SHIVA - THYAGARAJA THE CULT

 THYAGARAJA THE CULT - CONCEPT

Thyagaraja is a combination of three deities including SHIVA, his consort PARVATHI and one of their sons SKANDA as a baby in a composite image.

The iconic representation of Thyagaraja is known as “SOMASKANDA”. Somaskanda though being a Sanskrit name is a part of a unique Tamil concept and are not present in the north Indian Siva Temples.

When separate shrines are given for the Utsavabera or Utsavamurthy of Somaskanda( As in the case of Thyagaraja at Tiruvarur), they are called Thyagaraja. Hence we can always say Thyagaraja images are that of Somaskanda, however all Somaskanda images need not be Thyagaraja. The Thyagaraja iconography as per the Hindu scriptures is SA (Sahita or with) UMA & SKANDA.

TYAGARAJA THE LEGEND

Mahavishnu prayed to Mahadev for a Progeny at Tiruvarur. Pleased with him Shiva blessed him with a male child Kaama(Manmatha). For ignoring her in his prayers, Parvathi cursed Mahavishnu that his child Kaama would be burnt to death by Shiva.

Aggrieved by this, Mahavishnu built an Idol consisting of Shiva, Uma & Kumara and worshipped it. Pleased Parvathi revoked her curse to bring back Kaama & manifested in him the powers of creating the forces of attraction, required for the unison of males and females in order to bear progeny for the sustenance of the Human race. Somaskanda is thus a manifestation of Shiva in the form of unison of Shiva, Shakthi and their child Skanda coming out of the heart of Mahavishnu.

Mahavishnu who had created the Idol of Somaskanda gave it to Indra, who held and worshipped the idol in great reverence.

MUCHUKUNDA CHOLA was a valorous king, who ruled the earth. Indra had to seek his help to defeat the Asura Valasuran. Indra wanted to reward the king for his valourous help, asked him to select a boon. Mucukunda Chola wanted the Somaskanda Idol which Mahavishnu & Indra had prayed to, as the boon.

Indra was in a dilemma to part with the image and at the same time not to renege on his promise. He created six more identical images and asked the king to select the original one. Through the grace of Shiva, Muchukunda Chola picked the right image. Pleased with this Indra gave all the seven Idols to the king, who brought them to the earth and established them in seven temples in an around Tiruvarur.

The one worshipped in Tiruvarur is the one which Mahavishnu & Indra had worshipped, and is known as Veedhi Vitankan. These Seven Thyagaraja Idols together are known as the SAPTHA VITANKA.

The Tamil epic SILAPADIHARAM speaks about a King who guarded the Heavens, when Indra had gone to retrieve the Amritha, which was stolen by the Asuras.

THYAGARAJA – OVER HISTORY.

Somaskanda made its debut in Hindu art when the Pallavas, etched the sculpture of the Somasaknda on the rear wall of the Garbhagriha behind the Lingam around the 6thcentury CE which became a theme for all Shiva temples. Of all the Somaskanda panels which have survived, they belong to the era of Mahenra Pallava(580 – 630) , Narasimha Pallava(630 – 668) , Parameshwara Varman( 670 -700) and Rajasimha Pallava(700 – 728) in Kanchipuram & Mahabalipuram. There are about 40 of them. The Sangam literature does not speak about the Somaskanda, however all three deities were known during that period. The earliest known writings of the Somaskanda are in the “TEVARAM” which are from the 6thcentury.

The Thyagaraja cult or the followers of the concept of Somaskanda dates back to the PALLAVAS ( 6TH to 9th Century CE), CHOLAS (9THto 13th Century CE) & later during the 17th Century CE of the MARATHAS of THANJAVUR. The cult had the full patronage of the Rulers of these dynasties and became popular by the 7th or 8th Century CE.

In 1126 CE a famous icon of Somaskanda now known as Suchindraperumal was installed in Suchindram,(14 Km’s from Kanyakumari) The inscription in the temple describes the Icon aptly as “UMASKANDASAHITA TIRUMENI” (the divine form along with Uma & Skanda).

Thus it can be taken that the Somaskanda model of Thyagaraja seems to have evolve completely around the 10th century CE during the reign of Rajaraja Chola I. It was his son Rajendra Chola I who constructed the Thyagaraja shrines in stone in both Tiruvarur and Tiruvotriyur in Chennai as known from the inscriptions.

It is during this period that the Icons of Nataraja began to appear in the Cholamandalam. Rajaraja I made an image of Nataraja Called “Adavallaan”

The Tevaram hymns describe the tradition of processional deities (Utsavabera), which were prevalent in the 6th century CE during the time of the Pallava’s.

Somaskanda was evolved over a period when the Sanskritic north and the Tamil south was synergized, even religiously, by the Royal Patronage of the Pallava’s in order to thwart the dissenting practices of Buddhism & Jainism with a united Hindu front. The Pallavas used titles of Parama Bhagavatas, Parama Shaivas & Parama Brahmanyas for themselves in meikirti’s (epigraph in Tamil).

Murugan was regarded as the god of Tamil’s & the Cholas & one of the earliest worshipped god, associated with Royalty, Love, War, Youth, Justice, Fertility, Rain & Forests. Born out of a mother name Korravai (Kotravai) , who later became Parvati & assigned a father in Shiva. Many of his characteristics were transferred to Shiva as Thyagaraja in the south & the same phenomenon happened in northern India too, where the characteristics of Skanda were attributed to Shiva post the Gupta period. Sanskrit names & titles were adopted by the Pallava’s like Nrpatunga, Aparajitha,Mahenravarma, Narasimhavarma and titles like Chakravarthy along with Tamil titles Konerimaikondan.

The Pallava’s evolved an excellent visual concept of Korravai ( Kotravai) the mother of Murugan as Uma or Parvathi, Murugan as Skanda and Shiva as Thyagaraja in the Somaskanda icon and created an equal pedestal for all three deities.

ICONOGRAPHY - THYAGARAJA

Sakaladhikaram the scripture on sculptures attribute to Sage Agastya translate orally and encrypted in the 13th century describes the Somaskanda, along with other treatise including the Sthalapuranam. The Shiva in the Somaskana murthy should be seated in the Ardhaparayanka pose, erect & majestic.(Rajoguna). His right leg should hang down and the left leg should rest in the pedestal. He would be chaturbhuja with the deer an axe in his upper back hands and the lower front hands in the Varada or Kataka and kartari mudra. Expression of Shringara or Love with the Jatamukuta ( Matted locks),Thri Netra Dhari ( Three eyed) with the crescent moon over the forehead . Umamahehwari, should be seated on the left of Shiva, also should be portrayed in the Shringara & Rajas rasa, beautiful & demure, with a flower of blue lily (Nilotpala), on her right hand( Hence her name Nilotpalambal, the concert of Thyagaraja). She could be adorned with crowns of Mukuta, Kirita, Karanika or Keshabandha. Skanda is to be depicted as a child in the middle of both Shiva and Parvati either seated or dancing with a Karanda mukuta. All the three deities are to be placed in the same pedestal to emphasize on the equal importance of all three deities. Somaskanda or Thyagaraja is the iconic (Chalabera or movable) representation of the Mulavar in the sanctum Valmikanathar who is in the form of a Lingam (Achalabera or immovable).

How does LORD THYAGARAJA look like outside the Garbhagriha? (Behind the hall or Devasabha where Thyagaraja is kept, there is supposed to be a rectangular chamber or Garbhagriha which is blocked and presumably have had the iconic representation of Mahavishnu as Anantapadmanabhan). The Vimana is actually over this blocked area.

THYAGARAJA – THE ICON

The visible icon of Thyagaraja has a Halo of four apsidal patterns and the outer pattern is line with Chakra – Discus & Agni – Flame showing a Shiva –Vishnu combination.

The crown of Shiva and Parvati is topped by a bulbous Chignon (Kondai/Jooda). Two crescent moons, on the two sides of the Kondai and two big round studs below them. Face with a benevolent smile.

The balance image of Siva and Devi is totally bedecked with flowers and cloths and are not visible. In this entire frame Skanda is totally hidden from view being one eighth size of Thyagaraja. Both the Idols of Shiva & Parvathi resemble each other and except for the face, no other attribute is visible. On the right of the lord, covered with a silk cloth ( Thyaga – Pattu) with a lingam embossed on it and on top is placed two round stones is a mound which is part of the Thyagaraja Paraphernalia, believed to be the three dimensional Yantra SriChakra.

Two long swords adorn the side of the panel from the pedestal an almost up to the shoulders of Shiva. The throne on which the deities sit is decorated with inverted lotus and in the center two Vrushabham’s - bulls face each other, with what looks like a lamp or Agni flames. On the corner of the thrones are the great Sages Patanjali & Vyagharapadar, who are also linked with the dancing lord Nataraja at Chidambaram.

VITANKA

The term VITANKA is associated with Thyagaraja and not with Somaskanda. There are a group of seven temples in cholamandalam which are associated with the Thyagaraja Cult known as the “SAPTHA VITANKA STHALAM”.

Tradition of the current era define, VITANKA as a portable LINGA made out of precious stone(Kundalini), in a silver casket placed on the right side of the Thyagaraja panel. The abhishekam’s are performed to this idol daily. Being in an anthill “Valmik” the Moolavar Valmikanathar never gets an abhishekam. The Lingam is anointed with “Punuku” a special sandalwood & incense powder. This tradition is followed in Tiruvotriyur and other places where the Lingam is made out of clay. This Vitanka in Tiruvarur is made out of emerald and is the form of Tyagaraja. This VITANKA differentiates between a THYAGARAJA & a SOMASKANDA.

The Sanskritic word VITANKA refers to SWAYAMBHU or naturally formed and one without being crafted by humans, hence making it sacred. The Kundalini in the form of a naga coiled around itself three and a half times and covering the mouth of the swayambhu lingam with its head.

The Thevaram refers to the Vitanka as something beautiful. In Thiruvarur Thyagaraja is known as VeethiVitankar, or the Beautiful lord who mingles with people on the street.

Vitanka is presumed to have been conceived by Mahavishnu & refers to the Atma Lingam or the Swayambhu form & signifies beauty.

The term Vitankar was used to denote a processional Idol, in Anthropomorphic form, and are Somaskanda icons from Pallava and chola times. The Thyagaraja & the Linga inseparably stand for the Nirguna(Aniconic) &Saguna(Anthropomorphic) forms of Shiva.

Traditions, epigraphs & the Thevaram in a mysterious manner do not describe the Somaskanda or Vitanka of Thyagaraja keeping it a secret tantric Sri-Viya cult characteristic, as in the case of the Chidambaram Rahasyam.

The Thyagaraja cult forbids the full revealing of the deity and in fact at all given times only the faces of Shiva an Parvathi are visible,they are fully adorned with Jewellery, cloth & flowers which keeps the Icon fully covered. The right foot of Thyagaraja & Nilotpalambal are revealed on the zdate of Arudhra Darshan in the month of Margazhi (Dec – Jan) & the left foot of Mahadev & Devi are revealed on the date of Panguni Uththiram ( Mar – Apr).

TIRUVARUR – TOWN OF TAMIL SIVA BHAKTHI

Tiruvarur also known as Aarur in the past is the land of the fragrance of the Blue lotus, also known as “NILOTPAL”. It was also known as Kamlalayakshetra(abode of lotuses) because of the presence of the Kamalalayam tank ( 17 acres) and the prime deity Kamalabigai. Aarur was one of the earliest capitals of the Early Cholas and many of their Kings have been coronated in this town. This ancient town was the birth place of the Tamil Siva Bhakthi movement.

In this town, the great Poet Saint Sundarar eulogized the 62 Saints preceding him in a hymn called “THIRU THONDA THOGAI” (List of holy saints devoted in the service to Lord Shiva). These saints, total 63 in numbers, came to be known as Naayanaars or Naayanmaars, who by their devotion & service, contributed to the Tamil Saiva Movement.

Their hymns and poetry in the praise of lord Shiva became part of a canonical literature called “TIRUMURAI” which consists of 12 volumes, dated between the 6thCentury CE and the 12 th Century CE. Out of these the 1st seven volumes, are a compilation of the hymns of Sambandar, Appar, & Sundarar known as the “ TEVARAM” compile by the 7th Century CE.

I have taken some reference from the book called “The lord of Arur” written by Ms.Rajeshwari Ghosh.(Publishers:- MOTILAL BANARASIDASS PUBLICATION PVT LTD) I congratulate the author for the herculean effort to explain the Thyagarja cult as a concept & thank her for writing a book which is unputdownable. I thank both the Author & Publisher.

The Archakar refused to divulge the details of Lord Thyagaraja during my visit to the Tiruvarur Temple, This lead to a curiosity to unerstand the Cult of Thyagaraja. Hence this small script.