Page 2 - Jul 2018 Newsletter
P. 2
From The Editor’s Desk
Dear Members, padmasana, while Rajarajeshwari reigns
As the hallowed month of Aadi approaches, the world in lalitasana. The famous idol of
many of us will visit temples and pray to Sri Ranganathar in Sriragam rests blissfully
the moola vigraha - the pradhana deity for amidst the coils of the celestial serpent
the divine blessings. Each temple brings to Adishesha, in shayanam. While the list of
its visitor a unique perspective and moola vigrahas of our temples fall into one
experience, be it the spiritual seeker, the of the three categories, a rare culmination
aesthetic admirer, or the occasional ogler. of three postures –‘nindraan, kidanthaan,
Our plethora of Hindu temples each speaks aadinaan’ – standing (Narayana), reclining
a story that starts from the sthala puranam (Ranganatha), dancing (Krishna), can be
and ends with the pranaprathista of the seen in Thirukoshtiyoor’s Sri Sowmya
vigraha during the kumbhabishekam. Narayanan temple. The same can be ob-
Somewhere along that celestial journey, the served in Thiruneermalai’s four postured
legend of the idol is born. In some temples, manifestation - nindraan (Rama), Irunthaan
the idol is standing, while in some the idol (Narasimha), Kidanthaan (Ranganatha),
is seated, while yet in others, the idol is re- Nadanthaan (Vaamana). Why does each
clining. The creation of the idol has been posture bear so much significance, and
guided by the deep rooted principles and what is the implication for us mere mortals
sciences in our shastras, and every aspect as we traverse great distances to have a
of the idol – the posture, the hand gestures glimpse of the God?
or mudras, the facial expression of ‘ugraha’ While the deeper interpretation of the
or ‘saumya’ nature, follows the ordains of postures may be outlined in the Agamas,
the shilpa shastra. Here is a little insight we, as lay persons could reason that the
into a few simple facets of temple idols from moola vigrahas in standing posture,
and for a layman’s appreciation. complete with their abhaya and varada
Vigrahas in the upright standing position mudra assure us of unconditional
are referred to as ‘sthanakam’, those seated protection, the yogic padmasana posture
are in ‘asanam’ while those reclining, are in could depict spiritual upliftment through
‘shayanam’. We see Tirupathi Balaji, meditation, while lalitasana could symbolize
Madurai Meenakshi, and our own detachment even in attachment, and
Sri Balambika in Malur in the sthanakam shayanam could signify our final salvation.
posture. While in seated posture, there are It is left to each of our own souls to imbibe
two primary asanas – padmasana and the message, but in the meantime, may
lalitasana. Padmasana refers to the yogic each of our next visits to a temple leave us
meditation pose, while lalitasana is when with a more lasting impression of the deity.
one leg is folded with the other hanging Sarvejana Sukhino Bhavantu.
down. Kanchi Kamakshi presides in
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