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The Brahmmotsavam of Karthigai Deepam Festival in Tiruvannamalai is not confined to the Temple alone but involves the whole town. The rituals and ceremonies connected with it have endured for centuries. On the first 3 days of the 17 day Festival various functions occur at the Durga Amman Temple, Tiruvannamalai, and on the last four days of the Festival, functions include Theepal of various Gods on Ayyankulam Tank, and Hill rounding by the Gods on their chariots in order that they may give darshan and blessings to those who live around the Hill. The Deepam itself which is lit on the night of MahaDeepam, depending on the advice of Priests consulting their astrological texts, can last from a minimum of 7 days to a maximum of 13 days.

The main Festival lasts for 10 days and begins on Uttradam day with flag hoisting (dhwajarohanam) marking the beginning of festivities. After this ceremony, the image of Arunachaleswarar along with other deities are installed in the Kalyana Mandapam, where they remain housed for the next 10 days so that visiting devotees may have darshan.

Processions occur both day and day inside the Temple and around the outside perimeter of Arunachaleswarar Kovil.


The Flame-crowned Mountain
[Narrative by Swami Abhisktananda 1970]

The Festival of Thibam (the Tami form of the Sanskrit dipa) is observed all over South India. Everywhere on that evening the gateways and facades of private houses are lit up with innumerable oil lamps. But there is no question that its most splendid celebration takes place at Tiruvannamalai itself. Vast crowds gather from far and near, and hundreds of thousands of pilgrims pour into the town during the days which precede the darshan of the light. They camp out everywhere - in the porticoes of the Temple; in the many mandapams in the town or its suburbs; they find places on the side-walks or under trees - no matter where - to take a few hours rest between the liturgical celebrations. Innumerable sadhus whose life seems to consist of an endless series of pilgrimages) are accommodated in the monasteries, both large and small. It is also a great Festival for cripples and beggars; the roads and outskirts of the town become a real "Court of miracles".



Flag Hoisting - First Day Deepam Festival

A permanent Dhvaja Stambha is believed to be a later addition to the Hindu Temple. Initially, it was temporary and was primarily used to indicate the beginning of a Festival or other auspicious days and occasions. Whatever its history may be, the Pancharatra scripture states that a Temple without a Dhvaja cannot be said to be a Temple!

The Dhvaja Stambha, or Flag Staff, which is an important feature of the Temple, is located in front of the Siva Sannidhi. A Dhvaja Stambha usually represents the prosperity and pride of a Temple. But some texts suggest that the bottom of a flag post symbolizes Shiva, middle portion Brahma and the top portion Vishnu.

Today, Dhvaja Stambhas are permanent and in the case of Arunachaleswarar Temple it is plated with a precious metal. The top portion of the flag staff has three horizontal perches or three branches pointing towards the Sanctum Sanctorum. It symbolizes righteousness, reputation and propriety; or the Trimurtis - Vishnu, Brahma and Shiva. At the base of the Flag Staff is located the Bali Pitha (sacrificial altar for one's malas, sins). One who hoists the Dhvaja (flag) aloft a Hindu Temple attains a divine body and enjoys the company of gods." So declares the treatise Deeparnava.







There is a widespread belief that the Dhvaja Stambha gives an idea to a devotee from a long distance about the idol installed in the Temple and about the Vahana or Vehicle used by the deity. It is hoisted when there is an auspicious ceremony or Festival in the Temple.




Symbolically, hoisting the flag suggests setting out to conquer, and a devotee comes to the Temple to conquer his ego and gain control over the baser nature with the help of the Supreme Being. The Sanskrit word for the flag is 'Dhvaja' and it means whatever is raised. In the religious sense, whatever raises man to a higher level of understanding and activity is a 'Dhvaja.' The flag also suggests hope and desire to overcome ignorance. The Temple visit invigorates the devotee, recharging him with strength and bravery to face the hardships of daily life knowing full well that in the ultimate those who have surrendered to the will of God find victory.

The Dhvaja which suggests the victory of good over evil is a symbol of victory and superior wealth. It signifies commanding respect, patriotism and kingship. The Kings of old in order to exhibit their Lordship over their kingdom and proclaim their continuing rulership would hoist a flag above their battlements or palace .

God is seen as the King of Kings, an Emperor above all emperors. He is the Supreme Power, not just on earth but in the entire universe; which is, after all, His creation. The Hindu mind thus thinks it only befitting that tribute be paid to this all powerful Master - the Dhvaja is thus sent aloft. If an ordinary citizen pays tribute to his king and receives favour, why the surprise when a devotee pays tribute to his King!







Sometimes the flag or banner hoisted in the Temple acts as a message board and gives an idea about the deity worshipped in the Temple. It also suggests which particular incarnation or manifestation of the God is given importance in the Temple. An interesting minor function of the Dhvaja is its use as a warning. Just as a city without the king's flag is a city 'without owner', a mandir without a Dhvaja is open to harassment by evil elements. The Dhvaja warns, "Beware, your entry is prohibited!"

[Reference: Indian Temple Traditions - Kalpatharu Research Academy]


Deepam Festival - Fourth Night

Wish Fulfilling Tree and Cow

One of the most popular of the processions over the Deepam Festival, is that of the Kamadhenu, the wish fulfilling cow, and the Kalpavriksha, the wish fulfilling tree. Both of which emphasis the wish fulfilling aspect of Arunachala.




The Kalpavriksha is a mythological divine tree said to fulfil all desires. Its mythology narrates that the wish-fulfilling tree originates from the churning of the ocean of milk afterwhich the god Indra, returned with the tree to his paradise. During the Deepam Festival on the Fourth Night Lord Arunachaleswarar and his Goddess, Unnamulai are seated under the Kapavriksha Tree.







The second Radham appearing of that night is that of Kamadhenu (literally meaning; the cow; "from whom all that is desired is drawn", or "the divine cow providing for all needs"). The Kamadhenu is a divine cow-goddess described in mythology as the mother of all cows who provides the owner with whatever is desired.




Theories as to the origin of the Kamadhenu are two-fold. One scripture describes her as the daughter of the creator god Daksha, and another narrates that Kamadhenu also emerged from the churning of the cosmic ocean. Upon the divine cow during the Deepam night procession is seated the Goddess Saraswati.




It is often the wish fulfilling aspect of Girivalam that brings many pilgrims each Poornima (Full Moon) to the Hill, whatever the difficulty or weather, to perform circumambulation. In fact many pilgrims prefer it when the conditions are extreme (cold, heavy sheeting rain, previous tapas such as fasting and mortification etc) as they believe that the greater the difficulties they overcome in performing girivalam, the greater will be the focus of their sankalpa (intention) and success of their wish.

The now deceased Annamalai Swami explains the power of the Hill as thus:-

". . . It is not an ordinary hill. It is spirituality Itself. It has a powerful, magnetic pull to the Self. Seekers who come to this place with the intention of realizing the Self will have untold benefits to do pradakshina on a full moon.

In the proximity of this holy hill the presence of the Self is more powerful and more self-evident than anywhere else. Indian mythology speaks of a wish-fulfilling tree. If you find this tree and tell it what you want, your wish will be granted. Arunachala also has this reputation. This is why so many people come here on a full moon night and walk around it. But very few people come here and ask for their complete freedom, for undisturbed peace.

Arunachala is a light. It shines. It is the light of the Self, and the light of the Self will continue to shine on you whether you believe it or not.

Arunachala is greater than all other religious places. There are other holy, powerful places in the world, but none have the power of Arunachala . . . There is a huge amount of shakti, or spiritual energy, here."


Deepam Festival - Fifth Night

Big Silver Rishba
[Narrative By Swami Abhishekananda 1970]

"The Festival begins nine or ten days before Thibam. Each evening there are solemn processions round the Temple, which are over and above the regular worship and the private offerings of puja which go on through the day.

The day comes to its climax with the procession in the evening, which lasts almost until midnight. It is led by Ganapati, the commander of the heavenly hosts (gana-pati). Next comes Karttikeyi, the lord of the Pleiades, also called Murugan or Subrahmaniyan in Tamilnadu, who like Ganapati is a murti of Shiva and also his son. Surya, the Sun, comes next, the great sign of Light. There there is Uma or Parvati, Shiva's consort; and lastly, on his white bull, Shiva Arunachala or Annamalaiyar. According to custom they are carried on the Temple cars, whose dimensions and decoration are on the grandest scale. Every evening there are different cars, each more impressive than its predecessor. Of these the most remarkable are the huge car of carved wood, more than ten metres high, on which the statue is carried on a day during the Festival and also the silver bull on which Shiva rides on the fifth day.







I was strongly recommended not to miss the night of the silver bull, and had accordingly arrived in very good time. I passed the time in the shrine of Sundareshwar, which was under the supervision of my friend Arunachala Aiyar, Ramana's old companion in the Virupaksha cave. Saminathan was also there that evening. The mandapam was crowded with people who like us were waiting to see the procession. They plied me with endless questions, which I answered as well as I could. Saminathan, not knowing Tamil, remained silent, his eyes half shut, lost in his prayer. I have to admit that my questioners were much more impressed by Saminathan and his silence than by the answer that they sought to extract from me; but they paid even less attention to the disquisitions which which one or other of the company sought remorselessly to improve the occasion. They clearly told me so . . .







During this time, in the Kalyana Mandapam, 'the portico of weddings,' the priests were busy decorating the murtis, using silk and gold brocade, flowers and valuable jewels. Meanwhile the cars were standing outside the Temple, and on them also ornaments were being loaded. All this seemed to go on interminably; but at last there was a sudden blare of trumpets form the inner courtyard, their sound re-echoing loudly from the high enclosure walls. Accompanying the trumpets was the low drone of the tamburas, while the silvery melody of flutes pierced though the noise of the crowd.







Now the file of murtis with their attendants emerged from their shrines, and when they passed under porticos or gopurams the echo from the low vaults become deafening. Soon they came to the Vallalla Gopuram where were were standing. In front were the torch-bearers, next the musicians, and last the palanquins, carried on the bare shoulders of the priest. On either side was the tightly-packed crowd with outstretched arms, giving cries of fervent devotion. Somewhere breaking coconuts on the ground, while others held out at arm's length gilded trays of burning camphor. The enthusiasm spread, swelled, multiplied itself irresistibly. Light, heat, scents, sounds, bodies and souls too, all were weeded together into a single vast and vibrant outpouring of love in honour of the Lord of Arunachala.







We followed behind the procession, crossed the outermost courtyard, passed under the huge gopuram, passed under the huge gopuram over the East Gate and reached the long colonnade which adjoins it on the east, where the cars were waiting. The murtis were installed on the cars; and once again the work of decoration was resumed with renewed zeal; flowers, jewels, lights in even greater quantity. The crowd was now more tightly packed than ever. The friend who was guiding me managed to open a path for me immediately in front of the chief car, where the palanquin of Shiva Annamalaiyar was mounted on the silver bull.










Over him was held a huge ceremonial umbrella which touched the roof overhead. Behind the car was a trailer with a dynamo, and thousands of electric bulbs sparkled all over the palanquin, the platform, the decorations, among the jewels, silks and flowers which adorned the statue. Appusastri, who was standing near, was so moved that he cried out: "How can one doubt any longer that it is the Lord himself upon his car, who presents himself for our adoration!" Yet this Appusastri was an old disciple of Ramana and Ganapati Muni, who more than anyone had lectured me about advaita, proclaiming that whatever appears is maya, that there is no distinction at the heart of Being, and that it is vanity to worship God as an "Other" . . . !







Deepam Festival - Maharadham

To get a sense of the excitement and colour of the procession of Maharadham, read the below narrative written about a previous Deepam. Reproduced with the permission of Apeetha Arunagiri.

"Three days before the lighting of the Light, it is Big Car Day.

There are several Big Cars, huge wooden carts carved with fabulous mythological figures telling all the stories, with the biggest wheels in the world; the biggest car dwarfs all the buildings in town except the giant Temple towers. It is called The Big Car.

On this day parents or family members also carry their babies around the procession route. They string a sari on a sugar-cane pole which they support on their shoulders making a hammock for the child. The babies carried are ones whose parents asked Arunachala to bless them with so they are carried in thanksgiving.

The splendid bronze figures of Annamalai and Unnamalai - male and female personifications of Arunachala, are heavily garlanded and bejeweled, seated up on The Biggest Car; the towering edifice is covered with long strips of embroidered cloth and gigantic flower garlands. There are several big cars pulled before and after The Big Car; there's a women-only one carrying Abhithakuchalambal, and there's also a kids' car, which trails flamboyantly at the end.

It's all stupendously awesome.

Years ago we used to walk in to watch the Big Car come up the incline of one main street around midday; we'd all have lunch in ashram and then everyone would make their way around to the east face of the hill to meet the gods coming up Thiruvoodal street. But now there are so many pilgrims that the schedule has extended interminably. Inauspicious times of the day intervene so the proceedings stop until the bad hour has passed, and there's also the time when suddenly everyone goes home for lunch.










That year it was evening before the Big Car reached that street. My daughter's two children - Hari and Ani - were very young so we secured a protected view from the balcony of a cloth shop half way down the incline, long before the towering, tottering, embroidered, garlanded Big Car - with it's flouncing umbrella on the very top, appeared above the roofs of the shops and maneuvered itself into position for the strenuous haul up towards Arunachala.

Upon the up-roaring signal of its visibility from the crowd, Hari dropped his pile of coat-hangers and rushed to be held up over the balcony. His eyes popped, his ears flapped. Even though we'd seen it before, nothing can prepare us for the majesty of its annual sight. Below us the street was a sea of heads; all balconies and rooftops up and down the street full of faces and now that the Big Car appeared, bodies behind us pressed forward, pushing us onto the balcony rails festooned with dubious electrical fairy lights. It's quite exciting.









Since the divinities are coming, dedicated persons don't wear shoes. This year we noticed one Policewoman wearing socks to protect her dainty feet from the yucky street. About five thousand pilgrims pull the cart around the Temple circuit-route, ladies on one side and gents on the other. When the car stops, big chocks of heavy wood are wedged underneath the enormous wheels while the pullers take a rest and offerings are made to their majesties the gods. When ready to start again, young men with enthusiasm climb up onto the chocks with poles to steady themselves, and on signal they jump up and down on the slanted chocks until their force pushes the wheels forward, giving momentum for the pullers to haul the cart further up the street.



Looking down into the crowd below as the cart passed beneath us, we were treated to a seething mass of human energy - drums beating in time to muscles, bystanders shouting encouragement, enormous wheels slowly turning, the carving on the cart creaking, embroidery panels blowing in the wind, garlands wavering about, lucky little boys sitting up high lowering cloth carry bags on strings for people to send up coconuts and flowers, the Brahmin priests looking down impassively.



It's the Brahmins particularly - the extravagant courtly costumes, the imperious faces staring down - that convey the true sense of the gods as majesties: as the most important personages in our world, out on a tour of the town, to be saluted by their adoring subjects. And a very large number of their adoring subjects are sweating, straining at the edge in the effort required to pull them. The Big Car teeters its way uphill until the momentum runs out. The chocks are wedged in again. Everyone breathes.

It will take about ten hours to circumnavigate the Temple."


Deepam Festival - Bharani Deepam 2012

Preparations for this day began months in advance with the local administration, revenue department, police and Temple authorities.

The lights on Arunachaleswar Temple were placed around the Compound perimeter and on the Gopurams and burnt brighly each night heralding the upcoming Festivities.







Wooden levers were fashioned by carpenters, ready to be placed under the large wheels of the chariots that will be daily used throughout the Festival.



Fire drills were conducted at the Tanks inside the Arunachaleswarar Temple.



The giant cauldron later to be carried to the top of Arunachala was repaired and repainted.



Arrangements had been made for a mountain of ghee, to be stored in various rooms throughout the Temple. And previous to the day of MahaDeepam, Temple staff and volunteers carried huge five-gallon containers of ghee and large pots of thick, braided cloth wicks to the top of Arunachala mountain.



Local folk and pilgrims from far afield, climbed Arunachala some in order to secure a good viewing point for the evening's lighting of the 2012 Deepam cauldron and others so that they could personally deliver their ghee offerings to top of Arunachala.

Significance

"There is immense significance in this ceremony called Bharani Deepam. At this time, the universal Lord manifests as the five elements, which will later fully merge to become one when the Krittika Deepam flame is lit in the evening. From one to many and many to one. This is the whole essence of Saivism and the meaning of Krittika Deepam."

Early in the morning before Bharani, a group of fishermen were blessed by a priest in a ceremony at the Temple. Amidst ringing bells and Temple music, the priest gave the fishermen a lamp lit from the Bharani Deepam in the Temple. This lamp, also called Bharani Deepam, was taken to the top of the Hill by fishermen from hereditary fishing families. Others of the same hereditary fishing family will remain at the Temple to light the Deepam flame in the evening outside the Arunachaleswarar Siva Sannidhi.









One of the reasons that fishermen and not Brahmin priests are traditionally given the privilege of carrying the Bharani Deepam up the mountain and lighting the Krittika Deepam in the evening both on Arunachala and outside the Arunachaleswarar Siva Sannidhi, is because according to a myth, Parvati (the wife of Lord Siva) was born in a fishing family.

Just after the early morning Temple ceremony, five earthern pots were lit. These ghee-filled pots, represent the sacred elements earth, air, fire, water and ether. As these five flames loom up with red-yellow light, the famous Festival of Karthigai Deepam officially begins.







A single flame is then taken from the pots and kept burning in the Temple throughout the day as a symbol of the merging of manifestation back into God, the one source of all. This single flame is referred to as the Bharani Deepam.







MahaDeepam
[By Swami Abhisktananda 1970]

". . . However all this was only preparatory for the last and principal day of the Festival, on which the darshan of the Light is given. This day is also a day of fasting, as the spirit must be pure and completely unencumbered in order to receive the grace of this darshan. On this day one refrains from all food, or at least from taking the normal heavy meal of rice, until the evening after sunset, when one has actually seen the light on the crest of Arunachala.

I spent this day at the Esanya Madan . . . and arrived around two o'clock, at the inner courtyard of the Temple which was already more than half full. However with the help of friends I managed to insinuate myself onto a balcony from which I could get an excellent view of the whole ceremony. By four o'clock it looked as if not a single square foot in front of the sanctuary remained unoccupied, and yet the crowds continued to arrive. From my balcony I looked down on a sea of heads, all exposed without protection to the fiery rays of the sun. In order to divert the crowd, as they awaited the great moment, a succession of speakers came to the microphone which was placed quite near me on the balcony. They had only a limited success, however; and even when Murugan Das took the microphone, began to sing and invited the crowd to join in the refrain he carried scarcely half of them with him. Then he chanted the great mantra "Glory to Shiva!" and at once every tongue took up the cry, which was bellowed from the loud-speakers and echoed back from the enclosure walls. Soon there was only the cry of "Om Namah Shivaya! Om Namah Shivaya!" coming in great waves of sound endlessly repeated from all sides and uttered in fervent supplication.

Towards five the singing stopped, as a procession emerged from the Kalyana Mandapam. It was the five murtis (Ganapati and Subramaniyar, the two sons of Shiva; the Bull Nandi, Shiva's vehicle, Parvati, his consort; and finally Shiva himself) which were now coming attired in their most splendid garments and covered with flowers, to mix with the crowd so that they might have the darshan of the Holy Light. Immediately in front of the porch of the sanctuary stands a mandapam which was built in 1202 by Mangayarkarasi to provide a shelter for the Lords of the Temple during this annual function. The murtis passed through the crowd in their palanquins carried on the shoulders of the Brahmins. Once they were in their place, everyone's attention was once more turned towards the Mountain and the chanting of mantras began again.

The atmosphere became more and more tense. The sun had now disappeared behind the mountain, and the lengthening shadow of the mighty Linga of rock gradually spread across the sanctuary, the courtyards and the Gopurams. The great moment was drawing near for which everyone was waiting - the appearance of the Flame. Expectation filled every heart and showed on every face. It increased in harmony with the rhythm of the cosmos itself; as slowly beyond the horizon the moon rose into the sky, while in the depths of space the constellation of the Pleiades, of Krittika, appeared in the same direction.

Suddenly there was the sound of an explosion, like a gunshot. Young Brahmin torch-bearers came running out of the inner sanctuary, brandishing their lighted torches at arm's length. Priests offered the flame of the arati before the murti of Arunachala at its space under the mandapam. In front of the main gate a huge bronze cauldron, filled with oil, camphor and clarified butter, burst into a giant flame.

And from the peak of the Mountain also, - on which all eyes had been fixed for the last full hour, not only in the Temple and the town, but in the whole countryside around to a distance of many leagues - the flame mounted up, manifesting both outwardly and in the heart of the faithful, the mystery of Light which from the beginning has at the same time hidden and revealed itself in Arunachala.







That is all. The Flame has been seen. Joy and grace have filled all hearts. The crowd immediately begins to disperse, though it will be more than two hours before the Temple courts are completely empty. Each one as he leaves, goes to the bronze cauldron and casts into it his offering of camphor or of oil to be burnt up in the one great flame - a symbol of his own departure into the mystery of the Flame.







Meanwhile the Brahmins up above begin their slow and difficult descent from the Mountain. They had climbed up early that morning in the first light of dawn, carrying jars of oil and clarified butter. The worthiest of their number were entrusted with bearing the sacred fire, taken from each of the Temple shrines, in order to light the Thibam flame. This had to be done at the very moment when, from their lofty observatory, they saw simultaneously the red sun disappearing in the west while the moon's dish came over the horizon in the east.

As soon as I left the Temple precincts amid the crow of faithful, I joined with many others in once more following the circular road round Arunachala . . . as I stepped into the cool air of the night . . . all the detailed features of the Mountain had disappeared. There was nothing to be seen but the sharp outline of its mystic triangle sketched against the sky. As the moon climbed majestically towards the zenith, it shed over it its silvery light, while all around was spread a mysterious shadow.

The Mountain had become an immense lamp, from the top of which glittered the bright Fame. OM."


Theepal and Hill Round

To complete the festivities and functions of MahaDeepam the Gods on four consecutive days are taken in floats upon the Ayyankulam Tank in front of the third oldest Shiva Temple in Tiruvannamalai, i.e. Arunagirinathar Kovil.




On a day after completion of the lighting of the Deepam on top of Arunachala, the Gods are ceremoniously taken on procession on decorated chariots on Hill Round in order that they give their darshan and blessings to all devotees living around Arunachala.







After completion of the Deepam Festival 2012, the cauldron which had been aflame for nearly two weeks at the top of Arunachala, finally makes its descent down the Hill where it will be kept inside a store room at the Big Temple, until next year 2013 - when it will be repaired and painted and readied for another glorious Flame darshan on top of Arunachala.