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Part-5

Nataraja & Modern Cosmology
According to Saivism, they are theologized as the म्हेश्वर तत्त्व (mheśvara tattva) symbolizing the क्रिया शक्ति (kriyā śaktiexecutive principle) and is responsible forपञ्च महा कृत्य (pañca mahā kṛtyafive cosmic acts) viz. स्रिश्ति (sriśti – creation), स्थिति (sthiti  - sustenance), सम्हार  (samhāra –dissolution), तिरोभव (tirobhava – veiling) & अनुग्रह (anugraha - grace). The following verses in the திருமந்திரம் (thirumandhiram), very clearly articulates the concept of पञ्च कृत्य  (pañca kṛtyafive fold acts)

படைப்பு  மாளிப்பும்  பயிலினைப்  பார்ருங்ஹ 
துடைப்பு  மறைப்புமுன்  தோன்ற  அருளுங் 
சடத்தை  விடுத்த  அருளுங்  சக்களத்தி 
தடித்த  அநாதியை  ஐந்தென  வாமே 
(
padaippu maLippum payilinaip paaRRunh
thudaippu maRaippumun thOnRa aruLuGn
sadaththai viduththa aruLuGn sagalath
thadaiththa anaathiyai aindhena vaamE

Creation, Preservation, and Dissolution (that for Jivas grant rest from birth and death whirl) Obfuscation and Grace
(That redeem Jiva after life below). These four sakala souls, He filled;
All these acts five,
Beginningless His are.
-Translation by B. Natarajan
திருமந்திரம் (thirumanthiram (2418)


In Saivism, these five functions are considered as शुद्ध तत्त्व (śuddha tattva – pure principles) and symbolised by the पञ्चनन शिव मूर्ति  (pañcanana śiva mūrti – five headed Shiva iconography) viz.सद्योजात (sadyojāta), वाम देव (vāma deva), अघोर (aghora),  तत्पुरुष (tatpuruṣa)  &  ईशान (īśāna) respectively. The earliest references to these occurs in the महा नारायण उपनिषद् (mahā nārāyaṇa upaniṣad) section of the तैत्तिरिय आरन्यक (taittiriya āranyaka) belonging to the कृष्ण यजुर् वेद संहित (kṛṣṇa yajur veda saṁhita), wherein they are referred to as the पञ्च ब्रह्म मन्त्र (pañca brahma mantra). Interestingly, from a theosonic perspective the term पञ्चवक्त्र (pañcavaktra) is also popularly used to denote the पञ्च ब्रह्म मुख (pañca brahma mukha – five divine faces) as it is believed that revealed the wisdom of वेद (veda) using five-fold means viz. विधि (vidhi - rules), मन्त्र (mantra - incantation), नामधेय (nāmadheya - appellation), निशेध (niśedha - control) & अर्थवाद (arthavāda - interpretation). The following is a popular imagery of the same




In other texts, these five faces are also called as the पञ्च ब्रह्म मुख (pañca brahma mukha – five divine faces) or simply as पञ्चमुखि (pañcamukhi – five faces). The लिङ्ग पुराण (liṅga purāṇa), for example, very beautifully glorifies the पञ्चमुखि (pañcamukhi – five faces)

दम्ष्ट्राकरालं अत्युग्रं ज्वालमाल संवर्तम्।
रक्तश्मश्रुं जटायुक्तं चोत्तरे विद्रुमाप्रभम्॥
प्रसन्नं वामदेवाख्यं वरदं विश्वरूपिणम्।
पश्चिमं वदनं तस्य गोक्षिरधवलं सुभम्॥
मुक्ताफलमयैर् हारैर् भूषितं तिलकोज्ज्वलम्।
सद्योजातमुखं दिव्यम् भास्करस्य स्मरारिणः॥
(
tasya pūrvaṁ mukhaṁ pīṭaṁ prasannaṁ puruṣatmakam|
aghoraṁ dakṣinaṁ vaktraṁ nīlāñjanacayopamam||
damṣṭrākarālaṁ atyugraṁ jvālamāla saṁvartam|
raktaśmaśruṁ jaṭāyuktaṁ cottare vidrumāprabham||
prasannaṁ vāmadevākhyaṁ varadaṁ viśvarūpiṇam|
paścimaṁ vadanaṁ tasya gokṣiradhavalaṁ subham||
muktāphalamayair hārair bhūṣitaṁ tilakojjvalam|
sadyojātamukhaṁ divyam bhāskarasya smarāriṇaḥ||

His face is yellow, serene , the form of  Purusha.
His south face is Aghora, comparable to a heap of collyrium,
Terrific with protruding teeth, very fierce, surrounded by garland of flames.
In the north the face has red beard, matted hair,
the colour of the coral, is serene called Vamadeva,
bestower of boons, having all forms.
His west face has the colour of cow’s milk,
is beautiful adorned with pearl necklaces,
brightened by a forehead mark;
that is the Divine Sadyojata face of the resplendent Shiva.
लिङ्ग पुराण (liṅga purāṇa)  (2.19.9-12)

Interestingly, in the sacred பொதிகை மலை தொடர் (podhigai malai thodar), amidst the dense forests of the along the Western Ghats mountain range in southern Tamil Nadu (& Kerala), there lies the naturally from சுயம்பு  பஞ்சமுக  சிவலிங்க  மாமலை (suyambu panjamuka sivalinga maamalai). The image of which is given below,



The पञ्च ब्रह्म मुख (pañca brahma mukhafive divine faces) motif of शिव (śiva) very beautifully symbolizes these पञ्च महा कृत्य  (pañca mahā kṛtyafive fold sacred acts). The पञ्च मुख  (pañca mukhafive faces) of the Lord having सद्योजात  (sadyojāta) facing மேற்கு (mERku - west), तत्पुरुष (tatpuruṣa) facing கிழக்கு (kizhakku - East),  अघोर (aghora) facing தெற்கு  (theRku - south), वामदेव (vāmadeva) facing வடக்கு (vadakkunorth)  &  ईसान (īsānafacing உச்சி (uchchi - top) correspond to the पञ्च महा कृत्य (pañca mahā kṛtyafive cosmic acts)  viz. स्रिश्ति (sriśti – creation), स्थिति (sthiti - sustenance), सम्हार (samhāra –dissolution), तिरोभव (tirobhava – veiling) & अनुग्रह (anugraha - grace) respectively.

सृष्टिः स्तिथिश् च संहारस् तिरोभावोऽप्य् अनुग्रहः।
पञ्चेमे जगत्कृत्यं नित्यसिद्धम् अजाच्युतौ॥
सर्गः संसारसंरंभस् तत्प्रतिष्टा स्थितिर् मता।
संहारो मर्दनं तस्य तिरोभावस् तदुत्क्रमः॥
तन्मोक्षोऽनुग्रहस्तन् मे कृत्यम् एवं हि पञ्चकं।
सर्गादि यच्चतुष्त्यं संसार परिज्र्ंभनं॥
पञ्चमं मुक्तिहेतुर् वै नित्यं मयि च सुस्थिरं।
तदिदं पञ्चभूतेषु दृष्यते मामकैर् जनैः॥
सृष्टिर् भूमौ स्थितिस् तोये संहारः पावके तथा।
तिरोभावोऽनिले तवदानुग्रह इवांबरे।
सृजयते दरया सर्वं अद्भिः सर्वं प्रवर्द्धते।
अर्द्यते तेजसा सर्वं वायुना चापनियते।
व्योम्ना तु गृह्यते सर्वं ज्ञेयं एवं एवं हि सूरिभिः॥
पञ्चवक्त्रं इमं वोढुम् ममास्ति मुखपञ्चकम्।
चतुर्दिक्षु चतुर्वक्त्रं तन्म्ध्ये पञ्चमं मुखम्॥
युवाभ्यां तपसा लब्धम् एव कृत्यद्वयं सुतौ।
सृष्टिथ्यभिधं भाग्यम् मत्तः प्रित्ताद् अतिप्रियम्॥
तयो रुद्रमहेशाभ्यां अन्यत्कृत्यद्वयं परम्।
अनुग्रहाख्यं केनापि  लब्धुं नैव हि शक्यते॥
(
sṛṣṭiḥ stithiś ca saṁhāras tirobhāvo'py anugrahaḥ|
pañceme jagatkṛtyaṁ nityasiddham ajācyutau||
sargaḥ saṁsārasaṁraṁbhas tatpratiṣṭā sthitir matā|
saṁhāro mardanaṁ tasya tirobhāvas tadutkramaḥ||
tanmokṣo'nugrahastan me kṛtyam evaṁ hi pañcakaṁ|
sargādi yaccatuṣktyaṁ saṁsāra parijrṁbhanaṁ||
pañcamaṁ muktihetur vai nityaṁ mayi ca susthiraṁ|
tadidaṁ pañcabhūteṣu dṛṣyate māmakair janaiḥ||
sṛṣṭir bhūmau sthitis toye saṁhāraḥ pāvake tathā|
tirobhāvo'nile tavadānugraha ivāṁbare|
sṛjayate darayā sarvaṁ adbhiḥ sarvaṁ pravarddhate|
ardyate tejasā sarvaṁ vāyunā cāpaniyate|
vyomnā tu gṛhyate sarvaṁ jñeyaṁ evaṁ evaṁ hi sūribhiḥ||
pañcavaktraṁ imaṁ voḍhum mamāsti mukhapañcakam|
caturdikṣu caturvaktraṁ tanmdhye pañcamaṁ mukham||
yuvābhyāṁ tapasā labdham eva kṛtyadvayaṁ sutau|
sṛṣṭithyabhidhaṁ bhāgyam mattaḥ prittād atipriyam||
tayo rudramaheśābhyāṁ anyatkṛtyadvayaṁ param|
anugrahākhyaṁ kenāpi  labdhuṁ naiva hi śakyate||

Creation, maintenance, destruction, concealment, grace,
these five are my actions regarding the world,
which are eternally accomplished, O Brahman
and Vishnu.
Creation is the beginning of the world rebirths, maintenance is its stabilization,
Destruction is the crushing of it .
Concealing is its passing forward, grace is the final release of it. 
That is the five actions.  Four of them starting with creation,
Manifest the world of its rebirths, the fifth is the cause of release
And is eternally well stable in me.
My followers see all that in five elements:
Creation in earth, maintenance in water, destruction in fire,
Concealment in wind and grace in space.
Everything is created with Earth, everything grows with water,
Is burnt with fire, is brough together with space.
Sages know everything of that.
To carry on this I have five faces., four in the four directions,
The fifth in the center.  By your penance, O my sons,
From me who is satisfied you have detained two of those actions,
Your share is called creation and maintenance., the most agreeable.
Other two have been obtained by Rudra and Mahesha.
The action called Grace cannot be entrusted to anyone.
शिवपुराण (śivapurāṇa)  (8.1-10)

The following table summarizes these पञ्च कृत्य (pañca kṛtya - fivefold functions) and maps them to the respective देवत (devata – deity) associated with the कृत्य (kṛtya  -  function).



कृत्य (kṛtya  -  function)
Description
ब्रह्म मुख
(brahma mukha- Divine face)
कर्त
(karta - actor)
ஆக்கல் / सृष्टि (aakkal / sṛṣṭi – creation / manifestation)
Represents the act of படைத்தல் (padaiththal emanation) of the phenomenal universe (effect)  from Himself (cause) by self will.
सद्योजात  (sadyojāta)
ब्रह्म (brahma)
காத்தல் /  स्थिति (kaaththal /
 sthiti  - sustenance)
The act of maintenance and growth of the emanated effect (universe)
वामदेव (vāmadeva)

विष्णु (viṣṇu)
அழித்தல் / संहार (azhithal
 / saṁhāra –dissolution)
The act of destruction or dissolution of the phenomenal universe
अघोर (aghora)
रुद्र शिव (rudra śiva)
மறைத்தல் / तिरोभाव (maRaiththal / tirobhāva - veiling)
 The act of veiling or concealing.


तत्पुरुष (tatpuruṣa)

सदाशिव (sadāśiva)
அருளல்  / अनुग्रह (aruLal /
 anugraha - grace):
Finally, bestowing spiritual emancipation to the souls  
ईसान (īsāna) 
महेश्वर (maheśvara)

The harmony in the divine cosmology of the intrinsic relationship between matter (particle) and energy (wave) is very beautifully explained by the Saivite genius, which describes the end to end management of the entire process of the पञ्च कृत्य (pañca kṛtya - fivefold functions)creation, sustenance, destruction, veiling & grace. Please remember that although there is a logical sequence in these phases, specifically between creation, sustenance, destruction, yet holistically speaking there is no time sequence among them. This is explained in the following verses of சிவஞான சித்தியார்  (sivaGnaana sidhdhiyaar)


இத்தையோடு , ஈசர் , சாதாக்கியம் , சத்தி , சிவன்கள்   ஐந்தும்  சுத்த  தத்துவம் ;
சிவன்தான்  சுதந்திர  வடிவம்  ஆகும் ;
நித்தம்  என்று  உரைப்பர் ; காலம்  நீங்கிய  நிலைமையாலே 
வைத்தியர் , முற்பிற்பாடு  வருவித்தார்  கருமத்தாலே 
(
viththaiyOdu, Isar, sadhaakkiyam, saththi, sivangaL aindhum suththa thatthuvam;
sivanthan sudhandhira vadivam aagum;
niththam enRu uraippar; kaalam nIngiya nilaimaiyaalE
vaiththilar, muRpiRpaadu varuviththaar karumaththaalE

Along with Suddha Vidyā Tattva, Mahesvara, Sadasiva, Sakti and Sivam, all these five constitute Suddha Tattva. Siva Himself is of the form of Freedom. There is no Time sequence among them in their manifestation, though Knowledge comes first before Action..
-Translation from Internet
சிவஞான சித்தியார்  (sivaGnaana sidhdhiyaar) (86)

To use a software programmer’s jargon, such eternal play of being & becoming is an on-going  cyclic pattern forming an infinite loop involving  the पञ्च महा कृत्य (pañca mahā kṛtya- five cosmic functions) explained earlier; and in accordance with the Divine Will of महा माया शक्ति (mahā māyā śakti), each of these  functions are performed by पञ्च ब्रह्म (pañca brahma - fivefold divinities) as further explained by the परमाचार्य (paramācārya) in the very next verse from the above quoted scripture,

जगत् सूत धाता हरिरवति रुद्रः क्षपयते
तिरस्कुर्वन्नेतत् स्वम् अपि वपुर् इशस्तिरियति।
सदापूर्वः सर्वं तदिदमनुगृहणाति च शिवस्
तवज्ञाम् आलम्ब क्षणचलितयोर् भ्रूलतिकयोः॥
(
jagat sūta dhātā hariravati rudraḥ kṣapayate
tiraskurvannetat svam api vapur iśastiriyati|
sadāpūrvaḥ sarvaṁ tadidamanugṛhaṇāti ca śivas
tavajñām ālamba kṣaṇacalitayor bhrūlatikayoḥ||

The Dhātṛ creates the world; Hari sustains it; Rudra destroys it, īśa causes his own form to disappear as well; while Sadāśiva, in pursuance of the mandate from Thy slightly-knit creeper – like eyebrows, belsesses all this .
-translation by Pandit S Subramaniya Shastri & Srinivasa Aiyangar

सौन्दर्य लहरी (saundarya laharī)  (24)

Interestingly a similar mapping of the पञ्च कृत्य (pañca kṛtya - fivefold functions) with specific deities is also provided by the revered saint தவத்திரு மணவாசகம்  கடந்தார் (thavaththiru manavaasakam kadandhaar) in உண்மை விளக்கம் (uNmai viLakkam), considered to be one of the important சைவ சித்தாந்த சாத்திரம் (saiva siththaantha saaththiram)

படைப்பன் அயன் அளிப்பன் பங்கயக்கண் மாயன்
துடைப்பன் உருத்திரனும் சொல்லில் - திடப்பெறவே
என்றும் திரோபவிப்பர் ஈசர் சதாசிவரும்
அன்றே அநுக்கிரகர் ஆம்
(
padaippan ayan; aLippanpangayakaN maayan;
thudaiipan uriththiranum; sollil thidappeRavE
enRum thirObavippar Isar; sadhaasivarum
anRE anukkirakar aam.

Brahma evolves; the lotus-eyed Vishnu sutains;
Redra resplves; undergo experience Mahesh always conceals; Sadasiva, as of yore; grants grace.
It is said that they function thus, even thus.
Translation by Dr. B. Ramachandran
உண்மை விளக்கம் (uNmai viLakkam) (9)


The iconography of சிவ தாண்டவம் (siva thaandavam - Dance of Siva) is another popular poetic expression encapsulating very complex laws behind these पञ्च कृत्य (pañca kṛtya - fivefold functions) represented by five different dance forms of Shiva, as explained in the following verses

ஆன நடம் ஐந்து அகள சகளத்தர்
ஆன நடம் ஆடி ஐங் கருமத்து ஆக
ஆன தொழில் அருளால் ஐந் தொழில் செய்தே
தேன் மொழி பாகன் திரு நடம் ஆடுமே
(
aana nadam aindhu agaLa sagaLaththar
aana nadam aadi ainkarumaththaaga
aana thozhil aruLaal ainthOzhil seidhE
thEn mozhi paagan thirunadam aadumE

This formless one takes form and performs five dances; t
hat dance is done to perform five actions; 
The five actions are performed with the knowledge of shakti; 
The one having the honey-tongued partner does the sacred dance.
-Translation by T.N Ganapthy
திருமந்திரம் (thirumanthiram (2727)


Mythologically, these dances are performed on பஞ்ச சபைகள் (sabaigaL - five stages /  platforms) which are terrestrially located in the the following temples respectively



Again, each of these dance stages are correspondingly mapped to one எழுத்து /अक्षर (ezhuththu / akṣara - syllable) in the ஐந்தெழுத்து மந்திரம்  / पञ्चाक्षर मन्त्र (aindhezhuththu mandhiram / pañcākṣara mantra five syllabled sonic formula). An important point to remember is that, when we refer to पञ्च ब्रह्म (pañca brahma - fivefold divinities) performing these पञ्च महा कृत्य (pañca mahā kṛtyafivefold cosmic acts) they do not refer to five different देवत (devata – deities), rather they are different aspects of the same पर ब्रह्म (para brahmaabsolute divinity). This fact is very categorically reiterated by திருவருட்பிரகாச இராமலிங்க வள்ளலார் (thiru arutpirakaasa iraamalinga vaLLalaar) in the following verses

படைத்தல்  முதல்  ஐந்தொழில்  புரிந்திலங்கும்  பரம்பர   ஒளி 
(
padaiththal mudhal aindhozhil purin thilangum parampara oLi
திருவருடஂபா (thiruvarutpaa) (3999)


Interestingly, this  पर ब्रह्मபர அம்பர ஒளி (para brahma / para ambara oLiabsolute divinity / transcendent light) corresponds to different objects in the imagery of the महा तान्डवं  (mahā tānḍavaṁ - cosmic dance) of நடராஜர்(nataraajar). The following table provides a quick summary of these mappings.

कृत्य (ktya - Act)
Description
சபை (sabhai - stage)
ஸ்தலம் (sthalam - site)
தாண்டவம்
(thaandavam  - dance)
எழுத்து / अक्षर (ezhuththu / akṣara - syllable)
ஆக்கல் / स्रिश्ति  (aakkal/ sriśti – creation / manifestation)
The दम्रु (damru - drum) held by the right posterior hand represents emanation of the परनाद (paranāda - supreme sound)
இரத்தின சபை / மணிமன்றம் (irathina sabhai/ maNimanRam)
திருவாலங்காடு
(thiruvaalangaadu)
காளிகா  தாண்டவம்
(kaaLikaa thaaNdavam)
 ந (na)
காத்தல் /  स्थिति (kaaththal / sthiti  - sustenance)
The right anterior hand with supinated upright palm in अभय मुद्र (abhaya mudrafear not symbol)
கனக சபை / பொற்சபை (kanaka sabai /  poRsabai)
சிதம்பரம் 
(sithambaram)
ஆனந்த தாண்டவம்
(aaNandha thaaNdavam)

 (ma)
அழித்தல்   / सम्हार  (azhithal /samhāra –dissolution)
left posterior hand with flame.

இரத்தின / வெள்ளி சபை (irasatha  / veLLi sabai)
 மதுரை (madhurai)
சந்தியா  தாண்டவம்
(santhiyaa thaaNdavam)

சி (si)
மறைத்தல் /  तिरोभव (maRaiththal /tirobhava - veiling)
Anterior hand pointing down to left foot-- jīva's refuge
தாமிர சபை (thaamira sabai)
நெல்லையப்பர்
(nellaiyappar)
முனி  தாண்டவம்
(muni thaaNdavam)

வா  (vaa)
அருளல் /  अनुग्रह (aruLal / anugraha - grace):
Grace, planted right foot.
சித்திர சபை
(siththira sabai)
திரு குற்றாலம்
(kuRRaalam)
கௌரி தாண்டவம்
(Gauri thaaNdavam)
 (ya)


Thus, as indicated above the five divine act of manifestation involving the above functionalities is beautifully symbolized to corrsponds to अङ्ग (aṅga - parts) of the नटराज ताण्डव मूर्थि (naṭarāja tāṇḍava mūrthi – iconography of lord of dance),  as testified below by திருமூலர் (thirumUlar) viz.

அரன்துடி தோற்றம் அமைத்தல் திதிஆம்
அரன்அங்கி தன்னில் அறையின் சங் காரம்
அரன்ஊற் றணைப்பில் அமருந்திரோ தாயி
அரன்அடி என்றும் அனுக்கிரகம் என்னே
(
aranthudi thORRam amaiththal thithiyaam
aran anGgi thannil aRaiyiR sangAram
aran uRRu aNaippil  amarum thirOthaayi
aranadi endrum anuggiragam ennE

Hara’s drum is creation
Hara’s hand gesturing protection
Hara’s fire is dissolution
Hara’s foot planted down is concealment
Hara’s foot, raised in dance, is grace abiding.
-Translation by Ananda K
Coomaraswamy
திருமந்திரம் (Thirumanthiram) (2799)

We have already discussed on this, while talking about the esoteric science of temples. Please refer back to the same for further details.  An almost similar mapping is provided by the revered saint திருவதிகை  மணவாசகம்  கடந்தார் (thiruvadhigai manavaasagam kadandhaar) in his famous work titled உண்மை விளக்கம் (uNmai viLakkam), an important சைவ சித்தாந்த மெய்கண்ட சாத்திரம்  (saiva siththaantha meikaNda saaththiram)

தோற்றம் துடி அதனில் தோயும் திதி அமைப்பில்
சாற்றியிடும் அங்கியிலே சங்காரம் - ஊற்றமா
ஊன்று மலர்ப்பதத்தில் உற்றதிரோதம் முத்தி
நான்ற மலர்ப்பதத்தே நாடு
(
thORRam thudi adhayum thithi amaippil
saaRRiyidum angiyilE sangaaram - URRumaa
UnRu malarpadhaththil uRRathirOdham muththi
naanRa malarppadhaththE naadu.

Creation starts from the Drum. 
Protection proceeds from the Hand of Hope. 
The fire produces destruction. 
From the Foot holding down proceeds Droupavam; 
the Foot held aloft gives mukti
-Translation by T.N. Ramachandran
உண்மை விளக்கம் (uNmai viLakkam) (36)


Again, the revered saint திரு  குமரகுருபர  சுவாமிகள் (thiru kumaragurubara suvaamigaL) even more poetic account of the correspondence between पञ्च कृत्य (pañca kṛtya - fivefold functions) and the महा तान्डवं  (mahā tānḍavaṁ - cosmic dance) of நடராஜர் (nataraajar), as illustrated in the following verses

பூமலி கற்பகப் புத்தேள் வைப்பும்
நாமநீர் வரைப்பி னானில வளாகமும்
ஏனைப் புவனமு மெண்ணீங் குயிரும்
தானே வகுத்ததுன் றமருகக் கரமே
தனித்தனி வகுத்த சராசரப் பகுதி
அனைத்தையுங் காப்பதுன் னமைத்தபொற் கரமே
தோற்றுபு நின்றவத் தொல்லுல கடங்கலும்
மாற்றுவ தாரழல் வைத்ததோர் கரமே
ஈட்டிய வினைப்பய னெவற்றையு மறைத்துநின்
றூட்டுவ தாகுநின் னூன்றிய பதமே
அடுத்தவின் னுயிர்கட் களவில்பே ரின்பம்
கொடுப்பது முதல்வநின் குஞ்சித பதமே
(
pUmali karpaga puththEL vaippum
naama nIr varaippil naanila vaLaagamum
Enai buvanamum eNNInguyirun
thaanE vaguthadhan dhamarukkaramE
thaniththani vaguththa saraasarap paguthi
anaiththayum kaappadhu un amaindha poRkaramE.
thOnRubu ninRavath tholluk kadangalum
maaRRuvadhu aarazhal vaiththathOr karamE
Ittiya vinaipayan evaRRaiyum maRaiththu ninRu
Uttuvadhaam nin UnRiya padhamE
aduththa innuyirgatku aLavil pErinbam
koduppadhu mudhalva nin kunjidha padhamE.
சிதம்பர மும்மணிக்கோவை  (sidhambara mumaNikkOvai) (1-12)


Infact, in cosmological terms, these पञ्च महा कृत्य (pañca mahā kṛtya – five main acts)  forms the main crux of cosmic governance of the universe and as cited below, saint மாணிக்கவாசகர் (maaNikka vaasagar) in his திரு அண்டப் பகுதி (thiru aNdappagudhi) very beautifully and scientifically eulogizes the cosmic significance of the same

அண்டப் பகுதியின் உண்டைப் பிறக்கம்,
அளப்புஅரும் தன்மை, வளப் பெரும் காட்சி
ஒன்றனுக்கு ஒன்று நின்ற எழில் பகரின்
நூற்று ஒரு கோடியின் மேற்பட விரிந்தன;
இல் நுழை கதிரின் துன் அணுப் புரைய,
சிறிய ஆகப் பெரியோன். தெரியின்
வேதியன் தொகையொடு மால் அவன் மிகுதியும்,
தோற்றமும், சிறப்பும், ஈற்றொடு புணரிய
மாப் பேர் ஊழியும், நீக்கமும், நிலையும்,
சூக்கமொடு, தூலத்து, சூறை மாருதத்து
எறியது வளியின்
கொட்கப் பெயர்க்கும் குழகன் முழுவதும்
படைப்போன் படைக்கும் பழையோன்; படைத்தவை
காப்போன் காக்கும் கடவுள்; காப்பவை
கரப்போன்; கரப்பவை கருதாக்
கருத்துடைக் கடவுள்; திருத்தகும்
அறுவகைச் சமயத்து அறுவகையோர்க்கும்
வீடு பேறு ஆய், நின்ற விண்ணோர் பகுதி
கீடம் புரையும் கிழவோன்; நாள்தொறும்
அருக்கனில் சோதி அமைத்தோன்; திருத்தகு
மதியில் தண்மை வைத்தோன்; திண் திறல்
தீயில் வெம்மை செய்தோன்; பொய் தீர்
வானில் கலப்பு வைத்தோன்; மேதகு
காலில் ஊக்கம் கண்டோன்; நிழல் திகழ்
நீரில் இன்சுவை நிகழ்ந்தோன்; வெளிப்பட
மண்ணில் திண்மை வைத்தோன் என்று என்று,
எனைப் பல கோடி, எனைப் பல பிறவும்,

அனைத்துஅனைத்து, அவ்வயின் அடைத்தோன். அஃதான்று

(
aNdap pagudhiyin uNdaipp piRakkam
aLapparum thanmai vaLapperum kaatchi
onRanukku onRu ninRa ezhil pagarin
nURRoru kOdiyin mERpada virindhana
il nuzhai kadhirin thun aNuppuraiyach
siRiyavaagap peRiyOn theriyin
vEdhiyin thogaiyodu maalavan migudhiyum
thORRamum siRappum IRRodu puNariya
maapEr Uzhiyum nIkkamum nilaiyum
sUkkamodu thUlaththuch sURai maarudhaththu
aRiyadhu vaLiyiR
kotgap peyarkkum kuzhagan muzhuvadhum
padaipOR padaikkum pazhaiyOn padaiththavai
kaappOR kaakkum kaDavuL kaappavai
karappOn karappavai karudhaak
karuththadaik kadavuL thiruththagum
aRuvagai samayaththu aRuvagaiyORkkum
vIdupEraai ninRa viNNOr pagudhi
kIdam puriyum kizhavOn naaLthoRum
arukkaniR sOdhi amaiththOn thiruththagu
madhiyil thanmai vaiththOn thiNthiRal
thIyin venmai seidhOn poithIr
vaaniR kalappu vaithOn mEdhagu
kaalin Ukkam kaNdOn nizhalthigazh
nIril insuvai nigazhndhOn veLippada
maNNil thiNmai vaiththOn enRu enRu
enaipala kOdi enaipala piRavum
anaiththu anaiththu avvayin adaiththOn agdhaanRu.

 The development of the sphere of the elemental universe,
Its immeasurable nature, and abundant phenomena,
If one would tell their beauty in all its particulars,
As when, more than a hundred millions in number spread abroad,
The thronging atoms are seen in the ray that enters the house,
So is He the GREAT ONE, Who exists in the minutest elements.
If you would know Him, BrahmA and the rest with MAl,
His greatness, source, glory, and end,
Conjoined with His eternity, His extent, His abiding essence,
His subtile ant palpable manifestations
They sought to understand. As the rush of a mighty whirlwind
The Beauteous One drave them far in whirling course !
He is the Ancient One, Who creates the Creator of all;
He is the God, Who preserves the Preserver of things created;
He is the God, Who destroys the Destroyer;
But, thinking without thought, regards the things destroyed.
To the six sacred sects with their six diverse kinds of men
He is the attainment of deliverance; and Source of being to the heavenly ones
He is the Possessor of all, Who resembles an insect.
Day by day He to the sun its lustre gave.
In the sacred moon He placed its coolness;
Kindled in the mighty fire its heat;
In the pure ether placed pervasive power;
Endued the ambiant wind with energy;
To the streams that gleam in the shade their savour sweet,
And to the expanded earth with its strength He gave;
For ever and aye, me and millions other than me,
All in their several cells hath He enclosed..
-Translation by (Rev) G.U. Pope
திருவாசகம் (thiruvaasagam) (3.1-3.28)


Please be noted that noble saints like திருமூலர் (thirumUlar) highlight that there is a 6th ब्रह्म मुख  (brahma mukhadivine face) called अधोमुख (adhomukha – downward face) that is hidden and is a passive observer , while the remaining five are active participants in the Divine Drama.  In other words, the former represents the निश्कल / निर्गुण (niśkala /  nirguṇa – noumenal / being) aspect of Divinity, while the latter (all five together) represents the शकल / सगुण (śakala /  saguṇa – phenomenal / becoming) aspect of ब्रह्मत्व (brahmatva- divinity).  It can also be referred as the அரங்கம் / சபை (arangam / sabai – stage/ platform) where the திருக்கூத்து (thirukkUththu -sacred dance) is performed. In other words, it is the साक्षि क्क्षेत्र (sākṣi kkṣetra – witness field) where the energy dance takes place. In fact, साक्षि (sākṣi – witness) is an important ¾¢Õ ¿¡Áõ (thiru naamam – sacred name) of God, according to श्री विष्णु सहस्रनाम (śrī viṣṇu sahasranāma).

पूतात्मा परमात्मा मुक्तानां परमा गतिः।
अव्ययः पुरुषः साक्षी क्षेत्रज्ञोऽक्षर एव च॥
(
pūtātmā paramātmā ca muktānāṁ paramā gatiḥ|
avyayaḥ puruṣaḥ sākṣī kṣetrajño'kṣara eva ca||
)

Thus, here in this capacity God assumes the निर्व्यापार द्रष्ट्ट भावन (nirvyāpāra draṣṭṭa bhāvana – passive observer role) who is not bound or affected by the actions of the game. He acts as a pure அரங்கம் / சபை (arangam / sabai – stage/ platform) where the drama is enacted.  In terms of modern science it is the vacuum field/space hosting the energy dance of wave-particles. This theme has very ancient roots. In fact, in my opinion, the following मन्त्र (mantra – hymn) from one of the oldest Hindu scriptures viz. ऋग् वेद संहित (ṛg veda saṁhita) testifies the same.

पञ्चरे चक्रे परिवर्तमाने तस्मिन्ना तस्थयुर्भुवनानि विश्वा।
तस्य नाक्षस्तप्यते भूरिभारः सनादेव न शीर्यते सनाभिः॥
(
pañcare cakre parivartamāne tasminnā tasthayurbhuvanāni viśvā|
tasya nākṣastapyate bhūribhāraḥ sanādeva na śīryate sanābhiḥ||

All the worlds rest, in the five spoked revolving wheel.  
The axle bearing the heavy load is not damaged. Its only hub, though ancient, does not wear out.
-translation by R.L. Kashyab
ऋग् वेद संहित (ṛg veda saṁhita)  (1.164.13)

Here, the revolving wheel denotes the संसार चक्र (saṁsāra cakra – metempsychosis cycle), also called as the महा काल चक्र (mahā kāla cakra – cosmic time cycles) and its five spokes represents the पञ्च महा कृत्य (pañca mahā kṛtyafivefold cosmic acts), while the axle and hub represents the शक्ति / प्रकृति तत्त्व (śakti/ prakṛti tattva – dynamic principle) & शिव / पुरुष तत्त्व (shiva/ puruṣa tattva – static principle) respectively. Alternatively the  former can be expressed as a function of काल (kāla - time) while the latter as an aspect of देश (deśa – space/ field). In other words, all the पञ्च महा कृत्य (pañca mahā kṛtyafivefold cosmic acts) in the phenomenal world occurs in space-time i.e temporal events / milestones in देश (deśa – space/ field).
Please recollect that in Newtonian cosmological terms, the देश (deśa – space)  here in terms of अधोमुख (adhomukha – downward face) corresponds to absolute space which is defined by Isaac Newton “Absolute space, in its own nature, without reference to anything external, remains always similar and unmovable”. In simple words, it acts as the º¨À (sabai - stage) where the drama of cosmic motions are enacted.  Moreover, Newton also recognizes that such absolute space is actually a hidden concept which cannot be directly observable by the sense but can only be verified mathematically.  In fact to quote him, “It is indeed a matter of great difficulty to discover and effectually to distinguish the true notions of particular bodies from the apparent, because the parts of that immovable space in which those motions are performed do by. no means come under the observations of our senses
However, please remember that although in the capacity of शिव तत्त्व (shiva tattva – static principle), देश (deśa - space) remains pure and untainted, yet it is not an isolated जड तत्त्व (jaḍa tattva – inert principle) as it is tightly interconnected with the पञ्च महा कृत्य (pañca mahā kṛtyafivefold cosmic acts),  in the capacity of शक्ति तत्त्व (śakti tattva – dynamic principle). That is, the same ब्रह्मम् (brahmam – divinity) continuously involves in these acts.  In fact this is why, देश (deśa – space/ field)  is depicted as the hidden अधोमुख  (adhomukha – downward face) which is underlying the पञ्च ब्रह्म मुख (pañca brahma mukhafive divine faces). Thus, देशकाल अनुबन्ध (deśakāla anubandhaspacetime continuum) is the primary principle in cosmology as testified in the following aphorism from the ancient Tamil treatise ஐந்திரம் (ainthiram).

காலமும்  களமும்  மூலம்  உணர்த்தும் 
(
kaalamum kaLamum mUlam uNarththum
Both time and space will reveal the nature of the primal space 
or the primal absolute point of evolution.
Translation  Dr. S.P. Sabharathnam
)

The eminent philosopher Immanuel Kant, explains thus, “Absolute space is therefore necessary, not as a concept of an actual object, but as an idea that is supposed to serve as a rule for considering all motion within it as merely relative, and all motion and rest must be reduced to absolute space, if the appearance of the same is to be transformed into a determinate concept of experience (which unites all appearances)”
In other words, all the motions (actions) viz. the पञ्च महा कृत्य (pañca mahā kṛtyafivefold cosmic acts) are merely relative phenomena occurring in देश (deśa – space/ field). In this context the space here corresponds to the Albert Einstein’s general relativistic model wherein all material phenomena are distortions of space-time gravity
We shall discuss the technicalities behind देशकाल अनुबन्ध (deśakāla anubandhaspacetime continuum), in the light of modern cosmology in a short while. For now, just remember that देशकाल अनुबन्ध (deśakāla anubandhaspacetime continuum) is the மாய சபை (maaya sabai - magic stage) where the पञ्च महाकृत्य ताण्डव (pañca mahākṛtya tāṇḍavadance of fivefold cosmic acts)  occurs. As already highlighted earlier itself, the iconography of Lord கூத்தபிரான்  / நடராசன் (kooththapiraan / natarājan- the Lord of Cosmic Dance) has deep parallels with the modern cosmological discoveries in astrophysics. The परमशिव (paramaśiva - Infinite Being) who is known as the கூத்தபிரான்  / நடராசன் (kooththapiraan / natarājan-  Lord of Cosmic Dance), represents बिन्द (bindu - point particle or being) while His ஆனந்த தாண்டவம் (aanandha thaandavam dance of bliss) of தில்லை நடராஜனஂ (thillai nataraajan) at ஞான சபை (gnaana sabai) in the º¢¾õÀÃõ (chidhambaram), represents the नाद (nādavibrational waves or energy) aspect. That is why, this symbology is considered to be a perfect marriage of art and science, of poetry and philosophy as explained by Ananda K Coomaraswamy, How supremely great in power and grace this dancing image must appear to all those who have striven in plastic forms to give expression to their intuition of Life!...No artist of today, however great, could more exactly or more wisely create an image of that Energy which science must postulate behind all phenomena…Nature is inert, and cannot dance until Siva wills it. He rises from His rapture, and dancing sends through inert matter pulsing waves of awakening sound, and lo! Matter also dances appearing as a glory round about Him. Dancing, He sustains its manifold phenomena. In the fullness of time, still dancing, he destroys all forms and names by fire and gives new rest. This is poetry; but none the less, science.
Thus, here, the परमशिव (paramaśiva - Infinite Being) denotes ब्रह्मन् (brahman), while the स्पन्द (spandacosmic dance /Eternal Becoming) denotes माया (māyā) which is also the शक्ति (śakti). Being is the potential energy, while becoming is the kinetic energy. The Saivite artistic genius has expressed these five functions as five different dance forms of Shiva, but also encapsulated all these functionalities within a single dance form as well. In the சிவ  தாண்டவம் (Siva thaandavamDance of Shiva) of Lord நடராஜன் (nataraajan), where the ब्रह्मन् (brahman) is Lord महेश्वरा (maheśvarā) Himself, and His dance is the divine लीला (līlā - play) of माया शक्ति (māyā śakti), symbolized as His beloved consort महेश्वरी (maheśvarī). Thus, the Dancer represents the Being or the निश्कल ब्रह्मन् ( niśkala brahman – the Divine Being), while His Dance represents the सकल ब्रह्मन् (sakala brahman – Divine Becoming); and in such a process of cosmological evolution, शक्ति तत्त्व (śakti tattva - Kinetic/ becoming aspect) appears to take more dominant  role encapsulating the शिव तत्त्व (śiva tattva – Potential/ Being aspectwithin Her. In fact, that is why, She is also called by the name शिवगामी (śivagāmī), which literally means ‘encapsulating Shiva within Herself’.परमाचार्य श्री आदि शंकर भगवद्पाद (paramācārya śrī ādi śaṁkara bhagavadpāda) in his mystical masterpiece सौन्दर्य लहरी (saundarya laharī), very beautifully expresses this concept by singing thus,

त्वया हृवा वामं वपुरपरितृप्तेन मनसा
शऱ्इरार्धं शंभोरपरमति शङके हृत्मभूत्।
तथा हि त्वद्रूपं सकलमरुणाभं त्रिनयनं
कुचाभ्यामानम्रम् कुतिल शशिचूदालमुकुतम्॥
(
tvayā hṛvā vāmaṁ vapuraparitṛptena manasā
śairārdhaṁ śaṁbhoraparamati śaṅake hṛtmabhūt|
tathā hi tvadrūpaṁ sakalamaruṇābhaṁ trinayanaṁ
kucābhyāmānamram kutila śaśicūdālamukutam||

I fancy that the other( half) as well, of Shambhu’s frame has been absorbed by Thee, with Thy mind, not satisfied with having absorbed  the left one; for, this, Thy form, is entirely of a red colour, has three eyes, is slightly bent with (the weight of) the breasts, and wears over its crown the crescent moon.
-translation by Pandit S Subramaniya Shastri & Srinivasa Aiyangar
सौन्दर्य लहरी (saundarya laharī)  (23)

The next important point to understand is that the சிவ  தாண்டவம் (siva thaandavam - Dance of Siva)  is not only a macro-cosmic event but is also very much an eternally immersive experience at the microcosmic scale. The revered saint திரு அருட்பிரகாச இராமலிங்க வள்ளலார் (thiru arutpirakaasa iraamalinga vaLLalaar) in his உரைநடை பகுதி (urainadai  pagudhi - prose section)  of his articulation describes the esoteric meaning of the நடராஜ தத்துவம் (nataraaja thaththuvam) in Hinduism, as follows,

ஞான  சபை  என்பது  ஆன்மபிரகாசம் . அந்த  பிரகாசத்திற்குள்  இருக்குப்  பிரகாசம்  கடவுள் . அந்த  உலொளியின்  அசைவே  நடனம் . இவற்றை  தான்  சிற்சபை  அல்லது  ஞான  சபை என்றும் ,  நடராஜர் என்றும்   நடனம்  என்றும்   சொல்கிறது
(
gnaana sabai enbadhu aanmap pirakaasam. andha pirakaasathiRkuL irukkup pirakaasam kadavuL. andha uLoLiyin asaivE nadanam. ivaRRai dhaan siRsabai alladhu gnaana sabai enRum, nataraajar enRum  nadanam enRum sollugiRadhu
உபதேச குறிப்புகள்  (upadhEsa kuRippugaL - prose  instructions)

 What is referred here as the ¯உளஂளொலியினஂ அசைவு (uL oLiyin asaivu - vibrating light inside) is actually the microcosmic quantum jitter (glitter) occurring in one’s own inner space inseparably associated with the self-consciousness called as the चिताकाश (citākāśa – consciousness space).  It is the अन्तर् प्रेष / आत्म स्पन्दन (antar preṣa / ātma spandana – inner urge / self throb)  which manifests as the vacuum fluctuation in the चितंबर (citaṁbara – mindfield) where space begins to materialize itself  in various forms, as testified below


கொட்டியல்  வடிவும்  புள்ளியும்  குறியும் 
நிட்டூரும்  இயல்பாய்  நிகழும்  நெறியே 
 (
kOttiyal vadivum puLLiyum kuRiyum
nIttuRum iyalbaai nigazhum neriyE

Within the primal space itself, first there occurs internally an urge as “let me become like this”; this urge turns into a point (dot); and thence occurs manifestation of forms conditioned by enclosures of lines limitations etc. This is how enduring process of manifestation of forms takes place.
- Translation  Dr. S.P. Sabharathnam

ஐந்திரம் (ainthiram) (54)

The आत्म स्पन्दन / नाद (ātma spandana / nāda  – self throb) begins its creative journey by first formalizing as a अरूप बिन्धु (arūpa bindhu – dimensionless / formless point) and then further materializing into all other matter forms characterized by the पञ्चभूत अवस्त (pañcabhūta avasta – five material phases) 
This आत्म स्पन्दन (ātma spandana – self throb) is the सूक्षम नटन (sūkṣama naṭana – subtle dance) referred by the saint here. Of course, the same also manifests itself as the नाद स्पन्दन  (nāda spandanasonic vibration) technically called as திருமந்திரம் (thirumanthiram) by saint திருமூலர் (thirumUlar).

திருமந்திரம்  சிதம்பரம்  தானும் 
திருமந்திரம்  சிறந்த  உபாங்கம் 
திருமந்திரம்  திருக்கூத்தினை  செய்கை 
திருமந்திரம்  திருமேனி  தானே 
(
thirumandhiramE chidhambaram thaanum
thirumandhiramE siRandha upaangam
thirumandhiramE thirukUththinai seigai
thirumandhiramE thirumEni thaanE.
திருமந்திரம் (thirumanthiram) (2672)


In fact, according to him, .சிதம்பரம் / சிற்றம்பலம் (chidhambaram / thiru chiTRRambalam) is nothing else but our own body wherein the sacred திருமந்திரம் (thirumanthiram) can be experienced as திருக்கூத்து (thirukuththu – sacred dance) performed. This again, in the anthropic perspective refers to the சிற்சபை (ciRsabai – wisdom stage) microcosmically experienced at the आज्ञ चक्र (ājña cakra – command centre) located in-between the eyebrows

நெற்றிக்கு நேரே புருவத் திடைவெளி
உற்றுற்றுப் பார்க்க ஒளிவிடும் மந்திரம்
பற்றுக்குப் பற்றாய்ப் பரமன் இருந்திடம்
சிற்றம் பலம்என்று தேர்ந்துகொண் டேனே .
(
neRRikku nEre puruvath thidaiveLi
uRRuRuppaarkkap oLividum mandhiRam
paRRukkup pRRaai paraman irundhidam
iRRambalammenRu therindhukoNDEnanRE.

Straight within the fore-head
Between the eye-brows
Is the astral space vast;
Peer, peer within there
The luminous Mantra (Aum) will be;
The place where they in yearning sought Him
Is the place where He in yearning is;
That verily is the Holy Temple of Chittambalam
And there did I firm sit.
திருமந்திரம்(thirumanthiram) (2672, 2724)

Further, திரு அருட்பிரகாச இராமலிங்க வள்ளலார் (thiru arutpirakaasa iraamalinga vaLLalaar) in different parts of his magnum opus poetic masterpiece திரு அருட்பா  (thiru arutpaa) testifies that, in the microcosm, the சிதம்பரம் / திரு சிற்றம்பலம்(chidhambaram / thiru chiRRambalam) is located at the சிவ  சுகாதீத  வெளி நடு (siva sugaadhIdha veLi nadu)  in the சிரசுப்பகுதி (sirasuppagudhi - head section) of our body. For example,

தலைவளர்  திருச்சிற்றம்பலம்  தனிலே 
தனித்தெனக்  கினித்ததோர்  கனியே .

அருள்  நிலை  விளங்குமசிற்றம்பல  மெனும்  

சிவ சுகாதித  வெளி  நடுவிலே 
(
thalaivaLar thiruchiRRambalam thanilE
thaniththenak kiniththathOr kaniyE.

aruL nilai viLangumsiRRambala menum siva
sugaadhIdha veLi naduvilE
திரு அருட்பா  (thiru arutpaa) (5380, 3651)

Similarly, the revered சித்தர் சிவவாக்கியர் (siva vaakkiyar) also reiterates the fact that ஞான  கூத்து(gnaana kUththy) can be witnessed within one’s own self. In fact, according to him, it is the most effective way of experiencing the highest Divinity.

ஆடுகின்ற எம்பிரானை அங்குமிங்கும் என்றுநீர்
தேடுகின்ற பாவிகாள், தெளிந்தஒன்றை ஓர்கிலீர்;
காடுநாடு வீடுவீண் கலந்துநின்ற கள்வனை
நாடிஓடி உம்முளே நயந்துணர்ந்து பாருமே.
(
aadunginRa empiraanai angum ingum enRum nIr
thEduginRa paavigaaL theLindhadhu onRai OrkilIr
kaadu naadu vIdu viN kalandha ninRa kaLvanai
naadiyOdum ummuLE nayandhuNarndhu paarumE.
சிவவாக்கியர் பாடல்கள்  (sivavaakkiyar paadalgaL) (279)

Of course, although சிதம்பரம் / சிற்றம்பலம் (chidhambaram / thiru chiTRRambalam) is present well within our body itself, yet it is not tangible to the भूत चक्षुस् (bhūta cakṣus -  physical eyes) of the स्थूल देह (sthūla deha) for the simple reason it operates at the subtlest realm - சிவ சுகாதீத வெளி நடு (siva sugaadhIdha veLi nadu) that is well beyond mundane human consciousness viz. जग्रत् (jagrat -wakeful),  स्वप्न (svapna - dream) &  सुशुप्ति (suśupti – deep sleep) states. For instance, the திரு சிற்றம்பலம் (thiru chiTRRambalam) is considered to be subtler than the subtlest of the micro-atomic quantum particles observed in the physical universe. In fact, etymologically the term சிற்றம்பலம் (siTRRambalam) can also be split as ºசிறு (siRu - tiny) + அம்ப்ரம்(ambaram - vacuum).  The following verses from திரு அருட்பா (thiru arutpaa)  very clearly depicts the scale of the subtlity.

(
sirutti onRu siRRaNuvil siRidhadhanil siRidhu
sinaiththagara Nakkaruach sinaikkaruvil siRidhu
veruttiya maan ammaanil siRidhu madhi madhiyin
migasiRidhu kaattuginRa viyan sudar onRadhanil
theruttuginRa saththi migasiRidhanil kOdith
thiRaththinalathOr siRidhaagum thiruchchiRRambalaththE
aruttiRaththin nadikkinRa ennudaiya thalaivar
arutperumai evar uraippaar aRiyaai en thOzhi.
திரு அருட்பா (thiru arutpaa) (5644)

The science of studying such minute vacuum vibrations from within (internally) is technically referred to as दहर विद्या (dahara vidyā – subtle / micro wisdom / wisdom of the minute). Interestingly, recent discoveries of modern physics almost reflects the same wisdom. According to modern particle physics, the tiniest length of manifested space (point-particle) is popularly denoted as Planck length (lp) (originally developed by Max Planck) which approximates to be 1.616252* 10-35m. This is really tiny in all respects and is what is called as விண் வெளி / दहराकाश (viN veLi / daharākāśa – quantum field / micro space). It is the விண் வெளியின் அசைவு  (viNveLiyin asaivu – quantum field / vacuum jitters) at this micro scale that constitutes the energy dance described in modern science as

·        Quantum Electro Dynamic (QED): QED deals with the energy interactions between light and matter. In other words, it is the शक्ति नर्तन (śakti nartana - energy dance) that is performed on the º¨À (sabai – stage) called Minkowski space-time coordinate system where the spatial coordinates (x) are plotted along horizontal baseline traditionally denoted as x-axis and time (t) plotted along the vertical baseline traditionally called y-axis. Of course, an important point to assume here is that the horizontal x-axis represents all the three spatial dimensions (length, breadth and height). I would like to quote here the explanation given by Leonard Susskind, describing such diagrams. “A sheet or paper ot blackboard can be used to represent space-time. Because the paper or the blackboard has only two dimensions, we will have to cheat a bit. The horizontal direction on the paper will be a stand-in for all three directions of space. We will have to stretch our imagination and pretend that the horizontal axis is really three perpendicular axes. That leaves the vertical direction to represent time. The future is usually taken to be up and the past, down. A point on the sheet of paper is an event - a where and a when: a space-time point.”  Such kind of diagrams are technically called as Feynman diagrams, as the eminent mathematician Richard Phillips Feynman originally introduced these. Here we shall take some sample diagram relating to QED wherein there is energy exchange at sub-atomic level between electron (e-), photon (y), positron (e+) The following diagrams by him will help us understand it better


o    a) represents सृष्टि (sṛṣṭiemission) of photon (y) by electron (e-); while
o    b) depicts the संहार (saṁhāra anhilation / absorption) of photon (y) by electron (e-).   
o    c) represents सृष्टि (sṛṣṭiemission) of photon (y) by positron (e+); while
o    d) depicts the संहार (saṁhāra anhilation / absorption) of photon (y) by positron (e+)
o    e) represents सृष्टि (sṛṣṭiemission) of electron (e-) & positron (e+ ) from photon (y); while
o    f) represents संहार (saṁhāra anhilation / absorption) of electron (e-) & positron (e+ ) into photon (y);   


·         Quantum Chromo Dynamics (QCD): QCD deals at the still subtler levels strong interactions between sub-nuclear elementary fields like quarks (q) & gluons (g) in a similar style in the sense that just as photon is the mediating agent of energy exchange between electrons and positrons, gluons mediate energy quarks. Here, the energy-dance is even more dramatic and colorful. It is considered more dramatic because the nuclear force in these interactions are multi-fold (100 times almost) stronger than the electromagnetic force in QED and it operates at very minute distances (technically called femtometer i.e. 10-15 meter scale). Moreover, QCD exhibits some unique characteristics viz.
  • Color ConfinementUnlike in macro classical mechanics, the force between the two colour charged hadronic sub-nuclear particles like quarks is not inversely proportional to the distance between them. In other words, the love (read bonding) between the quarks do not decrease even if they are separated far apart.        
  • Asymptotic freedom: But at the same time when quarks (which generally exhibit color confinement) within a meson or baryon get closer (at short distances in the scale of femtometer) to each other, becomes weaker and asymptotically approaches zero for close confinements and gain complete freedom to move about at will.


Please remember that such Feynman diagrams are not static pictures. They are designed to depict the probability pathways in wave-particle dynamics (transformations) leading to either सृष्टि (sṛṣṭiemission) of new particles or संहार (saṁhāra annihilation / absorption) of the old one. In other words, it is a kind of energy-propagation dance at the sub-atomic level say between electron (e-), photon (y), positron (e+) during QED for example. Again, to quote Susskind, “Propogators are more than just pictures. They are quantum mechanical instructions for calculating a probability that a particle starting at a point a will show up later at point b. Feynman had the radical idea that a particle doesn’t merely move along a particular path: in an odd way it feels out all paths – random zigzag paths as well as straight paths… According to Feynman’s theory all possible paths contribute to the probability for the particle to go from a to b. In the end a particular mathematical expression representing all possible paths between the two points give the probability to go from a to b. All of this is implicit in the notion of the propagator.  Nothing of very great interest would ever happen if all that ever took place were the free motion of electrons and photons but they both take part in one coordinated action that is responsible for everything interested in nature. ”. 

We can infer many important points from the above explanation of Susskind with respect to our original point of discussion viz.  சிதம்பர / சிற்றம்பர நடனம்(sithamara / siRRambara nadanam).  Remember that சிற்றம்பரம் (siRRambaram) = சிறு  (siRu - tiny) + அம்பரம் (ambaram - vacuum). In other words, Feynman diagrams of QED & QCD depict the சிதம்பர / சிற்றம்பர நடனம் (sithamara / siRRambara nadanam – quantum vacuum jitters). Here subatomic vacuum corresponds to the விண் வெளி  / दहराकाश (viN veLi / daharākāśa – quantum field / micro space) wherein the wave-particle dynamics (transformations) takes place. The probability wave function depicts the dance poses while the one coordinated action as the dance choreography. These dances are responsible for all manifestations in this universe. Dr. Fritjof Capra, the eminent physicist and systems theorist, in his famous book The Tao of Physics, declares thus, “The exploration of the subatomic world in the twentieth century has revealed the intrinsically dynamic nature of matter. It has shown that the constituents of atoms, the subatomic particles, are dynamic patterns which do not exist as isolated entities, but as integral parts of an inseparable network of interactions. These interactions involve a ceaseless flow of energy manifesting itself as the exchange of particles; a dynamic interplay in which particles are created and destroyed without end in a continual variation of energy patterns. The particle interactions give rise to the stable structures which build up the material world, which again do not remain static, but oscillate in rhythmic movements. The whole universe is thus engaged in endless motion and activity; in a continual cosmic dance of energy…
The ideas of rhythm and dance naturally come into mind when one tries to imagine the flow of energy going through the patterns that make up the particle world. .Modern physics has shown us that movement and rhythm are essential properties of matter; that all matter, whether here on Earth or in outer space, is involved in a continual cosmic dance.
Modern physics has shown that the rhythm of creation and destruction is not only manifest in the turn of the seasons and in the birth and death of all living creatures, but is also the very essence of inorganic matter. According to quantum field theory, all interactions between the constituents of matter take place through the emission and absorption of virtual particles. More than that, the dance of creation and destruction is the basis of the very existence of matter, since all material particles ‘self-interact’ by emitting and reabsorbing virtual particles. Modern physics has thus revealed that every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction. The patterns of this dance are an essential aspect of each particle’s nature and determine many of its properties. For example, the energy involved in the emission and absorption of virtual particles is equivalent to a certain amount of mass which contributes to the mass of the self-interacting particle. Different particles develop different patterns in their dance, requiring different amounts of energy, and hence have different masses. Virtual particles, finally, are not only an essential part of all particle interactions and of most of the particles’ properties, but are also created and destroyed by the vacuum. Thus, not only matter, but also the void, participates in the cosmic dance, creating and destroying energy patterns without end
For the modern physicists, then, Shiva’s dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomena. Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The bubble-chamber photographs of interacting particles, which bear testimony to the continual rhythm of creation and destruction in the universe, are visual images of the dance of Shiva equaling those of the Indian artists in beauty and profound significance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art, and modern physics. It is indeed, as Coomaraswamy has said,‘poetry, but none the less science
Interestingly, in recognition of the close correspondence with the Dance of Shiva iconography, in 2004 a similar statue of கூத்தபிரானஂ / நடராஜனஂ (kooththapiraan / natarājan- the Lord of Cosmic Dance) was installed at the Geneva office of  European Center for Research in Particle Physics (CERN)



Of course, Capra is not alone in recognizing the synergies between the ancient Indian iconography and recent discoveries of modern physics. In fact, according to eminent astrophysicist Dr. Carl Sagan,  Modern physics pictures matter, not as passive and inert, but as continuously dancing and vibrating. This is very much like the Eastern mystics description of the world. Both emphasize that the universe has to be grasped dynamically. It structures are not static, rigid ones, but should be seen in terms of dynamic equilibrium.  Physicists speak of the continuous dance of sub-atomic matter, which goes on all the time. They have actually used the words ‘dance of creation and destruction’ or ‘energy dance’. This naturally comes to mind when you see some of the pictures of particles taken by physicists in their bubble chambers. Of course, physicists are not the only one talking about this cosmic dance. Perhaps the most beautiful example of this metaphor exists in Hinduism – the idea of the dancing Lord Siva. Siva is the personification of the cosmic dance. According to Indian tradition, all life is a rhythmic interplay of death and birth, of creation and destruction. Indian artists have created beautiful pictures and statues of dancing Lord Siva. These statues are visual images of the cosmic dance, and so are the bubble chamber tracks photographed by modern physicists. They are a modern version of the dance of Siva obtained by using the most modern and advanced of our Western technological instruments. To me, the effect is as beautiful and as profound as the magnificent Hindu statues. In both cases, we are picturing an eternal dance of creation and destruction, which is the basis of all natural phenomena, the basis of all existence. Therefore, I have put the two together – here you have the ‘Dance of Siva’ merging the 12th and 20th century versions. You can see that this image of the cosmic dance unifies, in a very beautiful way, ancient mythology, religious art, mystical insight and modern science.
However, at the same time please remember that the same ஆனந்த தாண்டவம் (aanandha thaaNdavam – dance of bliss) also refers to the पञ्च कृत्य (pañca kṛtya – five fold acts) at the macro cosmic scale, relating to the multiverse as testified by saint திருமூலர் (thirumUlar) himself in the following verses


அண்டம் ஏழுகோடி பிண்டம் ஏழுகோடி 
தெண்திரை சூழ்ந்த திசைகள் ஏழுகோடி
எண்திசை சூழ்ந்த இலிங்கம் ஏழுகோடி 
அண்டன் நடம்செய்யும் ஆலயம் தானே
ஆகாசமாம் உடல் அம்கார் முயலகன் 
ஏகாசமாம் திசை எட்டும் திருக்கைகள்
மோகார் முக்கண்கள் மூன்று ஒளிதான்ஆகும் 
மாகாய மன்றுள் நடம்செய்கின்றானே.
அம்பலமாவது அகிலசராசரம் 
அம்பலமாவதுஆதிப் பிரான் அடி
அம்பலமாவது அப்புத்தீ மண்டலம்
 அம்பலமாவது அஞ்செழுத்தாமே
(
aNdam ezhukOdi piNdam ezhukOdi
theNdira sUzhndha thisaigaL ezhukOdi
endisai sUzhndha ilingam ezhukOdi
aNdangaL nadanseiyum aalayanthaananRE.
aagaasa maamudal angaarmuyalagan
ekaasa maanthisai yettun thirukkaigaL
mOgaaya mukkaN mUnRoLithaanaaga
maagaayamanRuL nadanseiginRaanE.
ambala maavadhu agilasaraasaram
ambala maavadhu aadhipiraanadi
ambalamaavadhu appuththImaNdalaaga
ambalamaavadhu anjezhuththaamE

Seven Crores are the universes vast,
Seven Crores are the life forms varied,
Seven Crores the continents of the sea-girt world,
Seven Crores the Lingas in directions eight
These the Temples where His Cosmic Dance performed are.
The Space is His Body;
The Muyalaka (Demon) is the Darkness in that space;
The Directions eight are His spreading Hands,
The loving eyes three
Are the lights three (Sun, Moon and Fire);
Thus He dances
In the space arena,
That is Body Cosmic.
The Holy Dance arena is the creation countless;
The Holy Dance arena is the Holy Feet of Lord;
The Holy Dance arena is the sphere of Water and Fire,
The Holy Dance arena is the Letter-Five, verily.
Translation by Dr. B. Natarajan
) திருமந்திரம் (thirumandhiram) (2727 - 2729)

Thus, in other words, the आनन्द महा ताण्डव (ānanda mahā tāṇḍava – supreme dance of bliss) actually represents the eternal governance of the पञ्च महा कृत्य (pañca mahā kṛtya – five cosmic functions)  viz. ஆக்கல் / सृष्टि (aakkal / sṛṣṭi – creation / manifestation),  காத்தல் / स्थिति (kaaththal /sthiti  - sustenance), அழித்தல் / संहार (azhithal/saṁhāra –dissolution), மறைத்தல் / तिरोभाव (maraiththal / tirobhāva - veiling) & அருளல் / अनुग्रह (aruLal / anugraha - grace)  cutting across the infinitely long series of manifested multiverses. Whenever I think of the this massive scale, I am reminded of the following verses of திரு அருட்பிரகாச இராமலிங்க வள்ளலார்  (thiru arutpirakaasa iraamalinga vaLLalaar) in his famous eulogical rendering நடராஜ பதி மாலை  (nadaraajapadhi maalai) on the cosmic dance of शिव (śiva)

அருணிலை விளங்குசிற் றம்பல மெனுஞ்சிவ
     சுகாதீத வெளி நடுவிலே
       அண்டபகி ரண்டகோ டிகளுஞ் சராசர
          மனைத்துமவை யாக்கன் முதலாம்
பொருணிலைச் சத்தரொடு சத்திக ளனந்தமும்
      பொற்பொடு விளங்கி யோங்கப்
          புறப்புற மகப்புறம் புறமகமி வற்றின்மேற்
             பூரணா கார மாகித்
தெருணிலைச் சச்சிதா நந்தகிர நாதிகள்
       சிறப்பமுத லந்த மின்றித்
          திகழ்கின்ற மெய்ஞ்ஞான சித்தியனு பவநிலை
             தெளிந்திட வயங்கு சுடரே
கருணிலைக் குழலம்மை யானந்த வல்லிசிவ
      சுந்தரிக் கினிய துணையே
           சுத்தசிவ சன்மார்க்க நிதியே அருட்பெருஞ்
                ஜோதிநட ராஜ பதியே.
(
aruL nilai viLangu siRRambalam enunjiva
siva sugaathItha veLin naduvilE
aNdabagiraNda kOdigaLum saraasaram
anaiththum avai aakkal mudhalaam
porul nilaich saththarodu saththigaL ananthamum
poRpoduviLangi Ongap
puRappuRam agappuRam puRam agam ivaRRin mEl
pUraNaakaaramaagith
theruL nilaich sachchidhaanantha kiraNaadhigaL
siRappamudhal andham inRith
nigazhginRa meiGnGnaana siththi anubava nilai
theLindhida vayangu sudarE
surul nilaik kuzhalammai aanandha vallisiva
sundharikkiniya thuNaiyE
suththasiva sanmaarga nidhiyE arutperunjOthi
nadaraajapadhiyE..
) திரு அருட்பா  (thiruarutpaa) (97.1)


Ofcourse, from an anthropic perspective, this स्पन्द (spandacosmic dance /eternal becoming) both at a micro-cosmic scale as well as as at the macrocosmic scare are basically immersive experiences visualized as a sacred ஆனந்த தாண்டவம் (aanandha thaaNdavam – dance of bliss) happening within one’s own consciousness. Such a dance is called ஞான கூத்து(gnaana kUththu – wisdom dance). Of course, this can be visualized only after activating one’s दिव्य चक्षु / ஞான கண்கள் (divya cakṣu / gnaana kaNgaL – divine / wisdom eyes) as testified in the following verses by saint திருமூலர்(thirumUlar)

ஆணைகள் ஐந்தும் அடக்கி அறிவென்னும்
ஞானத் திரியைக் கொளுவி அதனுட்புக்
கூனை இருளற நோக்கும் ஒருவற்கு
வானக மேற வழியெளி தாமே.

ஆடிய காலில் அசைக்கின்ற வாயுவும்
தாடித் தெழுந்த தமருக ஓசையும்
பாடி எழுகின்ற வேதாக மங்களும்
நாடியின் உள்ளாக நான்கண்ட வாறே
(
aanaigaL aindhum adakki aRivennum
gnaanathiriyai koLubi adhanutppuk
kUnaiyiruLaRa nOkkum oruvaRkku
vaanagamERavazhiyeLidhaamE.

aadiya kaalil asaiginRa vaayuvun
thaadiththezhundha dhamaruga Osaiyum
paadiyezhuginRa vEdhaagamangaLum
naadiyinuLLaaga naan kaNdavaaRE

He who the elephant of senses five subdues,
Lights the lamp of Jnana
And entering its radiance,
Drives the darkness within;
For him it is easy
To ascend the Heavenly Home (Siva Loka)
 The moving breeze that the dancing feet wafts;
The vibrant sound  that the Damruka drum emits;
The celestial music that the chanting Vedas and Agamas produces;
All these within Nadis I experienced.
Translation by Dr. B. Natarajan
) திருமந்திரம் (thirumandhiram) (2316,2317)
Continued: 

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