Rameswaram-The holy island

Rameswaram is an Island situated in the gulf of mannor at the very tip of the Indian peninsula. A very important piligrime centre of the Indians. Rameshwaram is the place from where lord Rama, built a bridge across the sea to rescue his consort Sita, from her abductor, Ravana. This is also the place where Rama worshipped Lord Siva to cleanse away the sin of killing Ravana. Both the Vaishnavites and shaivites visit this piligrimage which is known as the Varanasi of the south.

Rameswaram is significant for the Hindus as a piligrimage to Benaras is incomplete without a piligrimage to Rameswaram. The presiding deity is the Linga of the Sri Ramanathaswamy.Which happens to be one of the Twelve Jyothirlingas of India. It is also considered one among four most sacred piligrim centres of India. They are Rameswaram in the South, Badrinath in the North, Puri in the East and Dwaraka in the West. Among these, Rameswaram is dedicated to Siva, while the other three are dedicated to Vishnu . Rameswaram is an acclaimed Parihara Sthala, where it is believed all sins get absolved. Devotees take holy dips at Sethu Theertha, Agni Theertha and other sacred waters, offer pujas to get progeny, perform Shraadha for their ancestors and do Naga Prathista (installing serpent deity).

The Ramanathaswamy Temple is a famous Hindu temple dedicated to Lord Shiva located in the island of Rameswaram. According to Shaiva mythology, Lord Rama is believed to have prayed Lord Shiva here to absolve any sins that he might have commited during his war against the demon king Ravana. The temple along with Viswanathaswamy temple, Varanasi is one of the holiest Hindu shrines that has to be visited in one’s lifetime and is one of the twelve Jyothirlingas the abodes of Shiva.

Devipattinam is a coastal village near Rameswaram. It is believed that Lord Rama prayed to Navagahas (Nine planets) at Devipattinam before embarking on his journey to Lanka. Lord Rama placed nine stones as symbols of the nine planets, at Devipattanam and therefore the place is also known as Navapashanam or Navabashana. It is an important place visited by piligrims on the way to Rameshwaram Dhaam.

The nine stones placed upright by Lord Rama can be still seen in the water close to the beach near a bathing ghat of the Thilakeshwar Temple, also known as Navagraha Temple. The nine stones symbolize the nine planets. Lord Rama performed the ritual so that the nine planets would shed their auspicious light on him in the battle with Ravana to rescue Sita. The Thilakeshwar Temple is dedicated to Shiva and parvathi (Durga). Shiva here is known as Thilakeswarar and the Goddess is known as Soundaryanayaki. The shrine has a beautiful image of an eight-armed Durga with weapons. The deity in the temple is worshipped with tila or gingelly seeds. People come from around the country to perform Tarpan for their ancestors.

Myths say that Sriram was tried to go to Lanka to redeem Sita who was remanded by Ravana: They threw some rock-stones in the south sea and constructed a bridge across that sea. All rock-stones were not drowned; but floated in the sea. Even now you can see that bridge which is called ‘Adam Bridge’ and this was built by Sriram between Rameswaram and Lanka. Sriram arranged to put all these rock-stones in the sea; all were not drowned: But floated Sriram went with his army and redem Sita from Ravana. From that day these rock-stones are floating between Dhanushkodi and Lanka. These floating stones are called ‘Raman Bridge’ One Sriram temple was built at Dhanushkodi as a monument. But storm came here in the year 1964 and Dhanushkodi broke into pieces and drowned into the sea. Rama Temple was also destroyed by the storm. But statues like as Sriram and Lakshman were drowned. These statues had been brought here from there and settled for worship regularly. When north India’s saints visited these places after the storm and saw those rock-stones and took with them to their native places. Only 60 rock-stones were kept in the ‘Thulasi Baba Madam’ is one of the famous Madams located at island city Rameswaram.

Arunachala- Legendary background of the holy hill

A vivid description of the glory of this sacred hill and bliss enjoyed by earnest devotees who worshipped here is given in many Puranas, such as the Siva Mahapurana, Brahmananda Purana, Sri Sivarahasyam, etc. The following story is found in most of the Puranas regarding the origin and sanctity of this Hill and the Lingam at its eastern foot over which stands the grand temple of Sri Arunachaleswara.

Lord Siva has taken the form of this hill for the welfare of the world, to grant liberation. Arunachala is regarded as superior to Meru, Mount Kailash and the Mandara by all Maharishis as it is the Supreme Being itself.

Three important factors constitute the greatness of Arunachala.  Firstly, the dispute between Brahma and Vishnu which resulted in the origin of Arunachala (Tiruvannamalai) and celebration of Karthigai Deepam festival; secondly, Goddess Parvati’s penance here and ultimate union with Lord Siva; and thirdly, the sanctity of  Tiruvannamalai is borne out by its association with great realised souls. In the Skanda Purana it is mentioned that when Lord Subramanya marched from north to south to wage war with Surapadma he visited Tiruvannamalai. Arunachala has been the abode of great siddhas, sages, saints, rishis, devas, vidhyadharas, yakshas, gandharvas and apsaras. It is one of the Saivite shrines sung by men of rare devotion, Saints Appar, Sundarar, Sambandar and Maanikkavaachakar. Saints Arunagirinathar, Guhai Namasivayar, Isanya Gnana Desikar, Deivasikamani Desikar and Seshadri Swamigal and many others who lived here, left their fragrant footprints in the annals of spiritual thought, to be spread across the length and breath of this land. Not very long ago, the brightest luminary of Spiritual Masters and sages of all times lived here. With the advent of Bhagavan Sri Ramana Maharshi on September 1, 1896 and his total identification with Arunachala, its renown spread across the globe as the traditional and ever shining symbol of Self-Perfection.

Arunachala is the Mountain without a Beginning and without an End. It is indescribable, beyond the ken of words. The name Arunachala is a Sanskrit word, made up of two words: ‘Aruna and ‘Achala’. An inscription in the temple refers to the Hill as Sonachala (golden or red Mount). ‘Aruna’ means the rising Sun, the Sun God who illuminates the whole world and ‘Achala’ is serene or that which cannot be moved. The hill therefore represents the sources of Enlightenment. The popular Tamil name is ‘Annamalai’ which is also made up two words ‘Anna’ and ‘malai’. The Hill is regarde as Tejo linga (the fire symbol of God) or jyotir linga. Arunachala is also referred as Hill of the Holy Beacon, as a jyoti is lit on its summit every year when th constellation of the holy star Krittika pertaining to fire-god is in conjunction with the moon in the Tamil month of Karthigai to commemorate the unique event of appearance of Siva as a light on top of Arunachala.

It is said that Arunachala was a mass of fire in the Krita Yuga (the earlier age), a mountain of jewels in the Treta Yuga, a hill of gold in the Dwapara Yuga, and in Kali Yuga (the present age), it is copper coloured (reddish) rocky mount. The hill has a high status in the Puranas which mentions it as the oldest rock on the crust of the earth. Owing to its great sanctity, Arunachala is regarded as the heart of the earth. Eminent Scientists have established the Deccan plateau to be the oldest land of the earth. The Arunachala Hill is in the eastern ghats. The hill is of igneous rock (connected with fire) which is one of the four kinds of mountains classified by geology. It is interesting to note what an American geologist states: “Arunachala should have been thrown up by the earth under the stress of some violent volcanic eruption in the dim ages before even the coal bearing strata were formed. This rocky mass of granite may be dated back to the earliest epoch of the history of our planet’s crust, that epoch which long preceded the vast sedimentary formations in which fossils records of plants and animals have been preserved. It existed long before the gigantic saurians of the prehistoric world moved their ungainly forms thruogh the primeval forests that covered our early earth. It was contemporaneous with the formation of the very crust of earth itself. Arunachala was almost as hoary andas ancient as our planetary home itself”.   

Essential Parts of a Typical Temple

There are many ancient texts laying down the formal architectural styles prevalent in the various regions so that the comprehensive text called the Vastu Sastra has its sources in the Sutras, Puranas and Agamas besides Tantric literature and the Brihat Samhita.

The most important part of a temple, its very heart as it were, is the garbhagrha or sanctum-sanctorum. This is usually square with a low roof and with no doors or windows except for the front opening. The image of the deity is stationed in the geometrical centre. The whole place is completely dark, except for the light that comes through the front opening. Over the roof of the whole shrine is a small tower. This tower is quite high in the North Indian temples and of low or medium height in the South Indian temples.

In some temples, a circumambulatory passage is provided just round the garbhagrha, to enable the devotees to go round the deity.

In front the garbhagrha and contiguous to its is the mukhamantapa, sometimes called sukanasi or ardhamantapa, depending upon its proportion relative to that of the garbhagrha.

Then comes antarala, a narrow passage connecting the garbhagrha and the mukhamantapa to the mantapa (pavilion or hall). The mantapa is a big hall and is used for congregational religious acts like singing, dancing, recitation of mythological texts, religious discourses and so on.

The dhvajastambha in front of the mantapa is another common feature. It represents the flagpost of the ‘King of kings. The lanchana (insignia) made of copper or brass fixed like a flag to the top of the post varies according to the deity in the temple. The figure on the lanchana is invariably that of the vahana (carrier vehicle) of the deity. For instance, in Siva temples it contains Nandi. In Devi temples it is the lion that finds its place. In Vishnu temples Garuda gets that honour.

The balipita (pedestal of sacrificial offerings) with a lotus or the footprints of the deity is fixed near the dhvajastambha, but nearer to the deity. Red coloured offerings like rice mixed with vermillion powder, are kept on this at appropriate stages during the performance of rituals. This indicates the feeding of the parivaradevatas (associate deities).

The whole temple is surrounded by a high wall (prakara) with one main and three subsidiary gates, opening in the cardinal directions. A gopuram (high tower, sometimes called as the Cow-gate) adorns these gateways.

Apart from these, the temple precincts include a yagasala (sacrificial shed), pakasala (cooking shed) and kitchen, place for the utsavamurti (processional image carried during the festivals), well or a pushkarini (tank), flower garden, stores and other essential structures connected with the management of the temple as also the rituals.

A dipastambha (lamp post) is another constituent of a temple complex often found in South Indian temples. It is situated either of the balipitha or outside the main gate.

Symbolism of the Temple

The Temple symbolises the body of God on the macrocosmic plane, it equally symbolises the body of man on the microcosmic plane. The temple also represents God in a cosmic form, with the various worlds located on different parts of his body. The bhuloka (earth) forms his feet and Satyaloka (Brahmaloka) forms his sikha, with the other lokas (bhuvarloka, svarloka, maharloka, janaloka and tapoloka) forming the appropriate parts of his body. The ground, represents bhuloka. Again, the temple represents the Meruparvata the mythical golden mountain described in the puranas, as the central point of the universe, round which various worlds spread.

All religions have their sacred places, places of worship. All words which denote such places of worship, etymologically speakingand a ‘house for communal worship’. A ‘church’ also means the same thing. A ‘Masjid’ is a ‘place of prostration before God’.

Temple do not seem to have existed during the Vedic age. The practice of preparing images of the deities mentioned in the Vedic mantras might have come into vogue by the end of the Vedic period gradually got metamorphosed into temples by the epic period owing to the influence of the cults of devotion is widely accepted.

The earliest temples were built with perishable materials like timber and clay. Cave-temples, temples carved out of stone or built with bricks came later. Heavy stone structures with ornate architecture and sculpture belong to a still later period.

Considering the vast size of this country, it is remarkable that the building of temples has progressed more or less on a set pattern. In spite of the basic pattern being the same, varieties did appear, gradually leading to the evolution of different styles in temple architecture. Broadly speaking, these can be bifurcated into the northern and the southern styles. The northern style, technically called nagara, is distinguished by the curvilinear towers. The southern style, known as the dravida, has its towers in the form of truncated pyramids. A third style, vesara by name, is sometimes added, which combines in itself both these styles.

The whole temple complex is conceived as the body of the Deity. The Sanctum – Sanctorum represents the head of the Deity, Circumambulatory path outside the sanctum-sanctorum is the face, the open hall in front where the holy verses are recited is the neck. The wall surrounding these inner structures are considered to be the hands of the Deity. The outer circumambulatory path beyond this is the stomach, the outer walls of the whole temple complex are the legs and the temple edifice is the feet of the deity. It is significant that, the technology of temple construction the various parts of the structure are reffered to by the names signifying the parts of the human body.

Several ancient texts that give details of the construction of temples for different Deities emphasise that each Deity is basically ‘Brahman’. An ideal temple is a crystalised concept of unity in diversity. The oneness of the cosmos and its diverse expressions, the oneness of the human consciousness the cosmic consciousness are all symbolically represented on a temple in its unique architecture. It is a fine blending of art, philosopy and culture. Every part of a temple has a profound meaning symbolically highlighting some deep point of philosophical thought

Sri-Chakram - The Form of the Formless

The ancient enquirers of  India discovered that consciousness and energy are not two separate factors, but two aspects of the same reality. They are one in essence. The evolution and manifestation of the material universe takes place thruogh the polarisation of these two aspects of the one, symbolised by lord Shiva and Goddess Shakti, and the different stages of their combination. Sri-chakram symbolises the stages of this evolution, and the way of spiritual expansion of man and his liberation. The powers symbolised as Goddesses in various stages of  Sri-chakram are the higher aspects of consciousness. By expanding to those stages through intelligent spiritual practice man becomes divinised.

Sri-chakram worship has developed an elaborate ritualistic system. Ritualism, although sometimes tends to degenerate into an end in itself, forms one of the effective means in the stages of human striving to reach the superior planes of intuitive consciousness.

According to scholars, the Sri-chakram diagram dates before the first millennium B.C. The researchers of the Soviet scientist dealt only with its mathematical properties. How the profound mathematical knowledge of our Saints merges with their spiritual insight is a subject for further in-depth investigation.

The conclusions of researches on Sri-chakram by Alexei Kulaichev, Candidate of physics and mathematics, senior researcher at the biology faculty of  Moscow State University, using modern exact sciences and electronic computers have evoked the interest of historians, ethnographers and scientists all over the world. The scientist was inspired to study its structure in depth, struck by its austere geometric beauty and regular design. As he proceeded he found its mathematical properties deepening amazingly.

Highlighting the mathematical enigma of Sri-chakram another scientist Ivan Kovalchenko, Member of the then U.S.S.R. Academy of Sciences and a prominent Soviet historian, gives the example of the cetral fragment of the figure a 14 gonal star formed by the intersection of nine large triangles. He says that the ingenuity of the image lies in the fact that most of the straight lines forming it pass thruogh three, four and even six points of interseption with other lines. To build such a figure and to analyse it for an algorithm is an extremely challenging task. It has been accomplished only on a computer which has had to perform more than a hundred million operations to do this. Besides, each step in image building and analysis involved the solution of a wide series of related problems. Both computational and programmatic.

He points out that only a deep knowledge of exact sciences as modern higher algebra, numerical analysis and geometry as well as contemporary mathematical methods can build such a diagram and says, that the present day level of scientific and technical knowledge is sometimes insufficient to analysis the structure of, for example, some star of  Sri-chakram and the number of its possible configurations. Their analysis involves a complex system of algebraic equations and complicated computations which are beyond the capability of the present generation of computers.

The Crown is the Symbol of Supremacy

The Crown is the symbol of supremacy or kingship over the lower nature, and of enthroned royalty officiating from the summit of power. In occult terminology, the Monadic Atma rules the whole nature of man. Philosophically the crown is the higher of all principles, the One Source both unmanifest and manifest, the apex of the spiritual triangle, the One Alone. It is also the highest and most secret Wisdom, the very heart of truth.

The crown of  Lower Egypt was formed like an open mouth with a projecting tongue, curled at the end. This may symbolise the Word of Power metaphorically uttered by the kingly Logos to create the universe, and by the royal Monad of man to illumine and direct the individuality. The triple uraeus (serpent band of gold worn by Egyptian royalty), formed of three coiled snakes, was often associated with the Egyptian Crown, symbolising both the three-fold Wisdom of the three aspects of Deity and the three currents- poitive, negative and neutral- of the creative Serpent Fire occultly aroused, sublimated and directed into the head of the initiated Pharoah. An ancient tradition existed that the Monarch of a people was a manifestation of a god, and from this has come down to recent times the idea of the divine right of Kings. Occult Science indicates that the earliest High Priests, Hierophants and Rulers of nations of old were either Adepts or highly initiated Members of the Occult Hierarchy of  this planet. This tradition would seem to be remebered in the triple uraeus of the Egyptian Kings, since in all such highly evolved men and women the Serpent Fire would have been fully aroused.

The Crown is also used as a symbol in the Book of Revelation in which “a woman clothed with the Sun” is described as wearing a crown of twelve stars, indicating that the spiritual powers of the twelve Zodiacal Signs were all developed and were shining as jewels in the perfected Higher Self. The clouds of glory in which the Christ was said to ascend refer to the radiant aura, the Augoiedes, of the Adept, the splendour or the Causal Body, symbolised also by the light and beauty of the Sanctuary of a Temple of the Greater Mysteries.

The Crown aptly represents the actual appearance of the upper portion of the illumined aura of a highly evolved man. The up-rushing individual aspiration is met by the downrushing divine response. The flow of power from below and above forms a crown like radiance, which also is a characteristic of certain Orders of  Devas, called in Hinduism “Bright Crested Ones”.

The Hidden Power of Icons

An icon is to a temple what the spirit or life energy is to the human body. It can be likened to the vital currents that link our physical vehicle to our energy body. The temple is a structure specifically designed to house an icon as well as the mental images that are sought to be evoked in its presence. The geometry of a temple’s construction relates to the human body and incorporates the principles of man’s relationship to the universe, thus forming a bridge, a living connection between the cosmic forces and the terrestrial. It becomes a place of union between the two. The Hindus have discovered that the Absolute can only be realized or thought of, or stated through the relative. The images, the icons, are simply so many symbols; so many pegs to hang the spiritual truth. The icon assists in focussing the mind on the Being to whom one prays. The devotee knows, however, that the image is not the omnipresent God force, whatever that may mean to almost the entire world. We can no more think about anything without a mental image than we can live without breathing. Icons are the supports towards realization of a higher power.

From ancient times in India, icons have been modelled in stone or wood, cast in metal or made of clay. Occasionally, precious stones and crystals are used for carving small idols. Special manuals provide explicit and elaborate instructions as to the creating of different icons and the use of different kinds of material. The most ancient images found in country areas are known to have been wooden, with the location and nature of the tree from which the wood is taken being of great significance.


The piece of stone or the log of wood selected is treated in an elaborate manner in order to divest it of its inert nature and to infuse into it the power to contain the divine image.


When the selected material is brought to the sacrificial enclosure in a ceremonial procession, a consecrated ‘pot’ or ‘purna-kumba’ is installed and the stone or wood is subjected to set rituals before it is given to the sculptor. The carving is done generally in that portion of the temple designed to be the sanctum, and the doors are closed during three, five, seven or nine days. If this area is not available an alternative pavilion is specially set apart to the south or north of the temple, the stone or wood being placed in the centre of this structure and worshipped with flowers and various other offerings. The sculptor begins his work with an initial ritual resembling the traditional ‘seed-sowing’ ceremony.


Clay icons are classified as ‘temporary’ or ‘occasional’ and are not designed for permanent installation in temples. Such images are installed just prior to any ritual and are ‘discharged’ in water immediately after worship is over.


The main icon installed inside the sanctum of the temple is usually carved of stone but there will be one or more metallic images to serve various ritualistic ends. These metal icons are not fixed and can be taken anywhere for the performance of rituals. Three major are prescribed for the making of such icons: gold, silver and copper, although bronze and brass are often used as well as a mixture of five metals, copper, gold, silver, brass and white lead.


Stone icons are preferably carved from stones found in rocky, mountainous areas, or when not available those existing at ground level are selected

The Significance of the Swastika

The Swastika signifies a ‘union of principles’- the infusion of spirit and matter which forms an essential aspect of Relativity, namely, energy and matter are one and inter-convertible.

The ancient Hindu seers depicted the original cosmic creative process with somewhay more sensitivity, poetic visualization and direct insight than does modern physics. Hindu seers saw subtle forces and proceeding energies crystallizing or condensing into gross matter.we have contrived the ‘Big Bang’ theory – a typically western aggressive concept – whereas the Hindu termed it ‘the churning of the milky ocean’. This ‘churning’ is represented geometrically in Tantric rituals as a four-armed cross within a circle. The cross is meant to be imagined as oscillating backwards and forwards. The circle represents the universe in its potential unmanifested state prior to creation, and is called in Hinduism ‘Bramhanda’. The Hindus believe also that the universe periodically dissolves and is then recreated. The period between dissolution and recreation is known as ‘Pralaya’ or time of rest or neutrality between creative periods. A period of creativity is called a ‘Manvantara’, and both periods (i.e. creation and dissolution) constitute a ‘Kalpa’ or a cycle of creation.

Swastika, a Sanskrit word, means literally ‘well-being’, which has many variables depending upon the application. The Swastika is representative of the life-force being set in motion to initiate the cyclic process of nature. Both images are thus closely inter-related. The Swastika as a magical symbol suggests an indicated direction (forward or reverse) by the angle at which the ‘arms’ point.

The left-angled Swastika symbolizes the centripetal force related to pull of gravity- the force which ties us to mental stagnation- decay and dissolution.

The right-angled Swastika symbolizes the centrifugal force which strives to release all things from the gravitational pull and propels us towards mental activity, growth and evolution.

The Swastika as a Vedic image finds expression in the magical ritual worship or ‘sacrifice’ known as Yagna. The purpose of the sacrifice is to ensure the fertility and well-being of the individual, his family and domestic animals and ultimately the whole community. It constitutes an offering to the Gods, or universal forces, to sustain them in their task of maintaining the world, directing its manifold generative activities and at the same time ensuring protection against the sometimes malevolent forces of the planets. The Swastika was evident on the seals of Mohenjo Daro in the Indus Valley, as well as it was found in Troy, in Mesopotemia, and is still used by the Navajo and Hopi Indians in the USA in their rituals and art work.

The Jewel in the Cobra’s Head

An ancient Indian legend tells of a precious jewel in the Cobra’s head. Symbolically, this jewel represents ‘light’, the precious source of wisdom. In reality it is a membrane, the pineal gland, regarded in the East as the seat of extra-sensory perception. In birds and animals whose cerebrum (the top part of the brain) is small or non-existent, it lies immediately under the skull and is sensitive to light. Once, it seems, the pineal gland was an eye.

Zoologists have testified that they have witnessed a Cobra at night with its ‘jewel’ glowing, moving through the undergrowth in search or water. Since glow-worms, fireflies, electric eels and many fish exhibit a similar phenomenon. The Cobra’s skin is considered to be highly magnetic, and friction with the earth could perhaps create an electro-magnetic effect.

The jewel is connected in the legend with the anthill, a favorite haunt of the Cobra. Anthills are often seen decorated with flowers, and small offerings of food are displayed near the base when it is known that a Cobra is in residence. Anthills, as well as indicating the presence of underground water, exist as mythical entrances to an exotic, sensuous, subterranean world called Patala, or the Netherworld, home of the Nagas. Patala is symbolic of gold and the earth’s minerals which energize the terrain and fertilize it. It is from a fissure in the anthill that the rays of light from the jewels in the Cobra’s heads shine forth, and coming in contact with the rain clouds, which represent the ‘pure water of wisdom’, they form the rainbow. In Vedic times a rainbow was known as ‘Indra’s Bow’, Indra being the first-born of the Gods.


Patala also represents the ‘shadow world’. Shadows enable light to manifest itself and give it objective reality, just as wisdom can only manifest itself in the face of ignorance. As anthills also represent ‘the confusion of humanity’, much like the Tower of Babel in Christian belief, it is therefore necessary that the Cobras be identified with the shadow world to be the instructors of humanity.


Cobras belong to the Elapidae family of snakes which includes Mambas, Kraits, Tiger Snakes and Coral Snakes. They are oviparous, or egg laying, and have rigid fangs. Cobras do not hear in the ordinary sense as they have no extended ears. It is believed that the torigue plays an important part in acting as an antennae for vibrations, or that the snake is hypersensitive to earth vibrations. The flute, therefore, is not heard by the snake. Some feel that it is the movement of the flute which fascinates it. Snakes do respond to quick movements. There is also the possibility that the vibrations of the flute being played tend to alert and annoy the snake.