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HUMAN BODY IS A HOLY TEMPLE
TEMPLE CONCEPTS
Indian temple is only a reflection of the physical form of the human body. According to the Tirumular "our body is a temple". According to the Kathopanishad "This body of ours is a temple of the Divine."
The macrocosm is reflected in the microcosm. The great cosmos is reflected in the human body.The parts of a temple are identical with the parts of the human body.
The vimana is the head, the Sanctum is the neck, the front mandap is the stomach, the prakara walls are the legs, the gopura is the feet and the Lord in the Sanctum is the Soul or the Jiva of the body.
There are several versions regarding the comparison of the parts of a temple with the various centres or parts of a body.The Sanctum Sanctorum is the most important part of a temple. A battery which is charged with current produces a stream of power.
Similarly by concentrating on the image with appropriate mantras, the image becomes a storehouse of spiritual power from which flow a stream of grace to the soul of a devotee.
According to the latest scientific theory, the sound once produced never dies. The hymns rendered by our great saints before the idols remain immortal by Divine grace. It is to preserve the sound waves that the Sanctum Sacnctorum of our temples are so cleverly built.
Thus we have seen that idols are not mere toys but symbols of God. The temples are not mere museums but centres of spiritual power. They teach us volumes of wisdom more than any number of books, give us a keener insight into the history of India and make us feel the tranquillity of eternal life. A Temple is a huge symbolism; it involves a multiple sets of ideas and imagery.
The temple is seen as a link between man and god; and between the actual and the ideal. As such it has got to be symbolic. A temple usually called Devalaya, the abode of God, is also referred to as Prasada meaning a palace with very pleasing aspects. Vimana is another term that denotes temple in general and the Sanctum and its dome, in particular.
Thirtha, a place of pilgrimage is it’s another name.The symbolisms of the temple are conceived in several layers. One; the temple complex, at large, is compared to the human body in which the god resides. And, the other is the symbolisms associated with Vimana of the temple , which also is looked upon as the body of the deity. And the other is its comparison to Sri Chakra.
In fact, the entire temple is conceived as the manifestation or the outgrowth of the icon. And, very often, the ground-plan of a temple is a mandala. Just as the Sri Chakra is the unfolding of the Bindu at its centre, the temple is the outpouring or the expansion of the deity residing in Brahmasthana at the centre.
The temple as also the Sri Chakra employs the imagery of an all – enveloping space and time continuum issuing out of the womb. In the case of Sri Chakra the Bindu is the dimension-less and therefore imperceptible source of energy. The idol, the Vigraha, in the Garbagriha represents the manifestation of that imperceptible energy or principle; and it radiates that energy.
The devotee- both at the temple and in Sri Chakra- moves from the gross to the subtle. In the temple, the devotee proceeds from the outer structures towards the deity in the inner sanctum, which compares to the Bindu in the Chakra.
The Sri Chakra upasaka too proceeds from the outer Avarana (enclosure) pass through circuitous routes and successive stages to reach the Bindu at the centre of the Chakr, representing the sole creative principle. Similarly the devotee who enters the temple through the gateway below the Gopura (feet of the Lord) passes through several gates, courtyards and prakaras, and submits himself to the Lord residing in the serenity of garbhagrha, the very hearts of the temple, the very representation of One cosmic Principle.
SRI CHAKRALet’s start with the temple
complex being looked upon as a representation of Sri Chakra.
At the centre of the temple is the image of divinity and its purity that generations after generations have revered and venerated. That image residing at the heart of the temple is its life; and is its reason. One can think of an icon without a temple; but it is impossible to think of a temple without an icon of the divinity. The very purpose of a temple is its icon. And, therefore is the most important structure of the temple is the Garbagriha where the icon resides.
BODY CONCEPTS
SUN Bones, Right Eye, Sight, Heart, Stomach
MOON Mind, Emotions, Body Fluids, Left Eye, Sense of Taste, Breast, Chest, Loins
MARS Muscles, Head, Testicles, Bone Marrow, Blood Pressure, Bile, Vigour
MERCURY
Skin, Sense of Smell, Memory, Intelligence, Speech, Consciousness, Respiratory Canal, Intestines, Throat
JUPITER Fat, Liver, Gall Bladder, Spleen, Sense of Sound, Ears
VENUS Semen, Sense of Taste, Sexual Organs, Reproductive System, Face, Beauty of Eyes
SATURN Sense of Touch, Nerves, Joints (including spine), Legs, Knees, Ankles
ARIES Head
TAURUS Neck
GEMINI Upper Chest, Shoulders, Arms, Hands
CANCER Breasts
LEO Solar Plexus
VIRGO Naval Region
LIBRA Lower Abdomen, Kidneys, Reproductive System, Lower Back
SCORPIO Pubic Region, Private Parts, Anus, Rectum
SAGGITARIUS Thighs, Hips
CAPRICORN Knees
AQUARIUS Calves, Ankles
PISCES Feet
MESHAM 1ST HOUSE Head, Brain, Hair, Appearance
RISHABAM 2ND HOUSE Face, Right Eye, Neck, Throat, Teeth, Tongue, Nose, Mouth, Speech, Nails
MITHUNAM 3RD HOUSE Ears, Right Ear, Lungs, Shoulders, Arms, Hands, Upper part of Eusophagus, Clavicles, Mobility
KADAGAM 4TH HOUSE Breasts, Chest, Lungs, Heart, Diaphragm
SIMHAM 5TH HOUSE Upper Abdomen, Stomach, Liver, Gall Bladder, Spleen, Pancreas, Duodenum, Mind
KANNI 6TH HOUSE Intestines, Digestion, Absorption, Appendix, Lowerback, Injuries, Wounds, Medical Treatment
THULAM 7TH HOUSE Urinary Tract, Kidneys, Sexual Organs, Uterus, Ovaries, Testicles, Semen, Lower Back
VIRUCHIGAM 8TH HOUSE External Genital Organs, Anus, Perineum
DHANUR 9TH HOUSE Hips, Thighs
MAGARAM 10TH HOUSE Knees, Joints, Legs
KHUMBAM 11TH HOUSE Left Ear, Calves, Ankles, Lower Legs
MEENAM 12TH HOUSE Feet
ASWINI Knee, Top of FeetBHARANI Head, Bottom of FeetKRITTIKA Waist, Hips, Loins, Crown of Head
ROHINI Legs, Forehead, Ankles, Shins, Calves or LegsMRIGASHIRA Eyes, Eyebrows
ARDRA Hair, Eyes, Back & Front of Head where brain's controlling mechanisms are located
PURNAVASU Fingers, NosePUSHYA Mouth, Face (connects to facial expression), Bone joints, Elbows
ASLESHA Nails, Knuckles, Kneecaps, Ears MAGHA Nose, Lips, Chin
PURVAPHALGUNI Sexual Organs, Lips, RighthandUTTARA PHALGUNI Sexual Organs, Lips, Lefthand
HASTA HandsCHITRA Forehead & Neck
SWATI Teeth, Chest, Breathing ProcessVISHAKHA Upper Limbs, Arms & Breasts
ANURADHA Astral Fires in the Body, Heart, Breasts, Stomach, Bowels, WombJYESTHA Tongue, Neck, Rightside of Torso
MULA Both Feet, Left side of Torso and back PURVA ASHADHA Both Thighs
UTTARA ASHADHA Both Thighs & WaistSHRAVANA Ears, Sex Organs, Gait
DHANISHTA Back & AnusSHATABISHAK Both Sides of Chin, Jaw, Right Thigh
PURVA BHADRAPADA two sides of body, Ribs, Abdomen, Sides of Legs, Left Thigh, soles of feet
UTTARA BHADRAPADA two sides of body, sides of legs, shins, soles of feetREVATI Armpits, feet, ankles, abdomen, groin
Consciousness express itself through Seven Chakras
Muladhar Chakra Body – Karma (action)
Swadhishthan Chakra
Senses– Bhoga (sensual enjoyment)
Manipur Chakra Prana – Breath
Anahata Chakra Heart - Love
Vishuddhi Chakra Mind - Thoughts
Angya Chakra Am-ness - Meditation
Sahstrar Chakra Soul - Samadhi
Pipilika Yoga:It is of Six types & are related to Six Chakras
Muladhar Chakra Karma Yoga
Swadhishthan Chakra
Tantra Yoga
Manipur Chakra Hatha YogaAnahata Chakra Bhakti Yoga
Vishuddhi Chakra Gyana Yoga Angya Chakra Dhyan Yoga
Sahstrar Chakra Sankhya Yoga
PREPARING THE BODY
FOR MANTRA
EFFECTS OF
GAYATHRI MANTRA
Each night of the 6 Days of Muruga will be dedicated to invoking the power and energy of one of the syllables. SA – Attracts the perfect people you need to your doorRA – Brings Instant Material Wealth you desire VA – (Va is also said as “Ha”) – Destroys competition, diseases and debtsNA – Dissuades enemies, completely stops problems before they ariseBA – Magnetic Attraction through Charm and Charisma VA – Stops Negativity Altogether and influence from all bad planets In a person’s horoscope the 6th house signifies debts, disease and litigation. Lord Muruga has the ability to relieve you from the onslaught of problematic legal matters. His 6 lettered mantra will vanquish enemies, ensure success in legal tangles, provide relief from debts and bestow good health. Muruga is the planetary overlord for Mars.
Swara meaningsSwara Sanskrit
Expansion Meaning Animal Chakra God
SA
Shadja -MEANS
SHAPTHAM-BRAHMN-Anything
being understood in
the form
Six born- Peacock Muladhara (base of spine) Ganapathi
RE
Rishabha - MeansRISHIMUNIS-who are
the people found the ways and
means to lead a peaceful life
bull Skylark Swadhishtana (Genitals) Agni
GAGandhara –
Means Attraction
sky Goat Manipura (Solar Plexus & Navel) Rudra (Shiva)
MAMadhyama –
Means -MAHIPAL-
RAJAmiddle Dove/Heron Anahata ( Heart) Vishnu
PA Panchama -MEANS PRAJA fifth Cukkoo/
Nightingale Visudhdha (Throat) Naaradaa
DHADhaivata –
Means DHARMA
earth Horse Ajna (Third Eye)Sadasiva (Shiva as
the Unmanifest precursor to
creation)
NI
Nishadam –Means
NIRKAR BRAHMAN-
DUTY
hunter Elephant Sahasra (crown of the head) Surya(Sun)
And, Lord Nataraja illustrates scientific principles of Speech sounds Chakras represent the energy
centers. The importance of various chakras in spiritual path is well known.
The production of various seed-sounds in relation to various chakras starting from Muladhara at the base are shown.
In the Vedic tradition, the human spinal cord is represented as the musical instrument (Veena).
The 24 frets of the instrument are analogous to the 24 cartilages in the spinal cord. The number 24 also relates to the 24 syllables in the VedicGayatriMantra. (Ref:Sriranga Sadguru, Amaravani
The divine dance of Lord Nataraja, Lord of Dance, signifies the yogic process of self realization.
Each shuddha swara (i.e., Sa, Re/Ri, Ga, Ma, Pa, Dha/Da, and Ni) is traditionally held to have originated in the sound of a different animal, and some have additional meanings of their own.Also, each swara is associated with one of the seven chakras of the body.Just as the swaras ascend through the saptak, so they are mapped onto the chakras in the body in ascending order. Komal notes are associated with the left side of each chakra; the left channel, Ida Nadi, is the side of emotion and intuition. Shuddha and tivra notes are associated with the right side; the right channel, Pingala Nadi, is the side of logic. Ragas, therefore, have more or less of an effect on a given chakra depending on the notes they contain.
TEMPLE BODY
SIMILARITIES
HUMAN BODY IS A HOLY TEMPLE
The other symbolism is that the human body is a temple in which the antaryamin resides. The analogy is extended to explain the various parts of the body as being representations of the aspects of a temple. In this process, the forehead is said to represent the sanctum; and the top of the head, the tower. The space between the eyebrows, the ajna chakra, is the seat of the divinity. The finial of the tower is the unseen the sahasrara located above the head.
Human body with chakras - (Abode of God) Devaalaya
God indwelling in human being - (Deity) Murti
Feet - Rajagopura
Hands - Prakaara
Abdomen - Mandapa
Heart as Antaraala (entrance to Garbha Griha)
Crown of the head - sanctum sanctorum - Garbha Griha
Rituals - a guide to inner worship
Accordingly, the sanctum is viewed as the head; and Right on top of that head is the passage through which the currents of life ascend to the tower through that stone slab Brahma-randra_shila.
Around the four corners of this slab are placed the images of the vehicles or emblems that characterize the icon inside the sanctum.
Another interesting aspect is that the temple concept is a curious mixture of Vedic, Tantric and Agama principles.
The Tantra regards the human body as a Mandala; and it is mobile (chara or jangama) Mandala. The Agama shastras regard a temple too as Mandala; and here it is an immobile (achala or sthavara) Mandala.
The analogy of the temple with the human body finds closer relationships. The symbolism extends to the conception of Vimana or the central part of the temple as the physical form of god. For instance, the sukanasi or ardhamantapa (the small enclosure in front of the garbhagrha) is the nose; the antarala is the neck; the various mantapas are the body; the prakaras are the hands and so on.
Vertically, the garbhagrha represents the neck, the shikhara (superstructure over the garbhagrha) the head, the kalasha (finial) the tuft of hair (shikha) and so on.
The names assigned to various parts of the Vimana seem to go along with this symbolism. For instance, Pada (foot) is the column; jangha (trunk) is parts of the superstructure over the base; Gala or griva (neck) is the part between moulding which resembles the neck; Nasika (nose) is any nose shaped architectural part and so on. The garbhagrha represents the heart and the image the antrayamin (the indwelling Lord). These symbolisms also suggest seeking the divinity within our heart.
The temple is also seen as a representation of the subtle body with the seven psychic centres or chakras. In the structure of the temple, the Brahma randra is represented in the structure erected on top of the sanctum. The flat-roof (kapota) of the sanctum is overlaid by a single square stone slab known in the texts as Brahma-ranhra-sila (the stone denoting the upper passage of life). The sanctum is viewed as the head; and right on top of the head is the passage through which the currents of life ascend to the tower through this stone slab.
Interestingly, the Kalasha placed on top of the Vimana is not imbedded into the structure by any packing it with mortar or cement. It is, in fact, placed in position by a hollow rod that juts out of the centre of the tower and runs through the vase, the Kalasha. It is through this tube that the lanchana ‘tokens’ (cereals and precious stones) are introduced. One of the explanations is the hallow tube represents the central channel of energy the Shushumna that connects to the Sahasra, the seat of consciousness, through the Brahma randra.The other symbolisms associated with the Sanctum and the tower above it are, that sanctum is the water (aapa) principle and the tower over it is Fire (tejas); the finial of the tower (Vimana) stands for air (vayu) and above the Vimana is the formless space (akasha). The sanctum is thus a constellation of the five elements that are basic to the universe. And fire being the active element that fuses the others, the tower becomes an important limb in the structure of a temple.
KALASHA
Significance of the Chidambaram Temple Design
The layout and architecture of the temple is replete with philosophical meanings.The 9 gateways signify the 9 orifices in the human body. The Chitsabai or Ponnambalam, the sanctum sanctorum represents the heart which is reached by a flight of 5 stairs called the Panchaatchara padi - pancha meaning 5, achhara – indestructible syllables – "SI VA YA NA MA", from a raised anterior dias - the Kanakasabai. The access to the Sabhai is through the sides of the stage (and not from the front as in most temples). The Ponnambalam or the Sanctum sanctorum is held by 28 pillars – representing the 28 agamas or set methodologies for the worship of Lord Shiva. The roof is held by a set of 64 beams representing the 64 forms of art and is held by several cross-beams representing the innumerable blood vessels. The roof has been laid by 21600 golden tiles with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles are fixed using 72000 golden nails which represents the no. of nadis exists in human body. The roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. (refer Umapathy Sivam’s Kunchitaangristhavam)
Rajagopura or TowerIt represents the feet
of a human. The pyramid-like
structure shooting up the landscape dominates the skyline.
On top of it resides the shikhara (peak).
It marks the location of the shrine room and rises directly above it.
DWAJASTHAMBAMThe DWAJASTHAMBAM is
inscripted with the deity of the temple and is a symbol of the structure's holiness.
On the human body, the DWAJASTHAMBAM represents the loins (MOOLADHARA CHKARA).
The third is the walkway. Most temples have a walkway around the walls of the inner chamber for circumbulation by devotees around the deity as a mark of respect to the God in the temple.
The field enclosures and pavilions through which he must pass to reach the sanctum are symbolic.
They represent the phases of progress in a man's journey towards divinity.
According to the scheme of transition, architectural and sculptural details vary from phase to phase in the devotee's onward movement, gradually preparing him for the ultimate experience, which awaits him in the shrine.
This process mirrors the four-phased spiritual evolution described in yoga: the waking state (jagrat); dream state (swapna); the state of deep sleep (sushupti); and finally the highest state of awareness, turiya.
The prakaram represents the hands.
PRAKARAM
Mandapam or the Temple Hall. Most large temples have a hall meant for the
devotees to sit.This is also called the natya-mandira (hall for
temple-dancing) where, in days of yore, women dancers used to perform dance rituals.
Devotees use the hall to sit, meditate, pray, chant or watch the priests perform rituals.
The hall is decorated with paintings of deities. On the human body, the Mandapam is the abdomen
MANDAPAM
The Front Porch: This area of the temple usually has a big metallic bell that hangs from the ceiling.
Devotees entering and leaving the porch ring this bell to declare their arrival and departure.
On reaching the main gateway, the worshipper bends down and touches the threshold before crossing it.
He is ready to pass into the abode. Entering the gateway, he is greeted by a host of
figures on the outer walls. The sculptures carved in sandstone tell stories and
educate members of society on the stories of creation.
ANTARALA
Always in the North-east is the garbha griha (sanctum sanctorum) where in the murthi or deity resides (representing the head in the human body).
There are no pillars, windows or ventilators. It is the interior and most sacred area of worship in the temple. Finally the shrine, devoid of any ornamentation, and with its plainly adorned entrance, leads the devotee further to the highest achievable state of consciousness of tranquility (turiya), where all boundaries vanish and the universe stands forth in its primordial glory. It signifies the coming to rest of all differentiated, relative existence.
This utterly quiet, peaceful and blissful state is the ultimate aim of all spiritual activity. The devotee is now fully-absorbed in the beauty and serenity of the icon.
He or she is now in the inner square of Brahma in the vastu- mandala, and in direct communion with the chief source of power in the temple.
GARBHAGRIHA
GOD BLESS YOUCompiled by P.BASKARAN.For any comments: mail: [email protected]
