Sunday, 25 October 2026

Why Do we Clap Our Hands in Front of Chandesha?

Clapping Before Caṇḍeśa: What Do the Scriptures Actually Say?

Many of us have been taught to clap our hands or show our empty palms before Caṇḍeśa when leaving a Śiva temple. The explanation usually given is that we are assuring Him that we have not taken anything belonging to Śiva.

Let us first understand His role.

Caṇḍeśa is the recipient of Śiva’s nirmālya. Nirmālya refers to the sacred remnants of worship — flowers, garlands, food, sandal paste and other offerings that have already been offered to Śiva.

The Somaśambhupaddhati, Part I, section V, verses 6–7, prescribes offering these to Caṇḍa. The passage includes:

निर्माल्यभोजनं तुभ्यं प्रदत्तं तु शिवाज्ञया ।

nirmālyabhojanaṃ tubhyaṃ pradattaṃ tu śivājñayā |

Meaning: “By Śiva’s command, this nirmālya is given to you as food.”

The same passage appears in the Jñānaratnāvalī, reproduced in Dominic Goodall’s study, Who is Caṇḍeśa?, p. 361.

In simple terms, He is basically the “accountant” of Śiva’s possessions. In my training, this is how we acknowledge Him. That is why the rituals we do in our training is so specific because we understand that He watches it all. Devotees cannot simply take back what has been offered, as though it still belongs to them. Receiving prasāda properly given according to the temple’s tradition is a different matter.

Caṇḍeśa always reminds me of the extremely tedious discipline and work in temple worship. It ain't easy. That explains His strictness.

Why Clap Then?

Actually, there is no any mūlāgama ( prime scripture of āgama-s ) or paddhati passage instructing devotees to clap or display empty palms to prove that they have taken nothing. A scriptural reference for Caṇḍeśa receiving nirmālya does not automatically become a scriptural reference for clapping. But again, not everything that occurs in a ritual has an explicit written reference. Things evolve and change with time. And that's really okay as long as it doesn't go against any scriptural instruction.

From what I managed to get, the earliest printed documentation is H. Krishna Sastri’s 'South-Indian Images of Gods and Goddesses', published by the Madras Government Press in 1916.

He records that visitors approach Caṇḍeśa before leaving and:

“clap their hands as if to show that they are not carrying with them any portion of the temple property.”

Notice the wording: “as if to show.” Sastri is describing a practice and explaining its apparent meaning. He does not cite an Āgamic verse for this gesture. In the same footnote, he notes that temple transactions were conducted in Caṇḍeśa’s name, which justifies His role as the accountant.

However, this does not mean Sastri invented the practice. It was already being followed when he wrote about it. The year 1916 establishes that the custom existed by then; it does not establish when it began.

What To Do Then?

For the ordinary devotee, approach Caṇḍeśa with reverence, join your palms and offer namaskāra. Pray that any shortcomings in your worship may be made complete. This reflects Somaśambhupaddhati I, V.8, which asks Caṇḍa to complete what was performed with omissions or excesses. The formal nirmālya offering belongs to the prescribed ritual procedure.

We may respect an inherited temple custom. But when we call something an Āgamic injunction, we should be able to show the actual textual reference.

Monday, 31 August 2026

Sonadrinatha Ashtakam - A Lost Gem of Shaiva Tradition


शोणाद्रिनाथाष्टकम्

ŚOṆĀDRINĀTHĀṢṬAKAM

Śoṇādri means “the Red Mountain” and is an ancient name of Arunācala. Śoṇādrinātha therefore means “the Lord of Śoṇādri,” referring to Śiva as Arunācaleśvara.

The hymn praises Śiva in several aspects: as Rudra and Maheśvara, as Ardhanārīśvara, as the cosmic Lord with the Sun, Moon and Fire as His eyes, and especially as Tripurāntaka, the destroyer of the three cities.

This is a very rare hymn which is barely known or recited today. My ācārya Somaśekhara śivācārya stressed this a lot on us and we ensured that it was chanted during almost every ritual. Somaśekhara śivācārya says that this hymn is unique and non-comparable to other compositions as it is from the śaiva āgama-s, and hence, from the Lord directly.

Wednesday, 26 August 2026

Tying A God: How Does It Actually Happen?

As Malaysians, we are very familiar with this hearsay:

Person X: “The temple is no longer how it used to be lah. Cannot feel Ammaṉ as before.”

Person Y: “Of course lah! The cāmi (deity) there already ikat (tied). The new management lah…”

Wednesday, 29 July 2026

History of Munnadiyan


Bhairava is referred to as Kṣetra (territory) Pāla (guardian). This refers to His role as the protector of a territory.

In ancient folk cultures, the Kṣetrapāla is referred to as 'muṉṉaḍiyāṉ' (in Tamiḻ). Muṉṉaḍiyāṉ comes from muṉṉaḍi ("ahead of" or "front"), because the muṉṉaḍiyāṉ are placed at the entrance of the shrine, typically facing the presiding deity.

Friday, 22 May 2026

How to Offer Incense Smoke As Per Shaiva Agama

In Śaiva Āgamic worship, dhūpa ( incense smoke ) is an important upacāra ( ritual ) offered to the deity. It is not merely the act of showing incense, but a ritual offering of fragrant smoke, performed with proper substance, sequence, distance, mudrā, and bell-sound.

Monday, 18 May 2026

Shiva Puranam of Thiruvasagam: Word to Word Meaning and Commentary

Prelude:

Māṇikkavācakar was born as Vātavūrar and later served as a minister to the Pāṇḍya king. The king once entrusted him with wealth to purchase horses for the royal army. However, during the journey, Vātavūrar encountered Lord Śiva in the form of a guru at Tirupperunturai. Overwhelmed by divine grace, he used the king’s wealth to build a temple for Śiva instead of buying horses.

When the king demanded the horses, Śiva performed a miracle by transforming wild jackals into horses. Later, when the horses returned to their original form, the king misunderstood Māṇikkavācakar and punished him. Eventually, through further divine acts, the king realised the saint’s greatness. From then on, Vātavūrar became known as Māṇikkavācakar — “the one whose words are like gems.”

Māṇikkavācakar later travelled from shrine to shrine, singing hymns filled with intense devotion, surrender, and longing for Śiva. 

Māṇikkavācakar was at Tillai Cidambaram, when Lord Śiva came in the form of a scribe to his house and asked him to recite his hymns. As Māṇikkavācakar narrated the Tiruvācakam, Śiva Himself wrote it down on palm leaves. At the end, He signed it as:

“Tirucciṟṟampalam uṭaiyār”
meaning, “The Lord of the sacred Cidambaram.”

The manuscript was later found inside the sanctum of Tillai Naṭarāja, bearing the divine signature. 

The original palm-leaf manuscript is still preserved at the Tillai Naṭarāja Temple, and it is said to be shown to the public only during Mahāśivarātri.

Click here to read on the detailed life-story of Māṇikkavācakar 

Thursday, 26 March 2026

Chamakam: Word to Word Meaning and Commentary

Introduction to Vedas

The entire Universe is reverberating. When there is reverberation, there is sound. In other words, the entire cosmos is simply a manifestation of sound energy. The ancient Vedic sages through penance, could download cosmic data directly. They received cosmic truths in the form of sounds which they envisioned. These truths were recited as received, and passed on generations after generations.

Various truths downloaded by various ṛṣi-s gave rise to the ocean of Vedas. Veda Vyāsa later compiled these Vedas and classified them. This is how the 4 Vedas came to existence. Each of these Vedas had many branches. Each branch had 4 components :

(1) saṃhitā

(2) brāhmaṇa

(3) āraṇyaka

(4) upaniṣad


Camakam is from the Taittirīya Saṁhitā, Kṛṣṇa Yajurveda, 4th Kāṇḍa, 7th Prāpaṭhaka

Sunday, 8 March 2026

Brahma or Bramha: Sanskrit Pronunciation Decoded

The Pāṇini sūtras declare:

अकुहविसर्जनीयानां कण्ठः
akuha-visarjanīyānāṃ kaṇṭhaḥ


Word-to-word meaning:

akuha — a and the ku-varga letters (ka, kha, ga, gha, ṅa)
visarjanīyānām — of the visarga (ḥ) sound
kaṇṭhaḥ — the throat ( is the place of articulation)

Meaning:

“The throat is the place of articulation for a, the ku-varga, and the visarga (ḥ).”

Sunday, 8 February 2026

Sunday, 30 November 2025

Correct Way to Circumabulate Deity in a Temple

The Kāmikā Āgama, Uttara Pāda Chapter 27 – sāmānya prāyaścitta vidhiḥ quotes:

जप एवं समाख्यातः प्रदक्षिणम् अथोच्यते ।

नानाविधं तद् आख्यातं अन्तर्बाह्य विभेदतः ।

लिङ्गप्रासादयोर् मध्ये श्रेष्ठाश्रेष्ठं प्रकीर्तितम् ॥

अन्तर्मण्डलशालादाव् अन्तः श्रेष्ठं प्रकीर्तितम् ।

गर्भे प्रदक्षिणं कर्तुं न शक्यं बहुदोषकृत् ॥

गर्भगेहे भवेल्लिङ्गच्छाया निर्माल्यसङ्करः ।

सोमसूत्रस्य मूलं च देवसामीप्यम् एव च

japa evaṃ samākhyātaḥ pradakṣiṇam athocyate ।

nānāvidhaṃ tad ākhyātaṃ antarbāhya vibhedataḥ ।

liṅgaprāsādayor madhye śreṣṭhāśreṣṭhaṃ prakīrtitam ॥

antarmaṇḍalaśālādāv antaḥ śreṣṭhaṃ prakīrtitam ।

garbhe pradakṣiṇaṃ kartuṃ na śakyaṃ bahudoṣakṛt ॥

garbhagehe bhavelliṅgacchāyā nirmālyasaṅkaraḥ ।

somasūtrasya mūlaṃ ca devasāmīpyam eva ca