The Siddhas in bringing change are not exactly going against the norms. They are bringing us back to the practices of the golden ages that have been intentionally or unintentionally corrupted and manipulated. But we tend to resist and question these changes as we deem what has been handed to us and practice is right. Bharathi and Ramalinga Adigal had much resistance when they tried to make right the wrong. We are disillusioned and think all things existing are right.
When additional lights are propped up to brighten the sanctum these days the Siddhas coming to us at AVM immediately asked us to off all artificial lights and ignite and kindle the flame from the oil lamp to burn brighter. This made us wonder why. In the times of the Chola, the Big temple in Tanjore the Brihadeswar temple might be considered poorly lit according to our present standards. But Siddha Karuvurar who was said to be the architect behind this marvel had provided for sufficient natural lighting to light up its corridors and interior, sunlight by day and moonlight by night, and the light from oil lamps that were lit. With the advent of electricity and light bulbs, the temples are fully lit. If God stands as a showpiece seen all day long these days, in the past he was only visible in the light of the flame or Arathi shown. You miss seeing the Arathi you miss seeing him.
From a wonderfully researched piece titled "The Holy Darkness: A Study of Light in Brihadeshvara Hindu Temple, Tanjore, Tamilnadu, India (1010 Ad)" by Anat Geva, Associate Professor, Texas A&M University, Department of Architecture, USA and Anuradha Mukherji, Ph.D. Candidate, Department of Architecture, the University of California at Berkeley, USA, we learn the same and understand further.
"In spite of the importance given to the sun in the Hindu scriptures, natural light was used very sparsely in Hindu temples. According to the Hindu faith, when a worshipper is in the presence of the divine, there should be nothing to distract his/her senses including vision, and God shall reveal himself to his devotee gradually (Deva 1995). Therefore, the innermost sanctum of the temple is shrouded in total darkness, and the progression into the temple is a ritual movement where the devotee goes through the dynamic experience of the darkening spaces before reaching the darkest sacred chamber (Michell 1987)."
"Thus, a basic premise can be drawn: the design of the Hindu Temple accommodated the faith which requires a procession toward the “holy darkness” and enhanced the spiritual experience. The dictation of the Hindu faith to create this spiritual procession toward the ‘holy darkness’ is examined in the historic Brihadeshvara Temple."
"The multi-method investigation of the relationship of light and darkness, light and objects, and the designated light quality in the Brihadeshvara Temple demonstrates the strong influence of the specific dictum of Hinduism on the light/darkness treatment in the temple. Furthermore, the findings of this examination support the basic premise of the paper and illustrate the ritual procession toward the “holy darkness and how light/darkness can dramatize the spiritual experience in the sacred spaces of the temple."
"The temple interiors were designed to be dark so the human eye is not distracted by the material world to let the mind enter the spiritual world of God. As seen in the Brihadeshvara Temple, natural light is introduced in progressive light quality from brightness to darkness accommodating the ritual movement of the worshiper. It is interesting to note that the reduction level of light quality in the temple also contributes to the thermal comfort in the building. Thick walls, small windows, and reduced light maintain cool and dry conditions for better thermal comfort in the hot humid climate of Tamilnadu. Thus, the Hindu worshippers are not distracted visually or thermally enabling them to focus one’s minds on God. The results that deviated from the expected simulation patterns trigger an interesting question to be further investigated about the impact of non-original elements of the historic building on the treatment of light. Moreover, these findings highlight the multidimensionality of religious dicta."
"This treatment of light ensures that by the time the pilgrim reaches the innermost chamber (Garbhagraha) his/her eyes slowly become accustomed to the darkness and his/her state of mind befitting worship and is no longer plagued by worldly thoughts. During this journey, one passes through many doorways, colonnaded halls and corridors, which are decorated with sacred carvings. These sacred symbols have a profound impact on the mind of the devotee; they simulate the mystery that envelops the universe and the divine spirit that illumines the universe (Deva 1995). Reaching the holy sanctum, the worshipper enters a place for individual self-realization and personal relation with the divine."
I was driven off recently when I visited a guru peedham. Contrary to the intent in emptying us and preparing us for meditation there were so many notices put up stating what should and should not be worn and what should and should not be done that I believe has kept many even those in the neighborhood community away from dropping by to pray and meditate. Its repercussions are that only outsiders and first-timers come by.
The above finding is true too of the structure of temples where we enter and circumambulate slowly losing contact with the sights and sounds of the world around us and enter the sacred sanctum empty to be filled by the sight and sound of the deity and mantras. From outdoors and high walls to block noise to partially covered corridors and finally enclosed by walls on all sides in the inner chamber we move to an inner silence.
When food is served only after puja is over be it at temples or peedhams, the Siddhas come to us even before the puja begins and motion us to feed and eat first.
If we did elaborate libation or abhisegam taking the cue from the temple rituals, Tavayogi Thangarasan Adigal of Kallar Agathiyar ashram in performing it during his visit to my home Agathiyar Vanam Malaysia (AVM) in 2010, was quick to have it done and over with. There was no pause or delay between the pouring of each item over the statue. Similarly, when Thavathiru Kumara Swamigal of Anuvavi Agathiyar ashram performed the libation for Agathiyar on the grounds of the KL Eco City temple he seemed to rush through the whole ritual. When Bhogar and Goddess Ma came to AVM they too rushed through the ritual. We too took the cue from them and changed our ways to adapt to what was shown and done.
We soon learned and change our ways as the Siddhas taught us by example. Agathiyar told me in the Nadi where he taught me breathing and meditation techniques that he was only sharing what they had put into practice and saw results.
When Agathiyar broke the mass following at AVM and had each of us travel our way taking the tools, manuals, and practice given, telling us that the path has narrowed now, this is reflected in the piece too.
"This sanctum is not intended for mass prayer or congregational worship (Deva 1995)."