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Part-4

Sacred Architecture


 Moreover, besides the above mentioned themes, the architectural components in a temple also symbolize various other esoteric truths. Take the case of the famous தில்லை நடராஜர் திருக்கோயில் (thillai nataraajar thirukkOyil) at சிதம்பரம் (chithambaram), it has many such esoteric secrets beautifully embedded within its exterior engineering and design as illustrated below 
There are பஞ்ச படிகள் (panja padigaL – five steps) leading from the கனக சபை / பொன்னம்பலம் (kanaga sabai / ponnambalam - golden hall) to the sanctum sanctorum of the temple viz.  சிற்சபை / சிற்றம்பல சபை (siRsabai / siRRambala sabai – small hall / gnostic hall). These five steps together is called பஞ்சாக்ஷர படி  (panjaakshara padi) correspond to the पञ्चाक्षर मन्त्र (pañcākṣara mantra – five syllabled mantra)  - நம சிவாய (nama sivaaya).
·       There are நவ வாயில்கள் (nava vaaiyilgaL - nine gateways) to the சிற்றம்பல சபை (siRsabai / siRRambala sabai – small hall / gnostic hall) corresponding to the நவ துவாரங்கள் (nava dhuvaarangaL – nine openings) in the स्थूल शरीर (sthūla śarīra) of a जीवात्म (jīvātma – corporeal soul).
·         The கற்கள் (kaRkaL – stones / bricks) from the base to the top of the சிற்சபை / சிற்றம்பல சபை (siRsabai / siRRambala sabai – small hall / gnostic hall) corresponds to the माधुका शक्ति बीजाक्शर मन्त्र (mādhukā śakti bījākśara mantra)   
·         The கனக சபை / பொன்னம்பலம் / பொர்சபை (kanaga sabai / ponnambalam / porsabai – golden hall) is supported by 18 தூண்கள் (thUngal – pillars) corresponding to the 18 महा पुराण शास्त्र  (mahā purāṇa śāstra) compiled by वेद व्यास महऋषि (veda vyāsa mahaṛṣi).
·         The சிற்சபை / சிற்றம்பல சபை (siRsabai / siRRambala sabai – small hall / gnostic hall) contains Àïº À£¼í¸û (panja pIdangaL) located in front of the middle partition towards the south, corresponding to the पञ्च महा कृत्य (pañca mahā kṛtya – five sacred acts) viz. படைத்தல் (padaiththal – creation), காத்தல் (kaaththal - sustenance), அழித்தல் (azhiththal - destruction), மறைத்தல் (maRaiththal - encapsulation) & அருளல் (aruLal - grace). Thus, there is a பீடம் (pIdam –platform) for the respective lord of each of these acts. Thus, there is the ब्रह्म पीठ (brahma pīṭha), विष्णु पीठ (viṣṇu pīṭha), रुद्र पीठ (rudra pīṭha), महेश्वर पीठ (maheśvara pīṭha)  & finally सदाशिव पीठ (sadāśiva pīṭha).
  • The ब्रह्म पीठ (brahma pīṭha) is the layer immediately after the பஞ்சாக்ஷர படி (panjaakshara padi). This contains a 96 windowed panel corresponding to the 96 ontological தத்துவங்கள் (thaththuvangaL - evolutes) making up the manifested cosmos, according to शैव सिद्धान्त दरशन (śaiva siddhānta daraśana)
यत्गोष्ट्याम् त्वारबाह्ये
रजतगिरिनिबम् पञ्जवर्ण स्वरूपम्
स्पाणम् द्वारबागम्
जयविजय मुखरेक्षितम् त्वाराबालैः।
तत्वानाम् शण्णवत्या सह
विदिमुकराः पञ्जदेवाश्च नित्यम्
यस्यन्तर्बान्ति दस्मिन्न विरदनटनम् कुञ्चिताङ्घ्रिं बजेहम्॥
(
yatgoṣṭyām tvārabāhye
rajatagirinibam pañjavarṇa svarūpam
spāṇam dvārabāgam
jayavijaya mukharekṣitam tvārābālaiḥ|
tatvānām śaṇṇavatyā saha
vidimukarāḥ pañjadevāśca nityam
yasyantarbānti dasminna viradanaṭanam kuñcitāṅghriṁ bajeham||
) श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)  (5)


·         Immediately after which there is a platform around one feet wide called the विष्णु पीठ (viṣṇu pīṭha) containing ஐந்து தங்க தூண்கள் (aindhu thanga thUNgaL - five golden pillairs). The five main தள வரிசை கற்கள் (thaLa varisai kaRkaL –linear stones) in the கனக சபை / பொன்னம்பலம் / பொர்சபை (kanaga sabai / ponnambalam / porsabai – golden hall) represents the पञ्च महा भूत तत्त्व (pañca mahā bhūta tattva – five core material principles).  There is a பாவாடை / திரை (paavadai / thirai - curtain / screen) running across these pillars and this represents the अविद्या तत्त्व (avidyā tattva – nescience principle) hiding the अन्तर्यामि ब्रह्मन (antaryāmi brahmana - inner divininty) within our heart. The opening of the screen symbolizes the esoteric दहर विद्या(dahara vidyā - esoteric wisdom) or the revelation of the indwelling divinity.
  • The रुद्र पीठ (rudra pīṭha) is the platform within the சிற்சபை / சிற்றம்பல சபை  (siRsabai / siRRambala sabai – small hall / gnostic hall) on which the கோயில் அர்ச்சகர்கள்  / தீட்சிதர்கள் (kOyil archagargal / dhIichithargaL - temple priests) perform the அர்ச்சனை (archanai). is designed in such a way that it is supported by 28 தூண்கள்  (thUngal – pillars) symbolizing the 28 சைவ ஆகம சாத்திரங்கள் (saivaagama saaththirangaL).
यत्सम्सत्पूर्वभागे तिसितिसि विलसत्
पूर्वभागानितान्तम् स्वान्थर्
कूदोत्तराम्सा शिवमुख
भवाङ्गसागमा कामिकात्या।
अष्टाविंसानु सङ्ग्ख्य त्रुकनगमय
स्थंभरूपाः स्तुवन्धि स्तुत्यम्तम्
नृत्तमूर्त्तिम् स्र्तिसत विनुतम् कुञ्चिताङ्घ्रिं बजेहम्॥
(
yatsamsatpūrvabhāge tisitisi vilasat
pūrvabhāgānitāntam svānthar
kūdottarāmsā śivamukha
bhavāṅgasāgamā kāmikātyā|
aṣṭāviṁsānu saṅgkhya trukanagamaya
sthaṁbharūpāḥ stuvandhi stutyamtam
nṛttamūrttim srtisata vinutam kuñcitāṅghriṁ bajeham||
) श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)  (4)

·         महेश्वर पीठ (maheśvara pīṭha) is the central platform on which the main अर्चावतार मूर्ति (arcāvatāra mūrti – iconic incarnations) of (bronze image of) ஸ்ரீ நடராஜ பெருமான் (sri nataraaja perumaan – Lord Nataraja) and his beloved consort சிவகாமி அம்மையார் (sivagaami ammaiyaar) are consecrated. This bronze image of ஸ்ரீ நடராஜ பெருமான் (sri nataraaja perumaan – Lord Nataraja) depicts the शकल रूप (śakala rūpa – phenomenal / manifested form) of His आनन्द ताण्डव (ānanda tāṇḍava – frantic dance of bliss). There are two small steps leading to a small मण्डप (maṇḍapa - chamber) above this महेश्वर पीठ (maheśvara pīṭha) on the western side of which hosts small boxes containing icons of चन्द्रमौलीश्वर स्फटिक लिङ्ग मूर्ति (candramaulīśvara sphaṭika liṅga mūrti), இரதின சபாபதி நடராஜ மூர்த்தி (irathina sabaapathi nataraaja mUrththi. This स्फटिक लिङ्ग (sphaṭika liṅga – crystal Linga) represents the «Õ×ÕÅ ¾òÐÅõ (aruvuruva thaththuvam – formless form principle) of Divinity. Additionally, சிவ பாதுகை (siva paadhugai – Shiva’s feet) made of இரத்தினம் (iraththinam) & ஸ்ரீ முக லிங்கம் (srimuga lingam) are also consecrated on the महेश्वर पीठ (maheśvara pīṭha). There are நாண்கு தங்க தூண்கள் (naaNgu thanga thUNgaL – four golden pillars) corresponding to the चतुर् वेद संहित (catur veda saṁhita – four veda collections), supporting this महेश्वर पीठ (maheśvara pīṭha).
·         सदाशिव पीठ (sadāśiva pīṭha) is a platform on the north most side of the சிற்சபை / சிற்றம்பல சபை (siRsabai / siRRambala sabai – small hall / gnostic hall) on which the sacred चितंबर रहस्य (citaṁbara rahasya – secret of gnostic vacuum) representing the அருவ தத்துவம் / निश्कल तत्त्व् (aruva thaththuvam /  niśkala tattva – noumenal principal) of Divinity is revealed. It represents the esoteric secret of the चिताकाश स्पन्दन (citākāśa spandana - quantum jitters in conscious field) also called as the சிதம்பர நடனம் (chidhambara nadanam - vacuum consciousness dance).  The चितंबर रहस्य (citaṁbara rahasya – secret of gnostic vacuum) is physically represented using தங்க மாலை (thanga maalai - golden chain) containing (nine beads each of which is designed in the shape of the sacred) வில்வ இலை (vilva ilia - aegle marmelo leaf), embedded within the கலிமண் சுவர் (kaliman suvar - clay wall) on top of the सदाशिव पीठ (sadāśiva pīṭha). That is why, this platform is also called as சித்சபை (chithsabai – gnostic hall).

  • Hidden behind the ஒளி நடனம் (oLi natanam – visual dance) of ஆனந்த திருக்கூத்து (aanandha thirukkUththu – dance of bliss) manifested as உருவ தத்துவம் / शकल तत्त्व (uruvaththaththuvam / śakala tattva – phenomenal principle) there underlies the subtler ஒலி நடனம் (oli natanam – sonic dance) manifesting the அருவ தத்துவம் / निश्कल तत्त्व् (aruva thaththuvam / niśkala tattva – noumenal principal) and this the चितंबर रहस्य (citaṁbara rahasya – secret of gnostic vacuum).  As one progresses spiritually, one can, not only see (experience) the ஒளி நடனம் (oLi natanam – visual dance) but can eventually hear His மந்திர / ஒலி நடனம் (manthira / oli natanam – mantric / sonic dance) as well. The Holy saint ¾¢Õ அருட்பிரகாச இராமலிங்க வள்ளலார் (thiru arutpirakaasa iraamalinga vaLLalaar) has beautifully symbolized ஒளி நடனம் (oLi natanam – visual dance) & ஒலி நடனம் (oli natanam –sonic dance) as மயில் (mayil - peacock) & குயில் (kuyil - cuckoo) respectively, as testified in the following verses,
வானத்தின் மீது மயில் ஆட கண்டேன்
மயில் குயிலாச்சுதடி அக்கச்சி
மயில் குயிலாச்சுதடி..
(
vaanaththin mIdhu mayil aada kaNdEn
mayil kuyilaachchudhadi akkachchi
mayil kuyilaachchudhadi...

I saw a peacock dancing in the sky.
The peacock (magically) transformed into a cuckoo – dear sister
The peacock turned into a cuckoo!
-translation by self
) திரு அருட்பா (thiru arutpa) (6.129.1)

What the saint refers to here is his பிண்ட மெய்ஞான அனுபவம் (pinda meiGnaana anubavam – internalized spiritual experience). However, the same theme can also be extended to the அண்ட விஞான அனுபவம் (anda viGnaana anubavam – externalized scientific experience). Please remember that the பிண்டம் (pindam – microcosm) is nothing but the fractal reflection of the அண்டம் (andam – macrocosm). We shall discuss more about this as we proceed further.

In fact, the चिताकाश स्पन्दन (citākāśa spandana - quantum jitters in conscious field) corresponds to specific letters in the Tamil & Sanskrit alphabets viz. ஆ (aa), ஈ (I), ஊ (U), ஏ (E), & ஓம் (Om) and अं (aṁ), ह्रीं (hrīṁ), हं (haṁ), क्षं (kṣaṁ) & आं (āṁ) respectively. The following verses from திருமந்திரம் (thirumandhiram) very clearly highlights the same

ஆனந்தம் ஆனந்தம் ஒன்றென்று அறைந்திட
ஆனந்தம் ஆனந்தம் ஆ ஈ ஊ ஏ ஓம் என்று அறைந்திடும்
ஆனந்தம் ஆனந்தம் அஞ்சுமது ஆயிடும்
ஆனந்தம் ஆனந்தம் அம் ஹ்ரீம் அம் க்ஷம் ஆம் ஆகுமே.

மேனி இரண்டும் விலங்காமல் மேற்கொள்ள
மேனி இரண்டும் மிகார விகாரியாம்
மேனி இரண்டும் ஊ ஆ ஈ ஏ  ஓ என்று

மேனி இரண்டும் ஈ ஓ ஊ ஆ ஏ கூத்தாமே.
(
aanandham aanandham onRenRu aRainthida
aanandham aanandham A I U E Om enRu aRaindhidum
aanandham aanandham anjumadhu aayidum
aanandham aanandham am hrIm am ksham aam aagumE.

mEni iraNdum vilangaamal mERkoLLa
mEni iraNdum migaara vigaariyaam
mEni iraNdum U aa I E  O enRu
mEni iraNdum I O U aa E kUththaamE.

One the Supreme Bliss,
One the Supreme Bliss,
Thus chant the mantra
You shall have Bliss,
Bliss has its source in Letters Five;
A-I-U-E and Aum the life vowels they are;
They become the Five Letter mantra
And joy that is within joy;
Bliss lies in the seed-letters Five;
Hum-Hrim-Ham-Ksam-Am, are they.

The Two Letter mantra is Body of Lord
Chant it inarticulate;
As the Two suffuse your body,
You stand transformed;
The Two Letters that are Lord's Corpus
Become Five Letters that is Jiva;
U-A-I-E-O
The Two Letters that are Lord's Corpus
Become the Five Letters that is Siva Dance
I-O-U-A-E.
-translation by Dr. B. Natarajan

)
திருமந்திரம் (thirumandhiram) (910., 911)


Theologically speaking, here the Tamil & Sanskrit version of अक्षर (akṣara – phonemes) correspond to the शैव (śaiva) & शाक्त (śākta) aspects respectively and their नाद संमेलन (nāda saṁmelana – sonic union)  is the ஆனந்த திருகுத்து (aanandha thirukkUththu – dance of bliss).  This is what is referred in the first verse quoted above. The next verse highlights that the स्थूल (sthūla - gross) & सूक्ष्म (sūkṣma - subtle) modes of the dance occurring in us simultaneously at the जीवात्म (jīvātma)  & परमात्म (paramātma) scales respectively.
The next important point to understand that these five syllables viz. ஆ (aa), ஈ (I), ஊ (U), ஏ (E), & ஓம் (Om), esoterically correspond to the the sacred पञ्चाक्षर मन्त्र (pañcākṣara mantra) viz. நம சிவாய (nama sivaaya).  It is this बीजाक्षर मन्त्र (bījākṣara mantra) that lies behind the தங்க வில்வ இலை மாலை (thanga vilva ilia maalai - golden chain of aegle marmelo leaves). These letters are secretly embossed in a 5*5 मण्डल (maṇḍala - matrix) embedded on the கலிமண் சுவர் (kaliman suvar - clay wall) where the sacred சிதம்பர இரகசியம் (chithambara iragasiyam) is revealed in the sanctum sanctorum of the temple.  The below quoted verses from திருமந்திரம் (thirumandhiram)  testifies on these points

கூத்தே சிவாய நமசி வாயிடும்
கூத்தே ஈஊ ஆ ஏ ஓம் சிவாய நம வாயிடும்
கூத்தே ஈஊஆஏஓம் சிவயனம வாயிடும்
கூத்தே ஈஊஆஏஓம் நமசிவாய கோளொன்று மாறே.

இருந்த இவ் வட்டங்கள் ஈராறி ரேகை
இஎஉந்த இராகைமேல் இறாறு இருத்தி
இருந்த மனைகளும் ஈராறு பதொன்று
இருந்த மனையொன்றில் எய்துவன் தானே.

(
kUththE sivaaya namasi vaayidum
kUththE IU aa E OM sivaaya nama vaayidum
kUththE IUaaEOm sivayanama vaayidum
kUththE IUaaEOm namasivaaya kOLonRu maaRE.

irundha iv vattangaL IraaRi rEgai
ieundha iraagaimEl iRaaRu iruththi
irundha manaigaLum IraaRu pathonRu
irundha manaiyonRil eidhuvan thaanE..

The Dance-Letters Si Va Ya become Namasivaya
The Dance-Letters I, U, A, E and O(m) become Sivaya Nama
The Dance-Letters I, U, A, E and O(m) become Si Va Ya Nama
The Dance-Letters I, U, A, E and O(m) become the stellar mantra Nama Sivaya
.
In the Chakra formed by lines twelve (Six Vertical and Six Horizontal)
Are the squares;
Fix the Mantra,
In the chambers five and twenty formed,
In One the Lord takes His seat.
.-translation by Dr. B. Natarajan
) திருமந்திரம் (thirumandhiram) (910., 911)

The 5*5 मण्डल (maṇḍala - matrix) referred above is technically called as the पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala) and more or less corresponds to the following matrix. The esoteric significance of this पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala) is subtly referred in various occult தமிழ் சித்தர் இலக்கியங்கள் (thamizh siththar ilakkiyangaL – Tamil Siddha literature). திருமூலர்  (thirumUlar) in particular, deals at length with it in his magnum opus masterpiece திருமந்திரம் (thirumandhiram), as testified in the below quoted verses

அஞ்செழுத்தாலே  அமர்ந்தனர்  நந்தியும் 
அஞ்செழுத்தாலே  அமர்ந்த  பஞ்சாக்கரம் 
அஞ்செழுத்தாகிய  வக்கர  சக்கரம் 
அஞ்செழுத்துள்ளே  அமர்ந்திருந்தானே .

ஆயும்  சிவாய  நமசிவாய  ந 
ஆயும்  நமசிவாய  பயணமா  சிவா 
வாயும் E வாய  நமசியெனும்  மந்திரம் 
ஆயும்  சிகாரம்  தோட்டநத்தத்த  தடைவிலே  
(
anjezhuththaalE amarndhanan nandhiyum
anjezhuththaalE amarndha panjaakkaram
anjezhuththaagiya vakkara chakkaram
anjezhuththuLLE amarnadhirundhaanE.

aayum sivaaya namasivaaya na
aayum namasivaa yayanama sivaa
vaayumE vaaya namasiyenum mandhiram
aayum sigaaram thottanathath thadaivilE.

Letter five is seat of Nandi;
Letter Five is Holy Mantra;
Letter Five is Divine Chakra;
Letter Five is Lord’s abode.

In the row on top of Chakra
Write Si Va Ya Na Ma;
In the squares on row next
Fill Ma Si Va Ya Na
In the row third write Na Ma Si Va Ya
Still below comes Letters in order Ya Na Ma Si Va
In the squares last are Letters Va Ya Na Ma Si
Thus do you fill squares in Chakra
With 'Si' to begin and 'Si' to end..
-translation by Dr. B. Natarajan
) திருமந்திரம் (thirumandhiram) (934, 923)

This पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala) is called a चक्र (cakra - wheel) here because of its cyclic pattern in chanting. If you observe the above 5 * 5 matrix, it will be clear that the அக்ஷரம் (aksharam – syllable) in the 5th column (c) of every row (r), corresponds to the 1st column of its immediately subsequent row. For example, ம (ma) in (r = 1, c =5) is the same as (r=2, c=1). Similarly, ந (na)  in (r=2, c=5)  is the same as (r=3,c=1) and so on; and finally in the last row  சி (si)  in (r=5, c=5)  is the same as  (r=1, c=1); thus, forming a closed loop चक्र (cakra - wheel).
     
சி (si)
வ(va)
ய (ya)
ந (na)
ம (ma)
ம (ma)
சி(si)
வ(va)
ய (ya)
ந (na)
ந (na)
ம (ma)
சி(si)
வ(va)
ய (ya)
ய (ya)
ந (na)
ம (ma)
சி(si)
வ(va)
வ (va)
ய (ya)
ந (na)
ம(ma)
சி (si)

Interestingly, திருமூலர் (thirumUlar) himself also refers to an alternate version of this चक्र (cakra - wheel).  The following matrix demonstrates the same here
     
சி (si)
 வ(va)
ய (ya)
ந (na)
ம (ma)
ய (ya)
ந (na)
ம (ma)
 சி(si)
வ (va)
ம (ma)
சி(si)
வ (va)
ய (ya)
ந (na)
வ (va)
ய (ya)
ந (na)
ம (ma)
சி(si)
ந (na)
ம (ma)
சி(si)
வ(va)
ய (ya)

Here, the அக்ஷரம் (aksharam – syllable) in the 3rd column (c) of every row (r), corresponds to the 1st column of its immediately subsequent row. The following verse from திருமந்திரம் (thirumandhiram) testifies this.
பாரமாய்  அஞ்செழுத்துள்  நடுவாய் 
பாரமாய்  நமசிமா  பார்க்கில்  மவயநசி 
பாரமாய்  சிவநாம  வாம்பரத்தோதிர் 
பாரமாய்  வாசி  மாயணமா i நின்றே.
(
paramaai anjezhuththuL naduvaai
paramaai namasima paarkkil mavayanasi
paramaai siyanama vaamparaththOdhiR
paramaai vaasi mayanamaai ninRE.

Inscribe Letters Five Si Va Ya Na Ma;
In the next row place Letters Ya Na Va Si Ma;
Further on place the letters in order thus:
Ma Va Ya Na Si; Si Ya Na Ma Va;
And Va Si Ma Ya Na
Thus do the Five Letters in Chakra permuted stand..
-translation by Dr. B. Natarajan
) திருமந்திரம் (thirumandhiram) (946)

Of course, the above two styles are not the only ways of contemplating on the sacred चितंबर पञ्चाक्षर मण्डल चक्र (citaṁbara pañcākṣara maṇḍala cakra). From योग साधन (yoga sādhana – yogic practices) perspective, saints like மகா சித்தர் அகத்தியர் (magaa siththar agaththiyar), for example, refer to variations in these यन्त्र मण्डल (yantra maṇḍala) that would help master अष्टमा सिद्धि (aṣṭamā siddhi – eightfold potencies) viz. வசியம் (vasiyam), மோகனம் (mOganam), உச்சாடனம் (uchchaadanam), தம்பனம் (thampanam), ஆகர்ஷணம் (aagarshaNam), பேதனம் (pEdhanam), வித்வேஷணம் (vidhvEshaNam) & மரணம் (maaraNam).

Please remember that this पञ्जाक्षर मन्त्र (pañjākṣara mantra – five syllabled mantra) also corresponds to the पञ्जमहा भूत (pañjamahā bhūta) which in turn esoterically maps to specific geometrical shapes, technically called as பஞ்சபூத  உடற்சக்கரம் (panjabUtha udaRchakkaram) in this context, மகா சித்தர் அகத்தியர் (magaa siththar agasththiyar)  also refers to them. Moreover, he also refers to other occult tantric concepts like பஞ்சாக்ஷர லக்கனம் (panjaakshara lakkanam), பஞ்சபூத பீஜாக்ஷரம் (panjabUtha bIjaaksharam), பஞ்சபூத லக்கம் (panjabUtha lakkam)  etc. I shall not get into these details here, but would like to share here a more comprehensive version of the चितंबर पञ्चाक्षर मण्डल चक्र (citaṁbara pañcākṣara maṇḍala cakra) highlighting some of these mappings


The following table gives a mapping of these attributes in terms of the चितंबर पञ्चाक्षर मण्डल चक्र  (citaṁbara pañcākṣara maṇḍala cakra)

#
அக்ஷரம்
(aksharam - syllable)
பூதம்
 (bUtham - element)
உடற்சக்கரம்
(udaRchakkaram)
இலக்ஷணம்
(ilakshaNam)
பீஜாக்ஷரம்
(bIjaaxaram)
மர்ம என்
(marma en - occult number)
மர்ம எழுத்து
(marma ezhuththu
- occult letter)
1
ந / न (na)
நிலம் / पृथ्वि (nilam / pṛthvi -  earth)
நாற்கோணம் (naaRkONam - square)
तत्पुरुष 
(tatpuruṣa)
लं (laṁ)
5
ரு (ru)
2
ம / म (ma)
நீர் / अपस् (nIr / apas - water)
மூன்றாம் பிறை (mUnRaam pirai – crescent moon)
अघोर 
(aghora)
वं (vaṁ)
7
எ (e)
3
சி/ शि (si)
நெருப்பு / अग्नि  (neruppu / agni - fire)
முக்கோணம் (mukkONam - triangle)
वामदेव (vāmadeva)
रं (raṁ)
8
ப் (p)
4
வ / व (va)
காற்று / वायु (kaaRRu/ vāyu  - air)
அறுகோணம் (aRukONam - hexagon)
सद्योजात (sadyojāta)
यं (yaṁ)
13
ய ங (ya nGa)
5
ய / य (ya)
ஆகாயம் / आकाश् (aagaayam / ākāś - space)
வட்டம்(vattam - circle)
ईशान (īśāna)
हं (haṁ)
15
ய அ
 (ya a)


The next important concept to remember before proceeding further is that there is a close correspondence between the ஓலி வடிவம் / शब्दो रूप (oli vadivam / śabdo rūpa – sonic form) and the ஒளி வடிவம்  / तेजो रूप (oLi vadivam  / tejo rūpa – visual form)  of திரு  ஆனந்த  நடராஜ  கூத்து (thiru aanandha nataraaja kUththu) . In fact, the पञ्जाक्षर मन्त्र बीज (pañjākṣara mantra bīja)  forms different अङ्ग (aṅga - organs) in the दिव्य देह (divya deha – divine body)  of Lord नटराज (naṭarāja) as testified in the following verses

மகார  நடுவே  வளைந்திடும்  சத்தியை 
ஓகாரம்  வளைத்திட்டு  உம்பிளந்து  ஏற்றி 
அகாரம்  தலையாய்  இருக்கான்  சிகரமாய் 
நகர  வகார  நற்காலத்து  நாடுமே .

 ஆகின்ற  சக்கரத்துள்ளே  எழுத்தைந்தும் 
பாகொன்றி  நின்ற  பாதங்களில்  வார்த்தைக்கும் 
ஆகின்ற  ஐம்பத்தோரெழுத்துள்  நிற்கப் 
பாகொன்றி  நிற்கும்  பராபறன்    தானே.
(
magaara naduvE vaLaindhidum saththiyai
Ogaaram vaLaiththittu umpiLandhu ERRi
agaaram thalaiyaai irukan sigaaramaai
nagaara vagaara naRkaaladhu naadumE.

 aaginRa chakkaraththuLLE ezhuththaindhum
paagonRi ninRa padhangaLil varththikkum
aaginRa aimbaththOrezhuththuL niRkkap
paagonRi niRkkum paraaparan thaanE.

Inscribe Letter 'Ma' in center
Above it describe Letter 'Va'
Surround the two by Letter 'O'
Split them in Center vertically by letter U
Place Letter 'Ya' on top,
Fix letter 'Si' on both sides,
That they look like eyes two,
The Letters 'Na' and 'A' to form the diagram's feet two.

His Feet are Letter "Na"
His navel is Letter "Ma"
His shoulders are Letter "Si"
His mouth Letter "Va"
His cranial center aloft is Letter "Ya"
--Thus Five-Letter Form of Siva is.
-translation by Dr. B. Natarajan
) திருமந்திரம் (thirumandhiram) (921, 941)

The first verse refers to the Lord’s सूक्ष्म मन्त्र रूप  (sūkṣma mantra rūpa), while the latter refers to His स्थूल अङ्ग रूप (sthūla aṅga rūpa).  The following images depicts both these forms


Interestingly, the मण्डल (maṇḍala - matrix) also corresponds to subtle quantum vibrations codified as the 51 बीजाक्षर (bījākṣara - seed syllables) of देवनागरी (devanāgarī) – in other words the Sanskrit alphabet. Once again, I quote the verses of the noble saint திருமூலர் (thirumUlar)  in this regard.

அடைவினில்  ஐம்பதும்  ஐஐந்து  அறையின் 
அடையும்  அறையினருக்கு  ஈரெழுத்து  ஆக்கி 
அடையும்  மகாரத்தில்  அந்தமான்  க்ஷவ்வும் 
அடைவின்  எழுத்து  ஐம்பத்தோன்றும்  அமர்ந்ததே (
adaivinil aimbadhum aiaindhu aRaiiyin
adaiyum aRaiynRukku Irezhuththu aakki
adaiyum makaaraththil andhamaam kshavvum
adaivin ezhuththu aimbaththonRum amarndhadhE

In chambers five and twenty, enclose the letters fifty two in each; with letter ‘a’ to begin and
Final letter ‘Ksha’ to end; These with the one letter OM;
Fifty and one in all, the letter fill.
In Chakra’s chamber five and twenty.
-translation by Dr. B. Natarajan

) திருமந்திரம்(thirumandhiram) (924,934)

The following table illustrates a specific pattern (discussed above) of the  चितंबर पञ्चाक्षर मण्डल चक्र  (citaṁbara pañcākṣara maṇḍala cakra) along with the corresponding Sanskrit letters associated with the specific cell

சி (si)
अ (a), आ (ā)
வ (va)
इ (i), ई (ī)
ய (ya)
उ(u),  ऊ (ū)
ந (na)
ऋ (ṛ), ॠ (ṝ)
ம (ma)
लृ (lṛ), ए (e)
ய (ya)
ऐ (ai), ओ (o)
ந (na)
औ (au), अं (aṁ)
ம(ma)
अः (aḥ), क (ka)
சி (si)
ख (kha),  ग (ga)
வ(va)
घ (gha), ङ (ṅa)
ம (ma)
च (ca), छ (cha)
சி (si)
ज (ja),  झ (jha)
வ(va)
ञ (ña),  ट (ṭa)
ய (ya)
ठ (ṭha), ड (ḍa)
ந (na)
ढ (ḍha), ण (ṇa)வ
வ (va)
त (ta), थ (tha)
ய(ya)
द (da), ध (dha)
ந (na)
न (na), प (pa)
ம (ma)
फ (pha), ब (ba)
சி (si)
भ (bha), म (ma)
ந (na)
य (ya), र (ra)
ம(ma)
ल (la),  व (va)
சி(si)
श (śa),  ष (ṣa)
வ (va)
स (sa),  ह (ha)
ய(ya)
क्ष (kṣa)

The 51 बीजाक्षर (bījākṣara - seed syllables) of देवनागरी (devanāgarī) which are by default potent in the चितंबर पञ्चाक्षर मण्डल चक्र  (citaṁbara pañcākṣara maṇḍala cakra) gets kindled and manifest themselves in a specific sequence in line with the rhythmic beats of the डमरु (ḍamaru - drum) in the hands  during the आनन्द ताण्डव (ānanda tāṇḍava) of  Lord नतराज (natarāja). This fact is testified by none other than महऋषि पाणिनि (mahaṛṣi pāṇini), who is widely adored as the father of classical Sanskrit Grammar, in the शिव सूत्र (śiva sūtra) section of his monumental work अष्टाद्यायी (aṣṭādyāyī)

नृत्तावसाने नटराजराजो
ननादढक्कां नवपञ्च वारम्।
ऊद्दर्तु कामः सनकादि सिद्धान्
एतत् विमर्शे शिव सूत्र जालम्॥
(
nṛttāvasāne naṭarājarājo
nanādaḍhakkāṁ navapañca vāram|
ūddartu kāmaḥ sanakādi siddhān
etat vimarśe śiva sūtra jālam||

At the end of the celestial dance, Lord NatarAja sounded His tabor 14 times with the desire to emancipate the exalted SanakAdi rishis. And this I understand as the group (जालम्)
of Shiva sUtrAs
-translation sourvce internet
) अष्टाद्यायी (aṣṭādyāyī) (1)

According to this legend the entire sequence of Sanskrit alphabet was originally revealed by lord महेश्वर (maheśvara)  in a specific sequence containing चतुर्दश जालम् (caturdaśa jālam – fourteen groups) technically called as अक्षर समानय (akṣara samānaya – recitation of phonemes). As it was originally revealed by महेश्वर (maheśvara) it is also called as महेश्वर सूत्र (maheśvara sūtra). These 14 aphorisms are listed here 

अ ई उ ण्।
ऋ लृ क्।
ए ओ ङ्।
ऐ औ च्।
ल ण्।
ञ म ङ ण न म्।
क्ष भ ञ्।
घ ढ ध ष।
ज ब ग द श।
ख फ छ ठ थ् च ट त व्।
क प य्।
श ष स र्।
ह ल्।
इति महेश्व्राणि सूत्राणि ॥
(
a ī u ṇ|
ṛ lṛ k|
e o ṅ|
ai au c|
la ṇ|
ña ma ṅa ṇa na m|
kṣa bha ñ|
gha ḍha dha ṣa|
ja ba ga da śa|
kha pha cha ṭha th ca ṭa ta v|
ka pa y|
śa ṣa sa r|
ha l|
iti maheśvrāṇi sūtrāṇi||
) अष्टाद्यायी : शिव सूत्र (aṣṭādyāyī: śiva sūtra)   (1)
Similarly, according to கூத்தநூல் (kūththanūl), an ancient treatise on Indian classical dances by சாத்தநார் (sāththanār) - the eminent poet from சஙத் தமிழ் காலம் (sangath thamizh kaalam - classical Tami era), the entire sequence of the ancient  தமிழ் எழுத்து (thamizh ezhuththu - Tamil alphabet), had emerged from the  ब्रह्मनाद स्पन्दन(brahmanāda spandana - theosonic vibration) emanating  from the துடி /உடுக்கை / डमरु (thudi / udukkai/ ḍamaru – drum) of आनन्द नटराज ताण्डव (ānanda naṭarāja tāṇḍava - blissful dance by the king of dances)


மோனத்து இருந்த முன்னேன் கூத்தில்
உடுக்கையில் பிறந்தது ஓசையிண் சுழலே
ஓசையில் பிறந்தது இசையின் உயிர்ப்பே
இசையில் பிறந்தது ஆட்டத்து இயல்பே
ஆட்டம் பிறந்தது கூத்தினது அமைவே
கூத்தில் பிறந்தது நாட்டியக் கோப்பே
நாட்டியம் பிறந்தது நாடக வகையே

உடுக்கையில் பிறந்தது ஓமெனும் ஓலியே
ஓமெனும் ஓலியே நாட்டியத்து ஓலியாம்
ஓமெனும் உருவே நாட்டியத்து ஓருவாம்
ஓமெனும் உணர்வே நாட்டியத்து உணர்வு


அவ்வுவ் விம் எனலஂ அதுவே ஓம் ஒலி
அவ் எனலஂ அகமே உவ் எனலஂ உளமே 
இம் எனல் இசையே இயல்வது தாளம்

முன்முதல் நான்கும் மொழிமுதல் ஜந்தும்
பன்னீ ருயிரும் பதினெண் மெய்யும்
முனீர் ஆய்த ம்றையும் முன்னேன்
பின்னிய கூத்தில் பிறந்தவை என்ப
நிறை மொழி மான்தர் மறைமொழிச் சொல்லும்

இறையவன் கூத்தில் இயன்றதே என்ப.

ஒவ்வோர் ஒலியும் ஒவ்வோர் ஆக்கும்

ஒவ்வோர் அசைப்பின் ஊக்கமே என்ப

பரை விரை னடுமுடி நால்வகைப்பண்பும்

வரைமுறைக் கூத்தின் வரைமுறை என்ப.



அகரம் சிவமாம்; இகரம் பரையாம்;
உகரம் சிவபறை; எகரம் யோனி;
ஐகாரம் வாக்கு; ஒகரமே சுவையாம்
ஔகாரம் இழையாம்; ஆயுடம் கூத்தே
ககரம் தலையாம்;  ஙகரம் கண்ணாம்;
சகரம் வாய் இதழ்;  ஞகரமே மூக்கு;
டகரம் ஓம் செவி; ணகரம் மற்று ஓர்செவி;
தகரம் கழுத்தாம்; னகரம் தோள்  இணை;
பகரமே மார்வம்; மகரமே வயிறு;
யகரமே உயிறாம்; ரகரம் இராகம்;
லகரம் இலவணி; வகரமே வகரம்;
ழகரமே ஸிறப்பு; ளகரமே இளதை;
றகரமே கடிக்கடி; நகரமே ஈறு.

மறைமொழிப் பெட்சி மறையவர்த் தெளிக.
எழுத்தும் ஸொல்லும் இசையும் கூத்தும்
பழுத்து நிறைவது பரனிலை என்ப.     . 


Moreover, along with the पञ्चाक्शर मन्त्र मण्डल (pañcākśara mantra maṇḍala) the temple is associated with the यन्त्र (yantra - symbol) of श्री चक्र  (śrī cakra), संमेलन चक्र (saṁmelana cakra) etc. As the name indicates, the संमेलन चक्र (saṁmelana cakra – conjunction center) is basically a यन्त्र (yantra - symbol) depicting the शिव शक्ति सम्मेलन (śiva śakti sammelana – shiva shakti union). In fact, this is the महा रहस्य (mahā rahasya - supreme secret) revealed here. According to subject matter experts, there is a close correspondence between the संमेलन चक्र (saṁmelana cakra – conjunction centre) & षट्कोण चक्र (ṣaṭkoṇa cakra). 



One of the earliest testimonies on the संमेलन चक्र (saṁmelana cakra – conjunction centre) can be found in the sacred திருமந்திரம் (thirumandhiram), wherein the revered saint திருமூலர் (thirumUlar) cryptically hints about it.

அண்ணல்  இருப்பது அவள் அக்கரத்துளே   
பெண்ணின்நல் லாளும்  பிரானக் கரத்துளே 
எண்ணி  இருவர்  இசைந்தங்கு  இருத்திடப் 
புண்ணிய  வாளர்  பொருளறிவார்களே.
(
aNNal irupadh avaLag karaththuLE
peNNinal laaLum piraanak karaththuLE
enni iruvar isaindhang iruththidap
puNNiya vaaLar poruLaRivaargaLE

The Lord is seated in His Consort’s Letter (Sauh)
The Mother is seated in Her Lord’s Letter (Hum)
When thus the two are in amity seated
The Holy beings comprehend the meanings inner.
-translation by Dr. B. Natarajan

) திருமந்திரம் (thirumandhiram) (931)

Here the பொருளறிவார்களே (poruLaRivaargaLE - comprehend the meanings inner) refers to the दहर विद्या (dahara vidyā – quantum/subtle science) or what ஸ்ரீ பாம்பன்  சுவாமிகள் (sri paamban suvaamigaL) refers as the "தகராலய ரகசியம் (thagaraalaya ragasiyam – secret of the subtle temple/field)" and more popularly known as the சிற்றம்பல / சிதம்பர  ரகசியம் (chiRRambala / chidambara ragasiyam). Moreover, the expression "பெண்ணினால்  லாலும்  பிராணக்  கரத்துலே (peNNinal laaLum piraanak karaththuLE - mother is seated in Her Lord’s Letter)". refers to சிவகாம சுந்தரி (sivagaama sundhari), who is the कामी (kāmi – object of desire / love) & देवपतिनी (devapatinī – divine consort) of Lord शिव (śiva) – the தில்லை  ஆனந்த  கூத்தன்  ஸ்ரீ  நடராஜ  பெருமான் (thillai aanandha kUththan sri nataraaja perumaan), dwelling in His இதயம் (idhayam - heart). Again, the expression 'அண்ணல்  இருப்பது  அவளாக  கரத்துலே (aNNal irupadh avaLag karaththuLE)' also euologizes சிவகாமி  (sivakaami)  as 'சிவனை  அகமாய்  கொண்ட சிவகாமி (sivanai akamaai koNda sivakaami).' Besides, the combination of these two expressions describe the ying-yang synergies of शिव शक्ति सम्मेलन (śiva śakti sammelana – shiva shakti union). Please remember that the esoteric symbology of नटराज मूर्ति (naṭarāja mūrti – dance king icon), by default, is a dynamic representation of the अर्ध्नारीश्वर तत्त्व (ardhnārīśvara tattva – bipolar principle) wherein नट (naṭa - dancer) is शिव (śiva) while His नृत / नाट्य (nṛta / nāṭya - dance) is शक्ति (śakti). Of course, the same theme of अर्ध्नारीश्वर तत्त्व (ardhnārīśvara tattva – bipolar principle) is also reiterated in the श्री वैष्णव संप्रदाय (śrī vaiṣṇava saṁpradāya) where नारायणी (nārāyaṇī) & नारायण (nārāyaṇa) correspond to शक्ति (śakti) & शिव (śiva) respectively, as testified in the following verses from लक्ष्मी तन्त्र (lakṣmī tantra)

I am goddess Narayani, ever cooperating in performing the functions of Narayana, who consists of Jnana (knowledge), ananda (bliss) and kriya (activity); and i too consist of knowledge bliss and activity.
There is not a single place nor moment when it is possible for me to exist without Him or Him without me.
Translation by Sanjukta Gupta

Interestingly, श्री ललिता त्रिपुर सुन्दरी (śrī lalitā tripura sundarī) the goddess & theo-personification of श्री चक्र यन्त्र (śrī cakra yantra) is called as नाटेश्वरी (nāṭeśvarī – goddess of dance) ( 734th name) by lord हयग्रीव (hayagrīva) in the श्री ललिता सहरनाम  (śrī lalitā saharanāma) and श्री भास्करराय (śrī bhāskararāya) in his famous भाष्य (bhāṣya  - commentary) very clearly testifies that this term refers to º¢Å¸¡Á¢  (sivakaami). According to him, “She is the wife of the Dancer, the Nataraja of Chidambaram”
Moreover, according to esoteric श्रीविद्या संप्रदाय (śrīvidyā saṁpradāya), Goddess त्रिपुर सुन्धरी (tripura sundharī) is also closely associated with the हृदय स्थान (hṛdaya sthāna – heart centre), similar to the दहर विद्या (dahara vidyā) concept in चितंबर / चिताकाश तत्त्व (citaṁbara / citākāśa tattva). This fact, is very categorically acknowledged in the following verses of त्रिपुरारहस्य (tripurārahasya)

सा देवी त्रिपुरा सर्वहृदयाकाश रूपिणी।
अनन्न्यशरणं  भक्तं प्रत्येवंरूपिणी द्रुतम्॥
हृदयान्तः परिणता मोचयेद्  मृत्युजानतः॥
(
sā devī tripurā sarvahṛdayākāśa rūpiṇī|
anannyaśaraṇaṁ  bhaktaṁ pratyevaṁrūpiṇī drutam||
hṛdayāntaḥ pariṇatā mocayed  mṛtyujānataḥ||

That Goddess Tripuraa is of the nature of space of the Heart (since She manifests as Consciousness therein)
 in everyone. She, manifesting within the Heart in the form of discriminating  perception. 
(or Buddhi) in a devotee who has taken refugee in 
Her without any other person as recourse, can liberate him quickly from the snare of death.
-Translated by Samvid
) त्रिपुरारहस्य (tripurārahasya) (5)

Thus, there is lot of correspondence between the iconography of नटराज (naṭarāja) and the श्री चक्र (śrī cakra). For example, such correspondence is also testified in the following स्तोत्र (stotra – hymn of praise) composed by sage अगस्त्य महऋषि (agastya mahaṛṣi)

श्री चक्र राज सिंहासनेश्वरी
श्री ललिथाबुकये भुवनेश्वरी
आगम वेद कलामय रूपिनी
अकिल चराचर जननी नरायणी
नाग कङ्गन नट्राज मनोहरि
ज्नान विध्येश्वरी राज राजेश्वरी॥
(
śrī cakra rāja siṁhāsaneśvarī
śrī lalithābukaye bhuvaneśvarī
āgama veda kalāmaya rūpinī
akila carācara jananī narāyaṇī
nāga kaṅgana naṭrāja manohari
jnāna vidhyeśvarī rāja rājeśvarī||

The mother Lalitha who is the goddess of universe
She whose personification  of Agamas, Vedas and arts,
The Narayani who is the mother of moving and non moving things,
The beautiful consort of the king of dance who wears serpent bangles,
The goddess of knowledge of Jnana, and the goddess who is king of kings.
-Translated by P.R. Ramachandra Rao
) श्री चक्र राज  (śrī cakra rāja)

In fact, one can see the श्री चक्र यन्त्र (śrī cakra yantra) installed on the வலது பிரகாரம் (valadhu pirakaaram – right compound wall) of சிவகாம சுந்தரி சந்நிதி (sivakaama sundhari sannidhi) at தில்லை நடராஜர் கோயில், சிதம்பரம் (thillai nataraajar kOyil, chithambaram). According to local legend, it was here जगत्गुरु स्री आदि शंकराचार्य भगवत्पाद (jagatguru srī ādi śaṁkarācārya bhagavatpāda) received his formal दीक्ष (dīkṣa - initiation) on the occult science of श्री चक्र विद्या (śrī cakra vidyā) from महऋषि शुकर् (mahaṛṣi śukar). While one can see the physical version of the श्री चक्र यन्त्र (śrī cakra yantra) embedded on the compound wall, its original सूक्षम रूप (sūkṣama rūpa – subte form) is actually hidden behind the ¸Ä¢Áñ ÍÅ÷ (kaliman suvar - clay wall) displaying the चिदम्बर रहस्य (citambara rahasya). This fact is indirectly testified by the revered saint श्री उमापति शिवाचार्य (śrī umāpati śivācārya) in his श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)

भित्तौ श्रिचक्रसंस्थां तदनु नातपतिं शैव् चक्रान्तरस्थम्
तद्वामे युग्महस्ताम् अपि च शुककारम् ज्ञानशक्तिञ् च यष्ट्वा।
गोब्रह्मादिन् अथेष्ट्वा शकलविधाचारून् अर्पयित्वा बलींस् तान्
होमम् कृत्वा यजन्ति प्रतिदिनम् अपि यम् कुञ्चिताङ्घ्रिं बजेहम्॥
(
bhittau śricakrasaṁsthāṁ tadanu nātapatiṁ śaiv cakrāntarastham
tadvāme yugmahastām api ca śukakāram jñānaśaktiñ ca yaṣṭvā|
gobrahmādin atheṣṭvā śakalavidhācārūn arpayitvā balīṁs tān
homam kṛtvā yajanti pratidinam api yam kuñcitāṅghriṁ bajeham||

Honouring Her who is in the Sricakra on the wall,
And after Her the Lord of Dancers within the Saivacakra, ( then the Lord of Dancers)
 and on His left His Jnana Shakti,
She who has two hands and holds a parrot;
Then worshipping the Bull, Brahma, and the others;
Making all the kinds of revential food  offerings, making the external food offerings,
And performing the homa, they honour Him every day.
Him who constantly performs His dance, there in the sheath of Bless,
Whose foot is curved, I worshp.
-translation by David Smith 
) श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)  (20)

And there is a even more explicit reference to the शिवचक्र (śivacakra), as well as, the श्री चक्र यन्त्र (śrī cakra yantra) in the following verses

आमन्वस्रम् सुधीपम् निजधनुमपि
दस्सत्यरूप प्रबान्धः वामे युक्तम्
स्वसक्त्या वसुतलकमलस्वर्ण किञ्जिल्कसोबम्।
व्याप्तम् स्वाहस्रकोष्टास्तित सिवम्नुपि
मोहनात्तैर्यतीयम् चक्रम्
सम्भुजयन्ती प्रतितिन्मनकाः
कुञ्चिताङ्घ्रिं बजेहम्॥
त्रैसकत्वारिम्सदस्रे  वसुन्ऱ्ऊप
कमले वृत्त पूजक्रमध्ये
बिन्थौसन्धानकल्पद्रुम्
निकर्युधे रत्नसौधे मनोक्ज्ञे।
स्वर्णमञ्जे निश्णनो
देव्या यः पूजयते तम्
हरिमुगविबुतैः कुञ्चिताङ्घ्रिं बजेहम्॥
(
āmanvasram sudhīpam nijadhanumapi
dassatyarūpa prabāndhaḥ vāme yuktam
svasaktyā vasutalakamalasvarṇa kiñjilkasobam|
vyāptam svāhasrakoṣṭāstita sivamnupi
mohanāttairyatīyam cakram
sambhujayantī pratitinmanakāḥ
kuñcitāṅghriṁ bajeham||
traisakatvārimsadasre  vasunūpa
kamale vṛtta pūjakramadhye
binthausandhānakalpadrum
nikaryudhe ratnasaudhe manokjñe|
svarṇamañje niśṇano
devyā yaḥ pūjayate tam
harimugavibutaiḥ kuñcitāṅghriṁ bajeham||
) श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)  (109,110)

The roof has been laid by 21,600 தங்க ஓடுகள் (thanga OdugaL - golden tiles) each of which has the sacred पञ्चाक्षर मन्त्र (pañcākṣara mantra) சிவாய நம (sivaaya nama) inscribed on them. Esoterically, these 21,600 ஓடுகள் (OdugaL - tiles) correspond to the 21,600 inhalations of an average human being in a day. These ஓடுகள் (OdugaL - tiles) are fixed using 72,000 தங்க ஆணிகள் (thanga aanigaL – golden nails) which in turn correspond to the 72,000 சூக்ஷம நாடிகள் (sUkshama naadigaL – subtle nerve channles) making up the सूक्षम देह (sūkṣama deha – subtle body) viz. the प्राणमय कोश (prāṇamaya kośa – vital sheath).
यतस्दूप्यस्सकिरूपाः तत्तरविलस
त्रोमरूपाश्च कीलाः उच्चस्वासाः
स्वर्णबत्ताः ततूरनिहिता
तण्डरूपाश्च नाट्यः।
नाट्यन्तस्सर्वलोकाः बलकदनुकता
ह्स्तरूपाः कलाङ्गच्च दस्याम्
यो नृत्यतीस तमनुबमदनुम् कुञ्चिताङ्घ्रिं बजेहम्॥
(
yatasdūpyassakirūpāḥ tattaravilasa
tromarūpāśca kīlāḥ uccasvāsāḥ
svarṇabattāḥ tatūranihitā
taṇḍarūpāśca nāṭyaḥ|
nāṭyantassarvalokāḥ balakadanukatā
hstarūpāḥ kalāṅgacca dasyām
yo nṛtyatīsa tamanubamadanum kuñcitāṅghriṁ bajeham||
) श्री कुञ्चिताङ्घ्रिस्तवम् (śrī kuñcitāṅghristavam)  (6)
The roof is held by a set of 64 கை மரங்கள் (kai marangaL - wooden beams) representing the 64 forms of ஆய கலைகள் (aaya kalaigaL – fine arts) and is held by several cross-beams representing the innumerable blood vessels. The roof is topped by a set of நவ கலசங்கள் (nava kalasangaL –  nine sacred pots) representing the नवावर्ण शक्ति (navāvarṇa śakti - nine forms of energy).


The roof is topped by a set of நவ கலசங்கள்  (nava kalasangaL –  nine sacred pots) representing the नवावर्ण शक्ति (navāvarṇa śakti - nine forms of energy) viz. वाम (vāma), जैष्ट (jaiṣṭa), रौद्र(raudra), काली(kālī), कल्विकर्नि (raudra),बालविकर्नी(bālavikarnī),बाल प्रमार्धनी (bāla pramārdhanī), सर्व भूताद्मनि (sarva bhūtādmani) & मनोन्मनि (manonmani).  The अर्ध मण्डप (ardha maṇḍapa) has ஆறு தூண்கள் (aaRu thUNgal – six pillars) supporting it and these symbolize the षट् वेदाङ्ग शास्त्र (ṣaṭ vedāṅga śāstra).
Most of these esoteric secrets underlying this temple’s architectural design, has been highlighted and directly testified in different versions of the स्थल पुराण (sthala purāṇa – temple legend) and over the years, many scholars and subject matter experts have highlighted the same. For example, the revered saint ஸ்ரீ குமரகுருபரர் (sri kumaragurubarar) in the following verses from his famous work சிவகாமி அம்மை பிள்ளைத்தமிழ்  (sivagaami ammai piLLaiththamizh), very categorically declares thus,

ஆறு  சாத்திரம்  நாலுவேதமதில்  துன் 
ஆகமங்கள்  இருபத்தெட்டுடன் 
ஐம்பெரும்  பூதங்கள்  பதினெண்  புராணங்கள் 
அறிய  சிறு  துன்  உத்திரம் 
எருக்களை  அறுபத்து  நாலு  கைம்மாறு 
நாடி  எழுபத்திரெண்டாயிரம் 
எழில் வாரிசுதான்  ஆணி  புவனம் 
இருநூற்றிப்பதினாலும் 
குலவு  சிற்றோடு  இருபத்தோராயிரமும் 
கூறும்  அறுநூறும்  ஆகத்   தேறு மொரு 
பெருவிடு  கட்டிவிளையாடும்  உமை 
சிறுவிடு  கட்டியருளே
(
aaRu saaththiram naaluvEdhamadhil thUN
aagamangal irupaththettudan
aimperum bUdhangaL padhinen puraanangaL
ariya siRu thUn uththiram
ERukalai aRupaththu naalu kaimmara
naati ezhupaththiReNdaayiram
ezhil varichudan aaNi buvanam
irunURRipadhinaalum
kulavu siRROdu irupaththOraayiramum
kURum aRunURum aagath thERumoru
peruvIdu kattiviLaiyaadum umai
siRuvIdu kattiyaruLE
sivagaama sundhari yenum periya vimalaiyE
siRu vIdu katti aRuLE.
) சிவகாமி அம்மை பிள்ளைத்தமிழ்  (sivagaami ammai piLLaiththamizh)


Before proceeding further, on the next topic, I would like to quote here the following description of,  Mr. J.H. Garstin, Honourable District Collector (commissioner) of South Arcot during the British Regime, on the architectural beauty of this sacred temple “As an architectural edifice the pagoda is a very wonderful Structure, for it stands in the middle of an alluvial plain between two rivers, where there is not only no stone but none within 30 or 40 miles, and yet not only are the outer walls faced on both sides in their entirety with dressed granite, but the whole of the great area enclosed within the inner walls is entirely paved with stone of different kinds. Nor is this, by any means, all, for there is in the pagoda a Mantapam or hall with more than 1,100 carved pillars, each a solid block, and in front of the Mantapam are several rows of circular granite monoliths, about 70 in all, standing about 80 feet oat of the ground, and sank in it probably at least 6ft feet, which are meant to support the great pandal erected in front of the Mantapam on occasions of ceremony. Moreover, the gateways of the Gopurams are built of solid blocks of stone 30 feet high and considerably over 3 feet square; while not the least remarkable feature in the pagoda is a large and very deep tank, about 160 feet long and 100 feet broad, with long flights of dressed stone steps leading down to the water on all four sides. The whole of the stone worked into the building must have been carried at least 40 miles, across the Vellar river (which is not navigable f0r more than 6 or 8 miles from its month), and over a country devoid of roads. Nothing, indeed, strikes one more forcibly, when looking at the pagoda, that the stupendous labour and marvelous perseverance which produced such results under such circumstances. The compiler was informed that much of the granite was brought from Trinomalai, a distance of over 80 miles, but it is somewhat difficult to believe this, as that would have entailed the crossing of the Ponniar river as well as of the Vellar”.
According to शैव सिद्धान्त (śaiva siddhānta), the बलिपीठम् (balipīṭham – sacrificial  altar) represents the surrendering or sacrificing of the பாசம் (paasam - bondage) principle after which the जीवात्मा (jīvātmā – embodied soul), also called as  the பசு(pasu – cow) principle takes mounts on the वाहन (vāhana  - vehicle) of नन्दि देव (nandi deva -  OX Deity) to transmigrate various realms and finally reach his beloved பதி (pathi - Lord) incarnated as the मूल विग्रह (mūla vigraha - chief icon) - शिव लिङ्ग (śiva liṅga). Thus, in other words, बलिपीदम् (balipīdam – sacrificial altar), नन्दि देव (nandi deva - ox deity) and शिव लिङ्ग (śiva liṅga) represents பாசம் (paasam - bondage), பசு (pasu – cow) & பதி (pathi - Lord) respectively.
There are two consecutive मण्डप (maṇḍapa – chambers/halls) in between the नन्दि (nandi – bull) and the गर्भगृह (garbhagṛha – sanctum sanctorum) called महामण्डप (mahāmndabha – mega hall) & मुख मण्डप (mukha maṇḍapa) followed by a narrow passage called अन्तरालम् (antarālam – intermediate space). In terms of temple anatomy of the वास्तु पुरुष (vāstu puruṣa), these structures represent the belly, shoulders and the neck regions respectively, which in turn corresponding to the मणिपूर चक्र (maṇipūra cakra), अनाहत चक्र (anāhada cakra) and the विशुद्ध चक्र (viśuddha cakra) respectively.

Finally, we come to गर्भगृह (garbhagṛha – sanctum sanctorum) which is the head portion of the वास्तु पुरुष (vāstu puruṣa) hosting the मङ्गलसासन मूर्ति (maṅgalasāsana mūrti - consecrated icon) which represents the मूल विग्रह (mūla vigraha– chief deity), corresponding to the आज्ञा चक्र (ājñā cakra), which is the focal point of spiritual द्यानम् (dyānam – contemplation). The कलस कुम्भ kalasa kumbha – lotus pot) installed on the शिकर (śikara – top / crown) of the विमान (vimāna - tower), is the ultimate state of समाधि (samādhi – atonement), symbolized as the सहस्रार पद्म (sahasrāra Padma - thousand petalled lotus).


Continued:
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