Pashupatheeshwara temple, Karur

Lord Shiva, the most benevolent, has called me to his abode at Karur, Tamil Nadu. The Lord presides over this small town located close to Trichy, as Pashupatheeshwara, the Lord of animals (can be interpreted as Lord of all living beings). It is the occasion of Aruthra Darshanam, (which marks the cosmic dance of Lord Shiva, symbolising the constant cycle of birth, sustenance and death), and the town is celebrating it with the Natyanjali dance festival.

We catch an overnight train to Karur. The train is delayed by an hour, and it is 1.30 a.m. by the time we settle in our berths. We alight at the Karur railway station at 7.00 in the morning. We make our way to the hotel, and take time to freshen up and have a simple yet delicious breakfast of idlis and pongal. 

Gopuram at the temple gates

Fortunately or unfortunately, I am kept occupied during the day, and am unable to make it to the temple. It is finally late evening by the time I wrap up my tasks, and make my way to the Pashupatheeshwarar temple. The temple precincts are huge, with a typical Chola-style gopuram rising towards the sky marking the main entrance. As I enter, to my right is a hall; a closed mantapam. Straight ahead is the shrine. To my left is the Nalvar Arangam, the open stage where the dancers perform for the Natyanjali. 

Nalvar Arangam adjacent to the temple

Just before we enter the temple, to the left is a small office where we can buy tokens for offerings. Realizing that I have only precious minutes left before the nadai closes, I rush inside. The inside of the temple is huge, and I am awestruck by the sheer size of the hall. Stone pillars support the hall. The walls inside the hall (around the circumambulatory path) hold statues of the 63 nayanmar, the Shaivite poet saints who have contributed significantly to Tamil literature. A stone Nandi sits outside; serenely guarding the entrance. I bow to Nandi, and take the short flight of steps to the sanctum. 

The temple entrance

The garbhagudi is a simple stone structure, with two separate queues for men and women on either side of the sannidhi marked with a metal frame. The Lord is in the form of a shivalinga, as he is commonly worshipped. The black linga is marked by three stripes of white vibhuti (holy ash), and a red dot in the centre. I offer my prayers to the Lord, and prostrate myself before the lingam grateful for the small mercies of the Lord. 

The soft fragrance of sambrani fills the small room, followed by thick smoke. A priest walks in, wielding the sambrani in a container, mounted on a staff. The head priest brings out the utsava murthy from the sanctum, and before I know it, another priest draws a curtain across the sannidhi, marking the closure of the temple. I realize that I am lucky enough to have made it in the nick of the time! I ask a lady next to me where the Lord is being taken. She tells me they are taking him to the palli arai, or the bed chamber. 

We follow the procession, led by a priest who is softly chanting a lullaby, keeping tune with the gentle chimes of a pair of cymbals. The Lord is placed on a palanquin, and is led in a pradakshinam to the palli arai. Some instinct guides me out, and towards the Devi shrine. Too late! Devi has already been put to bed.

I prostrate before the curtained sanctum, and step aside as I hear the chants coming closer. The procession steps in, preceded by the fragrance of the sambrani. The Lord steps inside and is led to the palli arai, where Devi is being put to sleep accompanied by prayers. The curtain parts and the Lord joins Devi on the aatu kattil, or the royal swing bed. I am struck by my unbelievable luck. I just got to see Shiva and Parvathi together in the same sannidhi! I am thrilled to bits, and prostrate myself before the wondrous sight.

I slowly make my way out, savouring the moment. This concludes my brief account on the Pashupatheeshwara temple. I will be back next week with my next post. Till then, stay safe, and stay devout!