“THIS DANCE IS A METAPHOR FOR THE BELIEF THAT LIFE IS ESSENTIALLY A DYNAMIC BALANCING OF GOOD AND BAD, WHERE OPPOSITES ARE INTERDEPENDENT.”
Bharatanatyam is a traditional dance-form known for its grace , purity, tenderness and sculpturesque poses. Today it is one of the most popular and widely performed dance style and its practiced by male and female dancers all over India and abroad.
The origin and antiquity of Indian classic dance form Bharatanatyam can be traced back to the Vedas and to the figure of the dancing girl in Mohen-jo-Daro.The sculpture evidences from the 5 th century onwards reveal various changes and development. It has its roots in Tamilnadu, a state of Southern India.
The word Bharata some believe ,signifies the author of the famous Sanskrit treatise on the stagecraft, called Nataya shastra, and the word Bharatanatyam is sometimes given a folk etymology as follows: BHA – for bhava ,abhinaya or expressions,
RA – for melody or raga,
TA – for talam or rhythm.
In ancient literary Tamil work dance was called Aadal, Koothu, Chinnamelam, Dasi Aatam, Sadir and Nautch. It is only today in the recent dacades that the dance form has come to be known as Bharatanatyam.
Bharatanatyam as a dance form and music set to it are deeply grounded in Bhakti(devotion).Bharatanatyam , it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion .Dance and music its unseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharatanatyam has three distinct elements to it: Nritta (pure dance), Natya (mime, or dramatic aspect), and Nritya (combination of Nritta and Natya).
HISTORY AND DEVELOPMENT OF BHARATANATYAM.
The history of Indian dance can be categorized under three heads, namely prehistoric, medieval and modern based on its period. The PREHISTORIC period can be traced to ancient cave paintings, engravings, older civilization, Vedic references. The MEDIEVAL period ranged from 2 nd century BC trough 9 th century A.D. Wherein we get references about dancing from monuments of ancient dynasties, Buddist sthupas, caves of Ellora and temples in various parts of India from Kashmir to Kanyakumari. These temples contain sculptures of dancers of different dance forms. The MODERN period or the last phase of the period covered from 10 th century
A.D to present time. This period witnessed the development and growth of this art to a great extent towards regional, architectural, sculptural, pictorial and musical areas.
The different styles of classical Indian dances were practiced and nurtured by artists and dancers of different periods belonging to different regions, tribes and castes. The hindrances from political and foreign invasions has influenced each dance form. Each style developed as different system or tradition of different regions.
The British were also not very much interested in the upheaval of these classical dances, music and other arts. Further they denied permission to present these in temples deities. This led to the decline in status and morality. The prohibition of the presentation of these art forms in public places and temples and also amongst the high class society circles led to decline these divine art forms. However by the passage of time everything was revived to that extent that these divine forms started to get recognition. The interest in dance was developed as a part of reviving and building up the glorious culture and heritage of India.
DEVADASIS
The term “Devadasi” originally described a Hindu religious practice in which girls were “married” to a deity. In addition to taking care of the temple, they learned and practiced Bharatanatyam and other classical Indian arts traditions, and enjoyed a high social status. The institution of Devadasis evolved in the context of temple rituals. The temple dancers dedicated themselves to the service of God through their music and dance .The dance were known as “ Devaradiyar”(servants of God).
The dancers were of three types :
Devadasi- who danced in front of the deity or in the temple premises during festivals.
Rajadasi- who danced in the courts for the kings.
Alankaradasi- who danced at the weddings.
Dasi community, gradually suffered a slow death and almost became extinct under the British rue from 1857, due to lack of patronage and political upheaval.
During this period, Devadasis were engulfed by insecurity. Many of thembacame victims of poverty. There was a change in their code and conduct, which led to a decline in their moral values.
The lack of royal patronage coupled with their own increasing economic difficulties devalued the very basic ideas of the Devadasi concept and eroded the moral fabric. With the result that Devadasis, in popular parlance, came to be ragrarded as mere courtesans, to satisfy the rich and powerful rather than an artiste in the true sense of the term.
However, there were many others who were educated and maintained their moral integrity. They were able to instil Bhakti (devotion) and ethical values in the hearts of the people, through their music and dance. Yet, the general impression created in the minds of the people about Devadasis, made society look down upon the dancers and the very dance form itself.
The outcome was that in 1930 in Madras, Dr. Muthulakshmi Reddy, who was herself belonged to the Dasi community, along with other social reformers, extended support of the Government to put an end to the Devadasi system.
SHIVA NATARAJA (KING OF DANCERS)
Lord Nataraja is considered to be the God of dance in Hindu mythology. His dancing image, in the Tandava form, is the starting point of all creation. To the dancer the four arms of the Nataraja are a depiction of dance movement in an immovable and static medium. The mystique of the arms and legs of the figure has a cosmological significance as the dance is taken as merely a human representation of a cosmic fact. In the Nataraja image the frontal palm of the right hand, which is lifted and slightly bent, represents security (Abhaya) to devotees. The left hand, which is thrown across the body with the fingers pointing downwards, indicates the feet of the Lord as the refuge of devotees. The upraised left foot represents the blessing bestowed by the Lord. In the right upper hand Shiva carries a small drum representing the creative sound, which began the universe, and in the other hand he has a fire, which is symbolic of light and therefore destruction of ignorance. Under the right foot is a dwarf, which signifies triumph over evil. Encapsulated in this figure of the Dancing Lord is the entire function of Shiva as the creator, preserver and destroyer. This dance is a metaphor for the belief that life is essentially a dynamic balancing of good and bad, where opposites are interdependent. The dance of Shiva is the dance of life.
MODERN REBIRTH OF BHARATANATYAM
Krishna Iyer was one of those who raised the social status of Bharatanatyam . Rukmini Devi Arundale was also instrumental in modifying mainly the pandanallur style of Bharatanayam and bringing it to attention of the west. She raised Bharatanatyam to a puritan art form, divorced from its recently controversial past by “removing objectionable elements”(mostly erotic elements) from the pandanallur style, which was publicly criticized by representatives of the traditional Devadasi culture.
Having studied Bharatanatyam for three years, in 1936 Rukmini Devi Arundale founded the college of fine arts “ Kalakshetra” in Madras , South India , to teach it and to promote other studies in Indian music and art. She was one of the firs teachers to instruct a few men to perform the dance. The dance at that time was exclusively performed y women, while men, called Nattuvanars (conductors who would play the cymbal, sometimes leading vocal support or accompanists of the dancer), had only been teaching without actually performing it.
At present, Bharatanatyam recitals are usually not performed inside the temple shrine but outside it, and even outside the temple compounds at various festivals. Most contemporary performances are given on the stage with live orchestra .
In popular culture, the classical dance form of Bharatanatyam has been exposed largely through depiction in popular movies, audio, and worldwide performances.
Pradosha pooja is one of the most sacred and important according to PRADOSHA PURANA.
Once the gods (Devas) and the demons (Asuras) were churning the milky ocean with the help of Vasuki, the serpent king, hoping to extract amrtam (nectar) from the Kseerabthi (milk ocean). Vasuki who was employed as a rope for churning, endured severe abrasions and strangulation. Thereupon, she spewed halahalam, a potent dark poison capable of destroying the worlds. Threatened by the scorching venom, the celestials fled in great horror. Brahma took to His heels. Vishnu’s bluish body darkened further. Indra could not be seen. Agni, the fire god, could not bear the raging heat. Yama ran amuck in all directions. Varuna became unconscious, Kubera fled. Hosts of siddhas, Caranas, Gandharvas, Yakshas and Maharshis went to Kailasa and sought the Lord’s feet as refuge.
God Shiva was moved with pity at their plight and was overcome with compassion by their prayers. Soon He bade Sundara for a prompt intervention, who then rushed to the ocean, collected the all-pervasive poison and holding it in his hand as a small jambu fruit, returned to Kailasa. The Lord became exceedingly happy after seeing it. He showed it to Girija and gave the title ‘Halahala’ to Sundara, who thenceforth came to be known as Halahala Sundara. Thereupon, the Lord accepted the Halahala pellet from his hand and, with the loving permission of Universal Mother, swallowed it. By goddessUma’s command, the pellet froze in the Lord’s throat, painting it blue and becoming an embellishment, gave Him the name NilakanTa. [It is also a common practice for womanhood to worship Goddess Parvathi for long life of Husbands as She is having ‘Maangalya Baagyam’ and could turn the poison into nectar].
On Trayodhasi(thirteenth moon day) they realised their sin of not praying the God and pleaded for forgiveness. The pleased graceful Lord Shiva forgave them and danced between the horns of the Nandhi (Holy Bull). That time is called Pradhosham. Whoever Prays Lord Shiva in that time, Lord Shiva fulfills their wishes and give them mukthi. Anoint Lord Shiva with Love, He would give Himself!
Among the poojas performed by Shaivites to the Graceful Lord Shiva. In Shukla Paksha (15 moon days from new moon to full moon) and Krishna Paksha (15 moon days from full moon to new moon) the evening of the Trayodasi (thirteenth moon day) between 4.30 pm to 6.00 p.m. is called "Pradosham". It comes once in fifteen moon days. Pradosha time is to Pray Lord Shiva and invoke His Blessings. Praying in this time will free us from sins and gives Moksha (hence the name Pradosha). During Pradosha time, a special type of circumambulating called ("Somasutra Pradakshinam) which is elaborated in this site separately.
During Prodhosha time anointing (Abhishekam) the Shiva deity with the Following is considered fruitful.
ABISHEKA NAME ITS EFFECTS
PANCHAGAVYAM -Removes all sings of mankind
PANCHAMRUTHAM -Gives wealth
GHEE -Gives Moksha state
MILK -Gives long life
CURD -Gives Good Children
HONEY -Melodious voice
RICE POWDER -Frees from debts
SUGAR CANE JUICE -Gives good health and removes enmity
LIME JUICE -Removes fear of death
TENDER COCONUT JUICE -Gives enjoyment and full
satisfaction in life
COOCKED RICE (ANNAM)-Gives Majestic life
SANDAL PASTE -Gives Lakshmi's Grace
SUGAR -Removes enmity
Somasuthra Pradakshinam is a unique way of circumambulating the GOD.
First saluting the Rishabha Devar (Holy Bull or Nandi) go anti-clockwise and salute Chandishwarar (not crossing the Gomukhi). Now return in the clockwise manner salute Rishabham and continue clockwise till the Gomukhi (not to cross it again). Then return in anti-clockwise direction salute the Rishabham again and proceed towards chaNdIshar. From there return back clockwise without worshiping Rishabham and reach the Gomukhi. Finally return back anticlockwise from there to salute Rishabham and continue to Chandishwarar and return back to Rishabham and worship the Shiva Lingam (at the altar) by viewing through the space between the two horns of the Holy Bull. This is one Pradakshinam. Three such times Pradakshinam to be done. If you carefully observe the curve traced by doing the pradakshinam is very similar to the periphery of the crescent. Hence this way of circumambulating is called Somasutra Pradakshinam.
During the pradhosham time Somasootra Pradakshinam is the recommended way of circumambulating the God. In many of the temples this is followed always. A point to note here is that the gomukhi is never crossed. gomukhi is the place where the water after anointing (abhiSheka theertham) would be flowing northwards out. By doing this way of Pradakshinam one does not step over this holy water.
As per the above marked symbols this Pradakshinams is to be done. First saluting the R^iShabha devar (Holy Bull) go anti-clockwise and salute chaNdIshar (not crossing the Gomukhi). Now return in the clockwise manner salute VruShabham and continue clockwise till the Gomukhi (not cross it again). Then return in anti-clockwise direction salute the RiShabham again and proceed towards Chadeeshar. From there return back clockwise without worshiping Rishabham and reach the Gomukhi. Finally return back anti-clockwise from there to salute Rishabham and continue to chandIshar and return back to Rishabham and worship the Shiva Lingam (at the altar) by viewing through the space between the two horns of the Holy Bull. This is one Pradakshinam. Three such times Pradakshinam is to be performed.
If you carefully observe the curve traced by doing the Pradakshinam is very similar to the periphery of the crescent. Hence this way of circumambulating is called Somasutra Pradakshinam.
The Legend of Shivalinga, types of Shiva Lingams, significance of worshipping, Aroopa-Roopa forms etc.
The legend of Shiva Linga or Lingodbhavamurthy is deeply related to Mahashivaratri. The legend narrates the story of vain search by Brahma and Vishnu to discover the Aadi (beginning) and the Antha (end) of Lord Shiva. The legend thus proves the supremacy of Lord Mahadeva over other Hindu Gods and explains why Shiva Lingam is believed to be one of the most potent emblems in Hindu beliefs. The story is stated in the three of the puranas - the Kurma Purana, the Vayu Purana and Shiva Purana.
THE LEGEND OF SHIVA LINGA
According to Puranas, once the other two of the triads of Hindu Gods, Brahma and Vishnu were fighting over each other’s prowess. Horrified at the intensity of the battle, the other gods asked Shiva to intervene. To make them realize the futility of their fight, Lord Shiva assumed the form of a flaming Linga in between Brahma and Vishnu and challenged both of them by asking them to measure the gigantic Linga (phallic symbol of Lord Shiva).
Awestruck by its magnitude, Brahma and Vishnu decided to find one end each to establish supremacy over the other. Lord Brahma took the form of a swan and went upwards while Lord Vishnu assumed the form of Varaha - a boar and went into the earth towards nether land. Both searched for thousands of miles but neither could find the end.
On his journey upward, Brahma came across Ketaki flower. Exhausted and bewildered with his search to find the uppermost limit of fiery column, Brahma made Ketaki assent to lie that he had seen the top of the column where the flower had previously resided. Accompanied by his accomplice, Brahma confronted Vishnu and asserted that he had indeed discovered the origin of the cosmic column.
At this point, the central part of the pillar split open and Shiva revealed himself in His full glory. Overawed, both Brahma and Vishnu bowed before him accepted lord Shiva’s supremacy. Lord Shiva also explained to Brahma and Vishnu that both of them were born out of him and that the three were then separated out into three different aspects of divinity.
However, Lord Shiva was angry with Brahma for making a false claim. The Lord cursed Brahma that no one would ever pray to him. (This legend explains why there is hardly any Brahma temple of significance in India.) Lord Shiva also punished the Ketaki flower for testifying falsely and banned her from being used as an offering for any worship.
Since it was on the 14th day in the dark fortnight of the month of Phalguna that Shiva first manifested himself in the form of a Linga, the day is extremely auspicious and is celebrated as Mahashivaratri - the grand night of Shiva.
VARIOUS TYPES OF SHIVALINGAMs
Shivalinga worship is ancient, original, prehistoric and not merely an abstract symbol. Many Saints and Heroes in Puranas worshipped Lingam made out of Clay, metal, copper, iron, silver, gold, mud, stone, precious gems, wood, butter, ice, earth or transitory materials such as made out of flowing river., and invoked Lord Shiva into it. We read from scriptures Arjuna fashioned a Shiva Lingam made out of clay. A transitory Shivalingam may be made of twelve different materials, such as sand, rice, cooked food, river clay, cow dung, butter, rudraksha seeds, ashes, sadalwood, darbha grass, a flower garland or molasses. This sends the message that God can be invoked and worshipped in any convenient form; the form is irrelevant, but the divine power that it represents is important. Legend talks about Parvati fashioned a Shiva Lingam to worship the Lord in Kanchipuram, while Lord Rama, due to delay by Lord Hanuman who was summoned to bring Shiva Lingams from Himalayas, made Shivalingam in sand and worshipped at Rameshwaram. This is known as Prithvilingam, denoting the primordial element earth.
Some of the Shivalingams are Swayambus, appeared on its own, some of them are untouched by a chisel; there are rare Shivalingams in Pallava period bearing several stripes shaped, witnessed at Kailasanatha temple at Kanchipuram. As you may be aware, Shivalingam is generally circular based, a quadrangular receptacle. The pedestal is shrewdly shaped to drain off the water when ablutions are performed. This is the only God whose Form and Formless appear together. Learned indicate that the bottle portion of the pedestal represents Brahma Swaroopam, the middle portion represents Vishnu while the upper portion or the cylindrical one represent Shiva. Images are also sometimes carved rarely, such is one Kathmandu Pashupathinath temple.
Lord Murugan is more popular in South India compared to other parts of India. Like most Hindu deities, He is known by many other names, including Senthil, Saravana, Karttikeya, Arumugam, Kumara, Guha, Skanda. He is the God of war and the patron deity of the Tamil Nadu. According to the Tamil devotional work, Thiruppugazh, "Murugan never hesitates to come to the aid of a devotee when called upon in piety or distress".
'Murugu' means 'beauty'; hence 'Murugan' means 'Beautiful one'. Where there is beauty, love shines; where there is love, truth sparkles. When we seek the Truth, we get liberated.
It is said that Lord Muruga taught the Indian language Tamil to Saint Agasthiar. Lord Muruga Himself sat as the leader for the academy of poets (Tamil Sangam) in Madurai (Tamil Nadu) and the language flourished as a result.
As Muruga is worshipped predominantly in South India, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumuga, the six-faced one; Guha and Maal-Marugan, the nephew of Vishnu.
It is written in Kanda Puranam that Saint Vasistha has said that if one worships Lord Muruga on Friday and fasts on that day, all his wishes will get fulfilled. Lord Muruga was brought up by Karthigai maids. By worshipping Him on the Karthigai star day and observing a fast, one's problems will be removed and one will be liberated. This was a wish granted by Lord Shiva Himself to the Karthigai maids.
History of Lord Muruga's birth
Lord Shiva and Goddess Parvati's marriage is said to be knowledge and grace joined together to give Bliss, i.e., Lord Muruga. All the deities went to Lord Shiva and pleaded Him to do something as they could not tolerate the demon Soorapadman's cruelty. Lord Shiva took a form along with six faces (i.e.,Sathyojatham, Vamadevam, Thathpurusham, Eesanam, Aghoram and Atho).
From the third eye of each face, a fire spark came out. Lord Shiva asked Vayudevan (God of wind) and Agnidevan (God of fire) to take the six fire sparks to the Ganges River. Later Ganga (the Name of the Ganges River deity) took them to Sarvana pond. The six fire sparks became six beautiful babies on six red lotus flowers. When Goddess Parvati hugged them together, they joined to become one form with six faces, twelve hands and was named Skandan.
He performed several divine acts (leelas) when He was young. When Soorapadman's cruelty went to an extreme, Lord Shiva thought it was time for his destruction. He gave the eleven Rudras eleven weapons, and Parvathi gave the Vel weapon to Lord Muruga for the war.This symbolizes penetrating spiritual knowledge.
Lord Muruga stayed in Thiruchendur with His army fought and destroyed Soorapadman and his brothers.Soorapdman took the form of a big mango tree. Lord Muruga's spear split the tree and one part became a peacock and the other became a cock. Lord Muruga took the peacock as His vehicle and the cock as His flag. Soorpadman was so cruel, yet he still reached such a good state -- to always be beside the Lord. Imagine what kind of state Lord Muruga's devotees would get!
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Palani has been mentioned in Tamil Sangam literature as "Podhini", which came to be called as Palani later. This temple is situated in Palani Town and a Taluk in Dindigul District. It is an ancient and very big temple getting a large income among all the temples in TamilNadu. This temple is one among the Six Padaiveedus (abode) of Lord Muruga.that is the third Padaiveedu namely Arulmigu Thiruvaavinankudi temple which is one of the subtemples of this temple. Many "Siddhas" are said to have lived in this region. The idol of Palani Andavar is said to have been made of "Navapashanam" by Siddhar Bogar. Thai Poosam and Panguni Uthiram are very famous festivals and a large number of devotees are coming here for those festivals. 38 sub-temples are attached with this temple. It belongs to 9th century and the king namely Cheraman Peruman constructed this temple. As per the historical records the main Deity Arulmigu Palaniandavar idol is consisted of Navapashanam, ie a combination of 9 poisonous herbals mixed in a proportion to give a high medicinal power to cure the diseases of immunity and it was designed and made up by a siddar named Bohar.
The Thiruvaavinankudi temple (Adhi) is said to be the temple in Adivaram. Lord muruga, stayed for a while and went up the hill. so both the hill temple and Thiruvaavinankudi are considered to be the places of sancity.
Height of the Hill Temple : 50 M
Total no. of Steps : 693
Direction the Temple : Towards WEST
Pragaram around the Hill(Giriveethi) : 2.4 KM
Mythology
Sage Narada once visited the celestial court of Lord Shiva at Mount Kailash to present to Him a fruit, the gyana-pazham (literally, the fruit of knowledge), that held in it the elixir of wisdom.
Upon Lord Shiva expressing his intention of dividing the fruit between his two sons, Ganesha and Karthikeya, the Sage counselled Him against cutting it. There at, He decided to award it to which ever of his two sons first circled the world thrice. Accepting the challenge, the Lord Karthikeya started his journey around the globe on his sacred bird, the peacock.
However, Lord Ganesha, who surmised that the world was no more than his parents Shiva and Shakti, circumambulated them. Pleased with their son's discernment, Lord Shiva awarded the fruit to Lord Ganesha. When the Lord Subrahmanya returned, he was furious to learn that his efforts had been in vain. In deep dudgeon, he decided to leave Mount Kailash, and take up his abode in a place where the land and people would be unequivocally his and for him. Thus, it was that He came to what is today known as Palani, a name derived from the manner of His Parents trying to mollify him and prevail upon him to return to Kailash - Gnana Pazham Nee appa (Tamil for "You are the fruit of wisdom sire") and thus, implying that being the embodiment of wisdom, he had no need for the fruit. Thus, being the abode of wisdom, the place took on its master's name - Pazham Nee or Pazhani, anglicised as Palani.
Navapashanam
The icon made by siddha Bhogar by combining nine poisonous substances (Navapashanam). The deity of Palani is known as Dandayudhapani Swami, The Lord having the Staff in his Hand. The deity at the sanctum sanctorum is made out of an amalgam of nine minerals popularly called Navapashanam. Some people say it is a combination of medicinal herbs. It consits of the following items : Veeram, Pooram, Rasam, Jathilingam, Kandagam, Gauri Pasanam, Vellai Pasanam, Mridharsingh, Silasat. The deity is in a standing position with a baton in his hand. He has the look of a person who has renounced all worldly pomp. He has just a loincloth besides the baton. He is a mute messenger of the great precept 'Renounce all to reach Me'. The icon is unique in the whole world. It was made by siddha Bhogar by combining nine poisonous substances (Navapashanam). Murugan signifies beauty and Lord Murugan of Kurinji land is the god of Beauty and Youth.
The Hindu deity in a human form but with the head of an elephant - represents the power of the Supreme Being that removes obstacles and ensures success in human endeavors. For this reason, Hindus worship Ganesha first before beginning any religious, spiritual or worldly activity. In Hindu mythology, Lord Ganesha is the first son of Lord Shiva and the Divine Mother Parvati. Their second son is Lord Subramanya and their daughter is Jyoti. As explained below, the portrayal of Lord Ganesha as the blend of human and animal parts symbolizes the ideals of perfection as conceived by Hindu sages and illustrates some philosophical concepts of profound spiritual significance.
Elephant head, wide mouth, and large ears: the large head of an elephant symbolizes wisdom, understanding, and a discriminating intellect that one must possess to attain perfection in life. The wide mouth represents the natural human desire to enjoy life in the world. The large ears signify that a perfect person is the one who possesses a great capacity to listen to others and assimilate ideas.
The trunk and two tusks with the left tusk broken: there is no known human instrument that has an operating range as wide as that of an elephant's trunk. It can uproot a tree and yet lift a needle off the ground. Likewise, the human mind must be strong enough to face the ups and downs of the external world and yet delicate enough to explore the subtle realms of the inner world. The two tusks denote the two aspects of the human personality, wisdom and emotion. The right tusk represents wisdom and the left tusk represents emotion. The broken left tusk conveys the idea that one must conquer emotions with wisdom to attain perfection.
Elephant eyes: the elephant eyes are said to possess natural deceptiveness that allows them to perceive objects to be bigger than what they really are. Thus the elephant eyes symbolize the idea that even if an individual gets "bigger and bigger" in wealth and wisdom, he should perceive others to be bigger than himself; that is, surrender one's pride and attain humility
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The four arms and various objects in the four hands: the four arms indicate that the Lord is omnipresent and omnipotent. The left side of the body symbolizes emotion and the right side symbolizes reason. An axe in the upper left hand and a lotus in the upper right hand signify that in order to attain spiritual perfection, one should cut worldly attachments and conquer emotions. This enables one to live in the world without being affected by earthly temptations, just as a lotus remains in water but is not affected by it. A tray of Laddus (a popular snack) near the Lord denotes that He bestows wealth and prosperity upon His devotees. The lower right hand is shown in a blessing pose, which signifies that Ganesha always blesses His devotees.
A human body with a big belly: the human body possesses a human heart, which is a symbol of kindness and compassion toward all. Ganesha's body is usually portrayed wearing red and yellow clothes. Yellow symbolizes purity, peace and truthfulness. Red symbolizes the activity in the world. These are the qualities of a perfect person who perforrns all duties in the world, with purity, peace, and truthfulness. The big belly signifies that a perfect individual must have a large capacity to face all pleasant and unpleasant experiences of the world.
A mouse sitting near the feet of Ganesha and gazing at the tray of Laddus: a mouse symbalizes the ego that can nibble all that is good and noble in a person. A mouse sitting near the feet of Ganesha indicates that a perfect person is one who has conquered his (or her) ego. A mouse gazing at the Laddus, but not consuming them, denotes that a purified or controlled ego can live in the world without being affected by the worldly temptations. The mouse is also the vehicle of Ganesha, signifying that one must control ego in order for wisdom to shine forth.
Right foot dangling over the left foot: as stated above, the left side of the body symbolizes emotion and the right side symbolizes reason and knowledge. The right foot dangling over the left foot illustrates that in order to live a successful life one should utilize knowledge and reason to overcome emotions.
"While the modern Indo-Aryan languages, with the exception of Sinhalese, had not found literary expression at the time of the Muslim invasion, the Dravidian languages had been flourishing for centuries. Four of these tongues have distinctive scripts and written literatures – Tamil, Canarese, Telugu and Malayalam. Of these Tamil is spoken in the south, from Cape Comorin to Madras. Tamil is certainly the oldest of these languages, with a literature going back to the early centuries A.D."
This is how Professor A. L. Basham, eminent historian, begins his discussion on the Dravidian languages in his famous book, 'The Wonder That was India'. He continues to argue that Dravidian is virtually an independent group of languages with a distinctive character, and that its sound system is rich in retroflex consonants, which give it a crisp flavor, and its varied vowels distinguish it from the northern languages (like Sanskrit). Another interesting point he raises is that the earliest Tamil literature contains comparatively few Sanskrit loan-words, and those it does contain are generally adapted to the Tamil phonetic system. These arguments of Professor Basham seeks efficiently to establish that Tamil (or for that matter, its proto-form Dravidian) has a lineage far different from the Indo-European languages of which Sanskrit is a crucial member.
According to some experts, Tamil is now spoken by about 80 million people in India (predominantly in Tamil Nadu, South India), Sri Lanka and Singapore, and in Malaysia, Mauritius, Fiji, Burma, South Africa, England, Vietnam, Reunion and in several other countries where the Tamils have migrated. According to Professor Kamil V. Zvelebil, a noted linguist from Czechoslovakia and a scholar in Tamil Language, Literature and Culture, 30 million people spoke Tamil in 1973. But it should be a figure available on the figures in India. Dr. R.E. Asher, the famous Dravidian Scholar from England, has quoted in his book 'Descriptive Grammars' quotes the provisional figures from the Indian census of 1971 and says that 37 million people in India spoke Tamil as their first language; and continues to project 45-46 million as probable all-India figures for 1981.The figures for 1999, as given by 'the Ethnologue' (Languages of the World), including the second language speakers, Tamil is spoken by 74 million people. In India it is one of its official languages, and the first to be recognized as a classical language.
There are about 1,900 periodical publications in Tamil of which 360 are dailies now.
Tamil ranks 17th among the top twenty of the world's most spoken languages. It is written in a typical, non-Latin script, and is one of the cognate languages in the Dravidian family, sharing its features with Malayalam, Telugu, Kannada and many other languages of the family, including the Thai, the language of Thailand. Tamil comprises 12 vowels, 18 consonants and 1 'aytham'.
What about the origins of the language of Tamil? In his 'History of Tamil Language and Literature', Professor Vaiyapuri Pillai writes: "It is safe to assume that the Dravidian alphabet was used for literary purposes about the first century AD."
The earliest epigraphic evidences go back to 3rd century BC. There are some 30,000 inscriptions in Tamil, the largest in South Asia.
Tamil literature has an estimated history of about 2,400 years. The earliest literary work available in Tamil is the Sangam poetry, consisting of lyrics and longer poems. These are inscribed in palm leaves and preserved. Oral tradition too was in existence. The poets and artists were actually leaders of the people. They were masters in mass communication and contact. Their aim was the progress of the society. They intervened in morality, and in the discharge of justice and that way they played their role in politics of their times. They used their poetry and songs for pointing out the mistakes and wrong doings on the part of the kings and the ministers and sought to correct the aberrations. The priest had the supervisory role only in religious matters. After the king, it was the dictum from the poets – it was the order of the day. And thus, the poets of the Sangam period were the link between the people and the king and they had the democratic role of controlling the priests and the rulers to a great extent. The collection of lyrics is known as Ettu-thokai or Eight Anthologies, and the collection of longer poems is known as Pattu Pattu or Ten Idylls. Sangam poetry is unique in that it is group poetry of unparalleled beauty and greatness. Experts have stated that taken as a whole it (Sangam Poetry) satisfies all the requirements of great poetry.
Let us see how Professor Basham views the early Tamil poetry (from his 'The Wonder That was India'): "Very early Tamils developed the passion for classification which is noticeable in many aspects of ancient Indian learning. Poetry was divided into two main groups: aham ('internal') and 'puram' (external). A unique feature of Tamil poetry is the initial rhyme or assonance. This does not appear in the earliest Tamil literature, but by the end of the sangam period it was quite regular. The first syllable or syllables of each couplet must rhyme. This initial assonance, in some poems continued through four or more lines, is never to be found in the poetry of Sanskrit languages, or as far as we know, in that of any other language. Its effect, a little strange at first, rapidly becomes pleasant to the reader, and to the Tamil it is as enjoyable as the end rhyme of Western poetry."
The Tamil enthusiasts would like to stretch it backwards to the centuries BC. Some others put it as from the first century AD or the second. But Kesari Balakrishna Pillai, the celebrated thinker, researcher, scholar, historian, journalist and the promoter of several Malayalam writers who became nationally noted later in literature, throws more light on the Sangam period in his work 'The mother roots of History': "Following the model of the Sahitya Parishad, in Ujjain under the leadership of Kalidasa, the poet and the patronage of King Budhagupta Vikramaditya Harsha (476-502 AD), associations of literary professionals were set up in the capitals of Pandya-Chola-Chera kingdoms of South India as well as in Anuradhapura in Ceylon (modern Sri Lanka). And the association founded in Madurai, the capital of the Pandya Kingdom, was known as Tamil Sangam. The details of this are given in a work of the Sangam period, styled Iraiyanar Akapporul…." Quoting from the Akapporul, Kesari argues that the Sangam period was 498-817 AD.
The Tamils contributed to the world culture great works such as Tirukkural, Tirumantiram and Ozhivil Odukkam, which have pre-eminent position in the wisdom literature of the world. Tiruvalluvar, the author of Tirukkural became immortal by this single work of his. He is also known in the Old Tamil literature variously – as Devar, Mutarpavalar, Matanubangi, Daivappulaivar, Chennappotakar, Perunavalar, Nankukanar, Pulavar, Poyyil Pulavar, Nayanar and the like. Tolkappiyam, the early Tamil book, is on phonology, grammar and poetics. Such a work implies that there should be a Tamil literature, existing before the book. Tolkappiyam defines Tamil literary language and non-literary language in clear terms. Tirukkural embodies a world-outlook that offers profound insights for men and women interested in leading an authentic life. Tirumantiram is a compendium of yogic technologies for liberation, and Ozhivil Odukkam a "nonesuch" for the most advanced aspirants of ultimate knowledge. The Tirukkural and the Chilapatikaram are classics of Tamil literature. So are Manimekalai of Ilam Ko Adigal, Kambar's Ramayanam, Sekkilar's Periya Puranam. Subramania Bharaty of the last century infused patriotism, a new vigor and used the language to equip people to fight for human dignity, and sense of freedom. Modern Tamil literature has its own place in the world arena.
Professor Zvelebil, has written on Tamil literature, in his book 'The Smile of Murugan' as this: "...probably the most significant contribution (of the Tamils) is that of Tamil literature, which still remains to be 'discovered' and enjoyed by the non-Tamilians and adopted as an essential and remarkable part of universal heritage. If it is true that liberal education should 'liberate' by demonstrating the cultural values and norms foreign to us, by revealing the relativity of our own values, then the 'discovery' and enjoyment of Tamil literature, and even its teaching…should find its place in the systems of Western training and instruction in the humanities.." He has also called the Tamils "the Greeks of India".
A. K. Ramanujan, the noted Indo-Anglian poet, also noted the greatness of Tamil as a language and cultural medium. He said: "Tamil, one of the classical languages of India, is the only language of contemporary India which is recognizably continuous with a classical past.
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