The Indian religious thoughts are rooted in the Vedas. Indian religion is Vaidika religion for the past four thousand years or more. The Vedic Gayatrī hymn is called the Mother of the Vedas “Gāyatrī Veda Mātā”. The Sage Viśvāmitra-Ṛṣi expounded Gāyatrī hymn. It is a prayer addressed to Sūrya as Savita to stimulate our critical intellectual faculty “dhiyo yo naḥ pracodayāt”. It is the only Prayer in the world that is being recited for the past four thousand years known to history. It was being recited by the Dvijas, who included Brāhmanas, Kṣatriyas, Vaiśyas and some mixed castes which means more than 80% of Indian population was reciting this prayer. The prayer does not seek Paraloka, the other world or fulfilment of various desires or acquisition of pleasure and happiness but bestowal of Critical Intellect. Thus it turns out to be the most scientific rational religion in the world. That has more relevance even in the 21st century computer age.The thirst for truth and knowledge constitute the cream of the Vedas also known as the Vedantic Upaniṣads.“The Upaniṣads represent a great chapter in the history of the human spirit and have dominated Indian Philosophy, Religion and life. Their thought by itself and through Buddhism influenced even in ancient times the cultural life of other nations far beyond the boundaries of India, Greater India, (Burma, Laos, Thailand, Cambodia, Indonesia and Vietnam) Tibet, China, Japan, and Korea, and in the South, in Ceylon, the Malay Peninsula and far away in the Islands of the Indian and the Pacific Oceans. In the West the tracks of Indian Thought may be traced far into Central Asia, where, buried in the sands of the desert, were found Indian texts.” - Sir. S. Radhakrishnan in his Introduction to The Principal Upanishads.Be proud that you belong to such a great Indian heritage. Experience this greatness by following it in whatever form you can, and do support Vedantic thoughts for survival and betterment of India. Here is a leaf from the inexhaustible spring.This paper attempts to trace the similarities in the concepts of Sun worship and the cult of Naṭarājā, and the underlying unity of the two.1. SandhyāThe Brāhmins of India offer prayers called Sandhyā-VandanamM, daily three times. According to the ancient code, this Sandhyā should be offered daily.aharahaḥ sandhyām upāsita.This sandhyā prayer is addressed to Savitā - the Sun. The Brahmin who adores the Sun Āditya as Brahman, when it rises in the morning and sets in the evening, obtains all auspicious happenings, says Taittirya Brāhmaṇam.udyantam astamyāntam ādityam abhidhyāyan kurvanbrāhmaṇo vidvān sakalam bhadram aśnuteA person is considered impure and unfit to do ritual acts, if he does not perform Sandhyā. That indicates the importance of Sandhyā in Indian life. The Sandhyā worship speaks about the greatness of and adoration of Sun from the beginning to the end.2. GāyatrīThe first and most important hymn used repeatedly during this Sandhyā worship is the Gāyatrī hymn, which is a prayer to Savita, the Sun, for the conferment of knowledge.om tat savitur vareṇyam bhargo devasya dhīmahi dhiyo yo naḥ pracodayātIt prays that the Sun should inspire knowledge in men. The rising Sun dispels darkness and makes men rise from their slumber and realize the happenings around them; they were ignorant of what was happening during their sleep at night that is dark. Ignorance is compared always to darkness and dawn of knowledge to brightness. The Sandhyā hymn is for dispelling Darkness, a function attributed to Sun.3. Naṭarājā, the dispeller of DarknessThe same function is also attributed to Naṭarājā, dancing on the back of the Dwarfish demon. The dwarf represents ignorance that is removed when the Lord manifests. It is interesting that the term used to denote the dwarf is Apa-smara i.e., to forget. (smarati to remember. apa smara the knowledge that escapes). The faculty of knowledge exists in man even in sleep. But the happenings around escape his faculty of knowledge. So his mind is veiled in darkness. This is the tirodhāna i.e concealment of man's faculty of perception. The Dancing God also removes the veil as he emerges dancing on the dwarf. This culminates in anugraha, conferring grace.4. Sun is BrahmanIn terms of Vedantic doctrine, this Sun who appears in the ambaram, the visible sky is the Supreme Brahman. The following recitation is included in the Sandhyā vandanam“asau ādityo brahma”. This Sun is Brahman. “brahma eva aham asmi”. I am that Brahman. (The consciousness in me is that Supreme Brahman). The worship of Naṭarājā is invariably claimed as Vedic and the essence of the Vedāntic doctrine. The Dīkṣitās the worshipping priests of Chidamabaram hold that the worship of Naṭarājā at Chidamabram is according to Vedic tradition. The Dance of Naṭarājā is called jñānānanda tāṇḍava5. The Inner and Outer SpaceThe Gayatrī prayer is also recited daily on all the three times of the day. This prayer has two spheres, the external sky where Āditya appears and the Inner Consciousness, where knowledge appears, which is also called Brahman. This concept is also reflected in the Dance of Śiva. The temple of Chidambaram has two parts. One is the external Ambaram, the Great hall where the devotees stand and see the Lord and the other inner Ambalam, the inner hall, where the dancing god is placed. The former is pēr-ambalam, the Great hall, identical with the external space where Āditya appears and the other is chid-ambalam, the hall of inner Conciousness. The Āditya who is Param Jyoti, the Supreme luminary, is Naṭarājā. This prayer,“This Āditya is Brahman”, and “”I am that Brahman” (asau ādityo brahma, brahma eva aham asmi) is also repeated three times daily by the Vedic Brāhmins, It leads on to the meta physics of Naṭarājā.The Gayatrī hymn is repeated as a japa (repeated recitation) for 32 times in the morning, 16 times in noon and 32 times in the evening.6. The morning prayerA major prayer follows this on all the three sandhis (three times of the day). The Vedic hymn beginning with “mitrasya carṣṇī dhṛtaḥ” is the one recited in the morning. According to it, Sūrya leads men knowing all their actions. (“mitro janān yātayati prajānan”). He is also the supporter of earth and heaven. (“mitro dādhāra pṛthivīm uta dhyām”). This Mitra is Āditya, Sun (prayasavān yasta ādityaḥ śikṣati vratena). This main prayer in the morning is thus addressed to Āditya - Sūrya.7. The Mid-day prayerThe prayer in the noon begins “āsatyena rajasā”. Sūrya is called in this hymn uttamam jyotis the Supreme Luminary that dawns, swallowing the darkness. Those adoring him will attain supreme self-light. This famous divine jātavedas (jātavedas deva) is carried high and high by the rays-horses for better visibility. He rises above the Darkness as a supreme light (udvayam tamasaḥ paripaśyanto jyotir uttamam). Sūrya is like eyes to Mitra, Varuṇa and Agni (cakṣuḥ mitrasya varuṇasya agneḥ). This most beautiful God ascends to great heights. He is the soul of inert and moving objects. He remains encompassing earth, heaven and intermediate space (āprā-dyāvā-pṛthvī antarikṣam). The Sun is the Soul of the Universe (sūrya ātmā jagataḥ). We shall see this Sūrya for one hundred winters. (paśyema śaradaś śatam). We shall delight one hundred winters. We shall hear about him for one hundred winters. We shall live victorious for one hundred winters. We shall be delighted to see him for one hundred winters. This Sūrya who is lohitākṣa (whose eyes are red), who is the embodiment of knowledge (vipaścit) who is vṛiṣabha, rises from the great ocean (mahataḥ arṇavāt) from the middle of the waters salilasya madhyāt, shining (vibhrājamāna) should purify us.This Vedic hymn is of very great significance, in the concept of Naṭarājā. Śiva is called lohitākṣa whose eye is red. Śiva's third eye in the forehead is Agni and hence he is red eyed lohitākṣa.Sūrya is called Vṛṣabha the Supreme Bull. Śiva is also called Nandi in the Vedas and Tevaram hymns.Sūrya encompasses earth, heaven and the intermediate space. Naṭarājā dances with his leg planted on earth, and his head touching the top of the circular halo, symbolic of heaven and earth while himself encompasses the intermediate space spreading his matted locks of hair flying in all directions and his hands moving indirections. His jaṭās are said to represent all the intermediate directions. āprā-dyāvā-pṛthvī-antarikṣam. It is a graphic portrayal of the concept of Naṭarājā in Vedic hymn.Naṭarājā dances on the dwarf, the demon of darkness. Sūrya rises above the darkness (tamasaḥ upari udvayam)Sūrya is the soul of all living beings. sūrya ātmā jagataḥ tastuṣaśca.Naṭarājā is the soul of all living beings. He is also called the Lord of all, Paśupati.Sūrya rises from the midst of the great oceanic waters.ya udagāt mahataḥ arṇavāt vibhrājamānaḥ salilasya madhyātIn the figure of Naṭarājā the circular halo issues from the mouth of the makara - crocodile representing this great oceanic waters. The presense of two makaras, shown at the beginning of the halo, is totally identical with the concept that Naṭarājā-Sūrya emanating from the Waters. Sūrya is called the Supreme luminousity jyotiḥ uttamam. Naṭarājā is called the Supreme Jyoti - alahil jyotiyan. Naṭarājā is shown surrounded by a halo of flames to indicate that he is the Supreme Jyoti among the stars and planets. In some Naṭarājā images 27 flames are represented on the halo to indicate the 27 stars as he is the Lord of all the luminaries.He is the dancer in the ambara, the space.8. The Evening prayerThe evening prayer of the Sandhyā hymn is addressed to Varuṇa to be meditated in the sūrya-maṇḍala, the orbit of the Sun. We have seen that Sun is addressed as the eye of Varuṇa. The evening prayer worshipping Varuṇa according to all authorities is a prayer to Sūrya.The morning and the noon Sandhyās, among the three Sandhyās, are addressed facing east, while the evening one is recited facing the west. The direction of facing follows rising, mid-day and setting Sun.9. The Lord of SouthFollowing the prayer there are other hymns and stotras addressed facing south to Yama.yamāya dharma rājāya mṛtyave ca antakāya cavaiavasvatāya kālaya sarvabhūta kṣayāya caaudumbararāya dadhnāya nīlāya parameṣṭinevṛkodarāya citrāya citraguptāya vai namaḥAmong the attributes of Yama mentioned in this verse are Mṛtyu (death), Kāla (Time), Parameṣṭin (the Supreme to be adored) and Antaka (One who causes the end), and Dharmarāja (Giver of righteous knowledge) deserve special attention. Mṛtyu as mentioned is also the significant name of Śiva as Rudra. He is called Kūṛṛuvan in Tamil. Similarly Kāla, Antaka, and Parameṣṭin are also found commonly employed for Rudra and Sūrya.(See my article on Āditya-hṛdayam). Yama is the Lord of the South and the Lord of Dharma (Dharmarāja).Śiva as Dakṣiṇāmūrti is the Lord of South and is the preacher of Dharma, the Śiva-Dharma. The Dharma taught by Śiva is body of literature known as Āgamas. The essence of the Āgamas and Dharma is Lord Naṭarājā, who is portrayed above the image of Dakṣiṇāmūrti. Naṭarājā is also the Lord of South, and faces South.It is interesting to mention that Śiva's form of Rudra as Kāla is assigned to the Southern direction. The image of Naṭarājā both in sculpture and in bronze is invariably placed in the southern direction facing South. It may also be mentioned that there exists close relationship between Kāla-Mukha and Naṭarājā, both oriented south (See my article on Blanket worship, Naṭarājā and Kālamukhas)10. Kṛṣṇa Piṅgala of the NorthThe next verse of Sandhyā, is a Vedic hymn addressed, facing north.ṛta{hum}m satyam param brahma puruṣam kṛṣṇa piṅgalamūrdhva-retam virupākṣam viśvarūpāya vai namaḥThis Vedic passage is of utmost importance to Hindu Iconography. It speaks of Supreme existence who is called Puruṣa (Param Brahma Puruṣam). This Supreme Brahman is of dual nature, black (Kṛṣṇa) and red(Piṅgala). Evidently it refers to Sun whose brightness and darkness are spoken as black and red (Kṛṣṇa and Piṅgala). This dual form is known later as Hari-Hara. Also please note the use of the names Ūrdhvaretas, Virūpākṣa, and Viśvarūpa all addressed to Śiva Naṭarājā and Sūrya.Nṛsimhatāpanī upaniṣadFurther light is thrown on this subject by the nṛsimha tāpanī upaniṣad, one of the 108 Upaniṣads. It identifies this Kṛṣṇa form as Nṛkesari-vigraha, the Narasimha form of Viṣṇu. It is Sun who is Nārāyaṇa - Narasimha. This Kṛṣṇa is also Piṅgala, the form of Śiva. The Upaniṣad makes him identical with Śiva in Hari-Hara form by calling him Umāpati and Paśupati.ṛtam satyam param brahma purusham nṛkeśari-vigrahamkṛṣṇa-piṅgalam urdhva-retam virūpākṣam saṅkaramumāpatim paśupatim pinākinam hi amṛta-dyutimThis hymn identifying Kṛṣṇa-Piṅgala with Nṛkeśari and Paśupati is a citation from Yajur-veda, according to the above Upaniṣad. This passage clearly establishes that Narasimha form of Viṣṇu is derived from Sun and that Sun is Kṛṣṇa and also Piṅgala, Paśupati and that he is identical with Umāpati, Saṅkara who is also known by other names like nīla-lohita, paśupati, pinākin and amṛtadyuti (immortal light).11. The FinaleThe final prayer addressed facing east (or west in the evening) during Sandhyā-Vandana is a stotra. It is important as it gives the main import of the Sandhyā worship. It readsnamaḥ savitre jagd-eka-cakṣuṣejagat prasūti sthiti nāśa hetavetrayi-mayāya tri-guṇātma dhāriṇeviriñci-nārāyaṇa-śaṅkara-ātmanei.e., “Salutations to Savitā, the sole eye of the universe, the Cause of World's creation, sustenance and dissolution, the essence of the Vedas, of the nature, of three guṇas (Sattva, Rajas, and Tamas) and who is of the form of Brahma, Nārāyaṇa, and Śaṅkara.”This final salutation is again to Savitā, the Sun. He is called the Only eye of the world (jagad eka-cakṣuḥ). He is the cause of creation, sustenance, and dissolution of the world (jagat prasūti sthti nāśa hetu). He is the nature of Vedas (trayi-maya). He is of the nature of three guṇas (tri-guṇātma-dhārin). He is indeed Brahma, Viṣṇu and Śiva (Viriñci - Nārāyaṇa - Saṅkara - Ātman). Finally he resides in the orbit of Savitā (savitṛ-maṇḍala madhya varti).The functions of creation, sustenance and dissolution are the acts of Naṭarājā who dances in the jyotir-maṇḍala. Naṭarājā combines in himself the functions of the Trinities, Brahma, Viṣṇu and Śiva. Thus Sun is adored under the same concepts in the Sandhyā-Vandana that constitute the meta physics of Naṭarājā.12. TraditionAccording Bodhayana, the ancient sutra-kāra, who has given a code of conduct for daily life, Sandhyā represents the Trimūrtis, is pure, beyond Māya and that which creates this Universe.ya sandhyā sa jagat sūtiḥ māyātīta suniṣkalāaiśvarī kevalā śākṣiḥ mūrtitraya samudbhavāThe emanation is from mūrti-traya, the Trimurtis Brahma, Viṣṇu and Śiva.Sāvtri Upaniṣadamṛtāra-kara-talādrau sarva-sanjīvañādyauagha-harana-sudakṣau veda-sāre-mayūkepraṇava-maya-vikārau bhāskarā-kāra-dehausatatam anubhaveham tau balāti balāntaupon tikaḻum mēnip puricaḍai puṇṇiyanumninṟu ulakam tāviya neḍumālum eṉṟumiruvarangattāl tirivarenum oruvanoruvan aṅattu eṉṟum uḷan (poikai āḻvār)“Though the Sacred personality Śiva of matted locks, whose body is red in colour, and the Great Lord Trivikrama, who measured the three worlds, move in two different spheres, each in effect is a part of the other body.” Says one of the early Vsiṣṇavite Saints, Poykai Āḻvār. Another famous Vaiṣṇavite Saint Nammāḻavār, echoes the conceptpār uruvil nīr eri kāl vicumpum ākipalveṟu samayam āyp parantu ninṟaer uruvil mūvarume eṉṉa niṉṟaimayavar tan tiru vuruve rennum potuor uruvam pon uruvam oṉṟu centīoṉṟu mā kaṭal uruvam ottu niṉṟamūuruvam kaṉṭa pōtu onṟām jotimukil uruvam emmaṭikal uruvam tāneIn mundane level the One who appears as Earth, Air, Fire, Water and Space and spreads into various religious formulas, appears as divine in three forms among the Celestials. When one reflects on these forms, one form is golden in colour (Brahma), one is Glowing fire in colour (Śiva) and the other is like that of the blue deep ocean (Viṣṇu). Finally it is the One Same lord in the form of Supreme effulgent Sun!ConclusionI have shown earlier that the nature of the Dance of Śiva as the dance of Sūrya, the samasta samhāra, by entering the Solar orbit, Sūrya maṇḍala is pointedly mentioned in the kūrma purāṇa. Also the story of Mankanaka told in Kūrma Purāṇa shows that, while Śiva is the Primordial entity, his inherent power is Yoga-Māyā, variously called Parā-Śakti and Vidyā-Deha. One attains is Supreme Knowledge, Jñāna identical with Bliss, Ānanda. The conclusion is inevitable that it is the adoration of Sun in all his Vedantic form that flowers into the Dance of Śiva.
