Showing posts with label PENCIL DRAWING - BHOGAR SHIDDAR. Show all posts
Showing posts with label PENCIL DRAWING - BHOGAR SHIDDAR. Show all posts

Thursday, May 5, 2016

PENCIL DRAWING - BHOGAR SHIDDAR

PENCIL DRAWING

தினம் ஒரு ஓவியம் வரைவோம் - 05-05-2016
                 BHOGAR SHIDDAR

 BHOGAR SHIDDAR
 BHOGAR SHIDDAR

Bhogar was a South Indian by birth, belonging to the caste of goldsmiths, who became a siddha purusha under the guidance of Kalanginaathar. In Bhogar's Saptakanda he reveals details of various medicinal preparations to his disciple Pullippani (so named as he is believed to have wandered in the forests atop a puli or tiger) and at every stage he quotes his guru as the authority. Also Pulippani must have been a young man then, as he is often referred to as a balaka.

It is said that as per the last wishes of his guru, Bhogar proceeded to China to spread the knowledge of siddha sciences and strangely enough his journey is said to have been made with the aid of an aircraft; he demonstrated to the Chinese the details of the construction of the aircraft and later built for them a sea-going craft using a steam engine. The details of these and other experi- ments demonstrated by Bhogar in China are clearly documented in the Saptakanda.



Bogar's guru, Kālāngi Nāthar, is believed to be a Chinese who attained siddhi in South India and thus became included among the Eighteen Siddhars.

Lao Tse - the founder of Taoism (5th century B.C.) was the first Chinese to propound the theory of duality of matter -- the male Yang and female Yin -- which conforms to the Siddha concept of Shiva - Shakti or positive-negative forces. This very same concept was first revealed by the adi-siddhar Agasthya Rishi, whose period is as old as the Vedas, which have been conservatively dated at 3500 B.C.

Also alchemy as a science was practised in China only after B.C. 135 and was practiced as an art until B.C. 175 when a royal decree was enacted banning alchemical preparation of precious metals by the Celestial Empire; these details are recounted in the two existing Chinese books of alchemy Shih Chi and Treatise of Elixir Refined in Nine Couldrons, both dated to the first century B.C.

The emergence of Lao Tse with his theory of duality of matter and the journey of Bhogar to China seem to have taken place about the same time and it is even possible that Bhogar himself went under the name of Lao Tse in China, like another Siddharishi Sriramadevar, who was known as Yacob in Arabia.

This seems likely considering that:

before Lao Tse the concept of duality of matter finds no mention in any Chinese treatise;
alchemy as a science emerged only after B.C. 135, i.e. four centuries after Lao Tse;
there was a sudden spurt of alchemical practice aher the emergency of Lao Tse; and
the duality of matter and alchemy have been mentioned in South Indian scriptures that antidate Lao Tse by centuries.
The shrine at the top of the hill, though later than the Tiru Avinankudi temple, has overshadowed the older temple in the present century due to its popular appeal. Created by Bhogar, it was maintained after him by sage Pulippani and his descendants almost as their personal and private temple.

During the time of Tirumalai Nayak, his general Ramappayyan handed over the puja rights to newly brought Brahmin priests. The descendants of Pulippani were compensated for the loss of this right by being given:

Certain duties of superintendence
Right to some annual presents
Right to shoot off, at the Dasara Festival, the arrow which symbolises Subramanya's victory over asuras.
Right to be buried at the foot of the steps leading to the hill, if some of them so chose.
Gateway of Earth & Stone


 BHOGAR SHIDDAR
 BHOGAR SHIDDAR

At the top of Palani Hill, near the holy Murugan which Bhogar had crafted from nine poisonous substances, there is an opening in the Earth; it is a hole in the ground; the mouth of a cave which lies below. Bhogar often lowered himself into the Earth, sat in the cave, accessing Life's hidden secrets. He performed great austerities there, the magnitude of which very few in this modern age can fathom.

There at the opening Bhogar erected a humble shrine to the Great Mother: a few yantras, a couple of five-metal icons baring the form of the Mother and her son Murugan. He worshipped a small emerald lingam there, about ten inches in height. His one and only disciple, Pulipani (perhaps the only one who truly understood the sage), kept him company at the entrance to the underground cavern on the top of Palani Hill.

When Bhogar felt that his outer work was done, he entered the gateway of earth and stone and sat down in the darkness of the cave. Faithful Pulipani heaved a stone slab over the entrance, sealing Bhogar forever in the blackness of his earthen womb.

For thirteen generations Pulipani's descendants have watched over that stone slab that marks the gateway to the underground chamber. Long ago, Bhogar's little shrine was set atop that hallowed spot, and even today, is still worshipped by the vigilant sons of the faithful Pulipani. They say that Bhogar is seated quietly in meditation even now; alone in the darkness; watching the slow passage of time.

His breath is still. His mind is quiet, his heart unwavering; but through the dense dark matter of his earthly form stabs the vibrant & relentless flame of the Kundalini Shakti. There he waits...


 BHOGAR SHIDDAR
BHOGAR SHIDDAR
       முருகன் கையில் அருணகிரியார்!:மதுரையில் தாய் மீனாட்சி கிளி வைத்திருப்பதைப்போல, பழநி மலையில் முருகன் கையிலுள்ள தண்டத்திலும் ஒரு கிளி இருக்கிறது. முருகனின் அருள்பெற்ற அருணகிரியார் மீது பொறாமை கொண்ட சம்பந்தாண்டான் என்னும் புலவன் அவரை பழிவாங்க நினைத்தான். ஒருசமயம் அவன் வஞ்சனையால் பிரபுடதேவராயன் என்னும் மன்னன் மூலமாக, அருணகிரிநாதரை பாரிஜாத மலர் பறித்துவரும்படி கட்டளையிட செய்தான். அருணகிரியார், தன் உயிரை ஒரு கிளியின் உடலில் செலுத்தி, உடலை திருவண்ணாமலை கோபுரத்தில் கிடத்திவிட்டு தேவலோகம் சென்று பாரிஜாதம் கொண்டு வந்தார். இதனிடையே சம்பந்தாண்டான் அவரது உடலை தகனம் செய்துவிட்டான். கிளி வடிவில் திரும்பிய அருணகிரியார் தன் உடல் காணாமல் போனதால் திகைத்தார். முருகன் அவருக்கு அருள் செய்து தன் தண்டத்தில் அமர்த்திக் கொண்டார். இந்த அமைப்பில், தண்டத்தில் கிளி வடிவில் அருணகிரியாருடன் முருகன்காட்சி தருகிறார்.

தம்பியை காத்த அண்ணன்: சிறுவன் வடிவிலிருந்த முருகனிடம், இடும்பன் சண்டையிட முயன்றபோது, விநாயகர் அவரை காக்க வந்தார். ஆனாலும், முருகனுக்கு கிடைக்க வேண்டிய பழத்தை தான் பெற்றுக்கொண்டதால், தன் மீது அவருக்கு கோபம் இருக்கும் என்பதால், சுயவடிவத்தை மறைத்து நாக வடிவில், இடும்பனுடன் சண்டையிட்டார். இந்த விநாயகர் மலைக்கோயில் செல்லும் வழியில், இடும்பன் சன்னதி அருகில் சர்ப்பத்தின் மீது காட்சி தருகிறார். தன் வலது காலை நாகத்தின் தலை மீது வைத்துள்ளார். "சர்ப்பவிநாயகர்' என்று இவரை அழைக்கிறார்கள். மலைக்கோயில் அடிவாரத்தில் "பாதவிநாயகர்' இருக்கிறார். மலையேறும் முன்பாக இவரை வணங்கிச்செல்ல வேண்டும் என்பது ஐதீகம். இவ்விநாயகருக்கு பின்புறத்தில் முருகனின் பாதம் இருக்கிறது. இவ்விரு விநாயகர்களின் தரிசனமும் இங்கு விசேஷம்

Followers

J.ELANGOVAN.TRICHY