147-530: The Nellaiappar Temple is a Hindu temple dedicated to the deity Shiva , located in Tirunelveli , a city in the South Indian state of Tamil Nadu . Shiva is worshipped as Nellaiappar (also called Venuvananathar) represented by the lingam and his consort Parvati is depicted as Kanthimathi Amman. The deity Vishnu is also worshipped here, having witnessed their wedding according to legend. Hence, this temple
294-444: A Vishnu temple, Krishna temple, Rama temple, Narayana temple, Shiva temple, Lakshmi temple, Ganesha temple, Durga temple, Hanuman temple, Surya temple, etc. It is this garbha-griya which devotees seek for darsana (literally, a sight of knowledge, or vision ). Above the vastu-purusha-mandala is a superstructure with a dome called Shikhara in north India, and Vimana in south India, that stretches towards
441-422: A Hindu temple project would start with a Yajamana (patron), and include a Sthapaka (guru, spiritual guide and architect-priest), a Sthapati (architect) who would design the building, a Sutragrahin (surveyor), and many Vardhakins (workers, masons, painters, plasterers, overseers) and Taksakas (sculptors). While the temple is under construction, all those working on the temple were revered and considered sacerdotal by
588-602: A Hindu yogin, states Gopinath Rao, one who has realised the Self and the Universal Principle within himself, there is no need for any temple or divine image for worship. However, for those who have yet to reach this height of realization, various symbolic manifestations through images, murtis and icons as well as mental modes of worship are offered as one of the spiritual paths in the Hindu way of life. Some ancient Hindu scriptures like
735-494: A UNESCO World Heritage site. The Indian rock-cut architecture evolved in Maharashtran temple style in the 1st millennium CE. The temples are carved from a single piece of rock as a complete temple or carved in a cave to look like the interior of a temple. Ellora Temple is an example of the former, while The Elephanta Caves are representative of the latter style. The Elephanta Caves consist of two groups of caves—the first
882-507: A bed and meal to pilgrims. They relied on any voluntary donation the visitor may leave and to land grants from local rulers. Some temples have operated their kitchens on a daily basis to serve the visitor and the needy, while others during major community gatherings or festivals. Examples include the major kitchens run by Hindu temples in Udupi (Karnataka), Puri (Odisha) and Tirupati (Andhra Pradesh). The tradition of sharing food in smaller temple
1029-483: A brief introduction to 12 types of Hindu temples. Other texts, such as Pancaratra Prasada Prasadhana compiled by Daniel Smith and Silpa Ratnakara compiled by Narmada Sankara provide a more extensive list of Hindu temple types. Ancient Sanskrit manuals for temple construction discovered in Rajasthan, in northwestern region of India, include Sutradhara Mandana's Prasadamandana (literally, manual for planning and building
1176-732: A day; Thiruvananthal at 5.15 a.m Ushatkalapooja at 6.00a.m Sirukalasanthi at 7.00a.m Kalasanthi at 8:00 a.m., Uchikalam at 12:00 a.m. and Sayarakshai at 6:00 p.m. Arthajamam at 8.30 p.m Palliarai at 9.15 p.m Bhairavar Poojai at 9.30 p.m Each ritual comprises four steps: abhisheka (sacred bath), alangaram (decoration), naivethanam (food offering) and deepa aradanai (waving of lamps) for Nelliappar and Kanthimathi Amman. There are weekly rituals like somavaram (Monday) and sukravaram (Friday), fortnightly rituals like pradosham , and monthly festivals like amavasai (new moon day), kiruthigai , pournami (full moon day) and sathurthi . The Thai Aaratu festival during
1323-461: A great devotee of Siva linked the two temples by building the "Chain mandapam" (In Tamil Sangili Mandapam). In the centre of the Flower Garden is a square vasantha mandapam with 100 pillars. The Nandi mandapam is said to have been built by Sivanthiappa Nayakar in 1654. To the western portion of the chain mandapam is the flower garden that was set up in 1756 by Thiruvengadakrishna Mudaliar. There are
1470-498: A house or a palace. A house-themed temple is a simple shelter that serves as a deity's home. The temple is a place where the devotee visits, just like he or she would visit a friend or relative. The use of moveable and immoveable images is mentioned by Pāṇini . In the Bhakti school of Hinduism, temples are venues for puja , which is a hospitality ritual, where the deity is honored, and where devotee calls upon, attends to and connects with
1617-446: A main temple surrounded by smaller temples and shrines, but these are still arranged by principles of symmetry, grids and mathematical precision. An important principle found in the layout of Hindu temples is mirroring and repeating fractal-like design structure, each unique yet also repeating the central common principle, one which Susan Lewandowski refers to as "an organism of repeating cells". The ancient texts on Hindu temple design,
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#17328512071791764-505: A metallic Gindi , a vessel with a spout, in the temple depicting the legend. The temple complex covers an area of 5.9 hectares (14.5 acres), measuring 260 metres (850 ft) long and 230 metres (756 ft) wide, and all its shrines are enclosed with concentric rectangular walls, with a massive Rajagopuram. Sangili Mandapam built on 1647 by vadamalaiyappa pillayan connects the Ganthimathi Amman and Nellaiyappar temples. The temple has
1911-596: A natural source of water is not present. Here too, they recommend that a pond be built preferably in front or to the left of the temple with water gardens. If water is neither present naturally nor by design, water is symbolically present at the consecration of the temple or the deity. Temples may also be built, suggests Visnudharmottara in Part III of Chapter 93, inside caves and carved stones, on hill tops affording peaceful views, on mountain slopes overlooking beautiful valleys, inside forests and hermitages, next to gardens, or at
2058-471: A number of shrines, with those of Swamy Nellaiappar and his consort Sri Kanthimathi Ambal being the most prominent. The Nandi mandapam has a fairly big statue of Nandi (the bull God), similar to those at Tanjore and Rameswaram. The unique feature of the temple is the 'Mani manadapam' located near the nandi mandapam with two giant pillars carved out of a single stone and each one is having 48 sub pillars which produce musical notes when struck. Tamil poet says that
2205-496: A number of shrines, with those of Swamy Nellaiappar and his consort Sri Kanthimathi Ambal being the most prominent. The temple has three six rituals at various times from 6:00 a.m. to 9:00 p.m., and six yearly festivals on its calendar. Brahmotsavam festival during the Tamil month of Aani (June–July) is the most prominent festival celebrated in the temple. The original complex is believed to have been built by Pandyas , while
2352-575: A number of stone inscriptions in the temple. The most important of them are those Veerapandiyan who reigned around 950 AD and those of Rajendran I and Kulothunga Chola I . The inscriptions of Maravarman Sundara Pandyan refer to the Lord as "Woodayar" and "Wodeyanayanar" and the Goddess as "Nachiar". From the inscriptions of Kulasekkara Pandiyan we learn that he defeated the Chera , Chola and Hoysala kings and built
2499-455: A number of ways. For example, one method of classification is the dimensionality of completion: Another way of classification is by the expressive state of the image: A Hindu temple may or may not include a murti or images, but larger temples usually do. Personal Hindu temples at home or a hermitage may have a pada for yoga or meditation, but be devoid of anthropomorphic representations of god. Nature or others arts may surround him or her. To
2646-473: A parrot sits near her right shoulder symbolizing cheerful love talk, seeds, and fertility. A parrot is found with Parvati's form as Kamakshi – the goddess of love, as well as Kama – the cupid god of desire who shoots arrows to trigger infatuation. A crescent moon is sometimes included near the head of Parvati particularly the Kamakshi icons, for her being half of Shiva. In South Indian legends, her association with
2793-562: A part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own. Parvati is portrayed as the ideal wife, mother, and householder in Indian legends. In Indian art, this vision of the ideal couple
2940-460: A red dress (often a sari ), and may have a head-band. When depicted alongside Shiva she generally appears with two arms, but when alone she may be depicted having four. These hands may hold a trident, mirror, rosary, bell, dish, goad, sugarcane stalk, or flowers (such as a lotus). One of her arms in front may be in the Abhaya mudra (hand gesture for 'fear not'), one of her children, typically Ganesha ,
3087-548: A righteous social life. Parvati declares her family life and home are heaven in Book 13 of the Mahabharata. Rita Gross states, that the view of Parvati only as ideal wife and mother is incomplete symbolism of the power of the feminine in the mythology of India. Parvati, along with other goddesses, is involved with a broad range of culturally valued goals and activities. Her connection with motherhood and female sexuality does not confine
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#17328512071793234-448: A sacred space. It represents the triple-knowledge (trayi- vidya ) of the Vedic vision by mapping the relationships between the cosmos ( brahmaṇḍa ) and the cell (pinda) by a unique plan based on astronomical numbers. Subhash Kak sees the temple form and its iconography to be a natural expansion of Vedic ideology related to recursion, change and equivalence. In ancient Indian texts, a temple
3381-437: A social meaning. Some temples have served as a venue to mark festivals, to celebrate arts through dance and music, to get married or commemorate marriages, the birth of a child, other significant life events or the death of a loved one. In political and economic life, Hindu temples have served as a venue for succession within dynasties and landmarks around which economic activity thrived. Almost all Hindu temples take two forms:
3528-400: A symbolic product of knowledge and human thought, while the circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 (or in some cases 81) sub-squares called padas. Each pada is conceptually assigned to a symbolic element, sometimes in the form of a deity. The central square(s) of
3675-496: A temple). Manasara , a text of South Indian origin, estimated to be in circulation by the 7th century CE, is a guidebook on South Indian temple design and construction. Isanasivagurudeva paddhati is another Sanskrit text from the 9th century describing the art of temple building in India in south and central India. In north India, Brihat-samhita by Varāhamihira is the widely cited ancient Sanskrit manual from 6th century describing
3822-460: Is Navratri , in which all her manifestations are worshiped over nine days. Popular in eastern India, particularly in Bengal, Odisha, Jharkhand and Assam, as well as several other parts of India such as Gujarat, with her nine forms, that is, Shailaputri , Brahmacharini , Chandraghanta , Kushmanda , Skandamata , Katyayini , Kaalratri , Mahagauri , and Siddhidatri . Another festival Gauri Tritiya
3969-416: Is a yantra , a design laying out a Hindu temple in a symmetrical, self-repeating structure derived from central beliefs, myths, cardinality and mathematical principles. The four cardinal directions help create the axis of a Hindu temple, around which is formed a perfect square in the space available. The circle of the mandala circumscribes the square. The square is considered divine for its perfection and as
4116-554: Is a large group of five Hindu caves and the second is a smaller group of two Buddhist caves. The Hindu caves contain rock-cut stone sculptures, representing the Shaiva Hindu sect, dedicated to the god Shiva. A typical, ancient Hindu temple has a profusion of arts—from paintings to sculpture, from symbolic icons to engravings, from thoughtful layout of space to fusion of mathematical principles with Hindu sense of time and cardinality. Ancient Sanskrit texts classify murtis and images in
4263-457: Is a place of pilgrimage, known in India as a Tirtha . It is a sacred site whose ambience and design attempts to symbolically condense the ideal tenets of the Hindu way of life. In a Hindu temple, all the cosmic components that produce and maintain life are there, from fire to water, from depictions of the natural world to gods, from genders that are feminine or masculine to those that are everlasting and universal. Susan Lewandowski states that
4410-474: Is a sacred place where Hindus worship and show their devotion to deities through worship, sacrifice, and prayers. It is considered the house of the god to whom it is dedicated. Hindu temple architecture, which makes extensive use of squares and circles, has its roots in Vedic traditions, which also influence the temples' construction and symbolism. Through astronomical numbers and particular alignments connected to
4557-778: Is a spiritual destination for many Hindus, as well as landmarks around which ancient arts, community celebrations and the economy have flourished. Hindu temple architecture are presented in many styles, are situated in diverse locations, deploy different construction methods, are adapted to different deities and regional beliefs, and share certain core ideas, symbolism and themes. They are found in South Asia, particularly India and Nepal , Bangladesh , Pakistan , Sri Lanka , in Southeast Asian countries such as Cambodia , Vietnam , Malaysia , and Indonesia , and countries such as Canada , Fiji , France , Guyana , Kenya , Mauritius ,
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4704-403: Is also the goddess of love and devotion, or Kamakshi (the goddess of fertility), abundance and food/nourishment, or Annapurna . She is also the ferocious Mahakali that wields a sword, wears a garland of severed heads, and protects her devotees and destroys all evil that plagues the world and its beings. The apparent contradiction that Parvati is addressed as the golden one, Gauri, as well as
4851-699: Is celebrated from Chaitra Shukla third to Vaishakha Shukla third. This festival is popular in Maharashtra and Karnataka, less observed in North India, and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and a collection of ornaments, images of other Hindu deities, pictures, shells, etc. below. Neighbors are invited and presented with turmeric, fruits, flowers, etc. as gifts. At night, prayers are held with singing and dancing. In south Indian states such as Tamil Nadu and Andhra Pradesh,
4998-525: Is closely associated with the festival of her son Ganesha ( Ganesh Chaturthi ). The festival is popular in Maharashtra and Karnataka . In Rajasthan, the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival. Another popular festival in reverence of Parvati
5145-460: Is closely associated with various manifestations of Mahadevi, including the ten Mahavidyas and the Navadurgas . Parvati is found extensively in ancient Puranic literature, and her statues and iconography are present in Hindu temples all over South Asia and Southeast Asia . In Hindu temples dedicated to her and Shiva, she is symbolically represented as the yoni . Parvata ( पर्वत )
5292-412: Is considered as the birthplace of Parvati and site of Shiva-Parvati Vivaha. Parvati is known by many names in Hindu literature. Other names which associate her with mountains are Shailaja (Daughter of the mountains), Shailaputri (Daughter of Mountains), Haimavati (Daughter of Himavan ), Maheshvari (Maheshvara’s wife) , Girirajaputri (Daughter of king of the mountains) and Girija (Daughter of
5439-530: Is dedicated to her, symbolizing divine mother. It is a joint hand gesture, and is one of sixteen Deva Hastas , denoting the most important deities described in Abhinaya Darpana . The hands mimic motherly gesture, and when included in a dance, the dancer symbolically expresses Parvati. Alternatively, if both hands of the dancer are in Ardhachandra mudra, it symbolizes an alternate aspect of Parvati. Parvati
5586-421: Is derived from Shiva and Parvati as being half of the other, represented as Ardhanarisvara . This concept is represented as an androgynous image that is half man and half woman, Siva and Parvati, respectively. In Hindu Epic the Mahabharata, she as Umā suggests that the duties of wife and mother are as follows – being of a good disposition, endued with sweet speech, sweet conduct, and sweet features. Her husband
5733-412: Is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices. Three images are central to the mythology, iconography, and philosophy of Parvati: the image of Shiva - Shakti , the image of Shiva as Ardhanarishvara (the Lord who
5880-499: Is everywhere in a Hindu temple. Life principles such as the pursuit of joy, connection and emotional pleasure (kama) are fused into mystical, erotic and architectural forms in Hindu temples. These motifs and principles of human life are part of the sacred texts of the Hindus, such as its Upanishads; the temples express these same principles in a different form, through art and spaces. For example, Brihadaranyaka Upanisad (4.3.21) recites: In
6027-432: Is grand. In Hindu tradition, this is discarded in favor of an open and diffusive architecture, where the secular world was not separated from the sacred, but transitioned and flowed into the sacred. The Hindu temple has structural walls, which were patterned usually within the 64-grid, or other geometric layouts. Yet the layout was open on all sides, except for the core space with a single opening for darsana. The temple space
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6174-503: Is half-woman), and the image of the linga and the yoni. These images that combine the masculine and feminine energies, Shiva and Parvati, yield a vision of reconciliation, interdependence, and harmony between the way of the ascetic and that of a householder. The couple is often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash debating concepts in Hindu theology. They are also depicted as quarreling. In stories of
6321-492: Is her friend, refuge, and god. She finds happiness in her husband's and her children's physical and emotional nourishment and development. Their happiness is her happiness. She is cheerful even when her husband or children are angry; she is with them in adversity or sickness. She takes an interest in worldly affairs beyond her husband and family. She is cheerful and humble before family, friends, and relatives; she helps them if she can. She welcomes guests, feeds them, and encourages
6468-405: Is laid out in a series of courts ( mandapas ). The outermost regions may incorporate the negative and suffering side of life with the symbolism of evil, asuras and rakshashas ; but in small temples this layer is dispensed with. When present, this outer region diffuse into the next inner layer that bridges as human space, followed by another inner Devika padas space and symbolic arts incorporating
6615-483: Is not a limiting condition. Parvati is seen as the mother of two widely worshipped deities — Ganesha and Kartikeya . Hindu literature, including the Matsya Purana , Shiva Purana , and Skanda Purana , dedicates many stories to Parvati and Shiva and their children. For example, one about Ganesha is: Teej is a significant festival for Hindu women, particularly in the northern and western states of India. Parvati
6762-409: Is on her knee, while her younger son Skanda may be playing near her in her watch. In ancient temples, Parvati's sculpture is often depicted near a calf or cow. Bronze has been the chief metal for her sculpture, while stone is the next most common material. Parvati and Shiva are often symbolized by a yoni and a linga , respectively. In ancient literature, yoni means womb and place of gestation ,
6909-577: Is one of the Sanskrit words for "mountain"; "Parvati" derives her name from being incarnated as the daughter of king Himavan (also called Himavata, Parvata ) and mother Menavati . King Parvata is considered lord of the mountains and the personification of the Himalayas ; Parvati implies "she of the mountain". Aparneshara Temple of Yama, Udhampur in the Indian Union Territory of Jammu and Kashmir
7056-690: Is one of the five places where Lord Shiva is said to have displayed his dance and all these places have stages/ ambalams. While Tirunelveli has the Thaamira (Copper) Ambalam or Thamira Sabhai , the others are the Rathina Ambalam/ Rathna Sabhai at Thiruvaalangadu (rathinam – ruby / red), the Chitra Ambalam or Chitra Sabhai at Courtallam (chitra – painting), the Velli Ambalam or Rajatha Sabhai at Madurai Meenakshi Amman Temple (velli – silver) and
7203-427: Is regarded as Shiva’s shakti (divine energy or power), the personification of the creative force that sustains the cosmos. In this role, she becomes not only a mother and nurturer but also the embodiment of cosmic energy and fertility. She is the source of power that energises Shiva, who without her is incomplete. Parvati's mythology, therefore, is not just about her role as a wife but also about her cosmic function as
7350-543: Is regarded as an abhimana kshetram of Vaishnavism . The temple is located on the northern banks of Thamirabarani River in Tirunelveli district . The presiding deity is revered in the 7th century Tamil Saiva canonical work, the Tevaram , written by Tamil saint poets known as the nayanmars and classified as Paadal Petra Sthalam . The temple complex covers an area of 5.9 hectares (14.5 acres) and all its shrines are enclosed with concentric rectangular walls. The temple has
7497-418: Is sometimes shown with golden or yellow color skin, particularly as goddess Gauri, symbolizing her as the goddess of ripened harvests. In some manifestations, particularly as angry, ferocious aspects of Shakti such as Kali , she has eight or ten arms, and is astride on a tiger or lion, wearing a garland of severed heads and skirt of disembodied hands. In benevolent manifestations such as Kamakshi or Meenakshi,
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#17328512071797644-438: Is the lineal progenitor of all other goddesses. She is worshiped as one with many forms and names. Her form or incarnation depends on her mood. The Puranas tell the tale of Sati 's marriage to Shiva against her father Daksha 's wishes. The conflict between Daksha and Shiva gets to a point where Daksha does not invite Shiva to his yagna (fire-sacrifice). Daksha insults Shiva when Sati comes on her own. She immolates herself at
7791-417: Is the name of six methods or alternate viewpoints of understanding truth. These are Nyaya, Vaisesika, Sankhya, Yoga, Mimamsa and Vedanta —which flowered into individual schools of Hinduism, each of which is considered a valid, alternate path to understanding truth and achieving self-realization in the Hindu way of life. From names to forms, from images to stories carved into the walls of a temple, symbolism
7938-407: Is the primary deity of the festival, and it ritually celebrates married life and family ties. It also celebrates the monsoon. The festival is marked with swings hung from trees, girls playing on these swings typically in a green dress (seasonal color of crop planting season), while singing regional songs. Historically, unmarried maidens prayed to Parvati for a good mate, while married women prayed for
8085-415: Is typically called prasada . Hindu temples are found in diverse locations each incorporating different methods of construction and styles: In arid western parts of India, such as Rajasthan and Gujarat, Hindu communities built large walk-in wells that served as the only source of water in dry months but also served as social meeting places and carried religious significance. These monuments went down into
8232-589: The Netherlands , South Africa , Suriname , Tanzania , Trinidad and Tobago , Uganda , the United Kingdom , the United States , Australia , New Zealand , and other countries with a significant Hindu population. The current state and outer appearance of Hindu temples reflect arts, materials and designs as they evolved over two millennia; they also reflect the effect of conflicts between Hinduism and Islam since
8379-666: The Rigveda . The verse 3.12 of the Kena Upanishad dated to mid-1st millennium BCE contains a goddess called Uma-Haimavati, a very common alternate name for Parvati. Sayana's commentary in Anuvaka , however, identifies Parvati in the Kena Upanishad , suggesting her to be the same as Uma and Ambika in the Upanishad, referring to Parvati is thus an embodiment of divine knowledge and the mother of
8526-567: The Tamil month of Thai (January – February) is the most important festivals of the temple. Tirugnana Sambandar and Appar , the 7th-century Tamil Saivite poet Nayanmars , venerated Nelliappar in ten verses in Tevaram , compiled as the First Tirumurai . Sundarar , an 8th-century nayanmar, also venerated Idaiyatreeswarar in ten verses in Tevaram , compiled as the Fifth Tirumurai . As
8673-552: The Telika Mandir in Gwalior , built in the 8th century CE, is not a square but a rectangle in 2:3 proportion. Further, the temple explores a number of structures and shrines in 1:1, 1:2, 1:3, 2:5, 3:5 and 4:5 ratios. These ratios are exact, suggesting that the architect intended to use these harmonic ratios, and the rectangle pattern was not a mistake, nor an arbitrary approximation. Other examples of non-square harmonic ratios are found at
8820-523: The Vāstu-puruṣa-mandala and Vastu Śāstras , do not limit themselves to the design of a Hindu temple. They describe the temple as a holistic part of its community, and lay out various principles and a diversity of alternate designs for home, village and city layout along with the temple, gardens, water bodies and nature. A predominant number of Hindu temples exhibit the perfect-square grid principle. However, there are some exceptions. For example,
8967-419: The garbha-griya (literally, "womb house")—a small, perfect square, windowless, enclosed space without ornamentation that represents universal essence. In or near this space is typically a cult image—which, though many Indians may refer to casually as an idol, is more formally known as a murti, or the main worshippable deity, who varies with each temple. Often this murti gives the temple a local name, such as
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#17328512071799114-455: The 10th-century attached medical care along with their religious and educational roles. This is evidenced by various inscriptions found in Bengal, Andhra Pradesh and elsewhere. An inscription dated to about 930 CE states the provision of a physician to two matha to care for the sick and destitute. Another inscription dated to 1069 at a Vishnu temple in Tamil Nadu describes a hospital attached to
9261-574: The 12th century. The Swaminarayanan Akshardham in Robbinsville, New Jersey , between the New York and Philadelphia metropolitan areas, was inaugurated in 2014 as one of the world's largest Hindu temples. A Hindu temple reflects a synthesis of arts, the ideals of dharma , beliefs, values and the way of life cherished under Hinduism. It is a link between man, deities, and the Universal Puruṣa in
9408-511: The 4th century CE suggest the existence of schools around Hindu temples, called Ghatikas or Mathas , where the Vedas were studied. In south India, 9th century Vedic schools attached to Hindu temples were called Calai or Salai , and these provided free boarding and lodging to students and scholars. The temples linked to Bhakti movement in the early 2nd millennium, were dominated by non-Brahmins. These assumed many educational functions, including
9555-623: The 64- or 81-grid is dedicated to Brahman (not to be confused with brahmin, the scholarly and priestly class in India), and are called Brahma padas . The 49-grid design is called Sthandila and is of great importance in creative expressions of Hindu temples in South India, particularly in Prakaras . The symmetric Vastu-purusa-mandala grids are sometimes combined to form a temple superstructure with two or more attached squares. The temples face sunrise, and
9702-408: The 6th century CE. Vastu-Sastra manuals included chapters on home construction, town planning, and how efficient villages, towns and kingdoms integrated temples, water bodies and gardens within them to achieve harmony with nature. While it is unclear, states Barnett, as to whether these temple and town planning texts were theoretical studies and if or when they were properly implemented in practice,
9849-610: The 7th century AD. The mani mandapam with its famous musical pillar was also likely built by Nindraseer Nedumaran. The flag stand near the Nandi was set up in 1155. Later Pandya, Kulasekara Pandyan I built the outer wall of the Thirunelveli Nellaiappar temple, in 13th century. Originally, the Nellaiappar and Kanthimathi temples were two independent structures with spaces in between. It was in 1647 that Thiru Vadamalaiappa Pillaiyan,
9996-571: The Jabaladarshana Upanishad appear to endorse this idea Parvathi Parvati ( Sanskrit : पार्वती , IAST : Pārvatī ), also known as Uma ( Sanskrit : उमा , IAST : Umā ) and Gauri ( Sanskrit : गौरी , IAST : Gaurī ), is one of the principal goddesses in Hinduism , revered as the goddess of power, energy, nourishment, harmony, love, beauty, devotion, and motherhood. Along with Lakshmi and Sarasvati , she forms
10143-765: The Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and married women fast for the day, prepare sweets and worship Parvati for the well-being of the family. Thiruvathira is a festival observed in Kerala and Tamil Nadu. It is believed that on this day, Parvati met Shiva after her long penance and Shiva took her as his wife. On this day Hindu women perform the Thiruvathirakali accompanied by Thiruvathira paattu (folk songs about Parvati and her longing and penance for Lord Shiva's affection). From sculpture to dance, many Indian arts explore and express
10290-612: The Naresar temple site of Madhya Pradesh and at the Nakti-Mata temple near Jaipur , Rajasthan. Michael Meister suggests that these exceptions mean that the ancient Sanskrit manuals for temple building were guidelines, and Hinduism permitted its artisans flexibility in expression and aesthetic independence. A Hindu temple is a symbolic reconstruction of the universe and the universal principles that enable everything in it to function. The temples reflect Hindu philosophy and its diverse views on
10437-575: The Pon (Gold) Ambalam or PorSabhai at Thillai Nataraja Temple, Chidambaram . The temples where Shiva is believed to have performed the Cosmic Dance . This temple is called Tambra Sabha (copper hall) based on the dance pose of Nataraja . There are several architectural depictions in the temple detailing the legends. Navaratri, Tirukkalyanam in Aippasi, (15 October – 15 November) and Arudra Darisanam are some of
10584-608: The Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism . This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out manifests in the form of ten terrifying goddesses who block Shiva's every exit. David Kinsley states, The fact that [Parvati] can physically restrain Shiva dramatically makes
10731-479: The age of 25. Apart from specialist technical competence, the manuals suggest that best Silpins for building a Hindu temple are those who know the essence of Vedas and Agamas, consider themselves as students, keep well verse with principles of traditional sciences and mathematics, painting and geography. Further they are kind, free from jealousy, righteous, have their sense under control, of happy disposition, and ardent in everything they do. According to Silparatna,
10878-409: The ancient Sanskrit texts of India (for example, the Vedas and Upanishads ), while their structural rules are described in various ancient Sanskrit treatises on architecture ( Bṛhat Saṃhitā , Vāstu Śāstras ). The layout, the motifs, the plan and the building process recite ancient rituals, geometric symbolisms, and reflect beliefs and values innate within various schools of Hinduism. A Hindu temple
11025-693: The antelope, the symbolism for nature and the elusive, Tarjani by the left hand—representing the gesture of menace, and Chandrakal — representing the moon, a symbol of intelligence. Kataka is expressed by hands closer to the devotee; Tarjani mudra with the left hand, but far from the devotee. If Parvati is depicted with two hands, Kataka mudra—also called Katyavalambita or Katisamsthita hasta—is common, as well as Abhaya (fearlessness, fear not) and Varada (beneficence) are representational in Parvati's iconography. Parvati's right hand in Abhaya mudra symbolizes "do not fear anyone or anything", while her Varada mudra symbolizes "wish-fulfilling". In Indian dance, Parvatimudra
11172-617: The artworks and sculptures within them, were considered by the ancient Sanskrit texts to deploy arts whose number are unlimited, Kala (techniques) that were 64 in number, and Vidya (science) that were of 32 types. The Hindu manuals of temple construction describe the education, characteristics of good artists and architects. The general education of a Hindu Shilpin in ancient India included Lekha or Lipi (alphabet, reading and writing), Rupa (drawing and geometry), Ganana (arithmetic). These were imparted from age 5 to 12. The advanced students would continue in higher stages of Shilpa Sastra studies till
11319-529: The banks of Thamirabarani river in Tirunelveli junction called "Thaipoosa mandapam". Special rituals are undertaken there and the Lord return to the temple at night. Nellaiappar Temple car is the third largest car in Tamil Nadu .And it is the first car to be driven fully automatically. The temple priests perform the puja (rituals) during festivals and on a daily basis. The temple rituals are performed Six times
11466-460: The birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva symbolizes the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri ) or as Annapurna (the goddess of grain) giving alms to Shiva. Shaiva's approaches tend to look upon Parvati as
11613-661: The birth of Parvati and how she married Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagavata Purana and Shiva Purana mount Himalaya and his wife Mena appease goddess Adi Parashakti . Pleased, Adi Parashakti herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva has regional variations, suggesting creative local adaptations. The stories go through many ups and downs until Parvati and Shiva are finally married. Kalidasa's epic Kumarasambhavam ("Birth of Kumara") describes
11760-602: The central space typically is surrounded by an ambulatory for the devotee to walk around and ritually circumambulate the Purusa, the universal essence. Often this space is visually decorated with carvings, paintings or images meant to inspire the devotee. In some temples, these images may be stories from Hindu Epics; in others, they may be Vedic tales about right and wrong or virtues and vice; in yet others, they may be murtis of locally worshipped deities. The pillars, walls and ceilings typically also have highly ornate carvings or images of
11907-460: The centre of the temple, typically below and sometimes above or next to the deity , is mere hollow space with no decoration, symbolically representing Purusa , the Supreme Principle, the sacred Universal, one without form, which is omnipresent, connects everything, and is the essence of everyone. A Hindu temple is meant to encourage reflection, facilitate purification of one's mind, and trigger
12054-416: The ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires, and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the daughter of Himavat and Mainavati, and is named Parvati, or "she from the mountains", after her father Himavant who is also called king Parvat . According to different versions of her chronicles,
12201-570: The cosmos and on truth. Hinduism has no traditional ecclesiastical order, no centralized religious authorities, no governing body, no prophet nor any binding holy book save the Vedas; Hindus can choose to be polytheistic , pantheistic , monistic , or atheistic . Within this diffuse and open structure, spirituality in Hindu philosophy is an individual experience, and referred to as kṣaitrajña ( Sanskrit : क्षैत्रज्ञ ) ). It defines spiritual practice as one's journey towards moksha , awareness of self,
12348-467: The dark one, Kali or Shyama, as a calm and placid wife Parvati mentioned as Gauri and as a goddess who destroys evil she is Kali. Regional stories of Gauri suggest an alternate origin for Gauri's name and complexion. In parts of India, Gauri's skin color is golden or yellow in honor of her being the goddess of ripened corn/harvest and fertility. The divine hymns such as Lalita Sahasranama and Mahalakshmi Ashtakam give many Traditional epithets to
12495-521: The deity. In other schools of Hinduism, the person may simply perform japa , or meditation, or yoga , or introspection in his or her temple. Palace-themed temples often incorporate more elaborate and monumental architecture. The appropriate site for a temple, suggests ancient Sanskrit texts, is near water and gardens, where lotus and flowers bloom, where swans, ducks and other birds are heard, and where animals rest without fear of injury or harm. These harmonious places were recommended in these texts with
12642-413: The demon, Kali's wrath could not be controlled. To lower Kali's rage, Shiva appeared as a crying baby. The cries of the baby arouse the maternal instinct of Kali who reverts to her benign form as Parvati. Lord Shiva, in this baby form is Kshethra Balaka (who becomes Rudra Savarni Manu in future). In Skanda Purana , Parvati assumes the form of a warrior-goddess and defeats a demon called Durg who assumes
12789-404: The design and construction of Nagara style of Hindu temples. A Hindu temple design follows a geometrical design called vastu-purusha-mandala . The name is a composite Sanskrit word with three of the most important components of the plan. Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure. The Vastu-purusha-mandala
12936-432: The discovery of higher truths, true nature of reality, and a consciousness that is liberated and content. A Hindu temple reflects these core beliefs. The central core of almost all Hindu temples is not a large communal space; the temple is designed for the individual, a couple or a family—a small, private space to allow visitors to experience darsana . Darsana is itself a symbolic word. In ancient Hindu scripts, darsana
13083-883: The donations (melvarum) they collected from devotees. According to James Heitzman, these donations came from a wide spectrum of the Indian society, ranging from kings, queens, officials in the kingdom to merchants, priests and shepherds. Temples also managed lands endowed to it by its devotees upon their death. They would provide employment to the poorest. Some temples had large treasury, with gold and silver coins, and these temples served as banks. Hindu temples over time became wealthy from grants and donations from royal patrons as well as private individuals. Major temples became employers and patrons of economic activity. They sponsored land reclamation and infrastructure improvements, states Michell, including building facilities such as water tanks, irrigation canals and new roads. A very detailed early record from 1101 lists over 600 employees (excluding
13230-714: The earth towards subterranean water, up to seven storeys, and were part of a temple complex. These vav (literally, stepwells) had intricate art reliefs on the walls, with numerous murtis and images of Hindu deities, water spirits and erotic symbolism. The step wells were named after Hindu deities; for example, Mata Bhavani's Stepwell , Ankol Mata Vav, Sikotari Vav and others. The temple ranged from being small single pada (cell) structure to large nearby complexes. These stepwells and their temple compounds have been variously dated from late 1st millennium BCE through 11th century CE. Of these, Rani ki vav , with hundreds of art reliefs including many of Vishnu deity avatars , has been declared
13377-553: The eastern states of India. Other ancient texts found expand these architectural principles, suggesting that different parts of India developed, invented and added their own interpretations. For example, in the Saurastra tradition of temple building found in western states of India, the feminine form, expressions and emotions are depicted in 32 types of Nataka-stri compared to 16 types described in Silpa Prakasa . Silpa Prakasa provides
13524-410: The embrace of the beloved, one forgets the whole world, everything both within and without; in the same way, one who embraces the Self knows neither within nor without. The architecture of Hindu temples is also symbolic. The whole structure fuses the daily life and its surroundings with the divine concepts, through a structure that is open yet raised on a terrace, transitioning from the secular towards
13671-400: The entrance for the devotee is typically this east side. The mandala pada facing sunrise is dedicated to Surya , the sun-god. The Surya pada is flanked by the padas of Satya, the deity of Truth, on one side and Indra , the king of the demigods, on other. The east and north faces of most temples feature a mix of gods and demigods; while the west and south feature demons and demigods related to
13818-645: The episode in such a way to leave no doubt that it was Śiva's spouse.." [IAST original]. Sati-Parvati appears in the epic period (400 BCE–400 CE), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th–6th centuries) and the Puranas (4th through the 13th centuries) that the stories of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non- aryan goddesses that lived in mountains. While
13965-406: The explanation that such are the places where gods play, and thus the best site for Hindu temples. The gods always play where lakes are, where the sun's rays are warded off by umbrellas of lotus leaf clusters, and where clear waterpaths are made by swans whose breasts toss the white lotus hither and thither, where swans, ducks, curleys and paddy birds are heard, and animals rest nearby in
14112-553: The exposition, recitation and public discourses of Sanskrit and Vedic texts. Some temple schools offered wide range of studies, ranging from Hindu scriptures to Buddhist texts, grammar, philosophy, martial arts, music and painting. By the 8th century, Hindu temples also served as the social venue for tests, debates, team competition and Vedic recitals called Anyonyam . According to Kenneth G. Zysk—a professor specializing in Indology and ancient medicine, Hindu mathas and temples had by
14259-422: The feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, who is strong and capable without compromising her femaleness. She manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects state Gross, reflects the Hindu belief that the feminine has a universal range of activities, and her gender
14406-449: The ferocious, violent aspect as Shakti and related forms. Shakti is pure energy, untamed, unchecked, and chaotic. Her wrath crystallizes into a dark, blood-thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible Mahakali (time). In Linga Purana , Parvati undergoes a metamorphosis into Kali, at the request of Shiva, to destroy an asura (demon) Daruk. Even after destroying
14553-408: The force that activates and sustains life. In various Shaiva traditions , Parvati is also regarded as a model devotee, and even viewed as the embodiment of Shiva's grace, playing a central role in the spiritual liberation of devotees. She is also one of the central deities in the goddess-oriented sect of Shaktism , where she is regarded as a benevolent aspect of Mahadevi , the supreme deity, and
14700-517: The form of a buffalo. In this aspect, she is known by the name Durga . Although Parvati is considered another aspect of Shakti, just like Kali, Durga, Kamakshi , Meenakshi , Gauri and many others in modern-day Hinduism, many of these "forms" or aspects originated from regional legends and traditions, and the distinctions from Parvati are pertinent. According to Shaktism and Shaivism traditions, and also in Devi Bhagavata Purana , Parvati
14847-424: The four just and necessary pursuits of life—kama, artha, dharma and moksa. This walk around is called pradakshina . Large temples also have pillared halls, called mandapa —one of which, on the east side, serves as the waiting room for pilgrims and devotees. The mandapa may be a separate structure in older temples, but in newer temples this space is integrated into the temple superstructure. Mega-temple sites have
14994-594: The goddess based on the demons she had won over such as Mahishasuramardini (‘the One who killed demon Mahishasura ’), Raktabeejasamharini (‘the One who killed demon Raktabeeja ’), Chamundi (‘the One who killed the demon brothers Chanda and Munda ’), Mookambika (‘the killer of Mookasura’), Kolasurabhayankari (‘the killer of Kolasura’), Bhandasuravibedhini (‘the killer of Bhandasura ) and many more. The word Parvati does not explicitly appear in Vedic literature . Instead, Ambika, Rudrani and others are found in
15141-494: The goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolize at once both the power of renunciation and asceticism and the blessings of marital felicity. Parvati thus symbolizes many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to
15288-650: The head of a town street. Ancient builders of Hindu temples created manuals of architecture, called Vastu-Sastra (literally "science" of dwelling; vas-tu is a composite Sanskrit word; vas means "reside", tu means "you"); these contain Vastu-Vidya (literally, knowledge of dwelling) and Sastra meaning system or knowledge in Sanskrit. There exist many Vastu-Sastras on the art of building temples, such as one by Thakkura Pheru , describing where and how temples should be built. Sanskrit manuals have been found in India since
15435-624: The important festivals here. Arudra Darisanam attracts huge crowds here. The temple chariot is a massive one, second supposedly only to Tiruvarur. The Bhrammotsavam here lasts for an extended period of time during the Tamil month of Aani (15 June – 15 July). Also, a golden temple car (First Inaugural run of Nellaiappar Temple Golden Car is 2 November 2009) will run during important festivals like Thirukalyanam, Kaarthigai, Aaruthra Festival etc. During Thaipoosam festival in Thai, Lord Shiva and Parvathy are taken to
15582-501: The maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. Indra sends the god Kama – the Hindu god of desire, erotic love, attraction, and affection, to awake Shiva from meditation. Kama reaches Shiva and shoots an arrow of desire. Shiva opens his third eye in his forehead and burns the cupid Kama to ashes. Parvati does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in
15729-532: The manuals suggest that town planning and Hindu temples were conceived as ideals of art and integral part of Hindu social and spiritual life. The Silpa Prakasa of Odisha, authored by Ramacandra Bhattaraka Kaulacara in the 9th or 10th centuries CE, is another Sanskrit treatise on Temple Architecture. Silpa Prakasa describes the geometric principles in every aspect of the temple and symbolism such as 16 emotions of human beings carved as 16 types of female figures. These styles were perfected in Hindu temples prevalent in
15876-409: The more ferocious, destructive Kali, Gauri, Nirriti in another aspect. Tate suggests Parvati is a mixture of the Vedic goddesses Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions. Parvati, the gentle aspect of Devi Shakti, is usually represented as fair, beautiful, and benevolent. She typically wears
16023-415: The mountains with no interest in social life, while Parvati is portrayed as the ideal householder keen on nurturing worldly life and society. Numerous chapters, stories, and legends revolve around their mutual devotion as well as disagreements, their debates on Hindu philosophy as well as the proper life. Parvati tames Shiva with her presence. When Shiva does his violent, destructive Tandava dance, Parvati
16170-532: The mountains). Shaktas consider the Parvati as an incarnation of Lalita Tripurasundari . Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati (Shiva's wife, who is the incarnation of Parvati) in earlier texts, but in the Ramayana, it is used as a synonym for Parvati. In the Harivamsa , Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who
16317-468: The outer walls of the temple with the spoils of war. Tirunelveli was originally called Tinnevelly during the British Era. During Puranic times, the place was called Venuvana, a forest of bamboos. The deity in the current temple was believed have appeared inside the bamboo forest. Vishnu is believed to have witnessed the marriage between Shiva and Parvathi at this place. There is an image of Vishnu with
16464-408: The parrot began when she won a bet with her husband and asked for his loincloth as victory payment; Shiva keeps his word but first transforms her into a parrot. She flies off and takes refuge in the mountain ranges of south India, appearing as Meenakshi (also spelled Minakshi). Parvati is expressed in many roles, moods, epithets, and aspects. In Hindu mythology, she is an active agent of the universe,
16611-452: The patron as well as others witnessing the construction. Further, it was a tradition that all tools and materials used in temple building and all creative work had the sanction of a sacrament. For example, if a carpenter or sculptor needed to fell a tree or cut a rock from a hill, he would propitiate the tree or rock with prayers, seeking forgiveness for cutting it from its surroundings, and explaining his intent and purpose. The axe used to cut
16758-875: The pillars here are a combination of the Shruti Gana Laya types. The composite columns of Virabhadra holding sword and horn are found be additions of the Vijayanayagara kings during the early 1500s. Similar columns of Virabhadra are found in Adikesava Perumal Temple at Thiruvattaru, Meenakshi Temple at Madurai , Kasi Viswanathar temple at Tenkasi , Krishnapuram Venkatachalapathy temple , Ramanathaswamy Temple at Rameswaram , Soundararajaperumal temple at Thadikombu , Srivilliputhur Andal temple , Srivaikuntanathan Permual temple at Srivaikuntam , Avudayarkovil , Vaishnava Nambi and Thirukurungudivalli Nachiar temple at Thirukkurungudi . Tirunelveli also
16905-456: The point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become
17052-544: The positive and joyful side of life about the good and the gods. This divine space then concentrically diffuses inwards and lifts the guest to the core of the temple, where resides the main murti , as well as the space for the Purusa, and ideas held to be most sacred principles in Hindu tradition. The symbolism in the arts and temples of Hinduism, suggests Edmund Leach, is similar to those in Christianity and other major religions of
17199-606: The power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects. She is the voice of encouragement, reason, freedom, and strength, as well as of resistance, power, action and retributive justice. This paradox symbolizes her willingness to realign to Pratima (reality) and adapts to the needs of circumstances in her role as the universal mother. As Mahakali , she identifies and destroys evil for protection, and as Annapurna , she creates food and abundance for nourishment. Several Hindu stories present alternate aspects of Parvati, such as
17346-522: The present masonry structure was added by Cholas, Pallavas, Cheras, and Madurai Nayaks. In modern times, the temple is maintained and adminIstered by the Hindu Religious and Charitable Endowments Department of the Government of Tamil Nadu . Tirunelveli is one of the many temple towns in the state which is named after the groves, clusters or forests dominated by a particular variety of a tree or shrub and
17493-462: The priests) of the Brihadisvara Temple, Thanjavur , still one of the largest temples in Tamil Nadu . Most worked part-time and received the use of temple farmland as reward. For those thus employed by the temple, according to Michell, "some gratuitous services were usually considered obligatory, such as dragging the temple chariots on festival occasions and helping when a large building project
17640-503: The process of inner realization within the devotee. The specific process is left to the devotee's school of belief. The primary deity of different Hindu temples varies to reflect this spiritual spectrum. In Hindu tradition, there is no dividing line between the secular and the lonely sacred. In the same spirit, Hindu temples are not just sacred spaces; they are also secular spaces. Their meaning and purpose have extended beyond spiritual life to social rituals and daily life, offering thus
17787-448: The sacred, inviting the visitor inwards and upwards towards the Brahma pada, the temple's central core, a symbolic space marked by its spire ( shikhara, vimana ). The ancient temples had grand, intricately carved entrances but no doors, and they lacked a boundary wall. In most cultures, suggests Edmund Leach , a boundary and gateway separates the secular and the sacred, and this gateway door
17934-410: The same activities as Shiva, one of asceticism, yogin and tapas . This draws the attention of Shiva and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems. Parvati refuses to listen and insists on her resolve. Shiva finally accepts her and they get married. Shiva dedicates the following hymn in Parvati's honor, I am
18081-435: The same variety of tree or shrub sheltering the presiding deity. The region is believed to have been covered with Venu forest and hence called Venuvanam. The original complex is believed to have been built by Pandyas , while the present masonry structure was added by Cholas, Pallavas, Cheras, and Madurai Nayaks. The sanctums of the temple and the gopurams were constructed by Nindraseer Nedumaran (Koon Pandian) who reigned in
18228-455: The same, with their stories frequently overlapping. In Hindu mythology , the birth of Parvati is primarily understood as a cosmic event meant to lure Shiva out of his ascetic withdrawal and into the realm of marriage and household life. As Shiva's wife, Parvati represents the life-affirming, creative force that complements Shiva's austere, world-denying nature. Her presence in his life draws him from isolation into worldly engagement, thus balancing
18375-406: The sea and you the wave, You are Prakṛti , and I Purusha . – Translated by Stella Kramrisch After the marriage, Parvati moves to Mount Kailash , the residence of Shiva. To them are born Kartikeya (also known as Skanda and Murugan) – the leader of celestial armies, and Ganesha – the god of wisdom that prevents problems and removes obstacles. There are many alternate Hindu legends about
18522-674: The shade of Nicula trees on the river banks. The gods always play where rivers have for their braclets the sound of curleys and the voice of swans for their speech, water as their garment, carps for their zone, the flowering trees on their banks as earrings, the confluence of rivers as their hips, raised sand banks as breasts and plumage of swans their mantle. The gods always play where groves are near, rivers, mountains and springs, and in towns with pleasure gardens. While major Hindu temples are recommended at sangams (confluence of rivers), river banks, lakes and seashore, Brhat Samhita and Puranas suggest temples may also be built where
18669-696: The sick and needy in the 1st millennium, but with the destruction of Buddhist centers after the 12th century, the Hindu religious institutions assumed these social responsibilities. According to George Michell, Hindu temples in South India were active charity centers and they provided free meal for wayfarers, pilgrims and devotees, as well as boarding facilities for students and hospitals for the sick. The 15th and 16th century Hindu temples at Hampi featured storage spaces (temple granary, kottara ), water tanks and kitchens. Many major pilgrimage sites have featured dharmashalas since early times. These were attached to Hindu temples, particularly in South India, providing
18816-459: The sky. Sometimes, in makeshift temples, the dome may be replaced with symbolic bamboo with few leaves at the top. The vertical dimension's cupola or dome is designed as a pyramid, a cone or other mountain-like shape, once again using the principle of concentric circles and squares. Scholars suggest that this shape is inspired by the cosmic mountain of Meru or Himalayan Kailasa, the abode of the gods, according to Vedic mythology. In larger temples,
18963-481: The spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, the latter represented by Shiva. Renunciation and asceticism is highly valued in Hinduism, as is the householder's life – both feature as Ashramas of ethical and proper life. Shiva is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in
19110-537: The story of the maiden Parvati who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva , the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva. Parvati's legends are intrinsically related to Shiva. In
19257-488: The temple is revered in Tevaram , it is classified as Paadal Petra Sthalam , one of the 276 temples that find mention in the Saiva canon. Muthuswami Dikshitar composed one song (Sri Kantimatim) on this temple goddess Kanthimathi Amman.This song is considered to be a rare song set in the rare raga Hemavathi. Hindu temple Traditional A Hindu temple , also known as Mandir , Devasthanam , Pura , or Kovil ,
19404-544: The temple's location and the relationship between the deity and the worshipper, the temple's design also illustrates the idea of recursion and the equivalency of the macrocosm and the microcosm . A temple incorporates all elements of the Hindu cosmos—presenting the good, the evil and the human, as well as the elements of the Hindu sense of cyclic time and the essence of life—symbolically presenting dharma , artha , kama , moksha , and karma . The spiritual principles symbolically represented in Hindu temples are detailed in
19551-559: The temple, listing the nurses, physicians, medicines and beds for patients. Similarly, a stone inscription in Andhra Pradesh dated to about 1262 mentions the provision of a prasutishala (maternity house), vaidya (physician), an arogyashala (health house) and a viprasattra (hospice, kitchen) with the religious center where people from all social backgrounds could be fed and cared for. According to Zysk, both Buddhist monasteries and Hindu religious centers provided facilities to care for
19698-763: The texts were copied when they wore out. In South India, temples and associated mathas served custodial functions, and a large number of manuscripts on Hindu philosophy , poetry, grammar and other subjects were written, multiplied and preserved inside the temples. Archaeological and epigraphical evidence indicates existence of libraries called Sarasvati-bhandara , dated possibly to early 12th-century and employing librarians, attached to Hindu temples. Palm-leaf manuscripts called lontar in dedicated stone libraries have been discovered by archaeologists at Hindu temples in Bali Indonesia and in 10th century Cambodian temples such as Angkor Wat and Banteay Srei . Inscriptions from
19845-594: The tree would be anointed with butter to minimize the hurt to the tree. Even in modern times, in some parts of India such as Odisha , Visvakarma Puja is a ritual festival every year where the craftsmen and artists worship their arts, tools and materials. Hindu temples served as nuclei of important social, economic, artistic and intellectual functions in ancient and medieval India. Burton Stein states that South Indian temples managed regional development function, such as irrigation projects, land reclamation, post-disaster relief and recovery. These activities were paid for by
19992-535: The trinity, known as the Tridevi . From her first appearance as a goddess during the epic period (400 BCE – 400 CE), Parvati is primarily depicted as the chief consort of the ascetic god Shiva . She is recognised as the reincarnation of Sati , Shiva's first wife, who immolated herself after her father insulted Shiva. Parvati is often equated with the other goddesses such as Sati, Uma, Kali and Durga and due to this close connection, they are often treated as one and
20139-407: The two poles of asceticism and householder life in Hindu philosophy. Parvati's role as wife and mother is central to her mythological persona, where she embodies the ideal of the devoted spouse who both supports and expands her husband's realm of influence. Parvati is also noted for her motherhood, being the mother of the prominent Hindu deities Ganesha and Kartikeya . Philosophically, Parvati
20286-497: The underlying principle in a Hindu temple is the belief that all things are one, that everything is connected. The pilgrim is welcomed through 64-grid or 81-grid mathematically structured spaces, a network of art, pillars with carvings and statues that display and celebrate the four important and necessary principles of human life—the pursuit of artha (prosperity, wealth), of kama (pleasure, sex), of dharma (virtues, ethical life) and of moksha (release, self-knowledge). At
20433-401: The underworld. This vastu-purusha-mandala plan and symbolism is systematically seen in ancient Hindu temples on the Indian subcontinent as well as those in southeast Asia, with regional creativity and variations. Beneath the mandala's central square(s) is the space for the all-pervasive, all-connecting Universal Spirit, the highest reality , the purusha . This space is sometimes known as
20580-497: The well-being of their husbands and visited their relatives. In Nepal, Teej is a three-day festival marked with visits to Shiva-Parvati temples and offerings to linga. Teej is celebrated as Teeyan in Punjab. The Gowri Habba , or Gauri Festival, is celebrated on the seventh, eighth, and ninth of Bhadrapada ( Shukla paksha ). Parvati is worshipped as the goddess of harvest and protector of women. Her festival, chiefly observed by women,
20727-455: The word "Silpin". "Silpa", explains Stella Kramrisch, is a multicolored word and incorporates art, skill, craft, ingenuity, imagination, form, expression and inventiveness of any art or craft. Similarly, "Shilpin", notes Kramrisch, is a complex Sanskrit word, describing any person who embodies art, science, culture, skill, and rhythm and employs creative principles to produce any divine form of expression. Silpins who built Hindu temples, as well as
20874-486: The word Uma appears in earlier Upanisads, Hopkins notes that the earliest known explicit use of the name Pārvatī occurs in late Hamsa Upanishad . Weber suggests that just like Shiva is a combination of various Vedic gods Rudra and Agni, Parvati in Puranas text is a combination of wives of Rudra. In other words, the symbolism, legends, and characteristics of Parvati evolved fusing Uma, Haimavati, Ambika in one aspect and
21021-503: The world. Indian texts call the craftsmen and builders of temples "Silpin" ( Sanskrit : शिल्पिन् ), derived from "Silpa". One of the earliest mentions of the Sanskrit word "Silpa" is in Atharvaveda , from about 1000 BCE; according to scholars, the word was used to denote any work of art. Some scholars suggest that the word "Silpa" has no direct or one-word translation in English, nor does
21168-562: The world. She appears as the shakti , or essential power, of the Supreme Brahman . Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic Trideva of Agni , Vayu , and Varuna , who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell
21315-707: The yoni-linga metaphor represents origin, source or regenerative power . The linga-yoni icon is widespread, found in Shaivite Hindu temples of South Asia and Southeast Asia. Often called Shivalinga , it almost always has both linga and the yoni. The icon represents the interdependence and union of feminine and masculine energies in recreation and regeneration of all life. In some depictions, Parvati and Shiva are shown in various forms of sexual union. In some iconography, Parvati's hands may symbolically express many mudras (symbolic hand gestures). For example, Kataka — representing fascination and enchantment, Hirana — representing
21462-465: Was dissuaded by her mother from severe austerity by saying u mā ('oh, don't'). Uma also means that "the One born out of Om ( The Pranava Mantra) She is also referred to as Ambika ('dear mother'), Shakti ('power'), Mataji ('revered mother'), Maheshwari ('great goddess'), Durga (invincible), Bhairavi ('ferocious'), Bhavani ('fertility and birthing'), Shivaradni ('Queen of Shiva'), Urvi or Renu , and many hundreds of others. Parvati
21609-626: Was undertaken". Temples also acted as refuge during times of political unrest and danger. Historically, the Scheduled Castes or Dalits were prohibited from the entry into temples. In contemporary times, the process of building a Hindu temple by emigrants and diasporas from South Asia has also served as a process of building a community, a social venue to network, reduce prejudice and seek civil rights together. John Guy and Jorrit Britschgi state Hindu temples served as centers where ancient manuscripts were routinely used for learning and where
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