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http://murugan.org/research/sornum.htm

Murukan, Tamil God

of Justiceby Marudhamuthu

The concept of justice has evolved in TamilNadu from tribal times and found its expressionin the ideal of valour. The theme of valour iscentral to the subject ofpuram and enjoyeduniversal acceptance in the period in whichCankam literature was composed.

Valour in Cankam literature

Cankam literature does not treat valour in theabstract. It is in a concrete social context that aperson's valour finds expression in Cankampoems. A king's valour is praised not because itis important in itself as a platonic ideal butbecause it subdues the enemy and bringsprotection and prosperity to the people.

There are several poems inPurannru thatshow valour as connected with protection (Pura:6, 12, 12, 17, 18, 20, 27, 29, 31, 33, 35, 40, 42). In Pura: 4, for instance, the enemy countrydevastated by the king is likened to a motherless infant crying in hunger. The country has lost themotherly protection of its king. Pura: 5, makes this point explicit. In it the poet advises the rulerto protect his country the way an infant is protected and nourished.

This duty of the king to use force (danda) in order to protect is emphasised in ancient Sanskrittexts also. The king's duty is to uphold Dharma. The latter meant the varna order and castehierarchy (Basham, p. 88, 138). But in ancient Tamil Nadu this Varna Dharma concept carriedno weight. A.L. Basham refers to the absence of evidence in early Tamil Literature about the

existence of caste (p.151).

There is a poem in Purannru (6) which refers to the king as the eater of the enemy's earth andthe holder of the sceptre of justice. This poem refers to Vedas, Brahmin sages and sacrifices in areverential tone. But the justice it speaks of is the opposite of what the Brahminical textsconceived it to be. This Tamil poem insists that the Pantiyan king Muttukutumipperuvaluti, theperformer of many (vedic) sacrifices, should be impartial like a balance used in weighing. Thepoem ends by comparing the king to the sun with its hot rays that punish and also to the moon

Lord Murukan

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with its soft, cool light. These are telling comparisons that go against the Sanskritic-Brahminicalideal of justice since the sun and the moon treat all people alike. These comparisons reinforce thepoet's earlier exhortation to the king to be impartial.

The combination of destructive power with protective justice of a non-discriminatory nature as

expressed in this poem is typical of the ancient Tamil idea of valour. It was a quality to whichanyone could lay claim.

Another poem inPurannru (312) shows a valiant youth as indebted to his mother, his father,the village blacksmith and his king for his possession of the quality of valour. The poem saysthat it is the king who teaches good (ethical) conduct to the young hero. The intermingling ofethical and warlike qualities in this poem is characteristic of the Tamil way of thinking in theperiod concerned.

Yet another poem (Pura: 187) says that, that country is good where the men of valour are good.Here also the ethical and social aspect of valour is evident.

Murukan, valour and justice

The concept of valour as justice found its expression not only in early Tamil literature but also inthe religion of the period. An examination of Cankam literature shows that temple worship wasnot prevalent then. The word kottam which meant a temple occurs only three times in the wholeof the Cankam literature (Cankam Ilakkiyap porul Kalan~ciyam Vol.II).

Though vedic sacrifices are mentioned, they belonged to the exclusive form of corporateworship, (Encyclopaedia Britannica Vol. 19, p. 1015) and did not constitute popular religion.Since North Indian gods like Siva and Visnu were not worshipped widely then and since

brahminical sacrifices were not meant for the common people, the question arises about theidentity of the gods who were popular and their relation to the supreme value of valour. Therewere local gods who belonged to small local communities and there were several associated withdivinity. But the most important were anankuand Cr apart form Murukan.

Ananku is "an anonymous, impersonal power", (Zvelebil, p. 21). This power could take anyshape it liked and move about. Several things are mentioned as possessed ofananku.

Cr is "a malicious, terror-provoking force which was always destructive" (Zvelebil, p. 16). ThisCr representing impersonal fear and general terror later came to be regarded as personified.

There are a few occasions in Cankam literature where ananku and even Cr are mentioned inconnection with worship (Aka: 240, Nar: 367). It is not surprising that these terrible forcesnecessitated appeasement of some kind. But their mysterious indefinability did not suit sociallydeveloped religiosity or values. The socially nuanced concept of valour as developed by thebards and poets of ancient Tamil Nadu could not be attributed to such vague entities as anankuor Cr. This called for an anthropomorphic conception of divinity and the Tamils found this inMurukan.

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Deification of ethical bravery started prior to the period of Cankam literature. Before valour wasconceptualized and treated in literature it was apprehended in the tribal context as a symbol. Forinstance, there are several allusions to hero-stones inAkannru andPurannru. These hero-stones were erected in memory of men who fought valiantly in the interests of the tribalcommunity and fell in battle. These dead heroes became objects of regular worship by their

community, (Pura: 329, 335,Aka: 35, 131, 289).

The references show that worship of these heroes was marked by an ethical concern. It was onlythe hero who died fighting a protective and not an aggressive battle that was the object ofworship. Only the bravery shown in a just war to retrieve the cattle wealth of one's owncommunity was considered worthy of religious worship. This shows a strong sense of justiceeven in the tribal context (Aka: 35, 131, Pura: 261, 263, 264).

The descriptions of a hero-stones in these poems contain references to the installation of a spearand shield in front of the stone, (Aka: 67, 131). The stone was often inscribed with the name ofthe fallen hero. (Pura: 264.Aka:53, 297), and the spear was obviously the symbol of valour. The

creation of countless such stones all over Tamil Nadu is thus attested from a very early period.

This quality of protective valour was closely associated not with any one hero-stone but with thespear found every where. Since a quality could not be conceived as an substruction in those daysit was attributed to a great man-god, the warrior-protector of all tribes, belonging equally to all ofthem and treating all equally. The measure of justice was the same for all peoples in the eyes ofthis god. Valour constituted this measure of justice and Murukan was the god who represented it.

Whereas the particular god of the village on the hero-stone was of no relevance for the people ofother villages and served only to boost narrow local identity, the all-Tamil conception ofMurukan was inclusivist and impartial among tribes. The development of Tamil society from the

tribal state required the development of such a god of a unifying nature, a god of justice for all.In Murukan the Tamils expressed what according to some sociologists constitutes the religiousneed of man "to bring some order (cosmos) into the universal experience of disorder (chaos)",(Encyclopaedia Britannica, Vol.15: p. 605). It can also be said that through religion man hasoften tried to discover an order that really exists in the universe.

The above statement is true of early man's attempt in the political domain also. "In somesocieties religious and political structures are co-terminous. The gods of the group guarantee orrepresent its values". (Encyclopaedia Britannica, p. 611).

It was Cr that represented disorder and chaos in ancient Tamil Nadu. The uncontrollability ofnature and the highly destructive conflict situations in primitive societies gave rise to thisarbitrary, indefinable and threatening Cr. Now no tribe could hope to pit its own particular godagainst the great impersonal Cr inhabiting mountain fastnesses and moving about mysteriously.In contrast to it the tribal village gods were of limited power. They were rendered powerless withnothing to eat when their villages were destroyed in war, (Pura: 52,Aka: 307). Such a fate couldnever overtake Cr since it loved to dwell on mountain tops (Aka: 303, 359, Kurun: 105, 376,Nar: 359, 373).

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English

1. A.L. Basham, The Wonder that was India (New Delhi: Rupa), 1992.2. Encyclopaedia Britannica, 15th ed. 1979.3. Kamil V. Zvelebil, Tiru Murugan (Madras: International Institute of Tamil Studies),

1981.

Tamil

1. Akannru2. Purannru3. Narrinai4. Kuruntokai5. Pattinapplai6. Tirumurukrruppatai7. Maturaikknci8.

Tolkppiyam9. Canka Ilakkiyapporul Kalanciyam (Tanjavur: Tamil University) 1986.

K. Radhakrishnan, M.A. alias Marudhamuthu, is an active social worker and educator who haspublished a number of articles on socio-cultural and religious themes, especially with respect toBuddhist influence upon Tamil literature.

The Murukan Cult in Mauritius:

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Essence of Tamil Ethnic Identity

by Khesaven Sornum

Note: Mauritius hosted theSecond International Conference on Skanda-Murukan24-28

April, 2001.

Introduction

The earliest and sublimest Tamilian concept of Godhead has been called by the pure Tamil wordMurukan.1 Murukan has been closely associated with the life of the Tamils from timeimmemorial. They have been worshipping Him as the embodiment of beauty, the source ofspiritual wisdom and the personification of limitless power.

The most ancient famous Tamil grammar Tolkppiyam refers to Murukan as Cyon and the Godthat is present in the hilly areas. The rich materials enshrined in the Cankam classics endorse the

fact that Murukan was fervently invoked by devotees from various stratas of society.

Murukan has been cherished and venerated in the Tamil land and other countries of the Tamildiaspora. The early Tamil immigrants from South India, mostly craftsmen and traders, settled inMauritius in the eighteenth century during the French colonisation. They were the builders ofmany places of worship. Later on, many Tamil indentured labourers also settled in Mauritiusalong with other ethnic and linguistic groups from India, China, Africa and Madagascar. Nothingcould prevent the Tamils from keeping their identity.

http://murugan.org/events/conf2001.htmhttp://murugan.org/events/conf2001.htmhttp://murugan.org/events/conf2001.htmhttp://murugan.org/events/conf2001.htm

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One important element characterising theidentity of the Tamils is their strong belief intheir ancestral values and their religion whichthey would rather call Tamilism or Tamilreligion. In concordance with the words of the

Poet Nmakkal Kavignar Rmalinkam Pillai "ATamilian race does exist and that a specialcharacteristic it does possess".2 The Tamils ofMauritius are identified by other communities asthe worshippers of the Tamil God -- Murukan.

Religious festivals like Tmiti, Kanji, Gvinthanand others are celebrated region wise and onvarious occasions by the Tamils but kvatifestivals like Taippucam has a nationaldimension. What philosophers consider as folk

religion has now taken shape as popular religion.

A fine example is the Taippucam kvati festivalwhich is celebrated with much fervour andmassive participation on a national level.Taippucam Day has been decreed public holiday since more than half a century. It is true that inMauritius Tamils are identified mostly by their religion and culture. Ethnicity would rather bemarked by religion and culture. Nevertheless during religious festivals and cultural events awider use of Tamil language is noticed.

In view to have a clear idea of the specificity of the Murukan cult Mauritius and how far it is the

essence of ethnic identity various elements and aspects of this cult should be closely looked at.

Map of Mauritius

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Brief history of Murukan cult in Mauritius

The Murukan cult had its root planted in Mauritius eversince the first Tamil immigrants came as craftsmen andtraders under French rule. Their close attachment to their

religion prompted them to build kvils. A few kvilswere erected as per the norms laid down in the agamas.A fine example would be the Sockalingum MeenatcheeAmman Kvil of Port-Louis. The DandyudhapniKvil of Clemencia is considered as the oldest MurukanKvil.

With the immigration of indentured labourers from manyparts of India, many Tamils settled on sugar estates. Atall those places, kvils were built as places or worshipand social gatherings. This endeavour had the support of

the estate owners who were mostly French settlers.Besides allotting a plot of land for their cult, the estateowners sponsored the special ceremonies performedbefore the harvest.

By the year 1960, nearly 110 kvils existed already. TheGovernment started distributing subsidy to the kvilsduly registered and affiliated to the Mauritius TamilTemples Federation. At present, thirty kvils haveMurukan as main deity and all other Amman and Civankvils have Murukan deity becausein all kvils, kvati

celebrations do take place.

An Indian nationalist Rjaretnum Mudaliar who served the cause of Tamil education inMauritius was so infatuated with the Murukan Cult that he asked permission to organise a kvatiprocession in Port-Louis in 1874.3

With access to education, nowadays the Murukan cult is being developed and consolidated.While few arcakars on contract from Tamil Nadu are serving in Mauritius, many youngstershave shown interest in getting trained to serve in kvils. Apart from the great Taippucamfestival, many other Murukan festivals have been organised in the past twenty-five years.Pankuni Uttiram, Cittirai Paruvam, Aadee Krtikkai, vani Mlam, Vaikci, Vickam, Kanta

Sashti and Krtikkai Tpam have been included in the calendar of Tamil festivals in Mauritius.

Tiruppukalsongs are recited by Tamil school children. Many kvils are being renovated in theDravidian Kvil Architecture style. The media is playing an important role in popularising thecult. Murukan who is also named Kali Yuga Varatan would stretch his rule for many more yearsto come and Mauritius would be a well known place for Murukan Cult. Elders and LocalArchagars have been very keen in maintaining uniformity in the various rituals pertaining to the

Eight-foot high murti of Lord Shanmukha

at Mauritius' "Spiritual Park". Photo

courtesy Hinduism TodayFeb 2000

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cult, though few Archagars from Tamil Nadu and Sri Lanka have been serving in Mauritius inthe past.

Places of worship

The Tamils who settled in this land considered it a must to have places for worshipping God. Inall Tamil houses, the picture of Murukan, the Vl, the cempu (brass pot) can been seen. Theseare meant for worship. Since kvil worship was considered very important, the Tamils built theirkvils on all sugar estates and other places where they were living. Some were small and othersbig enough to accommodate the devotees.

The early Tamilian mind revelled in the natural beauty of the hills and forests wherein humancivilisation originated and started the process of migration of settlement to other places, then tothe sea boards from wherein the Tamilian carried on his enterprises on the seas. The naturalbeauty attracted him and developed in him a deeper appreciation of nature in all its beauty andfound in him the divinity of nature. The concept of divinity was from experience and worship of

nature and that divinity was personified and called 'Muruka'.4

In Mauritius also the Murukan cult is closely associated with natural surroundings. All kvatiprocessions would normally start from river banks or seaside to proceed to the kvils. Many ofsuch kvils are found on sugar estates and few on hilltops. Moreover, it was conceived thatMurukan had his special abode on every hill (Kunrudrdal). Tolkppiyam refers to Murukanand His abode as 'Cyon meya maivarai ulagam'.5

The main abodes of Murukan are called 'Pataivtukal' by the poet Nakkrar. Mention is made inthe Tirumurukrruppatai of six main 'Pataivtukal'.

The Tamils in Mauritius think of Palani as most important place of worship. Almost everybodydreams to have a pilgrimage at Palani which they consider to be the Mecca for the Tamils. ForMauritius, the Murukan Kvil of Corps de Garde Mountain is a Padaivtu.

'Oh Lord, I have not seen Tanikai MalaiNeither have I seen Palani MalaiMy sadness knows no bound, so for meQuatre Bornes Malai is your Patai Vtu'6

Such are the heart melting words of the hymn "TheMauritius Murukan Pmlai", composed by P. Tiroumale

Chetty, a Mauritian poet. John Spiers, the English Editorof Values wisely says of the religion of the Tamils, "It islinked with the natural pantheism or by lozoism whichrecognises deity in stone river, tree, animal as well as inmen." According, Murukan worship takes place almosteverywhere in Mauritius.

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The Vl

The spear-like weapon in the hand of Murukan is his instrument of chastisement and salvation.Vl is also understood to typify His energy of wisdom -Jna akti. It is often the symbol bywhich Murukan is worshipped. It has a distinct connotation to mean Murukan Himself.

The akti Vl heads the kvati processions. Vl Abhiskam is an important ritual before kvatiprocession takes place. Murukan devotees have Vl tattooed on their bodies. As an act ofpenance, devotees carrying kvati or Vl, have their tongues, cheeks and other parts of their bodypierced with silver needles having the shape of tiny Vls. A small silver vl is fixed in a lemonand tied up to the kvati and plkutam during procession. In all the hymns of Murukan, the Vl ismentioned. 'Verrivl Murukanukku', 'Vl vl' are repeatedly uttered by devotees. It is common inMauritius that thousands of Tamilians bear names having the word vl. Tanka vl, Pyneevl,Kumravl, Vativl, Katirvl, Senthilvl, Vlan, are among one various names. In choosing aname for new born babes, Murukan's name is preferred and given priority.

Fasting and Penance

The Tamils are God-fearing people by nature. Such attitude is apparent during Murukanfestivals. Fasting is considered very important. Tamils in Mauritius usually go to kvils onFridays and consume vegetarian food only. But nowadays in many Tamil homes Tuesdays areobserved as fasting days in honour of Murukan. Every month on Krtikkai day and Sashti dayfasting is observed in many Tamil families.

However, prior to each kvati festival, ten days of strict fasting is observed by devotees.Vegetarian food, abstinence from sex and liquor, sleeping on mats, consuming food preparedonly at home, non-attending of wedding, funeral, etc. are considered as vital during fasting

period. That is why in Mauritius Tamils do not marry in the month of Tai.

All devotees carrying the kvatis or plkutams have to either tie up their mouths with cloth orhave their tongues pierced with small silver veils (nakkalus, puttalus) as an act of self-mortification. This mortifications are intense in certain cases where devotees sleep on nail beds,walk on nail slippers, pull chariots with hooks fixed in their flesh, cover their bodies with Vls.Devotees as well as all those accompanying the kvati have to walk barefooted in the hot sun.

The soul-stirring hymn recitation ofPulampl

The recitation of sacred hymns (padikams) with an imploring tone craving for the grace of

Murukan is very typical in Mauritius. Such hymns are recited at the time of pcai andmortification. The most popular hymns for pulambal areAvinasip Pattu rumuka SwamiViruttam, and Mauritius Murukan Pmlai. After each pause in the recitation loud utterance of'Har Har' fills the atmosphere with a strange spirit of awe and bhakti. Many devotees go intrance while hearing the hymns. Such Pulambal is heard all along the way to the kvil. Thesesongs are also recorded on cassettes and played at home, in kvils and during religiousprocessions.

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"I don't know whether I am praying to you with full clear handsAnd with a heart which has committed any wrong deeds;Oh my leader, I am still a humble servant to your disciples;Restrain my life calmly before removing it from this false body;You must come close to me on your peacock, swifter than a horse"

- Avinasipattu

9

Procession (rvalam)

Procession by devotees carrying kvatis, Vls, plkutams to the kvils forms part in the Murukancult. Devotees pulling chariots in front of the procession with concentrated devotion, piouslyproclaiming the name of Murukan, the thrilling roar of 'Haro Hara' raised by all devotees to theaccompaniment of nadaswaram, the sight of the majestic car rumbling slowly along the streetfurnish an occasion for active community worship.7

Many devotees stand or both sides of the way holding their offerings (coconuts, fruits, camphor,

incense, betel leaves etc.) and wait for their turn to give the offerings and worship the Lord.Some devotees smash coconuts on the way. Some others who are afflicted with diseases lie downto be crossed over by devotees carrying the kvati.

Frenzy is possible and indulged in unashamedly as for instance the kvati carrier. The individualman or woman can enjoy the experience of divine tremors, especially when hearing devotionalhymns and concentrating on the Lord.

The Worship of Murukan and the Zodiac

K. V. Ramakrishna Rao B.sc., M.A., A.M.I.E., C.Eng(I)., B.L.,

Introduction

Astudy of number and figure myth associated with Murukan / Kanda / Karttikeya /Subramanya worship shows the connection of it with time reckoning, as the related concepts

revolve around the movement of planets, change of seasons, repetition of day and night inconjunction with the celebration of rites, rituals and ceremonies in the specific seasons1. Thoughthe Puranic compilers have meticulously recorded such facts and details, the modern interpreterswould not notice the astronomical significance, as they used to dub the Puranas as myth. Thewestern scholars indeed could notice such significance, but they did not want to give any creditto Indians. Thus, Hopkins (1903), Fleet (1916), and others simply brushed aside such discussionand B. G. Tilak (1897), S. B. Dikshit (1913), M. N. Saha (), V. S. Agrawala (1953) and othersstruck to their interpretation. Pointing out this, G. S. Ghurye (1977) attempted to find out the

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astro-physical phenomenon basis for the Skanda concept2. After that, though modern scholarsreferred to the connection of stars with Karttikeya and Vishaka, they did not elaborate thesignificance. A. K. Chatterjee simply notes that it should be remembered that both the names arephilologically connected with stars Visakha and krittika3 and draws the attention to anotherobservation made by M. N. Mukherjee, wherein the latter noted that the star-worship was mixed

with the Skanda worship

4

. All the interpretation has been based on the Sanskrit literature.Therefore, an attempt is made to interpret the Tamil literature to find out the astronomicalbackground of the Murugan worship.

Tamil scholars and researchers always divide the Sangam literature into Agam (human mattersrelated to inner aspects like love, marriage, marital life etc.) and Puram (human matters related tooutside aspects like valour, wealth, education etc.) and attribute the respective themes. Though,the Tamil poets appear to be over imbibed with the theme of love, love-making, fondling etc.,they have clearly recorded the meticulous metaphor of time reckoning behind such backgroundand it is very interesting and informative for study. The symbolization of the hexagram / hexagon/ double triangle / two crossed triangles / star / six limbs with that of Shadmukha / Shanmugam /

Murugan is significant as it is nothing but zodiacal representation in the astronomicalconnotation. As they have concealed such facts with their love theme, they have to be decodedand deciphered properly to understand the hidden meaning in astronomical perspective. Thisaspect is dealt with in this paper based on the literary evidences of the Sangam literature.

Diagramatic / Geometric Representation of the properties of Muruga

As Arumugam, Shadmukha, Shanmukha, Shadvadhan, Shadhanan and other epithets arerepeatedly used for Muruga, their representation and association with astronomy has to bestudied. Geometrically, such concept can be represented as a Hexagon. As it can be drawn onlywith a circle, the concept of hexagon is connected with a circle. Not only circle, but also all

geometrical figures are based on the concept of point, which is nothing but the smallest circlethat could be drawn with no radius. Similarly, a circle is a polygon with infinite sides. These arenot mathematical unreality or uncertainty leading to philosophy, but facts. The geometry isrelated to arithmetics, which in turn to numbers. All these concepts are related to the importanceof squaring a circle and circling a square covering all mathematical functions, operations andmanipulations.

Here, a diagram drawn with such concepts surprisingly tally with mathematical and astronomicalprinciples. For example, a circle is drawn inside a square touching its sides. The circle is dividedinto twelve equal parts (12 x 30 = 360). They are named after Tamil months and common zodiacsigns for convenience. Then the circle is divided into 27 equal parts of 13 degrees 20 minutes(13020 x 27 = 3600) accommodating 27 stars / asterism. Thus, each rasi contains 2 1/2 stars /asterism, depending upon their movement with reference to Sun. Here, according to the Indiansystem of asterism, the stars are considered to be stationery with reference to planets.

The ruling planets are also mentioned in the corresponding rasis - Mars, Venus, Mercury, Moon,Sun, Mercury, Venus, Mars, Jupiter, Saturn, Saturn and Jupiter. The seasons are1. Ilavenir /Vasantham, 2. Mudhivenil / Kreshmam, 3. Kar / Varsha, 4. Kudhir / Sarath, 5. Munpani /Hemantha and 5. Pinpani / Sasira.

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Two equilateral triangles are superposed on the figure with vertices - one touching the square atthe top and another inverted same as the former. The touching points are 0 and 180. Theysurprisingly cut the circle at 60, 120, 240 and 300. The intersecting points are 30, 90, 150, 210,270, and 330. Thus 0, 30, 60, 90, 120, 150, 180, 210, 240, 270, 300, 330 and 360 are nothing butthe twelve divisions of zodiac.

The lower triangle with apex downwards is the symbol of Tirumal / Vishnu, the God of Moistprinciple in theNara or waters (Mahabharata.III.189.3). The triangle with its vertex upward isShiva the principle of Fire, symbolized by the triple flame in the hand (three eyes, Tripurantakaetc). Thus, the combination of Tirumal and Sivan is Skanda / Murukan / Karttikeya formed withthe properties of Fire and Water. The Saravanabava signifies the unification of these majorelements into the Most Powrful One.

If the Hexagram is examined, all ten numbers 0 to 9 are found in it.

1. The bindu / dot at the centre.2. The central point unit or one;3. The two triangles show the presence of binary combination of two powers;4. Its triangles represent number three or the triad;5. The triangles with the central point common to both yield the quaternary;6. The quinary being traced by combination, as a compound of two triangles, the even number,

and of three sides in each triangle, the first odd number;

7. The six points are senary;8. For the point / bindu at its centre, it is a sevenfold sign or septenary; the seven points of

meeting points of 12 triangles;

9. The eight cardinal points10. It is multiple of Triad.

If the Hexagram / hexagon / double triangle / two crossed triangles / star / six limbs does nothave any astronomical significance the points need not coincide with the degrees. It cannot besaid that it is a mere coincidence, because all other calculations tally with the pictorial /geometrical representation. Therefore, it is evident that the Hexagram representing Murugan / themantrasaravanabava is nothing but a zodiacal symbol implying the position of asterism withreference to the movement of planets. That is why the important festivals connected with Kanda /Kadamba/ Murukan / Karttikeya / Subramanya fall in intervening periods, i.e, the sectorial areasrepresenting the 12 rasis.

That the ancient Tamils of Sangam period had conscious observation of movement of planets,eclipses, day and night time reckoning, growing of trees, flowering of plants and trees at a

particular season, connected animals and their survival on the nature etc., are well established inthe references available in the Sangam literature. The division of land into five tinais, theirrespective, Gods, trees, plants, flowers, animals, music, musical instruments etc., are also closelyconnected with such observation of planetary movement and recording time reckoning in thenatural code, which are dealt with below.

Seasons, Festivals and Murugan Worship

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How the changes in the seasons affect the psychosomatic processes or psychosomatic changesvary with the seasons interacting with flora and fauna is vividly described in the Sangamliterature. The change of seasons. as we know due to the planetary motion, mainly due to Sun.However, the influence of other planets are also significant, which is not generally considered inthe seasonal changes. The animal behaviour is expressed the the faunic representation of the

zodiac, as during such periods, man behaves or exhibits qualities like the represented animals.Similarly, the trees grown and flowers blossomed during the period satisfy his needs.Symbolically, they are also used in different rites, rituals and ceremonies conducted during therespective periods. In the Sangam literature, the following features are noted:

1. Murugu / Sur affecting ladies-Love.2. Veriyadal performed by Velan to find out the disease of the Ladies-Love.3. The Lover meeting the Lady-Love stealthily, when Veriyadal takes place during mid-night.4. There are ladies who would not venture to or should not touch the vessels of Murugan temple.5. Murugan is born with the combination of energies Fire and Water. The Fire produced from Siva

is deposited in the Saravanabava waters and six children are born out of such combined energy.

6. The six babies joined together and Shadmukha / Shanmugan / Karttrikeya / Murugan is formedwith six faces and twelve hands.

7. The Hexagram / hexagon / double triangle / two crossed triangles / star / six limbs has actuallytwelve triangles, with six triangles pointing to six combined rasis and the six triangles joined

together at the centre as shown below:

A square is drawn, in which a circle is inscribed.

Inside the circle, two equilateral triangles, one withvertex pointing upward and another vertex pointingdownwards are drawn. The six triangles inside theHexagram are shown by the intersecting lines. Thus,that the Hexagram has twelve triangles are depicted.The triangles pointing outside mark 0, 60, 120, 180,240. 300 and 360 degrees. The inner six trianglesmeet at a point inside, which is centre of circle andas well as that of the square.

It may be noted that in the horoscope the zodiacalposition is depicted as shown below in two forms ofrepresentation. In one type, inside a square, thetwelve houses are depicted in twelve squares. Inanother, inside a rectangle, the twelve houses arerepresented as twelve triangles. However, bothforms are familiar in use. But, here, theirrepresentation in the context of Murugan worship isvery significant.

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As square is nothing but a combination of two equilateral triangle. Thus, both representation canbe broken into triangles.

Seasonal Murugan Festivals

The festivals celebrated according to Tamil months are studied to note that they fall exactly onFull Moon or New Moon day coinciding with the respective stars. This also clearly proves thatthey are celebrated based on astronomical significance with the past observations. Though theastronomers and connected scholars do the calculations, the common people are made to keepthe importance of nakshatras, week days, fort night, month, six months, year etc., in their mindsin a systematic way. For comparison, the celebration ofvrat / penance in connection withSkanda-Karttikeya are alsom given and they coincide perfectly. Therefore, how time has beenreckoned and recorded throughout India can be noted. Thus, with the passage of time, as there isa possibility of forgetting the astronomical significance, the periodic pujas / festivals have beenprescribed to remember / know the hours, seconds, minutes etc. The details are tabulated asfollows5:

Sl.No Tamilname of

themonth

Festival Period ofcelebration /Calculation

According toNorthern tradition

Details

1 Cittirai Chitrapaurnami

FirstPaurnami

Kumara / SkandaSasthi / A tithivrata observed.

Begins with the brighthalf of the monthCaitra (Cittira-April-May) and lasts forone year.

2 Vaigasi Agni nakshata

festival

Performed

for 14 days.Vishakam toPuramtendays.

Putraprapti-Vrata

to beget choiceof children

Tithi vrata begins on

6th

day of bright halfof the monthVaishaka (Vaikasi-May-June) and lastsfor one year.

3 Ani Annabhishekam Uttiranakshatram

Aranyasasthi Thithi vrata observedon the 6th of the brighthalf of the monthJyestha (Ani-June-July).

4 Adi Adi Puram,

Padinettupperukku

Krittika and

Amavasyadays. Adi-Krittigai

Skandavrata

Skandasasthi

Celebrated on the 6th

day of the bright halfof the month Ashada(Adi-July-August).

5 Avani VinayakaChaturthi

Chaturthi GuhasyaPavitraropanam

Celebrated on the 6thday of the bright halfof the month Sravana(Avani-Aug-Sep).

6 Purattasi Navaratri. Skandadarshanam To free from sin, the

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seeing of the Skandaidol is prescribed(Bhadrapada-Purattasi-Sep-Oct).

7 Ippasi Skanda Shasti First day

fromAmavasai

(Ippasi-Oct-Nov)

8 Karttigai KarttigaiDeepam

KarttigaiPaurnami

Krittigainakshatra tendays

Skandasasthi-vrata

Celebrated on the 6thday of the bright halfof the month Karttika(Kartikai-Nov-Dec).

9 Margazhi Niradum nonbu Tiruvadhirai,VaikundaEkadasi

Karttikeyasasthi Celebrated on the 6thday of the bright halfof the monthMargasirsa

(Margazhi-Dec-Jan).10 Tai Taippusam Pusanaskshatra,Pongal

Kamavrata orKamasasthi

Celebrated on the 6thday of the bright halfof the month Pausha(Tai-Jan-Feb).

11 Masi Makham,Khumbafestival

Makham,MahaMakhamonce in 12years.Amavasai

MahaSivaratri.

Magha (Masi-Feb-March)

12 Panguni Panguni uttiram Phalguna (Panguni-March-April).

Here, particularly, the festivals connected with Murugan are taken. Only a few other festivals arementioned for calculation purposes. For complete study, along with monthrasi, correspondingEnglish month, English name for rasi / zodiac, symbol, season, sign corresponding to certainparts of bodies and mineral / metal are tabulated as follows for further discussion.

Sl.No

Tamilname of

themonth

Indiancommon

name

Corresponding Englishmonths

Englishname

Symbol Seasons Signscorresponding to certain

parts of body

Mineral

1 Cittirai Mesham April-May Aries Ram Ilavenil /Vasantam

Head Iron

2 Vaigasi Vrishabam May-June Taurus Bull Ilavenil /Vasantam

neck / face Copper

3 Ani Midhunam June-July Gemini ThePair

Mudhuvenil /

Kreshmam

upper chest Mercury

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4 Adi Katakam July-August Cancer Crab Mudhuvenil /

Kreshmam

breasts Silver

5 Avani Simham August-Sept. Leo Lion Kar /Varsha

solar plexes Gold

6 Purattasi Kanya /

Kanni

Sept-Oct. Virgo Maiden Kar /

Varsha

navel region Radium

7 Ippasi Tulam Oct-Nov. Libra Scales Kudhir /Sharat

lowerabdomen

MagneticIron

8 Karttigai Vrikshikam

Nov/Dec. Scorpio Scorpion

Kudhir /Sharat

pubic region Lead

9 Margazhi

Dhanus Dec.Jan. Sagittarius

Archer Munpani /Hemanta

thighs Tin

10 Tai Makaram Jan-Feb. Capricon SeaMonster

Munpani /Hemanta

knees

11 Masi Kumbam Feb-March. Acqarius Waterpot

Pinpani /Sasira

calves Uranium

12 Panguni Minam March-April Pisces TheFishes

Pinpani /Sasira

feet Magnesium

If we take Mesha rasi as starting point from the equinoctial point, we can see Krittika nakshatraoverlaps Mesham / Mari / Adu and Rishabam / Bull / Erudhu / Kalai. Exactly on the opposite areTula and Vrichigam, which are overlapped by Vishaka nakshatra in Karttikai month. It may benoted that the Karttikai month is winter, whereas, Vaikasi month with Krittigai nakshatra is veryhot. Incidentally, Skanda / Karttikeya / Murukan is born on a Full Moon day, Vishaka Nakshatra,Karttigai month. Skanda shasti / Kanda catti is celebrated in that month only. As he is born of orrather cared by six Krittika mothers / Pleiades / Arumin / Six nakshatras, perhaps, his birth day iscelebrated for six days with the sixth day ending on sixth day of a lunar month. It is thuscelebrated in the Ippasi (Oct-Nov) on first six days of waxing days. Thus, originally started ascelebrating the birth of Skanda / Karttikeya / Vishaka, is changed to Kanda Catti with different

meaning coinciding with the killing of Surapadman. Shasti is the sixth day of a lunar month.However, the symbol Catti / Pot unveils the myth behind it. Incidentally, there is a Tamilproverb, Cattiyile irunthal than agappaiyile varum = If there is anything in the pot, then onlyit comes through laddle. Actually, the real meaning is, if anybody (particularly woman) performsthe penance / sacrament sincerely in the Shasti days, then, only conception would take place inembryo. Thus, it is evident that it is a fertility rite coinciding with the birthday of Murugan.Saravanabhava tatva too expounds the conception, growth and birth of Skanda / Muruga.Incidentally, this festival is connected and superimposed with other months, but all haveastronomical significance. Some are discussed as follows5:

Skanda merging with Vishaka

Mahabharata6 (Markandeya Samasyaparva) describes a story of a baby born from the brillianceof Adbhuta and Rudra, of which Indra is afraid of. The babe, named Guha / Skanda raises a loudcry which makes all the Devas trembled with terrible fear. Indra throws his thunder-bolt onSkanda, which results in the birth of a goat-faced youth from the right side of Skanda and he isknown as Vishaka. It is also said that one of the six faces of Skanda is that of a goat. However, itmay be noted that Guha and Vishaka are merged in Skanda. Vishaka nakshatra is consideredvery auspicious, as most of the saints, geniuses and others have born in that nakshatra, e.g,

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Buddha, Nammazhwar. Born in the same nakshatra, Murukan is known as Gnana pandita =Authority of Wisdom. Karttikeya and Vishaka incidentally represent 3 rd and 16th Lunar mansionsof the Zodiac. In fact, Vishaka is a binary star according to Sanskrit literature. Therefore, it is notknown as to how the ancients would have known the binary stars without telescope is intriguingand interesting.

Skanda merging with Sri

This is similar to take over of Sur by Muruga. Vishaka is depicted as protector of wealth orhaving a bag in his hand. Skanda is depicted in coins along with Lakshmi. In fact, like himanother goddess is depicted with six heads. Revatikalpa describes how different forms of RevatiJataharini, literally means one who afflicts the children, causes abortion of foetus. KasyapaSamhita / Vriddha Jivakiya Tantra describes how the children diseases are caused and they canbe cured. The terrible attendants of Skanda are all named Kumara. This similar to Velan, whoperforms veriyadal for Muruga. In fact, the 7th and 15th dark days of Karttika are famous for thefestivals of Jataharini like goddesses, including Jara (one who steals babies), Hariti (one who

steals foetus), Ayohi (who is opposed to the manifestation of life), later changed to Karttikeya.Skanda unites with Sri on the 5th bright day of the Magha month known as Sri-panchami / Maghapanchami. The next day, Skanda found his consummation with Sri and it is Shasthi. It may benoted that names of the goddesses, who are associated with one act or the other, are nothing butnakshatrasRevati, Kartika, Magha, Vishaka, Jyesta in cyclic order. Incidentally, they areconnected with conception, foetus, pregnancy, childbirth, etc. Though, first, they are depicted asthe destroyers of children, later portrayed as protectors of children. That is why perhaps, womenare barred from touching the vessels of Murugan kottam in Sangam literature. In any case, itexplains that conception takes place on a particular star, then the birth of child would take placen a particular star in a year. This is possible, only if astronomical observations are made. Thus,parents, doctors and others who took care of pregnant women would have followed such time

reckoning meticulously for the purpose.The devisers / the persons who introduced the festivals for Murukan or take over the existingfestivals by merging with the myth of Murukan must have been experts of astronomy and wellversed with the seasonal changes, flora and fauna of India. That is why the nakshatras, thithis,months etc., coincide exactly and the tradition continues even today.

Time reckoning in the Ancient Tamizhagam

There had been systematic time reckoning and recording, though the material evidences mightpoint to different picture. Based on literary evidences, the following facts are brought out7.

Division of a day: About the division of a day three methods are noted:

1. yamam, vaigarai and kalai (Silpppatikaram.4.77-84).2. Kalai, nanpagal, erpadu, malai, yamam and vaigarai.3. Kalai, pagal, malai, yamam and vidiyal (Tolkappiyam).

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The starting of a day: The day starts with the midnight / passing of midnight. This is similar toardharatrika system followed throughout India. The cock announces the starting of a day, anastronomical symbol.

Counting of days: Agananuru mentions about Nal izhai neduncuvar, that is a wall on which

days have been marked as small straight lines. However, there must have been sundials tomeasure time during day time and days to count with shadow movements. Definitely, the erectedKandus played a role.

Counting of Lunar days: as the tithi calculation is based on the waxing and waning of Moon, itsobservation must have been noted and recorded. It is revealed through the specific expressionsusedfirst phase (Perump.11), Third phase (Kurun.178.5; Agam.239:9-10), eighth phase(Puram.11-12, 18.2), waxing phase (Madurai.193-194, Perum.383-384), and Full Moon(Puram.67.4, Padit.31:11-12, Puram.400.1-3).

27 Stars during Tolkappiyam Period: As Tolkappiyam has given rules for naming the stars and

they tally with the existing ones, it is evident that such knowledge of asterism must have existedeven before Tolkappiyar.

Star names endingwith - e/i

Star names endingwith - i/y

Star names ending with - m

26. Aswini.

27. Bharani.

2. Rohini.

13. Jyoti.

23. Purattadhi.

24. Uttirattadhi.

25. Revati.

1. Karttigai.

4. Tiruvadhirai.

12. Chittirai.

16. Kettai.

3. Mrigasirisham.

5. Punarpusam.

6. Pusam.

7. Ayilyam.

8. Makham.

9. Puram.

10. Uttiram.

11. Attam.

14. Vishakam.

15. Anusham.

17. Mulam.

18. puradam.

19. Uttiradam.

20. Tiruvonam.

21. Avittam.

22. Sadahyam.

Manimekhalai (8:45-49) mentions about Cakravalakottam and a globe model existed there. Infact, the description of the globe and other details resemble an observatory. In fact, the expertsresiding there predict the time and date of birth of Abuttiran as follows (Mani.15:23-25):

1. Ilavenir / early summer period.

2. Sun in rishaba rasi.

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3. Vaishaka month.

4. Of 27 stars, 13 have passed.

5. In the middle of such stars i.e, at Vishaka, as Karttigai is taken as first star.

Sittalai Sattanar records that the time and date of birth of Abuttiran are same as Buddha. In fact,in another place (Mani.12:72-82), the poet specifically mentions about the year of Buddha as1616. As he has not mentioned the era for calculation, the date of Buddha could not bedetermined here. However, the important point to be noted is the existence of astronomicalknowledge and its application to time reckoning and recording. The relation of Vishaka /Karttikeya with Murugan worship has been pointed out above.

The Zodiac of the Tamils or the Zodiac Depicted in the Sangam LiteratureThe Inthinai

Zodiac

An attempt has been made by the author to depict the details given in the Sangam literature inFive tinais on a sheet of paper cyclically. The poets have been very meticulous in describingeach tinai with their associated factors specifically. For the astronomical discussion, theconnected factors are takan and tabulated as follows:

Factor Kurinchi Mullai Marudham Neidhal PalaiGod / Goddess Seyon /

MuruganMayon /Tirumal

Vendhan /Indran

Varunan Kotravai

Vehicle /vahana

Peaocock Garuda / Kite Elephant /Ram / Sheep

Swan Simha / Lion

Birds Parrot,

Peacock

Wild Cock Vandalam,

Magandril,Stork / crane

Sea crow Dow, Kite,

Vulture

Animals Tiger, Bear,Elephant,Lion

Deer, Rabbit /hare

Buffalo,water dog

Shark Hound

Flowers Vengai,Kuinchi,Kanthal

Kullai, Mullai,Tondri

Lotus, lily Neidhal, Kurampu,Marampu

Time /sirupozhudhu

Yamam /midnight

Malai /Evening

Vidiyal /Morning

Erpadukalam /Early

morning

Nanpagal /Noon

Period /Perumpozhudhu

Ippas,Kartigai,Margazhi,Tai

Avani,Purattasi

All sixseasons

All sixseasons

Ani, Adi,Masi,Panguni

Psychosomaticactivity

Cohabitation Staying feigning Pitying Separation

Property Earth Water Fire Wind Ether

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1. The factors give are explicitly periodical, seasonal, chronological and hence cyclic.2. They have been taken not just by accident or based on mythology but based on well-established

and accepted standards. Thus, the motions of planets are indicated in the reckoning of time.

3. The division of time into five parts shows the observed motion of Sun and Moon with referenceto Earths rotation.

4. The flowers whose blossoming is coinciding with rising of nakshatra / asterism is significant, as itoccurs in early morning hours.

5. Trees, their shredding / withering of leaves, branching etc., show the periodic observation.6. The animals have been conditioning to biological clocking and predict the natural happenings

and thus, they have been grouped carefully.

7. Parai and Yazh have been given figuratively and appear crude, but, they must have been timereckoning and recording instruments respectively. Parai is nothing but sounding drum and Yazh

is musical note / frequency producing stringed instrument. The sound is related to time and this

is indicated.

Time of a day is divided into five equal parts = 24 / 5 = 4.8 hours.

A year is divided into five parts = 12 / 5 = 2.4 months per division.

Thus, the zodiac is divided into 5 parts, thus 360 / 5 = 720

The current method is, a day has 12 hours, an hour has 60 minutes, a minute has 60 seconds.Thus, it is based on 60 cycle.

As 5 is used as a calculation basis, a circle is divided into five equal parts, thus, each sector has720. In each sector, the respective factors are marked in the sub-sectors. The figure obtained isnothing but a Zodiac, which can be compared with the 12 sign-zodiac by superimposing. Takingclue from the symbolsRam, Swan, Lion, peacock and Kite connecting them with the

properties, we can assign the rasis as follows:

Factor Kurinchi Mullai Marudham Neidhal Palai

The FiveElements(leavingCosmos)

Mesham,

Rishabam,

Midhunam,

Kanni,

Thulam,

Vrichikam

Katakam,

Vrichikam,

Meenam

Makharam,

Kumbham,

Meenam

Cancer,

Simham,

Kanni

Distribution Hill androcky areas

Forest andforest areas

Plains fertilewith paddy

etc

Sea /oceanicareas

Desert and aridzones, formed

climatictransformation of

Mullai and Kurinchi

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As 12 rasis are distributed to Five Divisions, there has been overlapping. This kind ofoverlapping can be seen in the distribution of 27 starts for 12 rasis.

The usual distribution of rasis (4 x 3) are as follows:

1.

Ether / space / cosmos As everything is produced from it, no signs are assigned to it.2. Gas / Air Gemini (Midhunam / Pair), Libra (Tulam / Scales), Aquarius (Kumbham / Water pot).3. Fire Aries (Mesham / Ram), Leo (Simham / Lion), Sagittarius (Dhanusu/ Bow and arrow)4. Liquid / Water Cancer (Katakam / Crab), Scorpio (Vrichikam / Scorpio), Pisces (Meenam / Fish).5. Earth / solid Taurus (Rishabam / Bull), Virgo (Virgin / Kanni), Capricon (Makharam / Sea

monster).

Thus, it is evident that the people of Tamizhagam have definitely incorporated the zodiac idea inInthinai. The poets might have also mentioned or indicated the rasis and nakshatras related toeach Tinai. As the commentators and modern day scholars have evidently left out other factors,the alignment of theInthinai-zodiac with the modern-zodiac poses some problems or showsvariations. The scientific study of the Sangam literature is imperative and such research couldonly rectify, correct and refine theInthinai-Zodiac constructed. The author craves for the help ofthe scholars in this regard.

Did the People of Tamizhagam Followed a Jupiter Cycle?

The discussion about the Zodiac based on Inthimai or Inthinai Zodiac points to a possibility thatthe people of Tamizhagam might have followed a Jupiter cycle for the calculation and recordingtime and events. As mentioned, time of a day is divided into five equal parts = 24 / 5 = 4.8 hours,a year is divided into five parts = 12 / 5 = 2.4 months per division and thus, the zodiac is dividedinto 5 parts, thus 360 / 5 = 720.

1. The number 72 appears to be significant in the context.2. For the precession of the equinoxes to cover up one degree in the zodiac, Jupiter takes 72 years

approximately.

3. It has 12 satellites.4. There are two Jupiter cycles one consisting of 60 years and another 12 years. The sixty year cycle

is used throughout India since the days of Vedic period (Vedanta Jyotisha dated to c.1400 BCE).

5. This is the time taken by Jupiter in passing one sign of zodiac and also known as Jovian year.Surya Siddhanta8, the ancient astronomical work extant defines and the method ofcalculation of Jupiter cycle:

Multiply by 12 the past Jupiter revolutions of Jupiter, add the signs of the current revolution,add and divide by sixty; the remainder marks the year of Jupiters cycle, counting from Vijaya [Surya SiddhantaI.55].

In Vaishaka etc., a conjunction (yoga) in the dark half-month (krishna), on the 15th lunar day(thithi), determines in like manner the years Karttika etc., of Jupiter, from his helical setting(asta) and rising (udaya) [Surya SiddhantaXIV.17].

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The first verse clearly points to the existence of sixty year cycle that is still followed throughoutIndia. The second quoted verse points to the Skanda Shasthi festival / birth of Viskhaka /Karttikeya. Then what is the relation between the 60 year cycle and 12 year cycle?Mathematically, it is 60 / 12 = 5.

If in any year, the helical setting of Jupiter takes place in the month Vaishaka, then the asterismwith which the moon is found to be in the conjunction at the end of that month, which will be, ofcourse, the asterism of the year, which is Krittika. Thus, here, the relation between Vaishaka andKarttika is explained. Therefore, the connecting factor of these two months and as well as stars isMurukan and his worship.

Astronomically, the connecting factor of two Jupiter cycle is 5 and it is Inthinai-Zodiac.Therefore, the poet or poets who had been familiar with the three important aspectsSuryaSiddhanta / Vedic Astronomy, myth of Vaishaka and Karttika and Inthinai-Zodiac and of courseTamil (perhaps Sanskrit too) could have only conceived such Zodiac and presented suchastronomical myth through his / their poetics and poetry. And this historical process could have

taken place only about the period in which the Tamizhagam was reigning supreme in all aspects.

Cakras, Rasis and Muruga

The astronomical interpretation of Murugan worship incidentally embraces with Tantras, Yantrasand Mantras. The amalgamation, integration and unification of different gods and goddessespoint to compromise made with the Tantric and Yantric works. In fact, such details are availableonly in Tantric works as noted in the case of Jara, Hariti, Jataharini, Revati etc. The worship ofMurukan has been symbolic and natural i.e, Kanduthe Wooden Pillar. Later, it is modifiedwith personification and deification. However, the fundamentals are available only in the tantricworks. The old worshippers or followers of the established system would not come to new one,

unless the new one has incorporated all the old ones and also some extra favorable, comfortableand usable factors. As diversified people come together in such interactions, manifold anddissimilar factors have to be moulded together to get an acceptable cast. As heads of therespective groups are experts, they see that their subject matter is not compromised and at thesame time do not ant to percolate to the bottom or new entrants easily without efforts orunderstanding the inner meaning. At the same time, the knowledge has to be preserved, protectedand propagated to the progeny for the welfare of the humankind. That is why, we findmathematics, astronomy, geography, psychology, environmental study and much more modernsubjects in the decoding and deciphermet of Skanda-Karttikeya-Murukan worship.

The relation between Cakras, Rasis and Muruga are turned out to be very revealing. They aretabulated below:

Sl.No

Letter

No.ofpetals

Property No.of

petals inthe

Cakr

Colourof thepetals

Name ofthe Cakra

Animal

associated

with

Location ofCakrain thebody

Lunar /Soilarsigns /rasis

Seasons

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as1 sa 4 Creation 4 Red Muladhar

aElepha

ntBelo

wgenita

ls

Aquarius /

Capricon

Ilavenir/

Vasantham

2 ra 6 Protection 6 Vermillion(Dark)

Svadhishthana Makaram Abovegenita

ls

Pisces/Sagitta

rius

Mudhivenil /Kreshm

am3 va 10 Destructi

on10 Rain

cloudManipura Goat Navel

region

Aries /Scorpi

on

Kar /Varsha

4 na 12 Concealment

12 Vermillion

(light)

Anahata BlackAntelo

pe

Heartregio

n

Taurus/ Libra

Kudhir/ Sarath

5 ba 16 Mercy 16 Smoky

purplehue

Visuddha Elepha

nt

Throa

tregio

n

Gemini

/ Virgo

Munpa

ni /Hemant

ha6 va 18 Wealth 2 White Ajna Betw

eeneye

brows

Cancer/ Leo

Pinpani/ Sasira

The author9 has already implied the association of Cakras with Murugan worship earlier in apaper.

Conclusion

From the above discussion, the following conclusions are drawn:

1. The celebration of festivals, rites and rituals by the ancient Tamils and as well as its continuanceeven after 2500-3000 years prove the astronomical significance behind it.

2. They must have been star-grazers and keen observers of planetary movement and stellarposition.

3. The association of festivals with asterism and the lunar calendar followed is significant.4. The Fivefold division of land etc., popularly known as Intinai and its connection with Zodiac

proves the ingenious and indigenous development of such zodiac and usage of it since the

advent of Sangam period.5. Though, there has been similarity and overlapping of ideas and practice followed in the

celebration of festivals / vrats / nonbus round the year between the northern and southern

traditions, the quick correlation and dramatic matching is interesting.

6. Such striking similarity could not have been accidental or incidental, but might point to acommon origin. The following of such festivals and observance of certain penances prove the

conditioning of biological clock with the astronomical clock.

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7. As psychosomatic principles too have been linked with such festivals and practices, timereckoning and recording methods had been disciplining too.

8. As such high standards of astronomical observations, calculations etc have been involved, thedepiction of such a society as tribal is not sustainable.

9. Material development takes place with the mental development, refining and acumen. Highlyphilosophical, mathematical and astronomical principles in ancient Indian society had been

phenomenal and historical.

10.That the ancient Tamil could have followed a Jupiter cycle points to the prevalent of Lagadhasystem and thus such tiome could go back to c.1400 BCE.

11.The discovery of alternative Sravana nakshatra / asterism around 5th century BCE alsocoincides with the Sangam period.

12.Therefore, chronologically, the basis of Intinai Zodiac and its relation with Skanda worship couldbe placed between that period 1400 and 500 BCE.

Notes and References

1. K. V. Ramakrishna Rao,A Note on Zodiac in The Antiquity of the Worship of Skanda-Karttikeya,Kadamba-Muruga-Subramanya, Bharatiya Itihasa Sankalana Samiti, Chennai, 2001, p.22.

2. G. S. Ghurye, Indian Acculturation Agasthya and Skanda, Popular Prakashan, Bombay, 1977. SeeAppendix I, "Was Some Astronomical Phenomenon the Basis for Skanda Concept"?, pp. 205-

213; B. G. Tilak, Orion; S. B. Dikshit, Bharatriya Jyotishastra, Viswamitras creational activity,

p.206; J. F. Fleet,JRAS, 1916, pp.567-578; V. S. Agrawala, India as Known to Panini, Lucknow,

1953, p.475.

Here, the discussion was about the Viswamitras creation of alternative system of asterism etc.

The correct time when Sravana, Altair would have had to begin the nakshatra sequence i.e,

when the northern transit of the Sun began was between 450 to 401 BCE. Thus, Viswamitra

(which Viswamitra is another question) had been a great astronomer / star gazer discovering the

nakshatra Sravana. According to astronomical calculation such discovery could have taken place

between the calculated period. In any case, the prevalent of such practice before 5th CenturyBCE is proven.

3. A. K. Chatterjee, The Cult of Skanda-Karthikeya in Ancient India, Punthi Pustak, Calcutta, 1970,p.90.

4. M. N. Mukherjee, IHQ, Vol.VII, p.314.5. S. S. Rana,A Study of Skanda Cult, Nag Publishers, New Delhi, 1995, pp.148-162.6. V. S. Agrawala,Ancient Indian Folk Cults, Prithvi Prakashan, Varanasi, 1970, pp.69-95.7. M. Shanmugam Pillai, Tamizh Nulgalil Kalakkanippu (Tamil) in Tamizhayvu, University of

Madras, Vol.4, 1976, pp.1-58.

8. Ebenezer Burgess, The Surya Siddhanta, Motilal Banarasidas, New Delhi, 1989, pp.39-40;9. K. V. Ramakrishna Rao, "The Number and Figure Myth Associated with Kanda-Karttikeya-

Murukan Worship", a paper presented on April.27, 2001 during the Second InternationalConference-Seminar on Skanda-Muruka held in Mauritius in 2001 and published in The Antiquity

of the Worship of Skanda-Karttikeya, Kadamba-Muruga-Subramanya, opt.cit, pp.17-21.