The Brahadiswara Temple

Sivapathasekaran

(Source : Dr. R. Nagaswamy, Concepts of Space)

We are aware that there are ancient Siva Temples for the Five Elements.

• Prithvi/Earth : Ekambareswarar –Kanchi, Thiageswarar- Thiruvarur & Thiruvottriyur.

• Akasa/Space : The Temple, Chidambaram

• Agni/Fire : Annamalayar, Thiruvannamalai

• Jala/Water : Jambukeswaram, Thiruvanaikka, Trichy.

• Vaayu/Air : Sri Kalahasthi.

Whoever worships at Chidambaram are shown Akasam - either by removal of a metal sheet just at the sanctum entry near Nataraja. Chidambara Rahasyam also explained as the Golden Vilvams inside the sanctum - that Akasa can be explained by a REFERENCE only... and the Golden Vilvams serve as Reference.

The most important point of this article is that ::

Emperor Rajaraja has brought out AKASA by three dimensional explanations inside the Big Temple. He has created KAILASA (Dakshina Meru) in the Southern part of India. He has also elaborated the Nataraja concept by depicting the 108 Karanas (though 81 only could be completed in the upper vestible of the big temple sanctum).

The Wooden lid above the Peruvudayar was placed during Nayak's period and if one can imagine the sanctum without the lid, the devotee will be stunned to see the Peruvadayar from the upper level and caved-cone structure of the insideportion of Vimanam and could visualise the AKASA effect of Siva.

This is explained in detail by none other than Dr. Nagaswamy.

THE MERU

Meru is considered the mountain par excellence in India. In the Centre of the Universe stands the lofty mountain, the great Meru, Golden in colour. The Meru mountain, according to Mrgendragama (1) was also known as Rajarajah, "Tasya madhya sthitah sailah Rajarajo hiranmayah". Meru had three peaks. Emperor Rajaraja also was called Mummudi Chozha! Top most Peak of Meru was occupied by Isa Siva. At the periphery of the peak are said to Loka Paalas. It is called the Cakravata, the circle of the protectors of the Earth. Further lower in height and surrounding the central one, are the eight peaks, the abodes of Dikpalas : Amaravati (of Indira), Tejovati (Agni), Samyamini (Yama), Krishna (Nriti), Suddhavati (Varuna), Gandhavati (Vaayu),
Mahodaya (Kubera) and Yasovati (Isaana). In between these abodes are the residing places of Siddhas, Sadhyas, Gandhrvas, the Eleven Rudhras, the Seven Matrikas, the Eight Vasus and a host of other dieties. Slightly to the north-east (Isana) of the centre of Sabha is the main peak called VISHKAMBHAS on the four cardinal directions. They are named MANTARA in the East, GAHDHAMADANA in the Sout, VIPULA in the West and SUPAARSVA in the North. In them are the celestial trees like Kadamba, Jabuka, Asvatta and Nyagrodha, sprouting the very juice of Jambu fruit. The Meru mountain is not a mere pile of inert stone. It is a place of vegetation, an abode of pulsating life of birds, animals, humans and celestials and the environment of Godhood, illuminated by its golden brightness that surpasses even the Sun ...

DAKSHINAMERU :

Dashinameru Vitankar was the Principal metal image acting almost as the personaification of main Linga of the temple. Rajaraja's reverence to this image was so great that he named even the standard weights as Dakshinameru vitangan. Another image Adlvallan i.e, Nataraja was set up by Rajaraja. Third image was Maharameru Vitankar with its consort Uma Parameswari. Tne names suggest the intimate association the Emperor sought to emphasize between the

concept of Meru and this Temple. The mode of worship followed was Agamic. The Agamas give a description of the Meru, the mythical mountain, the cente of the Universe. The concept of Meru is inbtimately related to the Sri Yantra.

THE BRAHADISVARA AS DAKSHINA MERU

Like the Loftiest Mount Meru, the Thanjavur Brahadesvara temple is the loftiest to be built in the South of the Vindhyas and is appropriately called Dakshinameru. In Saivite Schools of thought, one is known as Vaamacara, non-Vedic and other Dakshinacara - following Vedic systems. In both the Schools, the Meru is the important object of worship.

The Brahadesvara temple Vimana is of the Sarvatobhdra variety with Mukhabhadra opening on the four directions. Kamikagama names the Vimana with four entrances as Meru. The four Mukhabhadras are the four Vishkambha sringas, steadying the Central peak Meru. The eight Karnakutas at the corners are the abodes of Dikpalas, like Amaravathi, Tejovati etc. The koshtas in between and kumbha latas depict other abodes in the Meru. The Kalasa part of the Stupi on top summerises all the Gods while the bud represents Siva.

The three floors of the Vimana have opening on all directions, and have three garbhagrahas one over the other. They represent THREE BHUVANAs - the Bhooloka, the Bhuvaloka and the Suvarloka. The three Bhuvanas connect the three worlds. In the physical sense, the Linga is in the Garbagraha of the Ground floor, the Sanctum in the Second
floor is only the space, but on the innerwall of the ambulatory are the 108 (81 completed) Karanas of Siva. It symbolises the dance in space, Akaasa. The third floor is the vertical extension of the Akasa, leading to the space, encassed as a mountain, a rare architectural symbol.

THE GREAT LOTUS (Meru Yantra) :

The worship worship in temples in psychic process is based on the yogasutras of Patanjali. The temple worship is a process of raising the Primordial energy from its stationary seat, the Muladha to the Sahasrara - 1000 petalled lotus, to unite with the Cosmic existence. The number 1000 stands for unlimited circle. The Mahapadma on top of the Sikara stands for Parabindu identifical with Sivatatva. It is the Supreme Sakthi.

The great lotus on the head, Sikara, pours down immortality, Amrtadhara. Sivagama texts include Yogapada. The inscriptions of the Chozha age refer frequently to Sivayogins. According to the tenets of Saivism, the Supreme Siva manifest only through Sakthi. This Parasakthi is identical with Lalitha Tripurasundari. Lalitha is also
called Rajarajesvari and said to reside in the summit of Meru. The Mahapadma on top of the Sikara of the Brahadesvara temple is adored as the seat of Rajarajesvari. This Sakthi is the Supreme Aakasa, who is the giver of amratadhara, says Aghorasambhupaddhati.

The relationship of Yantra and Architecture is especially close in monuments, which may be called Mandalas in stone. The Brahadesvara temple tower which raises like a terraced mountain with nine levels
corresponding to the nine circuits of Sriyantra has the unique distinction that both in its external form and the hollow space above the garbhagraha inside, it resembles a Meru Yantra.

PARAMANDA TANDAVA :

The main purpose of erecting the temple is to translate into existence a visual imagery the philosophical concepts (Jnanapada) and realize the concepts by following an orderly course of action (Carya), worship
(Kryia) aided by esoteric practice (Yoga) enshrined in the texts - Agamas.. According to tradition, the Makutagama, is the text followed in the Tanjore temple. It holds the Supreme dance of Siva PARAMANANDA TANDAVA as the Ultimate Reality (2).That Emperor Rajaraja attached great importance to the Adalvallan - Nataraja is well known from the facts that 108 Dance Karanas around Garbhagraha and appointment of 400 dancers in the temple and naming the measure as Adavallar.

The Makutagama speaks of Navatattvas, the nine entities to be invoked in the Linga in ascending order, namely, Brahma, Vishnu, Rudra, Mahesa, Sadasiva, Parabindu, Paranada, Paraasakthi and Parasiva. The worship of Mahalinga in the saanctum of the great temple follows the
adoration of Navatattvas from bottom upwards. All these nine Tattvas dissolve gradually in the Supreme, termed Paramanda Taandavam identical with "effulgent knowledge" - Jyothisvupam.

As the Supreme Siva is brought into manifestation to the earth by the descent of Akasa through the temple structrure, the worshipper - worshipped relationship is dissolved by Visarjana into space again at
the end of worship. The Sight gradually ascends from the base of the strcuture to the top of the Stupi, the pointed edge of the bud, which is the Parabindu, merging with Paramaakasa. At this stage, the Vimanam standing over 200' in height as a monumental edifice and a perfectly symmetrical strcture like a lofty mountain dissolves into the Supreme, from where it originated - Akasa in AKASA. Akasa is a
synonym of Ananda, experienced in the heart of the Spectator, the Chidakasa. It is the Sivam.

THE BRAHADISVARA AS PARAMAKASA

Akasa in Akasa : Akasa has no upper, middle or lower spheres. In order to establish an apprent extenstial relationship between the formless Akasa and human mind, the temple as an archietectuala frame work is brought into being. Depending upon the height to which the perceiver's mind can reach, the temple expands vision in circles, rising from the mundane gross base, sharpening in gradual tiers until it reaches the summit point, the bindu, from where it joins the universal consciousness, the PARAMAKASA - the PARASIVA of the Saivites. This reach is conterminous with the supreme bliss PARAMANANDDA another term for experience of the soul, also spoken of as TANDAVA, rather the very nature of the self. The recognition of the unbounded and ever expanding nature of the human self by the Saivites not only breaks the barriers of all kinds, the bondage of race, creed, language and the like, but also leads one
to eternity. The temple symbolises the descent and ascent of this consciousnes.

In the Indian tradition, the Supreme is beyond the five basic elements the Earth, Water, Fire, Air and Ether (Akasa). To distinguish the Supreme from Ether Akasa, the term PARAMAKASA is employed in the ancient texts. The concept of formless Akasa suspended in Supreme Akasa (Paramakasa) is best illustrated in the great temple of Thanjavur.

Sectional view representing Akasa

Space between inner walls

Inner view representing Akasa