other for a while.

63 enlightened souls appeared to have been barred from walking out and breathing the fresh air, or was it me taking in the foul realities of life.

63 enlightened souls glistened in the darkness while I paled out in the bright sunlight

63 nayanars silently worshipped the Lord in His heavenly abode while I thought I was freely walking the earth.

63 nayanars found a place next to the Lord while I still hunt for my identity.

63 nayanars didn’t care for freedom while my soul breaks every rule in the way

63 nayanars display humility with folded hands while I carry a heavy ego through my living days

63 nayanars silently speak faith while I voice mine like I know it all

63 nayanars have given up their souls for peace while I still hold on to mine, fearing to let go.

63 nayanars taught devotion to the world while I drop ego into every word.

63 nayanars glow with enlightenment while I still look around in the dark.

63 nayanars forever worship the Lord while I drift away trying to control my mind.

63 nayanars teach the meaning of freedom while I try to understand mine

63 nayanars appear to be imprisoned while I still try to break mine.

The Lord works in strange ways towards those willing to learn, it’s a test of endurance for us to see ourselves through. Spiritualism is tough stuff, its something I still do not know how to define.

A call to the Lizard

Varadaraja Perumal temple, Kanchipuram:

Animals have played an integral role in Indian mythology, with snakes and eagles topping the list. In Indian mythology we have a special consideration for "vahanas" or vehicles of deities. Others come with signals when animals make a visit during a ceremony. For example, it is believed that when a temple is being consecrated and "prana prathista" is being done to both the idol within as well as the main gateway/ roof of the temple, the presence of three parrots fly by during the homam/havan. Subsequently it is considered a success in ritual when an eagle (garuda) flies above the main gateway when water is being poured over it and the flag is being hoisted.

Among the lesser known animals that are known to be great devotees of Lord Shiva, the spider and the elephant seem to top the list. In the south there are specific temples dedicated to them as worshippers of the Lord, namely Shiva temples at Kalahasti and Thiruvannaikavval.

One creature seems to have a lot of impact not just by being a devotional creature but also as a mechanism of communication between our world and God's kingdom - devaloka. They say that when you are completely devotional, the Lord Himself comes in some form and resides within the chamber where you worship Him. The lizard is considered to be a very important creature in such modes of communications. When a lizard steps into the puja room and stays there it's considered auspicious. They say that either your Guru or the Lord Himself rides on the lizard when they come "visiting". The nature of the lizard in such cases is quite different. They tend to be fearless, hang around the deep dark corners of the room and come closer to the devotee as and when they wish, sometimes it's too close for comfort. A family is considered blessed and the home is believed to have positive vibrations when lizards come to live within the walls of its puja room.

Lizards seem to have held a very strong place in function! Killing or harming lizards is considered one of the greatest "doshams"(negative effects) committed ever. Even more intriguing is the fear that is triggered with the accumulation of "doshams" when a lizard falls over a person. They say that if a lizard fell over our head, something very inauspicious is going to happen, like probable death in the family, while if it falls on the foot it means travel. It looks like our ancestors didn't take to traveling very well, not half has lightly as we take it today. There might have been dangers they would have to face in the journey so avoiding travel was probably recommended. In order to rid one off these negative effects our ancestors thought a lot for the masses.

Interestingly found only in the Varadaraja Perumal temple at Kanchipuram is the silver and gold lizards on the ceiling of a small chamber in this temple. With mystical diagrams of the sun and moon near it, this large lizard is supposed to wipe out all the accumulated "doshams" if we get to touch it. There is an endless list of "doshams" given in our panchangam. The sun, moon and the lizard (palli) are related to astrology and give remedies with relation to our horoscopes for a more peaceful living.

Touching these lizards on the ceiling nullifies the negative effects that we might have accumulated in the course of our living, knowingly or unknowingly. Maybe they are consecrated up there with mantra concentrate done ages ago when the temple was built, so that the oncoming generations would benefit from it with a simple touch.



All in all it has not just caught the strong belief of the ancients but also the caught the faith of million Indians today who flock there. Can we question the lizard? Maybe, but can we doubt Indian faith… no, it can only be admired!

UP, Vrindavan: Gopisvar Mahadev

Rasa lila is the aesthetics of love and beauty expressed in the song and dances of Radhe Krishna as much as it is in the dances of Shiva and Kali/Parvati. Rasa lila brings to the mind, the nectar of love, untouched and flowing in abundance that the heart and mind get locked in it forever. Rasa Lila is an exalted feeling within the self that exists and needs to be unraveled in devotion to the Supreme. Rasa lila brings with it fragrances of the blooming flowers that are otherwise left to the wild. Rasa lila intoxicates the mind making the beloved surround the self and appears just about everywhere.

Rasa lila is a feeling in the heart, an expression of emotion in sublime!

Krishna's Rasa lila in the gardens of Brindavan can only be imagined by mortals for even Lord Shiva needed to do penance to be an audience to this beauty. In the form of Mahadev Shankara Shiva descended from Mount Kailasa to have darshan of one of Krishna's Rasa lilas. As he approached the gates of Brindavan, a Gopi at the gate stopped Him, as no male except Sri Krishna could be a part of this Rasa Lila.

Mahadev Shankara did not give up very easily. As instructed by the gopis he began to worship Yogamaya Paurnamasi (Purnima) for assistance. Purnima knowing fully well about Mahadev Shankar wish, instructed Him to take a dip in the waters of the holy Brahma Kund. When He rose out of its waters he was transformed into a beautiful damsel, another gorgeous Gopi who found her place inside the Kunj of the Rasa sthala. Soon after the Rasa Lila began, sweet love notes swept the floor of the kunj covered with the fragrance of wild flowers. But this time it left the gopis strangely uncomfortable. They had understood there had been an intrusion and were now trying to find out who was the uninvited guest.


















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Having come upon this gopi, with no name and no village to name from where she came, the remaining gopis attacked her with a barrage of questions. "Where are you from? Who is your husband? Who is your father in law?" This left her in a pool of tears and speechless at the same time. Yogamaya Paurnamasi has not prepared her for this onslaught of questions, for neither was her birth arranged from the womb of a gopi nor was she given a name. Nor did she marry a gopa so she was left speechless in the middle of all the commotion.

Paurnamasi's heart melted seeing the plight of Mahadev Shankar, and appeared to release the gopi from the situation. She requested the Gopis and Sri Krishna to be merciful to the nameless gopi. Sri Krishna, having understood Paurnamasi's desire, gave Mahadev Shankar the name of Gopiswar and granted Him a boon that any sadhaka who came to Brindavan, would not be able to enter without the blessings of Shankar Mahadev.
























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Vajranabha the great grand son of Sri Krishna later installed a Shiva linga at this temple. They say that a big pepal tree here is the kalpa vriksha, which fulfills all desires.

"O Lord Mahadev, O Lord Gopiswar, O glorious one, salutations to you.
O Lord, one who carries the moon on his head
Worshipped by great sages Sanaka, Sanandana, Sanatana and Narada
O Lord Gopiswar Bless me with thy divine power
Bestow upon me the love to seek the feet of Sri Radha Madhava and experience the Rasa Lilas in Brij-dham
I offer you my prayers at your feet forever."

Sankalpa Kalpadruma, 103 by Visvanath-Cakravarti Thakur