Putting the Gods to Bed
As you may know all the scheduled routines in Hindu
temple worship are replicas of imperial routines for Rajas and Ranis
(Kings and Queens), including the very last puja every evening which
beds down our deities for a good night with all due courtly ceremony. So
listen to how we put our gods to bed:
First both sanctums receive a puja - a little ceremony in which all the
five elements partake in acknowledging the supremacy of the god and
goddess. The lingam/yoni - the primal symbol for the Supreme God - is in
the Siva sanctum, and the Abhithakuchalambal stands in the inner
sanctum of her own temple, the Devi Shrine. A sweet little palanquin is
made ready in the Devi's hall, musicians begin the melodies to accompany
the goddess to bed, and food is brought in huge bronze platters for the
supper snack. One little goddess, Bhumi Devi (Earth Mother) is
carefully brought out of the shrine and placed in the palanquin, with
accompanying music, and long torches of ghee-soaked cloth on the end of
long poles are lit ready for the procession which will take the goddess
ceremoniously into the bedroom.
Night Chamber through Silver Doorway at Right
|
|
The bedroom is in the mandapam or hall of the Siva sanctum. A lovely
little room it is, entirely lined with mirrors; thousands of little
mirrors cover the walls, ceiling and floor. The mirrored room contains
only a swing, a wooden seat suspended by bronze chains from the mirrored
ceiling. Outside, opposite to the doorway of the bedroom and across the
granite arcade of the great hall, hangs a huge mirror so placed that
when the divinities are finally seated on the swing they will look out
at their own reflections.
Back in the Devi shrine preparations are reaching a crescendo. With a
great fanfare, the Goddess in her palanquin with her musicians in full
swing, blazing torches streaming flames, her supper carried aloft by
bare-chested priests, others swinging incense burners, and the
hangers-on of the night trailing along behind, all parade out of the
Mother's shrine and across to the bedroom in Father's shrine. Here the
Goddess is taken from her palanquin and carefully put on the swing. Her
garments are arranged provocatively, flowers delicately added, incense
lit, and the musicians keep her entertained while Lord Siva is brought
out of his shrine. No need of a palanquin here, because the Siva who is
brought to sleep with the Earth Mother is the Formless Siva: the priests
carefully carry out an empty pedestal. More musicians follow and lovely
smells waft in the musty temple night air.
The pedestal of the Formless Siva is lovingly put on
the swing next to the Devi. Now the two of them are garlanded and
honored in the wonderful ancient manner: Water is sprinkled first since
water was created first, fans move our air now smoky with incense
because incense represents earth. The dancing flames of lamps remind us
of fire. Bells ripple sound out into our space. Thus are all the ancient
elemental deities also honored. The Divinities are offered their
supper. Then the music and bells reach the big crescendo as the camphor
flame - which leaves no residue - is passed lovingly before their eyes
symbolizing to us all the light of consciousness. Finally the swing is
set in motion.
Happily the gods rock back and forth in their majesty, music envelopes
them and us also. Their reflections are gleaming in the motion of
thousands of facets from the walls and ceiling and floor, and across the
arcade they can contemplate themselves and our backs. The divine couple
looks out across the heads of their adoring human beings into the huge
mirror opposite, and they smile. The Devi is always smiling; we can't
see the formless Siva smiling of course, but we expect he is in his
inner eye, since the devotee adoring the formless god has a personal god
in his heart. Then the door of the bedroom is shut and everybody goes
home to bed.
Our exit is very unceremonious; everyone shuffles out, eating our share
of the divine supper -Prasad, which means 'pleasure of the gods'.
Priests are locking up, clanking, and arcade shops are closing down. The
temple elephant is often asleep by now, snoring loudly. In the morning
there is another ceremony to greet the god and goddess and carry them
back to their public places, their audience halls.
The relationship between Mythology, ritual and devotion is very complex
and interesting. Here the Formless, Supreme Godhead is treated to his
due as a Great King, whereas on a different occasion the same god may be
represented as disreputable enough to offend his bride's family. All
those mirrors indicate that the ancient opulent setting for his nightly
dalliance with his Queen is a metaphor for infinity. We devotees can go
to our own little beds secure in the knowledge that our beloved Earth
Mother is suspended with her husband: not the badly behaved hero
mythology, but the immutable, omnipotent, eternal and Absolute God. The
One and Only, known by so many names.
[Apeetha Arunagiri]
|
|
|
|
