The Hindu temples are complex institutions.
They represent the culmination of social and religious aspirations of a
society. Temple is the focal point in the life of a community and often
represents its pride, identity and unity. It is also the index of the
community's wellbeing. It draws into its fold people from its various
segments and denominations; and binds them together. In smaller
communities the temple apart from being a source of spiritual or
religious comfort, also serves as center for education and recreation.
A temple is also a treasure house of art and architecture, designed according to the principle of Vaastu Shastra, characterized by their majesty, serenity and beauty of intricate sculpture and designs. A temple evokes in the visitor a sense of beauty in art and in life as well. It lifts up his spirit, elevates him to a higher plane dissolving his little ego. At the same time, it awakens him to his insignificance in the grand design of the Creator.
The most significant aspect of the temple
worship is its collective character. Peoples' participation is both the
purpose and the means of a temple. The community is either actually or
symbolically involved in temple worship. The rituals that dominate
temple worship are therefore socio- religious in character.
The worship in a temple has to satisfy the
needs of individuals as also of the community. The worships that take
place in the sanctum and within the temple premises are important; so
are the festivals and occasional processions that involve direct
participation of the entire community. They complement each other. While
the worship of the deity in the sanctum might be an individual's
spiritual or religious need ; the festival s are the expression of a
community's joy , exuberance , devotion , pride and are also an idiom of
a community's cohesiveness .
The appointed priests carry out the worship in the temple on behalf of other devotees. It is hence parartha,
a service conducted for the sake of others. Priests, generally, trained
in ritual procedures, pursue the service at the temple as a profession.
As someone remarked, "other people may view their work as worship, but
for the priests worship is work." They are trained in the branch of the
Agama of a particular persuasion. The texts employed in this regard
describe the procedural details of temple worship, elaborately and
precisely.
***
The term Agama primarily means tradition; Agama represents the previously ordained practices generally held in regard (Agama loka-dharmanaam maryada purva-nirmita -Mbh
8.145.61). Agama is also that which helps to understand things
correctly and comprehensively. Agama Shastras are not part of the Vedas.
The Agamas do not derive their authority directly from the Vedas. They
are Vedic in spirit and character and make use of Vedic mantras while
performing the service.
The Agama shastras are based in the belief that the
divinity can be approached in two ways. It can be viewed as nishkala,
formless – absolute; or as sakala having specific aspects.
Nishkala is all-pervasive and is neither explicit nor is it
visible. It is analogues, as the Agama texts explain, to the oil in the
sesame-seed, fire in the fuel, butter in milk, and scent in flower. It
is in human as antaryamin, the inner guide. It has no form and is not
apprehended by sense organs, which includes mind.
Sakala, on the other hand, is explicit energy like the fire
that has emerged out of the fuel, oil extracted out of the seed, butter
that floated to the surface after churning milk or like the fragrance
that spreads and delights all. That energy can manifest itself in
different forms and humans can approach those forms through appropriate
means. The Agamas recognize that means as the archa, the worship methods
unique to each form of energy-manifestation or divinity.
The Vedas do not discuss about venerating the icons; though
the icons (prathima or prathika) were known to be in use. Their
preoccupation was more with the nature, abstract divinities and not with
their physical representations. The Vedas did however employ a number
of symbols, such as the wheel, umbrella, spear, noose, foot-prints,
lotus, goad and vehicles etc. These symbols, in the later ages, became a
part of the vocabulary of the iconography.
The idea of multiple forms of divinity was in the Vedas
.They spoke about thirty-three divinities classified into those of the
earth, heaven and intermediate regions. Those comprised twelve adityas,
aspects of energy and life; eleven rudras, aspects ferocious nature;
eight vasus, the directional forces; in addition to the earth and the
space.
The aspects of the thirty-three divinities were later
condensed to three viz. Agni, the aspect of fire, energy and life on
earth; Vayu, the aspect of space, movement and air in the mid-region;
and Surya the universal energy and life that sustains and governs all
existence, in the heavenly region, the space. This provided the basis
for the evolution of the classic Indian trinity, the Brahma, Shiva and
Vishnu.
Rig Veda at many places talks in terms of saguna, the
supreme divinity with attributes. The Vedanta ideals of the absolute,
attribute- less and limit-less universal consciousness evolved as
refinements of those Vedic concepts. The Upanishads are the pinnacles of
idealism that oversee all horizons. But, in practice common people
worshipped variety of gods in variety of ways for variety of reasons.
They are relevant in the context of each ones idea of needs and
aspirations; fears and hopes; safety and prosperity; and, the pleasures
and pains.
****
One often hears Agama and Nigama mentioned
in one breath as if one follows the other or that both are closely
related. However, Nigama stands for Vedas and Agama is identified with
Tantra.The two traditions- Veda and Tantra – hold divergent views on
matters such as God; relationship between man and God; the ways of
worship; and path to salvation etc.The Vedic concept of God is
omniscient, omnipotent, a formless absolute entity manifesting itself in
phenomenal world of names and forms. The Agama which is a part of
Tantra regards God as a personal deity with recognizable forms and
attributes.
Vedic worship is centered on the fire (the Yajna), certain religious and domestic rituals, (shrauta sutraas and griyha sutraas), and the sacraments, (samskaara).
In this tradition, the gods and their descriptions are, mostly,
symbolic. The hymns of the Rig Veda are the inspired outpourings of joy
and revelations through sublime poetry. The Yajur and Sama Vedas do
contain suggestions of sacrifices; but they too carry certain esoteric
symbolic meaning. Very few of these rituals are in common practice
today.
The most widespread rituals of worship
today are of the Aagamic variety. The Agama methods are worship of
images of God through rituals (Tantra), symbolic charts (Yantra) and verbal symbols (Mantra).
Agama regards devotion and complete submission to the deity as
fundamental to pursuit of its aim; and hopes that wisdom, enlightenment (jnana)
would follow, eventually, by the grace of the worshipped deity. The
Agama is basically dualistic, seeking grace, mercy and love of the
Supreme God represented by the personal deity, for liberation from
earthly attachments (moksha).
As compared to Vedic rituals (Yajnas)
which are collective in form, where a number of priests specialized in
each disciple of the Sacrifical aspects participate; the Tantra or
Agamic worship is individualistic in character. It views the rituals as a
sort of direct communication between the worshipper and his or her
personal deity. The Yajnas always take place in public places and are of
congregational nature; and in which large numbers participate with
gaiety and enthusiasm. A Tantra ritual, on the other hand, is always
carried out in quiet privacy; self discipline and intensity is its
hallmark, not exuberance or enthusiasm.
The temple worship is the culmination of dissimilar modes
or streams of worship. Here, at the temple, both the Agama
worship-sequences and the symbolic Tantric rituals take place; but each
in its sphere. A temple in Hindu tradition is a public place of worship;
several sequences of worship are conducted in full view of the
worshipping devotees; and another set of Tantric rituals are conducted
by the priests in the privacy of the sanctum away from public gaze. The
worship or service to the Deity is respectfully submitted to the
accompaniment of chanting of passages and mantras taken from Vedas.
There also plenty of celebrations where all segments of the community
joyously participate (janapada) with great enthusiasm and
devotion; such as the periodic Utsavas, processions, singing, dancing,
playacting, colorful lighting, spectacular fireworks , offerings of
various kinds etc.; as also various forms of physical austerities
accompanied by sincere prayers.
It could be argued that a representation of
the Supreme Godhead is theoretically impossible; yet one has also to
concede that an image helps in contemplation, visualization and
concretization of ideas and aspirations. Towards that end, the worship
in a temple takes the aid several streams ideologies and practices.
****
The temple worship , per se, is guided by
its related Agama texts which invariably borrow the mantras from the
Vedic traditions and the ritualistic details from Tantric traditions.
This has the advantage of claiming impressive validity from Nigama, the
Vedas; and at the same time, carrying out popular methods of worship.
The Agamas tended to create their own texts. That gave rise to a new class of texts and rituals; and coincided with the emergence of the large temples. It is not therefore surprising that town-planning, civil constructions and the arts occupy the interest of early Agamas.
In due course the Agama came to be accepted as a subsidiary culture (Vedanga) within the Vedic framework.
For instance, the Bodhayana shesha sutra and
Vishhnu-pratishtha kalpa outline certain rite for the installation of an
image of Vishnu and for conduting other services. The Agama texts
combined the rules of the Grihya sutras with the Tantric practices and
formed their own set of rules.
While installing the image of the deity, the Grihya Sutras do not envisage Prana-prathistapana ritual (transferring life into the idol by breathing life into it); but the Agamas borrowed this practice from the Tantra school and combined it with the Vedic ceremony of “opening the eyes of the deity with a needle”. While rendering worship to the deity the Agamas discarded the Tantric mantras; and instead adopted Vedic mantras even for services such as offering ceremonial bath , waving lights etc. though such practices were not a part of the Vedic mode of worship. The Agamas, predominantly, adopted the Vedic style Homas and Yajnas, which were conducted in open and in which a large number of people participated. But, the Agamas did not reject the Tantric rituals altogether; and some of them were conducted within the sanctum away from common view..
The Vaikhanasa Vasishnava archana vidhi, which perhaps
was the earliest text of its kind, codified the of worship practices by
judicious combination of Vedic and Tantric procedures. In addition, the
worship routine was rendered more colorful and attractive by
incorporating a number of ceremonial services (upacharas) and also presentations of music, dance, drama and other performing arts. It also brought in the Janapada, the popular celebrations like Uthsavas etc, These ensured larger participation of the enthusiastic devotees. While installing the image of the deity, the Grihya Sutras do not envisage Prana-prathistapana ritual (transferring life into the idol by breathing life into it); but the Agamas borrowed this practice from the Tantra school and combined it with the Vedic ceremony of “opening the eyes of the deity with a needle”. While rendering worship to the deity the Agamas discarded the Tantric mantras; and instead adopted Vedic mantras even for services such as offering ceremonial bath , waving lights etc. though such practices were not a part of the Vedic mode of worship. The Agamas, predominantly, adopted the Vedic style Homas and Yajnas, which were conducted in open and in which a large number of people participated. But, the Agamas did not reject the Tantric rituals altogether; and some of them were conducted within the sanctum away from common view..
The Agamas tended to create their own texts. That gave rise to a new class of texts and rituals; and coincided with the emergence of the large temples. It is not therefore surprising that town-planning, civil constructions and the arts occupy the interest of early Agamas.
In due course the Agama came to be accepted as a subsidiary culture (Vedanga) within the Vedic framework.
***
Agamas are a set of ancient texts and are the guardians of tradition .They broadly deal with jnana (knowledge), Yoga (meditation), Kriya (rituals) and Charya (ways of worship).The third segment Kriya
(rituals) articulate with precision the principles and practices of
deity worship – the mantras, mandalas, mudras etc.; the mental
disciplines required for the worship; the rules for constructing temples
and sculpting the images. They also specify the conduct of other
worship services, rites, rituals and festivals. The fourth one, Charya,
deals with priestly conduct and other related aspects. [Incidentally,
the Buddhist and the Jaina traditions too follow this four-fold
classification; and with similar details]
The Texts hold the view that Japa, homa, dhyana and Archa are the four methods of approaching the divine; and of these, the Archa
(worship) is the most comprehensive method. This is the faith on which
the Agama shastra is based. The Agama shastra is basically concerned
with the attitudes, procedure and rituals of deity worship in the
temples. But it gets related to icons and temple structures rather
circuitously. It says, if an image has to be worshipped, it has to be
worship- worthy. The rituals and sequences of worship are relevant only
in the context of an icon worthy of worship; and such icon has to be
contained in a shrine. And an icon is meaningful only in the context of a
shrine that is worthy to house it. That is how the Agama literature
makes its presence felt in the Shilpa-Sastra, Architecture. The
icon and its form; the temple and its structure; and the rituals and
their details, thus get interrelated. The basic idea is that a temple
must be built for the icon, and not an icon got ready for the temples,
for a temple is really only an outgrowth of the icon, an expanded image
of the icon.
The Shipa Shatras of the Agamas describe
the requirements of the temple site; building materials; dimensions,
directions and orientations of the temple structures; the image and its
specifications. The principal elements are Sthala (temple site); Teertha (Temple tank) and Murthy (the idol).
I am not sure about the historical
development of the Agamas. However, I think, the most of the present-day
Hindu rituals of worship seem to have developed after the establishment
of the six orthodox schools of Hindu philosophy (darshanas).
The changes in religious rituals from the Vedic to the Aagamic seem
consonant with the themes prevalent in the six orthodox systems. A very
significant change is the integration of Yoga methodology into the rituals. Four of these eight stages are an integral part of all worship , namely, posture, (aasana), breath (life force)-control, (praanaayaama), placing or fixation, (nyaasa or dhaaranaa), and deep concentration and contemplation (dhyaana). . The temple architecture too follows the structure of the human body and the six chakras' as in yoga.
Surely the Agama tradition began to flourish after the 10th or the 11th century with the advent of the Bhakthi School.
**
There are three main divisions in Agama
shastra, the Shaiva, the Shaktha and Vaishnava. The Shaiva branch of the
Agama deals with the worship of the deity in the form of Shiva. This
branch in turn has given rise to Shaiva Siddantha of the South and the
Prathyabijnana School of Kashmir Shaivisim. The Shaktha Agama prescribes
the rules and tantric rituals for worship of Shakthi, Devi the divine
mother. The third one, Vaishanava Agama adores God as Vishnu the
protector. This branch has two major divisions Vaikhanasa and
Pancharatra. The latter in turn has a sub branch called Tantra Sara
followed mainly by the Dvaita sect (Madhwas).
Each Agama consists of four parts. The first part includes
the philosophical and spiritual knowledge. The second part covers the
yoga and the mental discipline. The third part specifies rules for the
construction of temples and for sculpting and carving the figures of
deities for worship in the temples. The fourth part of the Agamas
includes rules pertaining to the observances of religious rites,
rituals, and festivals.
Agama is essentially a tradition and Tantra
is a technique; but both share the same ideology.But, Agama is wider in
its scope; and contains aspects oh theory, discussion and speculation.
The term Agama is used usually for the
Shaiva and Vasishnava traditions and the Shaktha cult is termed as
Tantric. But, there is an element of Tantra in Agama worship too,
particularly in Pancharatra.
***
Vaikhanasa Agamas
As regards Vaikhanasa, after the emergence of temple -
culture, Vaikhanasa appear to have been the first set of professional
priests and they chose to affiliate to the Vedic tradition. That may
perhaps be the reason they are referred to also as Vaidikagama or
Sruthagama. Yet, there is no definite explanation for the term
Vaikhanasa. Some say it ascribed to Sage Vaikhanasa whowho taught his
four disciples: Atri, Bhrighu, Kasyapa, and Marichi; while some others
say it is related to vanaprastha, a community of forest-dwellers.
Vaikhanasa claim to be a surviving school of Vedic ritual
propagated by the sage Vaikhanasa. The Vaikhanasa tradition asserts
that it is the most ancient; traces its origin to Vedas and steadfastly
holds on to the Vedic image of Vishnu. For the Vaikhanasa, Vishnu alone
is the object of worship; and that too the pristine Vishnu in his Vedic
context and not as Vasudeva or Narayana. Though it admits that Vasudeva
or Narayana could be synonyms for Vishnu, it prefers to address the
Godhead as Vishnu, the Supreme.
Vaikhanasa worship is, therefore, essentially Vishnu
oriented. And, it assures that when Vishnu is invoked and worshipped, it
means the presence of all other gods and their worship too (Vishnor archa sarva devarcha bhavathi).Hence, according to Vaikhanasa, worship of Vishnu means worship of all gods.
Agama Grihya sutras explain: the Godhead is formless –nishkala; filled with luster tejomaya; beyond comprehension achintya; and is of the nature of pure existence, consciousness and bliss sat-chit-ananda; and abides in the heart-lotus -hridaya-kamala- of the devotee.
But because of the limitations of the human mind the worship of Brahman –with form, sakala,
is deemed essentialfor all of us who live ordinary lives. The human
mind finds it easier to deal with forms, shapes and attributes than with
the formless absolute.A sense of devotion envelops the mind and heart
when the icon that is properly installed and consecrated is worshipped
with love and reverence.By constant attention to the icon, by seeing it
again and again and by offering it various services of devotional
worship, the icon is invested with divine presence and its worship
ensures our good here (aihika) and also our ultimate good or emancipation (amusmika).That
is the reason the texts advise that icon worship must be resorted to by
all, especially by those involved in the transactional world. In the
Agama texts, the Nishkala aspect continues to be projected as the ultimate, even as they emphasize the relevance and importance of the sakala aspect. The devotee must progressively move from gross sthula to the subtle sukshma.
The worship of gods is of two modes: iconic (sa-murta) and non-iconic (a-murta).The Yajna, the worship of the divine through fire, is a-murta; while the worship offered to an icon is sa-murta.
According to Vaikhanasas, though yajna might be more awe-inspiring,
Archa (worship or puja) the direct communion with your chosen deity is
more appealing to ones heart, is more colorful and is aesthetically more
satisfying.
The Vaikhanasas were greatly in favor of iconic worship of
Vishnu; but they did take care to retain their affiliation to the Vedic
tradition. Not only that; the Vaikhanasa redefined the context and
emphasis of the Yajna. The Yajna, normally, is ritual dominant, with
Vishnu in the backdrop. But, the Vaikhanasa interpreted Yajna as worship
of Vishnu; and, Yajna as Vishnu himself (yajno vai Vishnuhu). The religious scene shifted from the Yajna mantapa to
temple enclosures. Vedic rituals were gradually subordinated to worship
of Vishnu. But, the Vedic rituals were not given up entirely.Employment
of Vedic passages and mantras during the rites lent an air of purity
and merit to the rituals.The Vedic rites too were incorporated into the
worship sequences in the temple. Along with the rituals, it stressed on
devotion to Vishnu and his worship. The Vaikhanasa thus crystallized the
Vishnu cult and lent it a sense of direction.
The very act of worship (archa) is deemed dear to
Vishnu. The major thrust of Vaikhanasa texts is to provide clear,
comprehensive and detailed guidelines for Vishnu worship. The Vaikhanasa
texts are characterized by their attention to details of
worship-sequences. It is not therefore surprising that Vaikhanasas do
not employ the term’ Agama’ to describe their text .They know their text
as ‘Bhagava archa-shastra’.
The characteristic Vaikhanasa view point is that the pathway to salvation is not devotion alone; but it is icon-worship (samurtha-archana) with devotion (bhakthi). ‘The archa with
devotion is the best form of worship, because the icon that is
beautiful will engage the mind and delight the heart of the
worshipper’. That would easily evoke feeling of loving devotion (bhakthi)
in the heart of the worshipper. The icon is no longer just a symbol;
the icon is a true divine manifestation enliven by loving worship,
devotion, and absolute surrender (parathion). And, Vishnu is best approached by this means.
The Agamas combine two types of scriptures:
one providing the visualization of the icon form; and the other giving
details of preparation of icon for worship. This is supplemented by
prescriptions for worship of the image and the philosophy that underlies
it.
The Agamas also deal with building a shrine to Vishnu (karayathi mandiram); making a worship-worthy beautiful idol (pratima lakshana vatincha kritim); and worshipping everyday (ahanyahani yogena yajato yan maha-phalam). The Agamas primarily refer to ordering one’s life in the light of values of icon worship (Bhagavadarcha). It ushers in a sense of duty, commitment and responsibility.
For worship, Godhead is visualized as in solar orb (arka-mandala) or in sanctified water-jala kumbha; or in an icon (archa-bera).
When Godhead is visualized as a worship-worthy icon, a human form with distinguishable features (sakala) is attributed to him. Vishnu’s form for contemplation (dhyana) and worship (archa) is four armed, carrying shanka, chakra, gadha and padma. His countenance is beatific radiating peace and joy (saumya), delight to behold soumya-priya-darshana, his complexion is rosy pink wearing golden lustrous garment (pitambara). A beautiful image of Vishnu with a delightful smiling countenance and graceful looks must be meditated upon.
As regards its philosophy, Srinivasa –makhin (c.1059 AD), a Vaikhanasa Acharya, terms it as Lakshmi-Visitad-vaita.Though the term Visistadvaita
has been employed, the philosophical and religious positions taken by
Srinivasa –makhin vary significantly from that of Sri Ramanuja in his
Sri Bhashya.
Srinivasa –makhin in his Tatparya chintamani (dasa vidha hetu nirupa) explains that Brahman (paramatman) is nishkala (devoid of forms and attributes) as also sakala (with forms and attributes).They truly are one; not separate. The sakala aspect is distinguished by its association with Lakshmi (Prakrti). For the purpose of devotion and worship the sakala aspect is excellent. The Vaikhanasa therefore views its ideology as Lakshmi-visitadaita
(the advaita, non-duality, refers to Vishnu associated with Lakshmi)
Lakshmi is inseparable from Vishnu like moon and moonlight. Isvara
associated with Lakshmi (Lakshmi visita isvara tattvam) is Vishnu. Those devoted to him as Vaishnavas.If Vishnu (purusha) grants release from the phenomenal fetters (Mukthi), Lakshmi (Prakrti) presides over bhukthi the fulfillment of normal aspirations in one’s life. The two must be worshipped together.
Srinivasa –makhin explains that in the Pranava (Om-kara),
O-kara represents Vishnu; U—Kara: Lakshmi and Ma-kara, the devotee. The
Om-kara binds the three together.
According to Vaikhanasa ideology, the four aspects of Vishnu -Purusha, Satya, Achyuta and Aniruddha- are identified with Dharma (virtue), Jnana (wisdom), Aishvarya (sovereignty) and vairagya (dispassion). Of the four faces of Vishnu, the Purusha is to the East; Satya to the South; Achyuta to the west; and Aniruddha to the North. The four virtues or planes Vishnu are regarded the four quarters (pada) of Brahman: aamoda, pramoda, sammoda and vaikuntaloka (sayujya) the highest abode –parama pada.
[The individual jiva that frees itself from the fetters of the transactional world enters into the sphere of Vishnu vishnuloka through four successive stages; each stage being designated a plane of Vishnu-experience Vaishnava-ananda. The first stage is aamoda where the jiva experiences the pleasure of residing in the same plane as the Godhead is Vishnu (saalokya)- associated with Aniruddha. The next stage is pramoda where the jiva experiences the great delight of residing in proximity to with the Godhead Maha-vishnu (saamipya)-associated with Achyuta. The stage higher than that is saamoda where the jiva experiences the joy of obtaining the same form as the Godhead sadaa-Vishnu (sa-rupya) –associated with Satya. The highest plane is vaikunta loka where the individual jiva experiences the supreme joy of union with the Godhead Vyapi-narayana (sayujya)- associated with Purusha.]
In the context of the temple worship and layout, the four
forms represent the four iconic variants of the main image in the
sanctum (dhruva bhera) which represents Vishnu. And, within the
temple complex, each form is accorded a specific location; successively
away from the dhruva bhera. Purusha symbolized by Kautuka-bera is placed in the sanctum very close to dhruva bhera;
Satya symbolized by Utsava-bera (processional deity) is placed in the
next pavilion outside the sanctum; Achyuta symbolized by snapana-bera
(oblation) too is placed outside the sanctum; and Aniruddhda symbolized
by Bali bera (to which food offerings are submitted) is farthest from
the dhruva-bhera in the sanctum.
As regards its differences with the other Vaishava –Agama the Pancharatra, the Texts such as prakina-adhikara
(kriya-pada, ch 30 -5 to 11) mention that Vaikhanasa mode of worship is
more in accordance with Vedic tradition (which does not recognize
initiation rites such as branding);Vaikhanasa worshipper being deemed garba-vaishnava –janmanam; he is Vaishnava by his very birth, not needing any initiatory rites (diksha)
or branding.The Vaikhanasa are distinguished by acceptance of Vishnu in
his Vedic context. Vishnu is supreme; and Vishnu alone is the object of
worship. Though they are now a recognized sect of Sri Vaishnavas, their
allegiance to Sri Ramanuja as the Guru or to the Alvars or to the
Visistadvaita philosophy is rather formal. They also do not recite
passages from the Tamil Prabandham. The worship is conducted
mainly through verses selected from Rig Veda and Yajur Veda; and
performance of the yajna as prescribed in Krishna-yajur Veda. There is
also not much use of the Tantra elements of worship such as uttering
Beeja-mantras etc, except for the sequence of projecting the deity
from ones heart into the icon; that is, the assumed identification of
the devotee with the deity during the worship . The Vaikhanasa
worshipper, in privacy behind the screen, recites the ‘atma-sukta’ aiming to enter into a state of meditative absorption with Vishnu. That is followed by the symbolic ritual placements (nyasas). The icon attains divinity after invocation (avahana) of life force; while divinity always abides in the worshipper.
The Vaikhanasa is regarded orthodox for yet another reason;
they consider the life of the householder as the best among the four
stages of life. Because, it is the householder that supports, sustains
and carries forward the life and existence of the society. They treat
the worship at home as more important than worship at the temple. A
Vaikhanasa is therefore required to worship the deities at his home even
in case he is employed as a priest at the temple. There is not much
prominence for a Yati or a Sanyasi in this scheme of things. They decry a
person seeking salvation for himself without discharging his duties,
responsibilities and debts to his family, to his guru and to his
society.
The Agama texts make a clear distinction between the worship carried out at his home (atmartha) and the worship carried out as priest at a temple(parartha
) for which he gets paid. This distinction must have come into being
with the proliferation of temples and with the advent of
temple-worship-culture. It appears to have been a departure from the
practice of worship at home, an act of devotion and duty. Rig Vedic
culture was centered on home and worship at home.
The worship at home is regarded as motivated by desire for attainments and for spiritual benefits (Sakshepa). In the temple worship, on the other hand, the priest does not seek spiritual benefits in discharge of his duties (nirakshepa).
He worships mainly for the fulfillment of the desires of those who pray
at the temple. That, perhaps, appears to be the reason for insisting
that a priest should worship at his home before taking up his temple
duties.
Traditionally, a person who receives remuneration for worshipping a deity is not held in high esteem. The old texts sneer at a person “displaying icons to eke out a living.” That perhaps led to a sort of social prejudices and discriminations among the priestly class. But, with the change of times, with the social and economic pressures and with a dire need to earn a living, a distinct class of temple-priests, naturally, crystallysized into a close knit in-group with its own ethos and attitudes. Whatever might be the past, one should recognize that temples are public places of worship; the priests are professionals trained and specialized in their discipline; and they constitute an important and a legitimate dimension of the temple-culture. There is absolutely no justification in looking down upon their profession. Similarly, the Agamas , whatever is their persuasion, are now primarily concerned with worship in temples. And, their relevance or their preoccupation, in the past, with worship at home, has largely faded away.
Pancharatra Agama
From the end of the tenth century
Vaikhanasa are prominently mentioned in South Indian inscriptions.
Vaikhanasas were the priests of Vaishnava temples and were also the
admistrators. However with the advent of Sri Ramanuja, who was also the
first organizer of temple administration at Srirangam Temple, the
Vaikhanasa system of worship lost its prominence and gave place to the
more liberal Pancharatra system .Sri Ramanuja permitted participation of
lower castes and ascetics , the Sanyasis ( who were not placed highly
in the Vaikhanasa scheme) in temple services. He also expanded the
people participation in other areas too with the introduction of
Uthsavas, celebrations, festivals, Prayers etc. This change spread to
other Vaishnava temples particularly in Tamil Nadu. Vaikhanasas,
however, continues to be important in Andhra Pradesh, Karnataka and in
some temples of Tamil Nadu. It was explained that while the srauta and smarta rituals
of the Vedas were intended for the intellectuals, the Pancharatra was
given to ordinary people who longed to worship with heart full of
devotion and absolute surrender to the will of God.
As regards Pancharatra, it appears to have been a later
form of worship that gained prominence with the advent of Sri Ramanuja.
Pancharathra claims its origin from Sriman Narayana himself.
Here Vishnu is worshipped as the Supreme Godhead. Pancharatra described as ‘Bhagavata shastra’ or ‘Vasudeva –matha’ is centered on worship of Vishnuthe Godhead (Bhagavan) as Narayana identified with Vasudeva of the Vrishni clan. He is regarded as Bhagavan as He is the manifestation of six divine attributes: jnana (omniscience), shakthi (omnipotence), bala (unhindered energy), aishvarya (sovereignty), virya (matchless valor)and tejas (great splendor).
Pancharatra as a system of thought prescribes that worldly involvement must be minimized (nivrtti) in order to engage oneself exclusively in devotion to Bhagavan (ekanta bhakthi). The Pancharatra doctrine is associated with the Samkhya ideologies.
The Pancharatra philosophy is characterized by its conception of the Supreme assuming five modes of being (prakara). They are in brief:
Para, or transcendent form;
Vyuha or the categorized form as Vasudeva, Sankarshana, Pradyumna, and Aniruddha, who are brought together in worship and adoration as a complete body of divine power;
Vaibhava, or the several incarnation of God;
Archa, or the form of God worshipped in an image or an idol symbolizing the Universal entity;
And, Antaryamin, or the indwelling immanent form of God as present throughout in creation.
The recognition of three modes of the Deity (para, vyuha and vibhava) assumes great importance in the context of Pancharatra ideology and practice of icon-worship (archa).
The peak of Vaishnava devotion is in Dashamaskanda, the Tenth Book of the Bhagavata Purana, and in Nalayira Prabhandam the four thousand Tamil verses of the Vaishnava saints, the Alvars; and especially in the thousand songs known as Tiruvaimozhi of Nammalvar. The ecstasy of the Gopi-type of God - intoxicated-love is exhilarating and gives raise to divine intoxication in Nammalvar's poetic compositions.
Therefore, the Tamils verses and songs are
prominent in Pancharatra worship. This method also employs more Tantras,
Mandalas and Uthsavas which makes room for a large number of devotees
of all segments of the society to participate. There are more Jaanapada
(popular) methods of worship than mere Vedic performance of Yajnas.
Even here, each prominent temple follows its favorite text. That is the
reason there are some minor differences even among the Pancharatra
temples.
The differences between the two systems
As regards the differences between the two systems, one of
the major differences is their view of the Supreme Godhead Vishnu. The
Vaikhanasas view Vishnu in the Vedic context ; as the all-pervading
supreme deity as Purusha, the principle of life; Sathya, the static
aspect of deity; Atchuta, the immutable aspect; and Aniruddha, the
irreducible aspect. Here the worshipper contemplates on the absolute
form (nishkala) of Vishnu in the universe and as present in the worshippers body; and transfers that spirit into the immovable idol (Dhruva Bheru)
and requests the Vishnu to accept worship. Vishnu is then worshipped as
the most honored guest. Lakshmi , Shri is important as nature,
prakriti, and as the power, Shakti, of Vishnu.
The smaller movable images represent Vishnu’s Sakala that is the manifest, divisible and emanated forms. The large immovable image representing Vishnu's niskala form, ritually placed in a sanctuary and elaborately consecrated; and the smaller movable images representing Vishnu's sakala form are treated differently.
The smaller movable images represent Vishnu’s Sakala that is the manifest, divisible and emanated forms. The large immovable image representing Vishnu's niskala form, ritually placed in a sanctuary and elaborately consecrated; and the smaller movable images representing Vishnu's sakala form are treated differently.
The Pancharatra regards Narayana and Vasudeva too as forms of Vishnu the Supreme Principle (Para).
In his manifest form (Vyuha) he is regarded as Vasudeva, Sankarshana,
Pradyumna, and Aniruddha,representing Krishna, his elder brother, his
son and his grandson, respectively, who are brought together in worship
and adoration as a complete body of divine power.
It is explained that Vasudeva, the Supreme Brahman, out of
compassion, voluntary assumed the bodily forms so that the devotees may
have easy access to his subtle form. The approach to the divine is
again graded. The devotee worships the Vibhava form; or the incarnation of God, on several occasions such as Rama , etc and moves on to worship the Vyuha forms. And , from Vyuha form he progresses to worship the subtle forms of Vasudeva.
Among the other differences between Vaikhanasa and Pancharatra, the latter say, they gain eligibility to worship (Diksha) after the ceremonial Chkrankana,
which is imprinting the symbols of Vishnu on their body. Vaikhanasa see
no need for such a ritual. The pregnant mother is given a cup of Payasam with the Vishnu seal in the cup. They recognize as worthy only such Garbha_Vaishnavas.
Vaikhanasa follow the lunar calendar while the Pancharatra follow the solar calendar.
Vaikhanasa consider Vishnu_Vishvaksena_Brighu as the guru_parampara;
while Pancharatra considerVishnu_Vishvaksena_Satagopa_Nathamuni_Yamuna_Ramanuja as the guru -parampara.
Vaikhanasa think it is enough if the daily
worship is performed once in a day or, if needed be, stretched to six
times in a day (shat kala puja). Pancharatra do not place any limit. If needed the service could be even 12 times a day, they say.
The Vaikhanasa worship is considered more
Vedic, the mantras being Sanskrit based and there is a greater emphasis
on details of worship rituals and yajnas. Even here, the householders
and celibates get priority in worshipping the deity. They consider Griha_archana the worship at home as more important than the congregational worship. The Sanyasis or ascetics have no place in this system.
Whereas in Pancharatra, the emphasis is
almost entirely on devotional idol worship than on yajnas; and more
Tamil hymns are recited and there is greater scope for festivals ,
celebrations and processions where all sections of the society including
ascetics can participate.
***
What surely is more important than the
rituals is the symbolism that acts as the guiding spirit for conduct of
rituals. At a certain level, symbolism takes precedence over
procedures.
I think, ultimately, there is not much
difference between Pancharatra and Vaikhanasa traditions. Both are
equally well accepted. The differences, whatever might be, are not
significant to a devotee who visits the temple just to worship the deity
and to submit himself to the divine grace.
****
The Shaiva Agama worship is less formal than the Vaishnava, less restrained and less accustomed to social forms of regulations. Siva is the Supreme God of the Shaiva system, who is Pati, or Lord over all creatures, the latter being Pashu, meaning animal or of beastly nature. The Jiva or
the individual is caught in the snare of world-existence and attachment
to objects. The grace of God, alone, is the means of liberation for the
individual.
The worship of Shaiva is graded in steps: Charya,
or the external service rendered by the devotee, such as collecting
flowers for worship in the temple, ringing the bell, cleaning the
premises of the shrine, and the like; Kriya, or the internal service, such as actual worship as well as its preparations; Yoga, or seeking identity with Shiva; and Jnana, or wisdom, in which the Shiva and the seeker are one. In Southern Shaivism the great Shaiva saints Appar, Sundarar, Jnanasambandar and Manikyavachagar, are said to represent, respectively, these four approaches to Shiva.
Kashmir Shaivism is a world by it self. Similar is the Shakta Agama, the Tantra worship of Shakti, the Divine Mother. These subjects deserve to be discussed separately.
