652015 Jeernodharana KumbhabhisheKam

Sri Nataraja Sabha Manadapam at SSVTSthapati R. Selvanathan & Smt. Ponni Selvanathan

Sri Nataraja Sabha Mandapam, another improtant addi-tion to the SSVT Temple complex is the miniature of Sri Chidambaram Temple moola vimanam. This sabha

mandapam has been designed and carved in teakwood with a brass kavacha, covering, as we see at SSVT. The Iconic rep-resentation of Sri Nataraja “King of Dance” poses in Ananda taandava gesture—the Dance of bliss, is installed along with his consort Sri Sivakami ammai and Saint Sri Manickava-sagar. This arrangement is also addressed as kanaka sabha, the golden stage.

Before entering into the design and the architectural aspects of Sri Nataraja Mandapam, we would like to give you a glimpse on the fabrication of the Universe associated with Lord Nataraja to better understand this Sabha Mandapam.

The universe soon after the Big Bang was filled with cubical atoms which were then pulsating as a whole, comprised of energy filled atoms of primal light and primal sound. This breathtaking vision of the universe accommodated all the primal atoms in a rhythmic state of motion. This was experi-enced in the divine vision of our great Maharishis of the past.

Further describing the state of existence of these primal par-ticles, the traditional science and technology goes to say that these particles are not static, but are in a state of vibration and hence always in a state of harmonized and rhythmic motion, self-illumined by the brilliant radiance of primal Light. In brief, the space is full of such luminous particles, throbbing with energy. Our Maharishis therefore chose to depict this as the dance of the ‘anu’ or the primal atom- expressing its state

of existence both literally as well as from an artistic point of view. The same has been acknowledged and acclaimed by the modern day scholars and researchers.

Upanishads refer to the primal atom ‘anu’ as anoraneeyan mahato maheeyan…meaning that which is smaller than the smallest and bigger than the biggest, implying the sig-nificance of the particle. In his treatise, ‘Sthapatya Veda’, Dr.V.Ganapati Sthapati makes reference to the ‘anu’, as ‘andamoolmai pindamoolmai kondilangu oliveliyena…’ Scholars choose to put this as, ‘the tree that resides within the seed and the seed that exists inside the tree’.

To put it in another way, the akasha or the energetic space is the vibrant medium of the universe, where the subtle metamorphoses into gross forms and gross into subtle. This phenomenon is constantly taking place in the Universe.

By the term akasha, both types of space are to be considered – Chit-akasa as inner space and para-akasa as outer space. That which resides within every organism in the universe is the inner space which is but the essential part of the outer space. Hence every movement or change that happens in the outer space occurs in the inner space also. This is the rule of nature.

The wisdom of our ancient shilpi-rishis in depicting the form of Nataraja and comparing it to the very evolution of the universe stands supreme even to this day. In the dancing form of Lord Nataraja, the fire and the drum held out in the hands depict the brilliant radiation of light and the sound of the loud explosion associated with the evolution of the uni-verse. The darkness associated with this event of evolution is depicted by the demon, asura, named apasmara/muy-alagan on whom the Lord places one foot and assumes the dancing posture, symbolizing the suppression of the dark-ness by light. The graceful posture of his legs, with the left leg lifted frontwards to the right and the right leg footed is compared to the vibrant motion of the ‘anu’ or the cosmic dance of the sub-atomic particle. The Lord revels in this pos-ture and in the background is the halo -Tiruvasis, filled with sparks of fire and brilliant light, that depicts the countless luminous particles or ‘anu’ scattered in the entire universal space. Shilpa Shastram lays down that the form of the Nata-raja be made out of pancha loha or the alloy of five metals, representing the five elements.

This divine form of Lord Nataraja revealing the secret of the evolution of universe has been experienced and visualized by

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Sri Siva Vishnu Temple

2015 Jeernodharana KumbhabhisheKam

Sri Nataraja Sabha Manadapam at SSVT

many great rishis and yogis, who were blessed to enjoy this out-of-the-world experience. One such great saint is Rama-linga Arutprakasha Vallalar who visualized the Supreme Energy as the Divine Light or Jyothi. Saint Thirumoolar explains the Supreme as the Ultimate, who is but the very life energy as well as consciousness and Sri Ramana Maharishi’s divine silence spoke volumes of the divine light form of the Supreme which he had experienced.

The above details would elaborate the significance of Lord Nataraja and the sabha mandapam. Thus, the Sabha man-dapam is only one of its kind which is made of wood in a rectangular form to house the Iconic representation of Lord Nataraja, the Cosmic dancer. To depict the golden stage this mandapam has been covered with ornamental brass cov-erings on top and inside the mandapam. Lord Nataraja is worshipped in sakala / vyakta, the amorphic state since he is defined in his complete physical features. Immediately behind the dancing Lord - Chidambara Rahasyam, the ‘mystery’ of Chidambaram is symbolized by engraving strands of brass vilva leaves. This sabha mandapam facing the south direction signifies the everlasting harmony. The five kalasas that adorn the top of the Mandapam remind us the panchaaksharam, holy syllables Na ma Si Va ya of Lord Siva. These kalasas are artistically casted and gold electro plated.

We expect SSVT’s congregation to enjoy the divine harmony and bliss by participating in the rituals offered to their beloved Lord Nataraja during the consecration of the Sabha Manda-pam, as the dancing lord represents immaculate beauty and the unique event of cosmic evolution at the same time.

Sthapati R. Selvanathan hails from an illustrious family of Temple Architects and Sculptors and is nephew and the direct prime dis-ciple of Vaastu Scientist (Vijnani) Padmabushan (the late) Dr. V Ganapathi Sthapati. He graduated in Temple Architecture from the University of Madras. He has also studied technical Sanskrit under Gurukulam system with the senior Sthapati.

Ponni Selvanathan an Executive Administrator with Vaidya-natha Stapathy Associates, is a lauréat from Cambridge University Syndicates and an executive business graduate from Adams Smith University, USA. She has more than 15 years of experience in opera-tions of Temple architecture and sculptures under the guidance of the late. Dr. Ganapathi Sthapati. She is a writer and researcher who gives programs in TV regularly.