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

htm Murukan, Tamil God of Justice

by Marudhamuthu
The concept of justice has evolved in Tamil Nadu from tribal times and found its expression in the ideal of valour. The theme of valour is central to the subject of puram and enjoyed universal acceptance in the period in which Cankam literature was composed.

Valour in Cankam literature

Cankam literature does not treat valour in the abstract. It is in a concrete social context that a person's valour finds expression in Cankam poems. A king's valour is praised not because it is important in itself as a platonic ideal but because it subdues the enemy and brings protection and prosperity to the people. Lord Murukan There are several poems in Purannru that show 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 country devastated by the king is likened to a motherless infant crying in hunger. The country has lost the motherly protection of its king. Pura: 5, makes this point explicit. In it the poet advises the ruler to 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 Sanskrit texts also. The king's duty is to uphold Dharma. The latter meant the varna order and caste hierarchy (Basham, p. 88, 138). But in ancient Tamil Nadu this Varna Dharma concept carried no 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 and the holder of the sceptre of justice. This poem refers to Vedas, Brahmin sages and sacrifices in a reverential tone. But the justice it speaks of is the opposite of what the Brahminical texts conceived it to be. This Tamil poem insists that the Pantiyan king Muttukutumipperuvaluti, the performer of many (vedic) sacrifices, should be impartial like a balance used in weighing. The poem ends by comparing the king to the sun with its hot rays that punish and also to the moon

with its soft, cool light. These are telling comparisons that go against the Sanskritic-Brahminical ideal of justice since the sun and the moon treat all people alike. These comparisons reinforce the poet'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 which anyone could lay claim. Another poem in Purannru (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 says that it is the king who teaches good (ethical) conduct to the young hero. The intermingling of ethical and warlike qualities in this poem is characteristic of the Tamil way of thinking in the period 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 in the religion of the period. An examination of Cankam literature shows that temple worship was not prevalent then. The word kottam which meant a temple occurs only three times in the whole of the Cankam literature (Cankam Ilakkiyap porul Kalan~ciyam Vol.II). Though vedic sacrifices are mentioned, they belonged to the exclusive form of corporate worship, (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 the identity of the gods who were popular and their relation to the supreme value of valour. There were local gods who belonged to small local communities and there were several associated with divinity. But the most important were ananku and Cr apart form Murukan. Ananku is "an anonymous, impersonal power", (Zvelebil, p. 21). This power could take any shape it liked and move about. Several things are mentioned as possessed of ananku. Cr is "a malicious, terror-provoking force which was always destructive" (Zvelebil, p. 16). This Cr 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 in connection with worship (Aka: 240, Nar: 367). It is not surprising that these terrible forces necessitated appeasement of some kind. But their mysterious indefinability did not suit socially developed religiosity or values. The socially nuanced concept of valour as developed by the bards and poets of ancient Tamil Nadu could not be attributed to such vague entities as ananku or Cr. This called for an anthropomorphic conception of divinity and the Tamils found this in Murukan.

Deification of ethical bravery started prior to the period of Cankam literature. Before valour was conceptualized and treated in literature it was apprehended in the tribal context as a symbol. For instance, there are several allusions to hero-stones in Akannru and Purannru. These herostones were erected in memory of men who fought valiantly in the interests of the tribal community 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 only the hero who died fighting a protective and not an aggressive battle that was the object of worship. Only the bravery shown in a just war to retrieve the cattle wealth of one's own community was considered worthy of religious worship. This shows a strong sense of justice even 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 spear and shield in front of the stone, (Aka: 67, 131). The stone was often inscribed with the name of the 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 the spear found every where. Since a quality could not be conceived as an substruction in those days it was attributed to a great man-god, the warrior-protector of all tribes, belonging equally to all of them and treating all equally. The measure of justice was the same for all peoples in the eyes of this 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 of other villages and served only to boost narrow local identity, the all-Tamil conception of Murukan 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 religious need 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 has often 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 some societies religious and political structures are co-terminous. The gods of the group guarantee or represent its values". (Encyclopaedia Britannica, p. 611). It was Cr that represented disorder and chaos in ancient Tamil Nadu. The uncontrollability of nature and the highly destructive conflict situations in primitive societies gave rise to this arbitrary, indefinable and threatening Cr. Now no tribe could hope to pit its own particular god against 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 with nothing to eat when their villages were destroyed in war, (Pura: 52, Aka: 307). Such a fate could never overtake Cr since it loved to dwell on mountain tops (Aka: 303, 359, Kurun: 105, 376, Nar: 359, 373).

It was impossible to establish any regular relationship of a socio-cultural nature with Cr due its arbitrariness and vagueness. So Murukan the man-god with the well-defined social attribute of protective valour was the solution. Thus the human god of justice and order grew in importance and subdued through his valour the non-human and the arbitrary Cr. It is to be noted here that Murukan too was associated with impregnable mountains in rivalry of Cr and not tied down to one any locality like lesser deities. In destructiveness both Murukan and Cr are similar. But in Murukan this destructiveness is associated with and motivated by justice and protectiveness. This is the essence of the Tamil concept of valour or use of force according to norms of justice. The appeal of Murukan was also due to his accessibility to all. His priest, the vlan was ubiquitous and his presence is mentioned even in great urban centres like Kaviripattinam (Pattinaplai: 154-160), and Maturai (Maturaikkn~ci: 610-615), as well as in every village or spot in Tamil Nadu (Tirumurukrruppatai: 218-249). This meant Murukan could be experienced by anyone anywhere. Perhaps this was the reason for the absence of reference to temples dedicated to him in the early period. Finally Tolkappiyam gives conclusive proof of the association of Murukan with valour of a high ethical nature. It is in the context of referring to Karantai that Murukan worship occurs in the grammatical treatise. Karantai refers to the theme of retrieval of cattle for which war is waged. It is not a war of acquisition or aggression; it is a just war of self-defence and protection. Tolkappiyar mentions religious subjects, heroic themes and worship of hero-stones only in this connection (Tolkappiyam: Porul., Purat. cuttiram 63). The first to be mentioned here in resounding terms is the vlan and his worshipping of Murukan who thus emerges as the great god of ethical valour. The armed might of the great kingdoms of the Cheran, Cholan and Pntiyan is mentioned only next. Thus reference in Tolkppiyam to the righteous valour of the Divine King Murukan is followed in the right order by reference to the righteous valour of the earthly kings of Tamil Nadu.

Conclusion
Thus the non-Sanskritic brahminical Tamil concept of valour had a complex, socially nuanced meaning in ancient times. This deep meaning, represented in ancient Tamil religion by the god Murukan, is of great social relevance today in Tamil Nadu. The deep divisions in modern Tamil society due to the caste system have prevented the healthy growth of a Tamil identity. Conflicting caste loyalties do not make for the united advance of the Tamils on several fronts. This deplorable state of affairs can be remedied only through a cultural transformation. Since religion continues to be a very important component of Tamil culture, a rational reform is urgently needed. Fortunately for modern Tamils, their ancestors of the hoary past have already developed a religion centering on Murukan emphasising an ideal of justice that is impartial and inclusive of all. This religion and its ethical essence have to be rediscovered and the old meaning of Murukan understood once again wherever Tamils live.

References

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. 2. 3. 4. 5. 6. 7. 8. 9. Akannru Purannru Narrinai Kuruntokai Pattinapplai Tirumurukrruppatai Maturaikknci Tolkppiyam Canka Ilakkiyapporul Kalanciyam (Tanjavur: Tamil University) 1986.

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

The Murukan Cult in Mauritius:

Essence of Tamil Ethnic Identity

by Khesaven Sornum Note: Mauritius hosted the Second International Conference on Skanda-Murukan 24-28 April, 2001.

Introduction
The earliest and sublimest Tamilian concept of Godhead has been called by the pure Tamil word Murukan.1 Murukan has been closely associated with the life of the Tamils from time immemorial. They have been worshipping Him as the embodiment of beauty, the source of spiritual wisdom and the personification of limitless power. The most ancient famous Tamil grammar Tolkppiyam refers to Murukan as Cyon and the God that 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 Tamil diaspora. The early Tamil immigrants from South India, mostly craftsmen and traders, settled in Mauritius in the eighteenth century during the French colonisation. They were the builders of many places of worship. Later on, many Tamil indentured labourers also settled in Mauritius along with other ethnic and linguistic groups from India, China, Africa and Madagascar. Nothing could prevent the Tamils from keeping their identity.

One important element characterising the identity of the Tamils is their strong belief in their ancestral values and their religion which they would rather call Tamilism or Tamil religion. In concordance with the words of the Poet Nmakkal Kavignar Rmalinkam Pillai "A Tamilian race does exist and that a special characteristic it does possess".2 The Tamils of Mauritius are identified by other communities as the worshippers of the Tamil God -- Murukan. Religious festivals like Tmiti, Kanji, Gvinthan and others are celebrated region wise and on various occasions by the Tamils but kvati festivals like Taippucam has a national dimension. What philosophers consider as folk religion has now taken shape as popular religion. A fine example is the Taippucam kvati festival Map of Mauritius which is celebrated with much fervour and massive participation on a national level. Taippucam Day has been decreed public holiday since more than half a century. It is true that in Mauritius Tamils are identified mostly by their religion and culture. Ethnicity would rather be marked by religion and culture. Nevertheless during religious festivals and cultural events a wider 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.

Brief history of Murukan cult in Mauritius

The Murukan cult had its root planted in Mauritius ever since the first Tamil immigrants came as craftsmen and traders under French rule. Their close attachment to their religion prompted them to build kvils. A few kvils were erected as per the norms laid down in the agamas. A fine example would be the Sockalingum Meenatchee Amman Kvil of Port-Louis. The Dandyudhapni Kvil of Clemencia is considered as the oldest Murukan Kvil. With the immigration of indentured labourers from many parts of India, many Tamils settled on sugar estates. At all those places, kvils were built as places or worship and 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 estate owners sponsored the special ceremonies performed before the harvest. By the year 1960, nearly 110 kvils existed already. The Government started distributing subsidy to the kvils duly registered and affiliated to the Mauritius Tamil Eight-foot high murti of Lord Shanmukha Temples Federation. At present, thirty kvils have Murukan as main deity and all other Amman and Civan at Mauritius' "Spiritual Park". Photo kvils have Murukan deity because in all kvils, kvati courtesy Hinduism Today Feb 2000 celebrations do take place. An Indian nationalist Rjaretnum Mudaliar who served the cause of Tamil education in Mauritius was so infatuated with the Murukan Cult that he asked permission to organise a kvati procession 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 youngsters have shown interest in getting trained to serve in kvils. Apart from the great Taippucam festival, 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. Tiruppukal songs are recited by Tamil school children. Many kvils are being renovated in the Dravidian Kvil Architecture style. The media is playing an important role in popularising the cult. Murukan who is also named Kali Yuga Varatan would stretch his rule for many more years to come and Mauritius would be a well known place for Murukan Cult. Elders and Local Archagars have been very keen in maintaining uniformity in the various rituals pertaining to the

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

Places of worship
The Tamils who settled in this land considered it a must to have places for worshipping God. In all Tamil houses, the picture of Murukan, the Vl, the cempu (brass pot) can been seen. These are meant for worship. Since kvil worship was considered very important, the Tamils built their kvils on all sugar estates and other places where they were living. Some were small and others big enough to accommodate the devotees. The early Tamilian mind revelled in the natural beauty of the hills and forests wherein human civilisation originated and started the process of migration of settlement to other places, then to the sea boards from wherein the Tamilian carried on his enterprises on the seas. The natural beauty attracted him and developed in him a deeper appreciation of nature in all its beauty and found 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 kvati processions would normally start from river banks or seaside to proceed to the kvils. Many of such kvils are found on sugar estates and few on hilltops. Moreover, it was conceived that Murukan had his special abode on every hill (Kunrudrdal). Tolkppiyam refers to Murukan and His abode as 'Cyon meya maivarai ulagam'.5 The main abodes of Murukan are called 'Pataivtukal' by the poet Nakkrar. Mention is made in the Tirumurukrruppatai of six main 'Pataivtukal'. The Tamils in Mauritius think of Palani as most important place of worship. Almost everybody dreams to have a pilgrimage at Palani which they consider to be the Mecca for the Tamils. For Mauritius, the Murukan Kvil of Corps de Garde Mountain is a Padaivtu. 'Oh Lord, I have not seen Tanikai Malai Neither have I seen Palani Malai My sadness knows no bound, so for me Quatre Bornes Malai is your Patai Vtu'6 Such are the heart melting words of the hymn "The Mauritius Murukan Pmlai", composed by P. Tiroumale Chetty, a Mauritian poet. John Spiers, the English Editor of Values wisely says of the religion of the Tamils, "It is linked with the natural pantheism or by lozoism which recognises deity in stone river, tree, animal as well as in men." According, Murukan worship takes place almost everywhere in Mauritius.

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 by which 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 kvati procession takes place. Murukan devotees have Vl tattooed on their bodies. As an act of penance, devotees carrying kvati or Vl, have their tongues, cheeks and other parts of their body pierced with silver needles having the shape of tiny Vls. A small silver vl is fixed in a lemon and tied up to the kvati and plkutam during procession. In all the hymns of Murukan, the Vl is mentioned. 'Verrivl Murukanukku', 'Vl vl' are repeatedly uttered by devotees. It is common in Mauritius 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 a name 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 Murukan festivals. Fasting is considered very important. Tamils in Mauritius usually go to kvils on Fridays and consume vegetarian food only. But nowadays in many Tamil homes Tuesdays are observed as fasting days in honour of Murukan. Every month on Krtikkai day and Sashti day fasting 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 prepared only 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 or have their tongues pierced with small silver veils (nakkalus, puttalus) as an act of selfmortification. 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 of Pulampl

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 and mortification. The most popular hymns for pulambal are Avinasip Pattu rumuka Swami Viruttam, 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 in trance while hearing the hymns. Such Pulambal is heard all along the way to the kvil. These songs are also recorded on cassettes and played at home, in kvils and during religious processions.

"I don't know whether I am praying to you with full clear hands And 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 Murukan cult. Devotees pulling chariots in front of the procession with concentrated devotion, piously proclaiming the name of Murukan, the thrilling roar of 'Haro Hara' raised by all devotees to the accompaniment of nadaswaram, the sight of the majestic car rumbling slowly along the street furnish 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 down to be crossed over by devotees carrying the kvati. Frenzy is possible and indulged in unashamedly as for instance the kvati carrier. The individual man or woman can enjoy the experience of divine tremors, especially when hearing devotional hymns 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

A study 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 in conjunction with the celebration of rites, rituals and ceremonies in the specific seasons1. Though the Puranic compilers have meticulously recorded such facts and details, the modern interpreters would not notice the astronomical significance, as they used to dub the Puranas as myth. The western scholars indeed could notice such significance, but they did not want to give any credit to Indians. Thus, Hopkins (1903), Fleet (1916), and others simply brushed aside such discussion and B. G. Tilak (1897), S. B. Dikshit (1913), M. N. Saha (), V. S. Agrawala (1953) and others struck to their interpretation. Pointing out this, G. S. Ghurye (1977) attempted to find out the

astro-physical phenomenon basis for the Skanda concept2. After that, though modern scholars referred to the connection of stars with Karttikeya and Vishaka, they did not elaborate the significance. A. K. Chatterjee simply notes that it should be remembered that both the names are philologically connected with stars Visakha and krittika3 and draws the attention to another observation made by M. N. Mukherjee, wherein the latter noted that the star-worship was mixed with the Skanda worship4. All the interpretation has been based on the Sanskrit literature. Therefore, an attempt is made to interpret the Tamil literature to find out the astronomical background of the Murugan worship. Tamil scholars and researchers always divide the Sangam literature into Agam (human matters related to inner aspects like love, marriage, marital life etc.) and Puram (human matters related to outside 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 background and 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 astronomical connotation. As they have concealed such facts with their love theme, they have to be decoded and deciphered properly to understand the hidden meaning in astronomical perspective. This aspect 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 are repeatedly used for Muruga, their representation and association with astronomy has to be studied. Geometrically, such concept can be represented as a Hexagon. As it can be drawn only with 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 circle that could be drawn with no radius. Similarly, a circle is a polygon with infinite sides. These are not mathematical unreality or uncertainty leading to philosophy, but facts. The geometry is related to arithmetics, which in turn to numbers. All these concepts are related to the importance of squaring a circle and circling a square covering all mathematical functions, operations and manipulations. Here, a diagram drawn with such concepts surprisingly tally with mathematical and astronomical principles. For example, a circle is drawn inside a square touching its sides. The circle is divided into twelve equal parts (12 x 30 = 360). They are named after Tamil months and common zodiac signs for convenience. Then the circle is divided into 27 equal parts of 13 degrees 20 minutes (130 20 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 Indian system 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 are 1. Ilavenir / Vasantham, 2. Mudhivenil / Kreshmam, 3. Kar / Varsha, 4. Kudhir / Sarath, 5. Munpani / Hemantha and 5. Pinpani / Sasira.

Two equilateral triangles are superposed on the figure with vertices - one touching the square at the top and another inverted same as the former. The touching points are 0 and 180. They surprisingly 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 but the twelve divisions of zodiac. The lower triangle with apex downwards is the symbol of Tirumal / Vishnu, the God of Moist principle in the Nara or waters (Mahabharata.III.189.3). The triangle with its vertex upward is Shiva the principle of Fire, symbolized by the triple flame in the hand (three eyes, Tripurantaka etc). Thus, the combination of Tirumal and Sivan is Skanda / Murukan / Karttikeya formed with the properties of Fire and Water. The Saravanabava signifies the unification of these major elements into the Most Powrful One. If the Hexagram is examined, all ten numbers 0 to 9 are found in it.
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. The bindu / dot at the centre. The central point unit or one; The two triangles show the presence of binary combination of two powers; Its triangles represent number three or the triad; The triangles with the central point common to both yield the quaternary; 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; The six points are senary; For the point / bindu at its centre, it is a sevenfold sign or septenary; the seven points of meeting points of 12 triangles; The eight cardinal points It is multiple of Triad.

If the Hexagram / hexagon / double triangle / two crossed triangles / star / six limbs does not have any astronomical significance the points need not coincide with the degrees. It cannot be said 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 / the mantra saravanabava is nothing but a zodiacal symbol implying the position of asterism with reference 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 areas representing 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 in the references available in the Sangam literature. The division of land into five tinais, their respective, Gods, trees, plants, flowers, animals, music, musical instruments etc., are also closely connected with such observation of planetary movement and recording time reckoning in the natural code, which are dealt with below. Seasons, Festivals and Murugan Worship

How the changes in the seasons affect the psychosomatic processes or psychosomatic changes vary with the seasons interacting with flora and fauna is vividly described in the Sangam literature. 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 in the 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 the respective periods. In the Sangam literature, the following features are noted:
1. 2. 3. 4. 5. Murugu / Sur affecting ladies-Love. Veriyadal performed by Velan to find out the disease of the Ladies-Love. The Lover meeting the Lady-Love stealthily, when Veriyadal takes place during mid-night. There are ladies who would not venture to or should not touch the vessels of Murugan temple. 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 formed with six faces and twelve hands. 7. The Hexagram / hexagon / double triangle / two crossed triangles / star / six limbs has actually twelve 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 with vertex pointing upward and another vertex pointing downwards are drawn. The six triangles inside the Hexagram 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 triangles meet at a point inside, which is centre of circle and as well as that of the square.

It may be noted that in the horoscope the zodiacal position is depicted as shown below in two forms of representation. In one type, inside a square, the twelve houses are depicted in twelve squares. In another, inside a rectangle, the twelve houses are represented as twelve triangles. However, both forms are familiar in use. But, here, their representation in the context of Murugan worship is very significant.

As square is nothing but a combination of two equilateral triangle. Thus, both representation can be broken into triangles. Seasonal Murugan Festivals The festivals celebrated according to Tamil months are studied to note that they fall exactly on Full Moon or New Moon day coinciding with the respective stars. This also clearly proves that they are celebrated based on astronomical significance with the past observations. Though the astronomers and connected scholars do the calculations, the common people are made to keep the importance of nakshatras, week days, fort night, month, six months, year etc., in their minds in a systematic way. For comparison, the celebration of vrat / penance in connection with Skanda-Karttikeya are alsom given and they coincide perfectly. Therefore, how time has been reckoned and recorded throughout India can be noted. Thus, with the passage of time, as there is a possibility of forgetting the astronomical significance, the periodic pujas / festivals have been prescribed to remember / know the hours, seconds, minutes etc. The details are tabulated as follows5: Sl.No Tamil name of the month Cittirai
Festival

Period of celebration / Calculation First Paurnami

According to Northern tradition

Details

Chitra paurnami

Kumara / Skanda Sasthi / A tithi vrata observed.

Vaigasi

Agni nakshata festival

Performed for 14 days. Vishakam to Puram tendays.

Ani

Annabhishekam Uttira nakshatram

Adi

Adi Puram, Padinettup perukku Vinayaka Chaturthi

Avani

Krittika and Amavasya days. AdiKrittigai Chaturthi

Purattasi

Navaratri.

Begins with the bright half of the month Caitra (Cittira-AprilMay) and lasts for one year. Putraprapti-Vrata Tithi vrata begins on to beget choice 6th day of bright half of children of the month Vaishaka (VaikasiMay-June) and lasts for one year. Aranyasasthi Thithi vrata observed on the 6th of the bright half of the month Jyestha (Ani-JuneJuly). Skandavrata Celebrated on the 6th Skandasasthi day of the bright half of the month Ashada (Adi-July-August). Guhasya Celebrated on the 6th Pavitraropanam day of the bright half of the month Sravana (Avani-Aug-Sep). Skandadarshanam To free from sin, the

Ippasi

Skanda Shasti

Karttigai

Karttigai Deepam

First day from Amavasai Krittigai nakshatra ten days

seeing of the Skanda idol is prescribed (BhadrapadaPurattasi-Sep-Oct). (Ippasi-Oct-Nov) Celebrated on the 6th day of the bright half of the month Karttika (Kartikai-Nov-Dec). Celebrated on the 6th day of the bright half of the month Margasirsa (Margazhi-Dec-Jan). Celebrated on the 6th day of the bright half of the month Pausha (Tai-Jan-Feb).
Magha (Masi-Feb-March)

Skandasasthivrata

Karttigai Paurnami Margazhi Niradum nonbu

Tiruvadhirai, Vaikunda Ekadasi

Karttikeyasasthi

10

Tai

Taippusam

Pusa naskshatra, Pongal Makham, Maha Makham once in 12 years. Amavasai Maha Sivaratri.

Kamavrata or Kamasasthi

11

Masi

Makham, Khumba festival

12

Panguni

Panguni uttiram

Phalguna (PanguniMarch-April).

Here, particularly, the festivals connected with Murugan are taken. Only a few other festivals are mentioned for calculation purposes. For complete study, along with month rasi, corresponding English month, English name for rasi / zodiac, symbol, season, sign corresponding to certain parts of bodies and mineral / metal are tabulated as follows for further discussion.
Sl.N o Tamil name of the month Cittirai Vaigasi Ani Indian common name Mesham Vrishabam Midhunam Correspondin g English months April-May May-June June-July English name Symbol Seasons Signs correspondin g to certain parts of body Head neck / face upper chest Mineral

1 2 3

Aries Taurus Gemini

Ram Bull The Pair

Ilavenil / Vasantam Ilavenil / Vasantam Mudhuven il / Kreshmam

Iron Copper Mercury

Adi

Katakam

July-August

Cancer

Crab

5 6 7 8 9 10 11 12

Avani Purattasi Ippasi Karttigai Margazh i Tai Masi Panguni

Simham Kanya / Kanni Tulam Vrikshika m Dhanus Makaram Kumbam Minam

August-Sept. Sept-Oct. Oct-Nov. Nov/Dec. Dec.Jan. Jan-Feb. Feb-March. March-April

Leo Virgo Libra Scorpio Sagittariu s Capricon Acqarius Pisces

Lion Maiden Scales Scorpio n Archer Sea Monster Water pot The Fishes

Mudhuven il / Kreshmam Kar / Varsha Kar / Varsha Kudhir / Sharat Kudhir / Sharat Munpani / Hemanta Munpani / Hemanta Pinpani / Sasira Pinpani / Sasira

breasts

Silver

solar plexes navel region lower abdomen pubic region thighs knees calves feet

Gold Radium Magnetic Iron Lead Tin

Uranium Magnesiu m

If we take Mesha rasi as starting point from the equinoctial point, we can see Krittika nakshatra overlaps Mesham / Mari / Adu and Rishabam / Bull / Erudhu / Kalai. Exactly on the opposite are Tula and Vrichigam, which are overlapped by Vishaka nakshatra in Karttikai month. It may be noted that the Karttikai month is winter, whereas, Vaikasi month with Krittigai nakshatra is very hot. 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 or rather cared by six Krittika mothers / Pleiades / Arumin / Six nakshatras, perhaps, his birth day is celebrated for six days with the sixth day ending on sixth day of a lunar month. It is thus celebrated in the Ippasi (Oct-Nov) on first six days of waxing days. Thus, originally started as celebrating 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 Tamil proverb, Cattiyile irunthal than agappaiyile varum = If there is anything in the pot, then only it comes through laddle. Actually, the real meaning is, if anybody (particularly woman) performs the penance / sacrament sincerely in the Shasti days, then, only conception would take place in embryo. 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 have astronomical significance. Some are discussed as follows5: Skanda merging with Vishaka Mahabharata6 (Markandeya Samasyaparva) describes a story of a baby born from the brilliance of Adbhuta and Rudra, of which Indra is afraid of. The babe, named Guha / Skanda raises a loud cry which makes all the Devas trembled with terrible fear. Indra throws his thunder-bolt on Skanda, which results in the birth of a goat-faced youth from the right side of Skanda and he is known as Vishaka. It is also said that one of the six faces of Skanda is that of a goat. However, it may be noted that Guha and Vishaka are merged in Skanda. Vishaka nakshatra is considered very auspicious, as most of the saints, geniuses and others have born in that nakshatra, e.g,

Buddha, Nammazhwar. Born in the same nakshatra, Murukan is known as Gnana pandita = Authority of Wisdom. Karttikeya and Vishaka incidentally represent 3rd and 16th Lunar mansions of the Zodiac. In fact, Vishaka is a binary star according to Sanskrit literature. Therefore, it is not known as to how the ancients would have known the binary stars without telescope is intriguing and interesting. Skanda merging with Sri This is similar to take over of Sur by Muruga. Vishaka is depicted as protector of wealth or having a bag in his hand. Skanda is depicted in coins along with Lakshmi. In fact, like him another goddess is depicted with six heads. Revatikalpa describes how different forms of Revati Jataharini, literally means one who afflicts the children, causes abortion of foetus. Kasyapa Samhita / Vriddha Jivakiya Tantra describes how the children diseases are caused and they can be cured. The terrible attendants of Skanda are all named Kumara. This similar to Velan, who performs veriyadal for Muruga. In fact, the 7th and 15th dark days of Karttika are famous for the festivals 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 / Magha panchami. The next day, Skanda found his consummation with Sri and it is Shasthi. It may be noted that names of the goddesses, who are associated with one act or the other, are nothing but nakshatras Revati, Kartika, Magha, Vishaka, Jyesta in cyclic order. Incidentally, they are connected with conception, foetus, pregnancy, childbirth, etc. Though, first, they are depicted as the destroyers of children, later portrayed as protectors of children. That is why perhaps, women are barred from touching the vessels of Murugan kottam in Sangam literature. In any case, it explains that conception takes place on a particular star, then the birth of child would take place n 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 existing festivals by merging with the myth of Murukan must have been experts of astronomy and well versed 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 might point 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).

The starting of a day: The day starts with the midnight / passing of midnight. This is similar to ardharatrika system followed throughout India. The cock announces the starting of a day, an astronomical 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 to measure time during day time and days to count with shadow movements. Definitely, the erected Kandus played a role. Counting of Lunar days: as the tithi calculation is based on the waxing and waning of Moon, its observation must have been noted and recorded. It is revealed through the specific expressions used first 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 existed even before Tolkappiyar. Star names ending with - e/i Star names ending with - 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. In fact, the description of the globe and other details resemble an observatory. In fact, the experts residing 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.

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 as 1616. As he has not mentioned the era for calculation, the date of Buddha could not be determined here. However, the important point to be noted is the existence of astronomical knowledge 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 Literature The Inthinai Zodiac An attempt has been made by the author to depict the details given in the Sangam literature in Five tinais on a sheet of paper cyclically. The poets have been very meticulous in describing each tinai with their associated factors specifically. For the astronomical discussion, the connected factors are takan and tabulated as follows: Factor God / Goddess Vehicle / vahana Birds Kurinchi Seyon / Murugan Peaocock Parrot, Peacock Tiger, Bear, Elephant, Lion Vengai, Kuinchi, Kanthal Yamam / midnight Mullai Mayon / Tirumal Garuda / Kite Wild Cock Marudham Vendhan / Indran Elephant / Ram / Sheep Vandalam, Magandril, Stork / crane Buffalo, water dog Neidhal Varunan Swan Sea crow Palai Kotravai Simha / Lion Dow, Kite, Vulture Hound

Animals

Deer, Rabbit / hare

Shark

Flowers

Kullai, Mullai, Lotus, lily Tondri Malai / Evening Vidiyal / Morning

Neidhal,

Kurampu, Marampu Nanpagal / Noon

Time / sirupozhudhu

Period / Ippas, Perumpozhudhu Kartigai, Margazhi, Tai Psychosomatic Cohabitation activity Property Earth

Avani, Purattasi

All six seasons

Erpadu kalam / Early morning All six seasons

Ani, Adi, Masi, Panguni Separation Ether

Staying Water

feigning Fire

Pitying Wind

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 reference to Earths rotation. 4. The flowers whose blossoming is coinciding with rising of nakshatra / asterism is significant, as it occurs 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 time reckoning 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 has 720. In each sector, the respective factors are marked in the sub-sectors. The figure obtained is nothing but a Zodiac, which can be compared with the 12 sign-zodiac by superimposing. Taking clue from the symbols Ram, Swan, Lion, peacock and Kite connecting them with the properties, we can assign the rasis as follows: Factor Kurinchi Mullai Marudham Neidhal Palai

The Five Elements (leaving Cosmos)

Mesham, Rishabam, Midhunam,

Kanni, Thulam, Vrichikam

Katakam, Vrichikam, Meenam

Makharam, Kumbham, Meenam

Cancer, Simham, Kanni

Distribution

Hill and rocky areas

Forest and forest areas

Plains fertile with paddy etc

Sea / oceanic areas

Desert and arid zones, formed climatic transformation of Mullai and Kurinchi

As 12 rasis are distributed to Five Divisions, there has been overlapping. This kind of overlapping can be seen in the distribution of 27 starts for 12 rasis. The usual distribution of rasis (4 x 3) are as follows:
1. 2. 3. 4. 5. Ether / space / cosmos As everything is produced from it, no signs are assigned to it. Gas / Air Gemini (Midhunam / Pair), Libra (Tulam / Scales), Aquarius (Kumbham / Water pot). Fire Aries (Mesham / Ram), Leo (Simham / Lion), Sagittarius (Dhanusu/ Bow and arrow) Liquid / Water Cancer (Katakam / Crab), Scorpio (Vrichikam / Scorpio), Pisces (Meenam / Fish). 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 in Inthinai. The poets might have also mentioned or indicated the rasis and nakshatras related to each Tinai. As the commentators and modern day scholars have evidently left out other factors, the alignment of the Inthinai-zodiac with the modern-zodiac poses some problems or shows variations. The scientific study of the Sangam literature is imperative and such research could only rectify, correct and refine the Inthinai-Zodiac constructed. The author craves for the help of the 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 that the people of Tamizhagam might have followed a Jupiter cycle for the calculation and recording time 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 divided into 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 of calculation 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 Siddhanta I.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 Siddhanta XIV.17].

The first verse clearly points to the existence of sixty year cycle that is still followed throughout India. 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 asterism with which the moon is found to be in the conjunction at the end of that month, which will be, of course, the asterism of the year, which is Krittika. Thus, here, the relation between Vaishaka and Karttika is explained. Therefore, the connecting factor of these two months and as well as stars is Murukan 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 aspects Surya Siddhanta / Vedic Astronomy, myth of Vaishaka and Karttika and Inthinai-Zodiac and of course Tamil (perhaps Sanskrit too) could have only conceived such Zodiac and presented such astronomical 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, Yantras and Mantras. The amalgamation, integration and unification of different gods and goddesses point to compromise made with the Tantric and Yantric works. In fact, such details are available only in Tantric works as noted in the case of Jara, Hariti, Jataharini, Revati etc. The worship of Murukan has been symbolic and natural i.e, Kandu the Wooden Pillar. Later, it is modified with personification and deification. However, the fundamentals are available only in the tantric works. 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, comfortable and usable factors. As diversified people come together in such interactions, manifold and dissimilar factors have to be moulded together to get an acceptable cast. As heads of the respective groups are experts, they see that their subject matter is not compromised and at the same time do not ant to percolate to the bottom or new entrants easily without efforts or understanding the inner meaning. At the same time, the knowledge has to be preserved, protected and propagated to the progeny for the welfare of the humankind. That is why, we find mathematics, astronomy, geography, psychology, environmental study and much more modern subjects 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 are tabulated below: Sl. No Lett er No. of pet als Property No. of petal s in the Cakr Colour of the petals Name of the Cakra Anima Locat l ion of associa Cakra ted in the with body Lunar / Seasons Soilar signs / rasis

sa

Creation

as 4

Red

Muladhar a

Elepha nt

ra

Protectio n

Vermil lion (Dark) Rain cloud Vermil lion (light) Smoky purple hue White

Svadhisht hana

va

10

Destructi on Conceal ment Mercy

10

Manipura

na

12

12

Anahata

ba

16

16

Visuddha

va

18

Wealth

Ajna

Belo Aquari Ilavenir w us / / genita Capric Vasanth ls on am Makar Abov Pisces Mudhiv am e / enil / genita Sagitta Kreshm ls rius am Goat Navel Aries / Kar / regio Scorpi Varsha n on Black Heart Taurus Kudhir Antelo regio / Libra / Sarath pe n Elepha Throa Gemini Munpa nt t / Virgo ni / regio Hemant n ha Betw Cancer Pinpani een / Leo / Sasira eye brows

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

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 continuance even after 2500-3000 years prove the astronomical significance behind it. 2. They must have been star-grazers and keen observers of planetary movement and stellar position. 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 a common origin. The following of such festivals and observance of certain penances prove the conditioning of biological clock with the astronomical clock.

7. As psychosomatic principles too have been linked with such festivals and practices, time reckoning and recording methods had been disciplining too. 8. As such high standards of astronomical observations, calculations etc have been involved, the depiction of such a society as tribal is not sustainable. 9. Material development takes place with the mental development, refining and acumen. Highly philosophical, 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 Lagadha system and thus such tiome could go back to c.1400 BCE. 11. The discovery of alternative Sravana nakshatra / asterism around 5th century BCE also coincides with the Sangam period. 12. Therefore, chronologically, the basis of Intinai Zodiac and its relation with Skanda worship could be 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. See Appendix I, "Was Some Astronomical Phenomenon the Basis for Skanda Concept"?, pp. 205213; 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 Century BCE 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-KarttikeyaMurukan Worship", a paper presented on April.27, 2001 during the Second International Conference-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.