Dr. R. Nagaswamy #6B8E23 Sekkilar The Vedic concepts associated with the dance of Siva Nataraja can be properly understood only in the light of Vedas, Vedantic tradition, and the intimate association of Vedic Brahmins in the religious life of Tamilnad. Some scholars are of the opinion that the concepts ascribed to the form and emblems of Siva Nataraja cannot be dated earlier than 13th cent. It becomes therefore necessary to clear the doubts against specific chronology. An intimate knowledge of Vedic tradition and Tevaram hymns and religious literature in Tamil are required to appreciate the concepts behind the form and meaning of Nataraja. There also seems to be some confusion among some circle that the claim of Chidambaram Dikshitars as followers of Vedic tradition, which has a close connection with the Nataraja concept, may not be true and might perhaps arise from their own adulation? Other scholars postulate antagonism between Vedic and Tamil Saivism, and try to argue the Vedic Brahmins were opposed to Siva Brahmans. Some go to the extend of even saying that the main theme of Sekkilar, the author of Periya-puranam, on the lives of 63 Saiva saints, was neither anti Jain nor anti Buddhist but anti Vedicism. Even a casual study of Sekkilar’s Periya-puranam would show that this argument is least supported by the text. On the contrary it shows that Tamil Saivism is out and out Vedic Saivam in the opinion of Sekkilar. The place of Vedas and Vedic Brahmanas in Tamil society, from 6th cent to 12th cent, as revealed by Sekkilar needs to be studied to dispel the doubts. Sekkilar, the author of the Periya-puranam lived in the middle of 12th cent. AD. He refers to the Kulottunga Chola II in many places of his work, by his name Kulottunga Chola and also his titles Abhaya and Anapaya. Kulottunga II renovated the Nataraja temple at Chidambaram and covered it with gold, a fact attested by his inscriptions and also the Tamil work called Kulottunga-cholan-ula, composed by his court poet Ottakkuttan. This contribution of Kulottunga Chola comes for special mention, in more than one place of this work Periya-puranam. He is called Anapaya the ruler of the world and Kulottunga Chola who covered the sacred precinct of Tillai with gold (Chapter 20.v. 8). Sekkilar praises the royal Court of Anapaya in the introductory chapter of the Periya-puranam. In fact the royal court of Kulottunga listened to and greatly appreciated the exposition of Periya-puranam. Thus, the text is closely dated to 12th cent. As it gives the lives of 63 Saiva saints listed by Saint Sundaramurti in the 8th cent, his narration gives a true picture of the state of Vedas and Vedic Brahmanas in Tamil society. The study could be extended to epigraphs and contemporary literary sources but it is here confined to the work of Sekkilar. The subject may be studied under the following subheads: -Vedas, Vedic villages, Vedic families, Saiva Brahmin families, profession of the Vedic families, Vedic learning in boyhood, marriage customs, Vedic sacrifices, the Saiva leanings of the Vedic Brahmins, meaning of the Vedas and the Chidambaram Dikshitas. In describing these aspects I am leaning totally on Sekkilar so that any date assigned to later than 12th cent becomes meaningless. A detailed study will appear separately on this subject by me shortly. Sekkilar and Thirumantiram Sekkilar in a remarkable verse of his own work refers to the concept of Nataraja ‘s dance as the very essence of Vedantic thoughts. This idea is repeated in other places of this work as well. Also Sekkilar again and again mentions that he is trying to present all the ideas and events as have come down to him, without distorting them. They are not born out of his imagination. So the concepts he reflects are pre-12th cent in date. In the introductory stanzas Sekkilar gives an interesting verse. There are two kinds of obscurities that engulf the world, the external darkness and the inner darkness that veils the mind of the people. The Sun with his rays dispels the external darkness. Similarly this Thiruttondar puranam dispels the darkness in the minds of the people of the world. ingku itan namam kurin iv ulakattu munnal thangku irul irandil makkal sinthaiyul sarntu ninra pongkiya irulai eenaip purairul pokku kinra sengkatiravan pol nikkum tiruttondarpuranam enpam verse no 10 of the invocatory stanzas.) i.e. If I were to mention the name of this supreme truth, I would call it “the Purana of Sacred devotees” that dispels the inner darkness in the mind of the people, out of the two obscurities, just as the sun with its rays dispels the (other) external darkness. Sekkilar speaks of two obscurities, the external worldly obscurity, and the other subtle one that engulfs the mind. Sekkilar thus specifically mentions the concept that Nataraja dispels the inner darkness. At another place Sekkilar states that the Dance of Siva in the Hall of Thiruccirrambalam ( Chidmabaram ), is in the Consciousness, the Supreme space, that is the very essence of Vedanta (Marai siras, which is Chid-para-vyoma identical with Thiruc-cirrambalam) atiyay naduvum aki alavu ila alavum akis sothiyay unarvum akith tonriya porulum akip petiya ekam akip pennumay anum akip pothiya nirkum tillaip potu nadam porri porri i.e. Salutations to the dance that remains the beginning (adi), the middle (nadu) and the immeasurable end (alavila alavu); that remains the effulgent light (jyothi) in the hall of Tillai(Chidambaram); that is the experience of the inner mind (unarvu); that is the external objects that appeared (tonriya porul); that is the indivisible single entity (betiya ekam); that manifests as woman and man (pennum ay anum aki) and that is enlightenment (bodhi). This verse very clearly sums up the five principal functions of the Dance of Siva (Tillai podu natam), as creation (adi), protection (middle), the dissolution (endless measure), removal of ignorance by his effulgent light (jyoti) and enlightenment by Bodha. karpanai kadanta sothi karunaiye uruvam aki arputakkolam nIdi aru marais sirattin melam cir-para-viyomam akum thiruc-cirrampalattul ninru porpu udan nadam seykinra pum kazalkaL porri porri i.e. Salutations to the Illuminating Light beyond all imaginations (karpanai kadanta joti), which is the sacred feet that dances in Thiruccirrambalam (Chidamabaram), identical with the Supreme space in the mind (Chid-para-vyoma) and which is the very end of Vedanta (marai –Veda, sirattin –head, mel-the end), assuming an enchanting form that is the very form of compassion . The mind is called in this verse the Cid-akasa, the exact synonym of Cid–amabaram. The dance of Siva in Tillai-Chirrambalam takes place in the space of Cid-heart. This is the essence of the Vedantic doctrine. And this dance is the Supreme light beyond imagination, beyond any form, but assumes a form out of compassion (karunaiye rupam) and that form is the most enchanting and captivating form of Dance. There could be no question that Sekkilar in the 12th century recalls the fundamental Vedantic concepts that constitute the Dance of Siva. It is known that the Saiva saint Thirumular has a complete chapter on the dance of Chidambaram. Sekkilar gives the life of Thirumular and mentions specifically the name of the work composed by him as Thiru-mantira-malai. It is well known that Thirumantiram gives all concepts of Nataraja in details known to Art historians and that those are definitely pre 13th cent is indisputable. un udampil piravi-vidam thirnthu ulakaththor uyya njanam muthal nanku malar nal thiru-manthira-malai panmai murai or andukku onru aka paramporulam ena eyiu anintharai onru avanthan ena eduttu i.e. having destroyed the venomous rebirths in this physical body, and for the benefit of the world he composed the good Thiru-mantira-malai with the four flowers like Jnana (yoga, carya, and kriya). He sang at the rate of one verse for each year, beginning with the verse onru avan tan, the Supreme Lord Siva, who bears the crescent moon on his head. munniya ap porul malaith thamiz muvayiram saththi manniya muvayirattu andu ippuvimel makizntu iruntu senni mathi aninthar tam thiru arulal thirukkayilai tannil anaintu oru kalum piriyamait tal adaintar i.e. having fastened the garland of “Tamil Three thousand”, and having thus happily resided in this world for three thousand years, he reached Mount Kailasa by the grace of Siva who bears moon on his head, and remained inseperably in Lord’s presence. nalam sirantha jnana yoak kiriya sariyai yellam malarnta mozit thirumulattEevar malarkkazal vanangi i.e. I salute the lotus feet of Thiru-muladevar, who taught all about the Jnana, yoga, kriya and Carya, of fame in the world. These citations would show that Thirumular’s Thirumantiram is pre-Sekkilar in date and the concepts of Nataraja found in that text cannot be dated later than Sekkilar. Further the place of Vedas mentioned by Sekkilar as discussed below would also confirm the above viewpoint. Vedas There are virtually hundreds of references through out the text of Sekkilar to Vedas and Vedic sacrifices. Veda is called Veda, Marai (text with hidden meaning), Ma-marai(great Vedas) Nal-Vedam (four Vedas), Nan-marai (four Vedas), Menmai nan-marai (noble Vedas) Antanar aru-marai (sacred Vedas of the Brahmins), Selu-marai (rich Vedas), Tumarai (pure Vedas), Muntai marai (ancient Vedas), Meymozi (truthful text), Vaymai-Veda(True Veda), Sruti and Aranam depending upon the poetic exigencies. Vedas were also called the sacred texts not committed to writing (eludada marai). Rk veda and Samaveda or Samam are the words that are employed to denote specific texts. The Vedas are said to be endless (ellai illata marai). Siva is called Veda karanar, one who created Vedas. In Vedas one comes across the reference to Sahasra Sakha, the thousand branches. There is a specific reference to Siva expounding thousand branches of Vedas. Siva is called Vediyan, Maraiyavan, Singer of Vedas, Veda- navan. The Brahmins called Antanar, Maraiyor, Vediyar, and Dvijars (irantu pirappin cirappar), duly learned the four Vedas, conquered the five senses and were famous in the worlds for their upright conduct. Some of them were called Nan Maraiyalar equal to Caturvedins, a use prevalent to this day in northern part of India. They tended three fires (Garhapatya, Ahavaniya, and Dakshinagni), The villages, where they lived, were called Maraiyor pati separate colony equal to Ccaturvedi-mangalams of the inssscriptions. Vedic villages abounded through out the Chola country and there Vedic sacrifices everywhere. The Vedic villages echoed the sound of the Vedic recitations. Some of the Brahmins recited the Sama-veda, keeping a count of the hymns using samit. Even the parrots of these villages were reciting the Vedas by constantly hearing them. The villagee echoed with Vedic chants in all the gardens and palatial buildings. The Vedic Brahmanas carried flowers, grass, and threads in their hands and wore sacred ash on their bodies. They chanted the Sama Vedas with, their eyes filled with tears in deep devotion. They wore the sacred threads with deer’s skin on their breasts and had tuft of hair on their head. The boys were initiated into the learning of Vedas at the age of eight through the rite of wearing sacred thread. According to the Dharma sastras, the Brahmin boys should be initiated into Vedic learning at the eighth year from the conception (garbhat ashtame varshe). Before the start of the Vedic learning the boys were taught the stotra literature, agamas and other works. The teaching of the Vedas was done in groves surrounded by flowering trees and not within built up structures. Generally one teacher taught a number of boys and used to recite with them so that the boys learn the Vedas by heart. Such system for each branch of the Veda was called kidai and there many branches that were taught. The brahmacarins were learning recitations aided by the Upadhyaya, like the moon surrounded by the stars. The boys generally wore a piece of rag and carried with them a branch of arasa tree with them as a mark of studentship. They always accompanied their teacher in festivals and processions reciting the Vedas. There were endowments for teaching Vedic learning called by the name kidaippuram. Sattamangai a catur-vedimangalam–brahmin village, in Chola-nadu, imparted many branches of Vedic learning (pan maraik kidai) including the study of Sama Veda. They had fully developed Sabhas assemblies in which they decided their secular transactions including the judicious enquiries. The Vedic Brahmanas performed regularly homas in the vedic yaga-salas and offered havir bhaga (shares of sacrificial food) to the celestials. White smoke rising from the Vedic altars engulfed the sky like dark clouds. The offering generally consisted of pouring ghee and honey in the sacrificial fire, to the accompaniment of Vedic chants. The sacrificial fires were held in great veneration and their purity zealously guarded. There were altars resembling the Garuda and yupa sthambas looking like poles used for tying the Airavata elephant of Indra. Soma-yaga was adoration to the worship of Siva as Ardhanari. A proper conduct of this sacrifice would please the entire world and the performer would achieve the aims of his life. Somasi marar who performed this sacrifice, also recited daily and constantly, the five sacred syllables namasivaya that bestowed on him clear mind.(cittam teliya sivam anceluttu vaymai nittal niyamam). The Vedic Bramins of Tamilnad performed Soma-yaga as an offering to Lord Siva that they considered capable of bestowing pleasant mind. The Vedic Brahmins of Tamilnad served for the development of Vedic tradition which meant dedication to the sacred feet of Lord Siva. The Vedic offerings in sacrificial fires were addressed to to Agni-Rudra and so the Brahmins were worshippers of Siva in general. Some were greatly devoted to Siva in the Vedantic system (Muntai marai mutalvar Jnana varampin talai ninrar). They held the sacred ashes in great veneration and also performed arccana worship of images.. They followed the profession of expounding the meaning of the Vedas (nana marai porul vilakkiya nalattar). Such exponents were called bhattas the exponent of sastras, in epigraphs. A great devotee of Siva, Nilanakkar hailed from a family that held that the true meaning of the Vedas Veda ullurai) lay in worshipping of the sacred feet of Siva (arccana). The Vedic Brahmins helped all people with liberal gifts. Some Vedic Brahmins, did service in the local Siva temple and taught the young boys of the village the arts of rearing flower gardens, plucking flowers, making floral garlands, fetching pure water for the oblation of the deity, and sweeping and besmearing the ground with cow dung. They virtually created a generation of temple devotees who could look after the temple services. They led sacred householders life and were called tondarukku arivalittavar i.e.a teachers of the devotees. Sekkilar tells us that from the birth to the very end of marriage, Saint Sambandar followed the Vedic customs. Sambandar is called the very singular embodiment of the four Vedas, the Noble of the Vedic family, the Vedic child, the protector of the Vedic system, one who patronized the Vedas, protector of the Vedas and as one who follows the Vedic path. Some of his titles like Vaidika-sikhamani, Crest jewel of the Vedic Brahmanas, Vaidika-culamani i.e. the jewel on the crown of the Vedic people, and Vaidika-sekhara the head of the Vedic Brahmanas, and Maraiyor talaivar the leader of the Vedic Brahmanas, etc, depict Sambandar the first foremost savant of Tamil Saivism as patron and follower of Vaidika system. There were several sub sects among the Vedic Brahmins but two main divisions mentioned in Sekkilar are the Vaidika Brahmans whom we may identify with Smarta Brahmanas and the other the Adi-Saiva Brahmanas. Sekkilar makes clear-cut distinction between the two. The distinction is based on birth and the faith in the lineage. Both were learned in Vedas, performed Vedic sacrifices and followed meticulously the Vedic dharma. According to Agamas the Adi-Saivas were known as such because the originators of their families received the initiation directly from Siva while the Smarta Brahmanas trace their origins from Rishis. Sekkilar gives an insight into the lives of Siva Brahmanas in the chapter dealing with those “who touch the deity, three times a day” and performed worship. They were called Vediyars, followers of vedic traiditions and Adi-saivas, performing “arccana” hereditarily in temples on all the three sandhis times of the day, with devotion. They grew in number by the grace of Siva, performed worship without deviating from the stipulations found in Jnana-marga of Siva-jnana.. Ritual worship in temples was solely reserved for the families of the Siva Vediyas.(now called Adi-saiva Gurukkal) They knew the ritual services by tradition handed down from generation to generation. And their services related to the past, present and future. It indicates that Siva Brahmanas were experts in astronomy to determine the time and events and accordingly perform pujas. The past relates to puranic events the present to contemporary events, and the future to occurances like solar and lunar eclipses, vishu, ayana, and samkramana. It was the conviction of the Siva Brahmanas that Siva was the inner meaning of the Vedas. Saint Sundaramurti was the foremost of Adi-Saivas, whose marriage is described in detail, followed the Vedic aystem through out. The place of Vedas and Vedic Brahmans described in Periya-puranam is given below in detail from the lives of devotees. The Chola country Through out the length and breadth of the Chola country there were colonies echoing Vedas and Vedic learning. There were Vedic sacrifices and the Vedic ritual everywhere says Sekkilar (Vedamum kidaiyum engum, yagamum sadangum engum). The Chola country followed the legal system enjoined in the Vedic texts of the Brahmanas (marai nul vaymai antanr vidhitta arral arruvatu aram 3-26) Speaking about Thiru-varur Sekkilar says Siva emanated in the heart of the goddess through Vedas which would show the intimate connection between Vedic tradition and Saivas, (Veda mulam velippattu) Chidmabaram. Chidambaram the abode of Lord Nataraja is called a Vedic village, nanmarai pati. The four entrances to the village of Chidambaram resembled the four faces of Brahma. The Brahmins of Chidambaram were Yogins performing Vedic homas. The great hall also called Perambalam is likened to Meru Mountain. The golden hall Cirrambalam, surrounded by effulgent light, flowered in the mind of devotees. Cidamabram remained in the beginning, middle and the end of the Vedas. Siva danced in the “open space” called manram. The jingling sound emanating from the dancing foot Siva is the Vedas and also called the end of Bliss-ananda ellai and Siva’s dance called singular dance tanip perum kuttu. The Brahmins called Antanar, Maraiyor, Vediyar, and Dvijars (irantu pirappin cirappar), duly learned the four Vedas, conquered the five senses and were famous in the worlds for their upright conduct. Some of them were called Nan Maraiyalar equal to Caturvedins, a use prevalent to this day in northern part of India. They tended three fires (Garhapatya, Ahavaniya, and Dakshinagni), The villages, where they lived, were called Maraiyor pati separate colony equal to Ccaturvedi-mangalams of the inscriptions. Vedic villages abounded through out the Chola country and there Vedic sacrifices everywhere. .The Vedic villages echoed the sound of the Vedic recitations. Some of the Brahmins recited the Sama-veda, keeping a count of the hymns using samit. The parrots that were in the village were reciting the Vedas by constantly hearing them. The village echoed with Vedic chants in all the gardens and palatial buildings. The Vedic brahamanas carried flowers, grass, and threads in their hands and wore sacred ash on their bodies. They chanted the Sama Vedas with, their eyes filled with tears in deep devotion. They wore the sacred threads with deer’s skin on their breasts and had tuft of hair on their head. The boys were intiated into the learning of Vedas at the age of eight thorugh the rite of wearing Sacred thread. According to the Dharma sastras the Brahmin boys should be intiated into Vedic learning at the eighth year from the conception (gaarbhat ashtame varshe). Before the Start of the Vedic learning the boys were taught the stotra literature and agamas and other works. The teaching of the Vedas was done in groves surrounded by flowering trees and not within built up structures. Generally one teacher taught a number of boys and used to recite with them so that the boys learn the Vedas by heart. Such system for each branch of the Veda was called kidai and there many branches that were taught. The brahmacarins were learning recitations aided by the Upadhyaya, like the moon surrounded by the stars. The boys generally wore a piece of rag and carried with them a branch of arasa tree with them as a mark of studentship. They always accompanied their teacher in festivals and processions reciting the Vedas. There were endowments for teaching Vedic learnings called by the name kidaippuram. Sattamangai a caturvedimangalam–brahmin village, in Chola-nadu, imparted many branches of Vedic learning (pan maraik kidai) including the study of Sama Veda. They had a fully developed Sabhas in which they decided their secular transactions including the judicial enquiries. The Vedic Brahmanas performed regularly homas in the vedic yagasalas and offered havir bhaga (shares of sacrificial food) to the celestials. White smoke raising from the Vedic altars engulfed the sky like dark clouds. The offering generally consisted of pouring in the sacrificial fire, ghee and honey to the accompaniment of Vedic cgants. The sacrificial fires were held in great veneration and their purity zealously guarded. There were altars resembling the Garuda and yupa sthambas looking like poles used for tying the Airavata elephant of Indra. Soma-yaga was adoration to the worship of Siva as Ardhanari. A proper conduct of this sacrifice would please all the world and the performer would achieve the aims of his life. Somasi marar who performed this sacrifice, also recited daily and constantly, the five sacred syllables Namasivaya that bestowed on him clear mind.(cittam teliya sivam anceluttu vaymai nittal niyamam). The Vedic Bramins of Tamilnad performed Soma-yaga as an offering to Lord Siva which they considered capable of bestowing pleasant mind. The Vedic Brahmins of Tamilnad served for the development of Vedic tradition, which meant dedication to the sacred feet of Lord Siva. The Vedic offerings in sacrificial fires were addressed to to Agni-Rudra and so the Brahmins were worshippers of Siva in general. Some were greatly devoted to Siva in the Vedantic system (Muntai marai mutalvar Jnana varampin talai ninrar). They held the sacred ashes in great veneration and also performed arccana worship of images.. They followed the profession of expounding the meaning of the Vedas (nan marai porul vilakkiya nalattar). Such exponents were called bhattas the exponent of sastras, in epigraphs. A great devotee of Siva, Nila-nakkar hailed from a family that held that the true meaning of the Vedas Veda ullurai) lay in worshipping of the sacred feet of Siva (arccana). The Vedic brahmins helped all people with liberal gifts. Some Vedic Brahmins, did service in the local Siva temple and taught the young boys of the village the arts of rearing flower gardens, plucking flowers, making floral garlands, fetching pure water for the oblation of the deity, and sweeping and besmearing the ground with cow dung. They virtually created a generation of temple devotees who could look after the temple services. They led sacred house holders life and were called tondarukku arivalittavar i.e.a teachers of the devotees. There were several sub-sects among the Vedic Brahmins but two main divisions mentioned in Sekkilar are the Vaidika brahmans whom we may identify with Smarta Brahmanas and the other th Adi-Saiva Brahmanas. Sekkilar makes clear cut distinction between the two. The distinction is based on birth and the faith in the lineage. Both werte learned in Vedas, performed vedic sacrifices and followed meticulously the Vedic dharma. According to Agamas the Adi Saivas were known as such because the originators of their families received the initaiation directly from Siva while the Smarta Brahmanas trace their origins from Rishis. Sekkilar gives an isnight into the lives of Siva Brahmanas in the chapter dealing with those who touch the deity on three times a day and performed worship. They were called Vediyars, followers of Vedic traditions and Adi-saivas, performing “arccana” hereditarily in temples on all the three sandhis times of the day, with devotion.. They grew in number by the grace of Siva, performed worship without deviating from the stipulations found in Jnana-marga of Siva-jnana.. Ritual worship in temples was solely reserved for the families of the Siva Vediyas.(now called Adi-saiva Gurukkal) Sambandar Sekkilar begins the narration of Jnana-sambandar’s life with the statement that Sambandar was born for the full growth of the Vedic tradition with all its branches. (Veda-neri-tazaittu-onga) There was no wavering in the mind of Sekkilar that the Saivam of the Tamils as propounded by Sambandar was totally Vedic. Any suggestion that it was opposed to Vedic tradition is a distortion of facts, unsustainable, and deserves to be dumped as unhistorical, and far from truth. Sambandar was born in the village of Sirkazi where there were many groves echoing the teachings of various branches of the Vedas. Obviously the teaching of Vedas to young boys was carried on the natural environments, surrounded by trees and groves. The smoke emanating from the Vedic sacrifices performed by the Vedic Brahmanas engulfed the sky. In his descriptions of the village Sekkilar draws heavily from the Vedic tradition and likens even nature filled with Vedic sounds and sacrifices. There were red lotuses jutting from ponds near the fields, resembling the glowing sacrificial fires of the yaga-salas. Nearby there were mango trees with full of ripe fruits. The mango juice from the fruits drip as streams of ghee, falling on the leaves which in turn pour them over these red lotuses which looked like Brahmanas pouring ghee over the glowing fires of the Vedic yaga-kundas. Sekkilar says even the trees of Sirkali were performing Vedic homas pouring juices like madhu in Vedic Altars. It suggests not only the Vedic Brahmanas but also the trees, fruits, and flowers were steeped in Vedic tradition. The humming of the bees was like the Vedic Sama chants. This is a pointer to the veneration the saint had towards Vedic sacrifices and it is impossible to comprehend the suggestion that Sekkilar postulated an anti Vedic tradition. The Vedic Brahmanas carried flowers, grass, and threads in their hands and wore sacred ash on their forehead and bodies. They chanted the Sama Vedas with, their eyes filled with tears in deep devotion. Similar were the bees hovering around flowers carrying bits of petals of the flowers, grass sticking on to the wings and feet, and their bodies covered with pollen powder resembling sacred ash. Their humming sounded like the chanting of the Sama Vedas by the Brahmins. The bees seemed to imitate the Vedic Brahmins and their chants. Sekkilar tells us that from the birth to the very end of marriage, Sambandar followed the Vedic customs. Sambandar is called the very singular embodiment of the four Vedas. (nan-maraiyin tani uruvai), the Noble of the Vedic family ( marik kulattu vallal), the Vedic child(maraik kaliru), the protector of the Vedic system (Veda palaka), one who patronized the Vedas (marai valar puhal celvar), protector of the Vedas (Vedap puravalar)and as one who follows the Vedic path. Some of his titles like Vaidika-sikhamani, Crest jewel of the Vedic Brahmanas, Vaidika-culamani i.e. the jewel on the crown of the Vedic people, and Vaidika-sekhara, the head of the Vedic Brahmanas, and Maraiyor talaivar, the leader of the Vedic Brahmanas, etc, depict Sambandar, the first and foremost savant of Tamil Saivism as patron and follower of Vaidika system. His commitment to developing the Vedic path is referred to again and again. Tamil Saivism is so intrinsically entwined with Vedic thoughts that it cannot be properly comprehended without recourse to Vedas. Sambandar tops the list of propagators of Tamil Saivism and is the first Tevaram Trios. There could be no doubt his Saivism was Vedic Saivism. Any attempt to separate Tamil Saivism from Vedic studies betrays ignorance or willful preconceived notions rather than commitment to facts. When Jnanasambandar arrived in Chidambaram, the atmosphere was filled with the smoke rising from the sacrificial oblations (yaga ahuti) performed by the Vedic Dikshitars (Tillai maraiyavar payil velvi ahutikalin celum puhai). These offerings bestowed Sivam (Sivam tarum payan). Sekkilar states here that the Sacrifices of the Tillai Dikshitars were intended for the worship of Siva. The Brahmins of Tamilnad believed that Vedic sacrifices were meant as adoration of Siva. The Vedic Brahmins of Tillai received Sambandar on his arrival with honours like purna kalasa, and Vedic chants (Veda nadam and mangala chants). Jnana-sambandar entered Cihidamabaram through the southern entrance of the village and first entered through the market streets and later, the streets of the Vedic Brahmins. He then entered the seven-storied gopuram of the temple (nilai elu gopuram). Inside the enclosure, he circumambulated the golden cloistered pavilion (Cempon malikai) and reached the Perambalam, the Great hall and reached the presence of the Lord, dancing to the accompaniment of Vedic chants. He adored the close entrance (thiru anukkan thiruvayil) where the retinue of the Dancing God like Nandikesvara stood in adoration. He realized visually the Dancing hall of Siva as embodiment of knowledge in his own mind, and that the Great dance of Supreme bliss, took place in that knowledge jnanttu elum ananda tanip perum kuttu kannin mun puram kantu). He adored the hall as the sacred mountain of dance (punitar adiya porpu). Sambandar praised the Dancing God for bestowing on him the Siva experience in his inner feeling, fully and visually in his form of Dance(unarvin kan ner pera varum Siva bhogattai ozivinri uruvin kan anaiyum aimpori alavinum elivara arulinai). This is clear reference to the concept of Nataraja that what it stands for is the Ananda tanip perum kuttu. Here is the pointed reference to the dance of Siva as Ananda tandava. Sambandar sang the great hymn here that begins with karru angu eri ompi, which eulogizes the Brahmins who were learned, performers Vedic sancrifices and who adored the Dancing Lord. Sekkilar thus specifically mentions that Chidambaram was identical with Cirramabalam (chid+ambaram), the hall of Consciousness, and that the great hall was the Meru Mountain, and Siva’s Dance therein was Ananda Tandava, and that the Chidambaram Dikshitars were worshippers through Vedas. It is in the constant environment of recitation of the Vedas and Vedic sacrifices that prevailed throughout day and night that all the concepts that arose and associated with the dance of Siva emanated. This was the view about the position of Vedas and their association with Chidambaram in the time of Sambandar according to Sekkilar in the 12th cent. However this needs to be viewed in the light of Sambandar’s own Tevaram hymns in the middle of 7th cent. Sambandar sings the Vedas and Vedic nature of Siva in every Tevaram hymn. Siva taught the four Vedas and the six angas (angam or arum arumarai nankum arul ceydu 1-100-2). Siva sat under the banyan tree and taught the four Vedas that contain the Dharma (aram kilarum nal vedam alin kil amarntu aruli 1-131-7). There are hundreds of verses where the Vedic Brahmins are mentioned in his work, with specific mention that these Brahmins adored Siva through Vedas. The Vedic Brahmins who recite Vedas and angas, worship him daily (angamum vedamum otum navar, antanar nalum adi parava)1-6-1; Siva is adored by Vedic Brahmins who were the sentinels of the three Vedic sacrifices offering ghee as oblation adoring Siva (ney taval mu eri ompum ner puri nul maraiyalar etta) ; the Caturvedins (nal-maraiyor) who perform incessantly Vedic sacrifices with Srutis worshipping Siva (namaru kelviyar velvi ova nalmaraiyor valipadu ceyya 1-6-4); the Vedic Brahmins, whose hands were always tending sacrificial fires, worshipped Siva (punal azal ompum kai antanalar pon ati nal torum parava1-6-6); the Brahmins who recited Vedic mantras adored him (mantira Vedangal otum navar 1-6-6); Those who learned the Samhitas of the Srutis, with the six angas (kalai arotu suruti tokai karror 1-9-7); the Vedic Brahmins who knew the Vedas by heart (marai unar maraiyavar 1-20-1); the Vedic Brahmins who follow the path of Vedas (marai taru vali mali manithars 1-21-7); the place, where the chants of Vedas constantly reverberated, recited by the Vedic Brahmins, who never went astray from the Vedic injunctions (vidhi vazi vazuva Vediyar velvi ceytavar ottu oli ova pati1-32-5); worshipped by those who adored Siva with jnana in order to dispel their darkness of vision (unattu irul ningita vendi jnanap porul kondu ati penum 1-38.3); the great men who recited without faltering, the Vedas and the six angas that were rooted in their hearts, in order that the effects of their past actions might get wiped out (vitai ar ullam nanku elu navil vinai keta vedam aru angam pilaiya vannam panniya arral periyor ettum perumal 1-42-7); and adored by saints who worshipped him reciting Vedas (marai ayina colli munivarkal tolum ). Siva according to Sambandar is the embodiment of Vedas and one who taught the Vedas. He is the sound of the Vedas. Siva is the Ancient, residing in the heart-lotus of those who have taken refuge in knowledge, who have conquered the five senses and six inner enemies and who are full of devotion in their minds. ( aham amarnta anbinaray, aru pakai cerru, aimpulanum adakki, jnanap pukal utaiyor, tam ullap pundarikattu irukkum puranar 1-132.6). This is interesting as it uses the Vedic terminology of aham, jnanam, Puranar, Pundarika and the ideas enshrined in the Vedas revealing the impact of Vedantic doctrines on Saivism of 7th cent. It is a direct pointer to the Dahara vidya of the Upanishads. This must also be read with another citation. Siva established the noble path that showered light on the inner meaning of the four Vedas (neri ar nal maraip porulai oli cer neri alitton). Sambandar specifically mentions that Chidambaram Dikshitas were Vedic followers performing Vedic sacrifices in altars that resembled Garuda (parappai), an obvious reference to Garuda citi. (karru angu eri ompi kaliyai varame cerrar, parappai paduttu pacu vettu eri ompi and so on) . These citations would show that with the Vedas and Vedangas, reverberating always in the worship of Siva, the concepts connected with the Nataraja cult were Vedic in nature from the time of Sambandar. Sambandar’s marriage: There is also the detailed description of Sambandar’s marriage that shows that it was performed as enjoined in the Vedic Grhya sutras. Jnana-sambandar was told that he should marry, as it was the custom of the great Vedic followers. Sambandar agreed in order that the Vedas might proper and the traditions of the Vedic Brahmanas will be upheld. Sambandar’s family decided that the family suited to enter into marriage alliance was that of Nambandar Nambi among the Brahmanas. The Vedic Brahmanas were particular that family of the bride should belong to appropriate gotra and lineage among the Brahmanas. They used to send suitable persons to ascertain the willingness of the bride’s family. The bridegroom’s father accompanied by Brahmins and others went to Thirunallur perumanam and was received by the bride’s parent with purna kumbha, lamp, aruka grass. The discussion and agreemanent at this stage was called makal pecal. It was the custom to seek the hand of the girl by the boy’s family. The girl’s parents and relatives should agree to this request affirming that they were willing to give the girl named so and so in marriage to the bride groom so and so. Sambandar’s father followed this custom and returned to his place with the acceptance and prepared for the marriage. An auspicious day when the star was in appropriate position was determined by the astronomers (ganita-nul vallunar). The marriage day was called kalyanat-thirunal, a usage prevalent to this day among the Brahmins. The time of the marriage depended on the auspicious star of the day, a custom very scrupulously followed to this day. The marriage invitation was got ready and the sprouting rite performed. The entire village of the bridegroom was decorated with full vase-purna kumbha, lamps, makara torana, festoons etc. Sambandar’s parents sent the invtation to the Girl’s family. The relatives of the girl arrived at her village and performed the sprouting rite. The houses were decorated, and suitably painted. Torana festoons, like floral garlands were hung. The platforms were smeared with sandal paste and the marriage pavilion was erected. From the day of the sprouting rite, the streets, the front yards of the houses and entrances remained decorated with full vases, lamps, flower garlands and fragrance. There were men engaged in collecting the requirements for the marriage, as enjoined in the Vedic texts (tumarai nal upakaranangal samaippa). Vedic Brahmanas invoked sacred hymns in the full vases – purna kalasas, which goes by the term Punyaha-vacana, and sprinkled the place with the sanctified water from the vases. A day before the marriage, Vedic Brahmanas started the rite of fastening the protective thread in the hand of sambandar. Sekkilar says that the protective thread was tied in order that obligatory rites prescribed in the Vedic texts will be perpetuated and worldly married life will prosper. Vedic Brahmins, poets, women and others took out the protective thread in procession around the village. The thread made of gold was brought to the mandapa where Sambandar was seated. He had already completed the Samavartana rites as per Vedic tradition. The thread was plaaced in a golden receptacle and placed on a spread of paddy. A full vase, leaves of Arasa tree, darbha grass and lamps that brightened the surrounding were in the mandapa. The thread that was placed in front of them was now tied on the hand of Sambandar to the accompaniment of Vedic recitations and auspicious music. The sacrificial fire was kindled and started glowing even as the Brahmins started offering Vedic oblations-ahutis. Sambandar rose for proceeding in procession on a palanquin for the marriage (thirumana eluchi), accompanied by the sounding of the following musical instruments dundhubhi(little drum), mangala iyam, sankham (conch), tarai long (pipes), kalam (small pipes), talam (cymbals), vangyam(flute) and other Vedic instruments. Vedic music, nada-mangala music and Vipanci vina music followed. Young boys who were learning Vedas followed their teachers reciting different branches of Vedas. The Vedic Brahmins were regularly tending the three vedic fires (garhapatya, ahavaniya and Dakshinagni) They carried the garhapatya fire with them when Sambandar’s procession went to the village of the bride. Padigam singers (Tamil songs) and devotees followed them. Sambandar went to the local temple, on reaching the village of the bride, offered worship to the lord and stayed in a nearby matha. The Brahmins requested him to dress himself for the marriage. He was given the sanctified Thiru-manajanam bath, and white silken garments to wear. He smeared his body with sandal paste, adorned himself with jewels and wore the sacred ash on his forehead and other parts of the body, reciting the sacred syllables. He also wore a crown of pearls and the marriage garland. He came in procession for the marriage accompanied by music. Vedic Brahmins recited Nada mangalam. The protective thread was tied to the bride and preliminary rites were performed for her. She was decked with jewels of gold, a golden vasi, and attractive chains. The Vedic Brahmins sprinkled sanctified water from the golden vase reciting rk hymn. Sambandar arrived at the marriage pavilion on a palanquin, descended and walked over a carpet spread with Turmeric powder. Sumangalis, married women received Sambandar with golden vases with water, fragrant flowers, sounding bells, lamps, dhupas (incense) and receptacles with the sprouted grains. Sambandar was seated on a decorated seat. Young and beautiful women sang sweet auspicious music, circumambulated Sambandar pouring water from water vessels, mentioned as Vedic tradition vidhi. After this reception Sambandar entered the marriage hall in the ground floor and got seated on an appropriate seat. The father and mother of the bride washed the feet of Sambandar with milk and water. As the mother of the girl poured the milk, the father of her washed the feet of the bride groom visualizing him as Siva, the Paramesvara. Then the parents of the girl sprinkled the washed water on their head and on al those assembled in the hall. The bridegroom is visualized as Siva himself and the girl considered Parvati. The rite only recalls the divine nature of the marriage. The next rite is handing over the girl to the bridegroom. The father of the girl held the hand of the girl, over the hand of the bride groom, as the mother of the bride poured water over her hand, as a symbol entrusting the girl with the bridegroom. This is called the Kanya dana i.e. the giving away of the girl in marriage. As the parent of the girl presented the hand of the girl, her father pronounced his gotra, kula and lineage and announced the name of the girl he was giving in marriage to Jnana-sambandar. This is an announcement to the audience that the marriage is accomplished. The parents of the bridegroom and his relatives thronged to the side of the boy to witness this auspicious event. The bride was now seated to the left of the boy as the assembled blessed the couple. Vedic chants were recited, and auspicious music was sounded. The girl then offered Corn flakes in the fire to the chanting of Vedas (known as Laja homa). The newly married couple then circumambulated the sacrificial fire. When Sambandar circumambulated the fire with the girl, he visualized the fire as the very embodiment of Siva. The circumambulation was accompanied by Vedic hymns. Then Sambandar and his wife went to the local temple and offered prayers to Lord Siva. This detailed description of the marriage of Sambandar may be compared with the marriage of Saint Sundarar which is also described by Sekkilar. Sundarar Sundarar belonged to an Adi saiva family. Mentioning Sundarar’s family as Adisaiva – a family of Vaidikas, who served Siva perpetually vali vali adimai ceyyum Vediyar kulam. It is known that he hailed from the village Navalur, a Brahmin settlement where the Brahmins were known for adherence to truth. (vaymai kunra thiru maraiyavarkal nidum thiru navalur). Sundarar was brought up in his own family tradition, at the same time as a fond child of the local king Narasinga-munai-araiayan. At the appropriate age he was endowed with the sacred thread punul- and learned different branches of ancient knowledge. When he reached the age of marriage, his parents sent words to Shadangavi Maraiyon of Puttur who belonged to the family of Siva Brahmanas, seeking the hand of his daughter for Sundarar in marriage. This proposal was duly examined and accepted by elders who had knowledge about the family lineage and the gotra traditions – (gotra and kula). The delighted Sundarar’s family fixed an auspicious date for the marriage and sent the invitation to the bride’s family. Men and women carried this invitation to Puttur, who were received by the bride’s family with happiness and honours. They performed the rites connected with the erection of the marriage pavilion (pandar nihaschi) and started with the sprouting rites (nil mulai cattal). A day prior to the marriage, a golden protective thread was tied on the hand of Sundarar as per Vedic injunction (vidhiyinale paimpon nan kappu certtar). This was accompanied by the sounding of auspicious drums. All the marriage rites as enjoined in the Vedas were performed with out omission (mamarai vidhi vazamal manatturai katankal arri) and in the early morning the sacred Vedic chants were recited. The morning rites were performed and Sundarar entered the bathing hall adorned with floral garlands. Sekkilar divides this narration into two main parts the first dealing with the marriage rites of Sundara and the second the dispute that was brought by Siva as an old man. The bridegroom was seated on a decorated seat and given sacred bath with fragrant oil and pure water. He was then given silken garments to wear, scented with akil. His hair was dried with soft towels and body smeared with scented sandal paste. He was bedecked with anklets, bracelets, and garlands; he was given the sacred ash to wear on his body. He was then taken on horse back in procession to Puttur, the bride’s village. The procession was accompanied by instrumental music; songs of praise, women’s long live songs, Vedic chants and followed by vehicles and men. The procession reached the village of the bride accompanied by the Vedic chants, youngsters carrying festoons, and young ladies, beautifully decked accompanying the procession. The bride’s party went and received them with purna kumbha, (nirai kutam), dhupa, dipa, palikai, flower garlands, arukam pul grass, turmeric powder and sandal pastes. Sprinkling fragrant water, the bridegroom was received. Sekkilar calls the marriage rite a Velvi -Vedic sacrifice. The detailed description as given above by Sekkilar is of great significance. It is seen Sekkilar describes the marriage of two of the Tevaram saints Samabandar and Sundarar, the first a Vedic Brahman, and the other a Siva Brahman. Vedic recitations and sacrificial offerings in the altars are mentioned in both the cases, with Vedas playing major role in the rites. In both the instances the marriage rites were identical, based on Vedic tradition. There was no difference between the Vedic Brahmins and Adisaiva Brahmins in their marriage customs. One can not diverse the social milieu in which the saints grew up. Their songs fully reflect the Vedic concepts in Saiva faith that was echoing at every stage of their life. A point of great interest is that both the Vedic and the Adisaiva Brahmins follow meticulously the same system in their marriages to this day. Sekkilar’s description may be seen as a live commentary of Brahmin marriages as stipulated in Vedic tradition. Saiva path is Vedic path Sekkilar sings the vedic tradition in a number of other villages and also the state of Vedic followers. He says in the life of Idankazi Nayanar that the Saiva path is the Vedic path (saiva neri vaidikattin dharma neri c.54.5) In the town of Kanchipuram there were many yaga-salas, sacrificial hall in the colonies of Vedic Brahmanas. The Vedic sacrificial hall yaga-salas emitted smoke from Vedic oblations, ahutis when the Brahmins offered havir bhaga to all the devas inviting them through chants. That brought all the Devas to receive their ahutis. The devas stationed themselves in the gopuras adoring Siva. The agriculturists of the town cultivated lands and produced wealth for the protection and growth of Vedic learning There are atleast 13 Brahmana devotees among the 63 Saivite saints listed by Saint Sundaramurti in the 8th cent and elaborated by Sekkilar. Nine of them were Vaidika Brahmanas whom we may identify with the now called Smartha Brahmanas. The other four were Siva Brahmanas. Sekkilar makes clear-cut distinction between Vedic Brahmanas and Siva Brahmanas whose profession was to do puja in Siva temples. While describing the Vedic Brahmanas, he always mentions the purity of their lineage, the sanctity of the Vedic sacrifices in fire altars, and at the same time stating that these sacrifices were meant for adoring Siva. While describing the Saiva Brahmanas, he calls them Adi Saivas but taking care to invariably mention their mastery over the Vedas. They were also called Vediyas–Brahmanas following the Vedas. At one place he says that temple worship was their prerogative, a fact corroborated by inscriptions and Agamas. At another place Sekkilar says that the path of temple worship was as per Vedas and Agamas. It emerges that there was no question of temple worship without Vedas and Agamas (Nila-nakkar puranam Ch. 26. V.6). It is called Veda-agama nul vidhi, the injunctions as directed by Vedas and Agamas, which are mandatory and not optional. Rudra-Pasupati Rudram also known as Satarudriyam hymn plays an important role in Vedic religion as it is recited in most of the rituals. It occurs in the middle of the Krishna YajurVeda. A slightly variant version also occurs in the Sukla Yajurveda. It is more intimately associated with the Saiva religion as the five syllables Namasivaya, sacred to Saivas appears in this Vedic hymn. It is considered the heart or the centre of the Yajurveda. Sekkilar’s work illustrates the influnce it had in Tamilnad prior to 7th cent. Saint Sundarar lists Rudra Pasupati Nayanar, who lived long before his time, among the 63 Saiva saints. Sekkilar gives the biography of this saint in his Periya-puranam. Pasupati hailed from Thiru-talaiyur in the Chola country. The village was a Vedic Brahmin settlement, where Vedic Brahamanas performed regularly Vedic sacrifices. The villagers were known for their righteous life of religious persuasion (Dharma-niti) virtuosity and great fame. Pasupati was born in the family of high Vedic Brahmin lineage devoted to the worship of Siva. Pasupati worshipped Siva with the Rudram of the Vedic Brahmanas. He entered the village pond, and standing neck deep in waters with hands raised above the head in adoration, recited the Rudram day and night without any break. Siva pleased with his devotion, conferred on him sainthood. Ever since he came to be called Rudra pasupati. Sekkilar presents us with a glimpse of how Vedas and Vedic Brahmanas were held in veneration, in the pre 7th cent, and the place of Rudram in Siva worship in his narration. The Vedic Brahmins families were mentioned as high Vedic lineage of the sacred Vedas (arumarai – vaymai – tunga vediyar kulam). These Vedic Brahmins should be distinguished from Adi Saiva Brahmins performing puja in Siva temples. The Vedic Brahmins of the pre 7th century Tamilakam were great worshippers of siva. The rudram (satarudriya) is referred to as Vedic Rudram of Brahmins an “andanar arumarai rudram” and this is called Sruti of unbroken tradition. Todarbinil idaiyara sruti. Pasupati recited rudram by concentrating on its inner meaning. Rudram is also referred to as the very essence of the Vedas. Arumarai payanaya Rudram. Siva blessed the saint for reciting rudram in the true tradition as enjoined for the vedic mantras. Veda-mantra-niyati. The Vedic Rudram is the foremost hymn used in the worship of Siva even to this day. The five sacred syllables, ‘Namasivaya’, so dear to the Saivas, is found in the middle of this hymn. Scrupulous adherence to the traditional chanting is adored in this episode. Candesvara Candesvara was born in the village Ceyjnalur, a Brahmin settlement said to have been gifted by Cendan, Subrahmanya. The Brahmins were called dvijas(irantu pirappin cirappar). They tended three fires (Garhapatya, Ahavaniya, and Dakshinagni), duly learned the four Vedas, conquered the five senses and were famous in all the seven worlds. They wore the sacred threads with deer’s skin on their breasts and had tuft of hair on their head. The brahmacarins were learning recitations aided by Upadhyaya, like the moon surrounded by the stars. The village echoed the sound of the Vedic recitations. The Vedic Brahmanas offered havir bhaga (shares of sacrificial food) to the celestials in all the yaga-salas. There were altars laid out like a Garuda and yupa sthambas looking like poles used for tying Airavata, the elephant of Indra. There were many cows in the village meant for providing milk for the sacrifices in the altars which were called homa dhenus. Some of the Brahmins recited the Samaveda, keeping a count of the hymns by using samit, sacrificial kindling. The Brahmin women frequently took bath in the ponds. By the side of the habitation there were cultivated fields with raised grounds nearby where there were yaga-salas, decorated with coconut and palm festoons. On completion of the vrata the Yajamanas – sacrificing priests ascended their chariots, as if they were riding towards heaven. Vedic Brahmanas from five villages including the Ceyjnalur had the privileged right of crowning the Chola kings. The villagers held that Vedas culminate in Saivam and meditation of Pancakshara. Vicarasarman, the boyhood name of Candesa, was taught the six angas (shad-angas) when he completed the7th year of his age. He was initiated into the sacred thread, (upanayana porunul cadangu) after which he was taught the Vedas. The teachers held that Vedas, the end of the endless arts, denoted the sacred feet of the Dancing God. (alakil kalai in porulkku ellai adum kalal). Vicarasarman learned that his God was the Lord of Dance. All branches of knowledge emanate from Agamas that spread into the world through the Vedas. Candesvara was a Vedic boy (brahmacari) but acted as a cowherd to tend the cows of the village. Sekkilar mentions Candesa carried the thread and stick usually carried by the brahmacaris in hand, was clad in a piece of rag. He had a tuft on his head and wore the sacred thread and deer’s skin on his breast The boy took the cows to the grazing ground wherever there was green grass, at appropriate time, fed them with good drinking water, protected then from dangers, and rested them in the shades. When the cows were returned to their respective homes they yielded large quantity of milk happily. In addition to tending the cows the boy observed the routines of a vedic student like taking bath in the early morning and attending to vedic sacrifices with palasa twigs. No one objected to the Vedic boy doing the work of a Cowherd. On the contrary the Brahmins of the village were happy that the cows yielded plenty of milk for their Vedic sacrifices. Candesvara later worshipped Siva in the form of Linga made of sand and used the cow’s milk for the worship. It is the Vedic boy who as the devotee of Siva was given the prime position in Siva’s retinue that deserves to be recalled. Somasi-Mara Nayanar. Somasi Mara nayanar, one of the 63 saints was born in the family of Vedic Brahmanas in the village of Ambar in the Chola country. The families are mentioned as pure and sacred Brahmanas studying Vedas.(tuya vaymai vedam payilum maraiyalar)The term Somasi is a prakrit form for Somayaji meaning one who performs Somayaga. Sekkilar says that Somayaga was in fact adoration of Siva as Ardhanari. A proper conduct of this yaga would please the entire world and the performer would achieve the aims of his life. Somasi marar recited daily and constantly, the five sacred syllables Namasivaya, that bestowed on him clear mind.(cittam teliya sivam anceluttu vaymai nittal niyamam). This makes it clear that the Vedic Brahmins of Tamilnad performed Somayaga as an offering to Lord Siva which they considered capable of bestowing pleasantness of mind and that was the good path (nanneri) that also helped them to get over the five senses and eliminate six blemishes. By performing the Somayaga, Somasi-maran became a great friend of Saint Sundarar. Sirappuli Thiru-Akkur in the Chola country was a brahmin sttlement even before the time of Jnanasambandar as he praises the Vedic brahmins of this village in his hymn as those who helped all people with gifts. The village echoed with Vedic chants in all the gardens and palacial buildings. Sirappuli belonged to the Vedic Brahmin family famous for its lineage. He recited the five sacred syllables Namasivaya, performed the five sacrifices called panca maha yajnas(Deva-Rishi-Pitr-manusha and bhuta yanjas= offering food to all these catagories of lives) and other Vedic sacrifices as worship of Siva Nataraja. He also served the Saiva devotees. Sekkilar mentions the Vedic sacrifices as homa, velvic-calai, ahuti, and dhupa. Gananathar Another devotee of Siva among the 63, Gananathar, belonged to the family of Vedic Brahmanas and hailed from Sirkali, the native village of Saint Jnanasambandar. He used to do service in the local Siva temple and taught the young boys of the village, the arts of rearing flower gardens, plucking flowers, making floral garlands, fetching pure water for the oblation of the deity, and sweeping and besmearing the ground with cow dung. He virtually created a generation of temple devotees who could look after the temple services. He taught these arts to those who approached him, led a sacred house holders life and was called tondarukku arivalittavar i.e.a teacher of the devotees. Puhal-tunai-nayanar Puhal tunai Nayanar, another Saiva saint belonged to a Siva Brahmana family, Siva maraiyor-kulam, which according to Sekkilar was distinct from Vedic Brahmanas (ch. 56.1). His duty was to do puja in the temple as temple servant (ahattu cey mey-adimai-tolil) Muppodum thirumeni tinduvar Sekkilar gives an isnight into the lives of Siva Brahmanas in the chapter on those who touch the deity on three times a day and perform worship. They were called Adisaivas, performing “arccana” in temples on all the three sandhis, times of the day, with devotion on hereditarily. They grew in number by the grace of Siva, performed worship without deviating from the stipulations found in Jnana-marga of Siva-jnana. It also seems to indicate that it refers to Saiva-siddhanta i.e. Agamas (ch.62.1). They were also called munivar, a term generally translated as sanyasins. This rendering is not correct. Adisaivas can worship in the temple only when they lead the life of householders. Munivars are therefore living with their families and worshipping with devotion and are equal to the dikshitas. Sekkilar also says that performing ritual worship in temples was solely reserved for the families of the Siva Vediyas.(now called Adi-saiva Gurukkal). Pusalar Pusalar was born in Thiru-ninravur in Tondaimandalam, which was a Vedic brahmin settlement. (nanmarai vilangu mudur, ch. 65). The Vedic Brahmins emphasized adherence to righteous path by holding right conduct as the treasure of the family (kula mudal silam). The Vedic Brahmins of this village served for the development of Vedic tradition and all that meant dedication to the sacred feet of Lord Siva. The temple is called cintai alayam or mental temple. There is a Vedic hymn describing how a Vedic altar was constructed mentally. Kunkilyak kalayar Kalayar was Vedic Brahman from Thirukkadaiyur who supplied kumkuliyam (incense), for the local Siva temple as Service regularly. Once there was a severe drought in the village. Kalayar could not supply kumkuliyam as he had no money to buy. His wife gave her sacred tali and asked him to sell it and get the required money for buying the kumkuliyam. The most sacred object for married Hindu woman was her sacred tali tied by her husband at the time of marriage. It is not only a symbol of marriage but also the most auspicious for her and the family. It could be removed only when the husband dies. Kalayar, a Brahmin sold the tali of his wife just to fetch kumkiliyam for the temple of Siva an extraordinary act in his time. Muruga Nayanar Muruga Nayanar was one the 63 saints who hailed from pumpuhar in the Chola country. He was born in high Brahmin family (mana maraiyor kula marabu)He was greatly devoted to Siva in the Vedantic system (Muntai marai mutalvar Jnana varampin talai ninrar). He used to take bath in early morning, pluck flowers of the different varieties such as mountain flowers, field flowers, aqua flowers, flowers from creepers and lotuses that he sorted them separately and stored in flower baskets and used to fasten into different floral garlands as kovai, curukku, malai, kanni, punaiyal, and todaiyal. He performed the arccana–worship of Vardhamanesvara taking up turns as per agamic tradition. He also became a friend of jana-sambandar, who eulogized him in Tevaram hymn. Thiru-Nila-nakkar Thriu-Nila-nakkar was born in Sattamangai, a caturvedi-mangalam–brahmin village, in Chola-nadu, which imparted many branches of Vedic learning (pan maraik kidai) including the study of Sama veda. There were many Brahmins –dvijas (iru pirappalar) who tended the three fires (Garhapatya, Ahavaniya and Dakshinagni). They were known for their upright conduct and held the sacred ashes in great veneration. They followed the profession of expounding the meaning of the Vedas (nana marai porul vilakkiya nalattar). Such exponents were called bhattas the exponent of Sastras, in epigraphs. A great devotee of Siva Nila-nakkar hailed from a family that held that the true meaning of the Vedas (Veda ullurai) lay in worshipping of the sacred feet of Siva (arccana). Nila-nakkar engaged himself in this service. He worshipped Siva daily as Veda-karana (the cause of Vedas) as stipulated in the Agamas (agama vidhi) and feeding Siva’s devotees. Nila-nakkar performed Siva puja on a Thiruvadirai day and then went to a nearby village, Ayavanti and performed puja in the temple. Completing the puja and circumambulating the temple he sat before the Linga and started reciting the five sacred syllables as japa. At that moment a spider fell on the linga. His wife who was standing nearby by blew it off with her mouth. Nila-nakkar who saw this felt that his wife has done as unholy act as her saliva would have fallen on the Linga. Angered by her action he decided to sever his relation with her and abandoned her in the temple and returned to his residence. Siva appeared before him in his dream in the night and showed him that excepting the part where she gusted off the spider all other parts of his body were swollen indicating that what his wife did was not a desecration but the one that pleased Siva. Nila-nakkar realized his folly and rushed to the temple and brought back his wife. Another episode that is mentioned in his life by Sekkilar relates to Sambandar’s visit to his house. When Sambandar arrived in the village Nilanakakr invited him to his house. Sambandar was accompanied by Nila-kanta- yaz-Panar, who belonged to an outcaste. But Sambandar asked Nila-nakkar to provide a resting place for Nila-kanta-yaz-panar for the night. Nila-nakkar with out any hesitation invited the yaz-panar into his house and gave him a space near his Vedic sacrificial altar. Sekkialr has a word of praise for this gesture of Nila-nakkar. Jnana Sambandar was so happy that he sang in his Tevaram hymn, Nila-nakkar who could get an out caste near his sacrificial fire. In the first episode Nila-nakkar as Vedic Brahman was a strict stickler to the observance of pollution and purity, while in the later episode we find him who goes beyond the mechanics of pollution and inviting even an outcaste to come near his sacrificial fire inside his house. It is also seen that Nila-nakkar first performed puja in his house and later went to the nearby temple of Ayavandi and worshipped Sivalinga as per agamic code. This must be viewed against Sekkilar’s specific statement Nila-nakkar was a Vedic Brahman. It looks as though certain temples in Tamilnad had Vedic Brahmanas to do worship. Sekkilar mentions the worship performed by Nila-nakkar, as arccana meaning worship as per Agamas. Some agamas like Makutagama emphasize the Vedic nature of temple worship and also the presense of different sects among temple worshippers. Nami-nandi-Adigal Nami-nandi-adigal another Saiva saint, hailed from Emapperur a Brahmin village in the Chola country. The fame of the village was well known in the world for the upright conduct of the Brahmins who followed the Vedic system (poy tir vaymai aarumarai nul purinta silar). The village always resounded in Vedic recitations in the morning. White smoke rising from the Vedic altars engulfed the sky like dark clouds. The Vedic Brahmanas performed regularly homas in the Vedic yaga-salas. Nami-nandi was born in a Brahmin family in the village devoted to the worship of Siva. He resembled the pure Vedic fire by his conduct following the sacred Vedas(Vaymai marai nul silar.) Nami-nandi delighted in adoring the sacred feet of Siva the Singer of Sama Vedic hymns. He used to visit Thiruvarur and worship Vanmika-natha. He went to the nearby temple Thiru araneri isvara temple and decided to burn lamps there. He went to a nearby house and requested oil for burning lamps. It happened to be a jaina house. The jain inhabitant ridicules Nami-nandi for his request stating that his God who carried fire in his hand needed no light. However Nami nandi could burn the lamps by pouring water instead of oil. He refused to give him oil. Nami nandi was broken hearted by the insult and prayed to God. Siva appeared in his dream and persuaded him to burn the lamps with water. To his astonishment Nandi saw the lamps were burning. The Chola king who came to know of the miracle rushed to Thiruvarur, saluted Nami-nandi and made endowments to the temple for the worship of the God. The endowment had many clauses. The foremost one was that it was to be utilized for the devlopment of Vedas and agamas so that temple worship may be conducted properly (Veda-agama nul vidhi).Nami-nandi’s greatness was rooted in his Vedic tratition. Nami-nandi was also given some other privileges and rights in the festival of Panguni uttiram in the Thiruvarur temple (the annual festival)and served virtually as the representative of the king in the temple. The second episode mentioned in his life relates to his concept of pollution. Once he went to the festival in which the deity was taken out in procession to the nearby village where a large gathering of devotees belonging to all castes congregated. Nami-nandi mingled with them freely as a devote. At the end of the festival he returned home and felt that he was impure owing to mixing with people of all castes. His wife requested him to enter the house but he refused and wanted to take bath before entering. He fell asleep and in his dream Siva appeared before him and told him that all his devotees enjoy the same status and there was no high or low among them. Nami nandi was woken up by this revelation, realized his folly and ever since spent his life in serving Saiva devotees. Thirunavukkarasar praised his services in his Tevarm hymns. The episode does show that the Vedic Brahmins believed in the concept of pollution but Saivism held all devotees alike with no distinction of lower or untouchables among them. Saint Manikkavacaka There are four Siava saints Appar, Sambandar, Sundarar and manikka Vacakar, who are immortalized for their devotional poems and generally as Nayanmar Nalvar, “the four Saiva saints”. Manikkavacakar’s thiruvacakam are held in great veneration and it is customary to keep the metal image of Manikkavacaka aleays by the side of Nataraja in Major temples. All the Tamil Saivites sing his Thiruvacakam songs. He is dated fairly securely to 9th cent, to the time of Pandya Varaguna II. According to traditions he attained salvation at Chidambaram by merging with the light of Nataraja. His verses are of utmost importance for understanding the Concepts of Nataraja. He calls Veda, Mamarai, the great Vedas and Siva as Maraiyon, a Vedic Brahmana. Siva is called a Nan-maraiyon, Caturvedin (kirti thiru ahaval). Siva is the Lord of ageless Vedas; muva nanmarai mutalon (thiruc calal) Whatever Siva utters is Veda – pecuvatu marai. He called the village of Thirupperunturai, where he received knowledge from Siva, a Vedic settlement. Manikkavcaka says that Siva sat in the shades of Banyan tree and taught the Vedas and its Dharma to the four rishsis. Siva assumes the path of Vedic Brahmanas maraiyor kola neri (porri thiru ahaval). Siva reflects on the meaning of Vedas tunnu porul marai nanku (Thiruc calal). Finally Siva is Vedas and the meaning of Vedas maraiyum ay mariyin porulum ay.(koyil patikam) About Chidambaram Manikkavacaka says The Vedas adore Tillai – vedangakl tolutu ettum Tillai (kantap pattu). Vedic Brahmanas worshipped Nataraja maraiyavarkal vanangum (koiyil patikam) whose lifted leg gave him solace –thirup padam kattuvittu. Also he says at another place that the Vedic Brahmanas worshipped Siva at Chidambaram –tillainagar Thiruc cirramabalam mannu maraiyavarum vanavarum vanagita (kanta pattu). He also refers to Chid inner consciousness as the Space where the dance of Siva takes place and that the dance confers limitless Ananda, a direct reference to Ananda tandava ellai illa anandam anikol tillai kantene(kanta pattu) . Manikkavacaka refers to Dancing Siva as Ananda Kuttan (tol-nokkam, (Thiru vartai). The Vedic Nature of Siva Nataraja The Saiva system of Tamilnadu is based on the lives of the 63 Saiva saints as told by Sekkilar The account of Sekkilar is based on Saint Sundara-murti’s Thirut-tondat-tokai followed by Nambi Andar Nambi’s Thiru-antati. Sundarar sang the Thiru-Tondar-tokai at Thiru-varur and according to Sekkilar the first line tillai vaz antanar, was revealed to Sundarar by Lord Siva of Thiruvarur. Narrating this account Sekkilar says Siva taught these words by the same mouth that taught the Vedas to Sundarar. It is a poetic way of suggesting that the thiru-tondat-tokai has the same validity as the Vedas. This hymn consists of eleven verses. We have seen that at every stage, Sekkialr who also connects Vedas with the Thiru-tondar-tokai mentions the role of Vedas. The most sacred part of the Veda, containing the Pancakshara-Namasivaya is found in Sri-rudram-the Satarudriya hymn. The Satarudriya hymn consists of eleven verses, called anuvakas. It is in all probability that influenced Sundarar to sing the Thiru-tondar-tokai also in eleven verses. The identical number could not be considered accidental. The Tamil Saivam, which has been dynamic, through out, is based on the Vedas and the Vedic tradition and is therefore rightly claimed by all the saints as Vaidika Saivam. The foremost temple that comes in for praise in this system is Tillai-Chidambaram and the worshippers of Chidambaram are the Dikshitars, the followers of Vedas. The God of Chidambaram is the Dancing God. Tamil Saivam and Siva Nataraja are identical and that the concepts of Siva Nataraja are rooted in the Vedas.