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Atomic Analysis Report Of Palani Sri Dhandayuthapani Subrahmanya

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Atomic Analysis Report Of Palani Sri Dhandayuthapani Subrahmanya

Palani Dhandayuthapani , Moolavar,Palani.

‘ Sir Isaac Newton modestly remarked. “All that I have done to the human community is to make a common man understand His observable laws”. He added further by saying. “God created the forces of gravity. I connect this by a mathematical equation in an understandable way”.

How true these words are!

Palani Subrahmanaya, called as Palani Andavar, Palani Dhandayuthapani, Idol is believed to have been made and installed by Bhogar a senior Siddha.

He prepared the Idol, according to some traditions with a strange mixture called Nava Paashana.(Nine Poisonous Minerals)

This , the traditions say,was prepared by mixing minerals in a specific proportion/combination.

Bhogar was also an Alchemist.

Paashaana also means Poison.

This mixture could have been prepared by mixing Nine rare herbs of poisonous nature .
The resultant mixture was used by Bhogar to make the Idol.

( It is believed that Bhogar made three idols, one is now at Palani, the other two have been hidden by Bhogar somewhere in the eastern Ghats in South India: they are expected to surface at an appropriate time).

The other option for the Idol’s raw material is granite.

It has been observed that the Dhandayudhapani Idol at Palani became weak below the neck and the lower portions looked as if they would fall at any time.

A suggestion was mooted to repair or change the Idol.

This was not agreeable to the devotees as it would be against the Shastras.

So the Government of Tamil Nadu appointed a committee to study the issue and submit its recommendations.

I am providing the report afer a few sentences about the findings of the committee.

1.The Idol’s face was fresh as though it was installed recently.
2.The lower portions were damaged.
3.On testing with an Atomic Analyser, i was found that the Idols was made of neither Granite, nor minerals.
4.The Sceintists were unable to determine what it is made of.

Now an abstract of the report; the web site Link is provided towards the close of the Post.

Dhandayuthapani Temple,Palani.

Though the preliminary visual examination of the idol revealed the possibility of the material being of granitic origin. It could not be confirmed, as neither a microscopic examination nor a chemical analysis could be done in the absence of loose material from the idol being available for such detailed investigation. But we were aware that the abhishekam materials flowing over the idol could possibly absorb some of the ingredients from the idol to acquire the medicinal property, curative qualities and offer relief to many devotees from their ailments.

Guided by this knowledge and taking a clue from this, we applied sandalwood paste to the idol and let it remain overnight.

The next day the sandalwood paste was collected and a solution was prepared for further chemical examination.

As the next step, the sandal wood paste solution from the paste left on the idol overnight was subjected to the experiment. The instrument showed no apparent reading. The experiment was repeated several times and the instrument showed a zero absorption.

When other samples were tested, the instrument showed positive results but for the sandal wood paste left overnight on the idol of the lord, the result was zero absorption. It was revealed to us as a stupendous moral – that even modern scientific analysis cannot penetrate the Divine Structure.a sophisticated instrument, the Perkin-Elmer 707 atomic absorption spectrophotometer to identify the trace elements. A standard solution required for the experiment was made to calibrate the instrument.’

The Study was by Dr. Prof. M.S. Saravanan, M.Sc., Ph.D., F.M.S., F.G.S. is an an earth scientist and mineralogist and former Director of the Tamil Nadu Department of Geology & Mines and Chairman of Tamilnadu Minerals Limited and a one-time close associate of
Kripananda Variar.

He was also a sub-committe member constituted by the Government of Tamil Nadu to Study and Test the Idol.


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PJ sir, It is an age old belief that the murty is made of precious pashanam and there are literary references for this belief. Any additional information to validate this belief is always welcome. This post is in the right section of the forum. Information is neither sensitive nor irrelevant.

If rationalists want to disown the belief or to abuse the faith, they can take the discussion to the general section, instead of polluting the present section.
The special charm of Palani

The special charm of Palani


Saint Bogar, a sidhar, is credited with the creation of the idol of Palani Dhandayudhapani. Bogar had a vision of Lord Muruga, which he chiselled into shape with Nava Pashanam, combination of nine precious and rare components. He wanted the benefits of the grace of Muruga to reach all the devotees and so he made the Dhandayudhapani idol with the powerful Nava Pashanam. It is believe that milk and Panchamrutham that pass through this idol in abhishekam are of medicinal value. A temple for Bogar is situated nearby.
The temple finds mention in many religious texts and Sangam literature. Saint Arunagirinathar has composed many songs about Gnana Dhandayudhapani atop the hill and about Bala Muruga at Thiru Avinangudi. Some of the notable songs are "Arumugam Arumugam", "Ulaga Pasu Pasa," etc.

Scholars have hailed the glory of Muruga in beautiful Tamil verses and foremost among them was Saint Nakkeerar, author of Thiru Murugatrupadai. Sri Kachiappa Sivacharyar, 14th century poet interpreted Skanda Purana in Tamil. Sri Chidambara Swamigal spoke thus: "Your broad shoulders are adorned by the garlands of poems woven by Nakkeerar and Arunagirinathar." Poet Kalidasa hailed the glory of Muruga in Kumara Sambhavam. While Sri Kumara Guruparar described Muruga in Kandhar Kali Venba, Sri Devaraya Swamigal highlighted the divine qualities of Skanda in Kandha Sashti Kavacham. And for musical form of worship there is Thiruppugazh. It was as if Arunagirinathar was born to describe Muruga in His true manifestations. He saw Muruga as Vedha Mantra Swaroopa, the embodiment of Vedas.

There were many others who, moved by devotion, hailed the glory of Muruga. Sri Vadalur Ramalinga Adigalar, Sri Vannacharapam Dhandapani Swamigal, Sri Bala Murugan Adimai, Sri Pamban Swamigal, Sachidhananda Swamigal and Sri Muruga Kripananda Variar to name a few. In the present time there are devotees such as Sri Murugadas and Guruji A. S. Raghavan. Gifted with a divine voice they have dedicated their life to singing the glory of Muruga.

Skanda Purana, one of the 18 Maha Puranas, created by sage Veda Vyasa stands out as the outstanding epic on Lord Muruga. Muruga is mentioned in the Rig Vedas as the overwhelming power in the cosmic order. In the Surya Namaskara Sthotra, the lines `Subramanioham, Subramanioham' describes Him as the source of all Vedas. Lord Krishna describes Him in the Gita as a great warrior (Senanim Aham Skanda). Skanda's glories are given in detail in Vishnu Sahasranama. In Subramanya Bhujangam, Adi Sankara Says: "My eyes should feast on your elegance and beauty, my ears should hear young songs, my tongue should utter your glory and my hands and heart should continuously engage in you service."

The Kanda Purana traces the origin and appearance of Muruga. In answer to the penance undertaken by Soorapadman, Lord Siva granted him the boon that no power on earth, not even that of Brahma, Vishnu or Siva could cause his death. Armed with this power, he and his brothers started tormenting the Devas who appealed to Siva to create a greater power that could challenge the might of Soorapadman. Lord Siva then created a spark of fire from His third eye. While the Lord of Air (Vayu) and Lord of Fire, (Agni) carried it and deposited it in the Ganga. The river carried it, now in six forms to Saravana-Poigai, the lake near the sacred bush of reeds. These flames of fire later turned into six beautiful babies. They were nursed by the six Karthigai maidens, wives of sages who remained as stars.

Significance of Vel

The shape of the Vel has much significance. The lower part that runs deep and long shows the depth of knowledge. The wider portion at the centre represents the vastness of the knowledge. The pointed edge of the Vel denotes the sharpness of intellect.

The Lord's vahana (transport), peacock that adds lustre and colour to His overall appearance and banner of rooster are also worthy of reverence. His broad shoulders are adorned with kadampa garlands and rudraksha beads. His sacred hands are described as "Abhaya Hastha" that which provide the much needed healing touch and help. He appears with different ornaments like thandai, vendai, kingini and sadhangai.

Saint Agasthiar, an ardent devotee of Lord Siva, had asked his disciple, Idumbasuran to bring the two hillocks, Sivagiri and Sakthigiri from Kailash to the South for his worship. Idumban connected the two hillocks with the help of a wooden piece in the centre and tied the loose ends with a snake and proceeded towards South. On reaching South, he placed them at a spot to rest for a while. But he could not lift them later. He then spotted a youth wearing a piece of loincloth and holding a staff (dhanda) atop the hill. He asked the lad to move away. But the child, claiming right over the hill, refused to oblige. Soon Idumban realised that the boy was none other than Lord Muruga and paid obeisance to Him. Lord Muruga showered His blessings and proclaimed that anyone coming to his place with similar arch-like objects would get prosperity and uplift. Thus was born the Kavadi.

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There is a belief that Lord Muruga had already chosen this holy place of Palani as his permanent abode to guide and protect the people of the South and came to Thiru Avinangudi. Here, he appears as a youth (Kumara) mounted on his peacock while at Palani, He is worshipped as an enlightened sage, Dhandayudhapani.

From Parvathi's statement, "Pazham Nee" (You are the fruit, after the tiff between Subramanya and Ganapathi) the place Muruga chose to reside has come to be known as Pazahani. But according to some Tamil scholars, the place was known as `Pothini' which term later came to be known as Pazhani. The people of Tamil Nadu claim Muruga as Thamizh Kadavul and the Lord exercises an overwhelming influence on their lives, thoughts and deeds.

King Cheraman Perumal, the contemporary of saint Sundarar, built the Palani temple, in the eleventh century. Arunagirinathar mentions this in his song Nadha Vindhu... ``Cherar Konguvai Kavoor Nannattathil." King Cheraman Perumal was a great Siva devotee. While he composed poems on Siva in Tamil, he scripted poetry in stone for Muruga at Palani. Though Cheraman Perumal constructed the temple, it is believed that the presiding deity of Dhandayudhapani existed even long before.

The magnificent temple that keeps attracting lakhs of pilgrim is located at a height of 1,500 ft. and on foot one has to climb 697 steps to reach the sanctum sanctorum. There is also a long winding steep way known as the elephant path. As the devotees reach the top they are greeted by the majestic Raja Gopura. Dhandayudhapani appears as an embodiment of knowledge, (Gnana Swaroopa) his serene face radiating the spirit of love and harmony.


Significance of Kavadi

Significance of Kavadi

The kavadi consists of two semicircular pieces of wood or steel which are bent and attached to a cross structure that can be balanced on the shoulders of the devotee.

It is often decorated with flowers, peacock feathers (the vehicle of God Murugan) among other things. Some of the kavadis can weigh up to 30 kg.

The preparations start 48 days before the two-day Thaipusam festival. The devotees purge themselves of all mental and physical impurities. They take only one vegetarian meal per day and 24 hours before Thaipusam, they must maintain a complete fast. The devotees prepare themselves by following strict purification austerities that include:

  • Transcendence of desire
  • Shaving of the head
  • Following a vegetarian diet and refraining from alcohol
  • Sexual abstinence
  • Bathing in cold water
  • Sleeping on the floor
  • Regular prayers

Kavadis of many kinds.


Popular is Pal Kavadi(Milk is filled in two receptacles,and carried on the shoulders)

Other Kavadis are.





The most spectacular practice is the vel kavadi, essentially a portable altar up to two meters tall, decorated with peacock feathers and attached to the devotee through 108 vels pierced into the skin on the chest and back. Fire walking and flagellation may also be practiced. It is claimed that devotees are able to enter a trance, feel no pain, do not bleed from their wounds and have no scars left behind

  1. Whosoever carried on his shoulders the kavadi, signifying the two hills and visited the temple on a vow should be blessed; and
  2. He should be given the priviledge of standing sentinel at the entrance to the hill.


Hence we have the Idumban shrine half-way up the hill where every pilgrim is expected to offer obeisance to Idumban before entering the temple of Dandayudhapani Swami. Since then, pilgrims to Palani bring their offerings on their shoulders in a kavadi. The custom has spread from Palani to all Muruga shrines

Idumban Temple

Those who visit the Temple of Lord Subrahmanya, Murugan at Palani, would notice a Temple for Idumban in the Hills.

This is the legend.

Sage Agastya wanted to take two hills — Sivagiri and Saktigiri — to his abode in the South and commissioned his asuran disciple Idumban to carry them.

Idumban was one of the very few asuran survivors of the surāsuran war between Murugan’s forces and those of Surapadman.

Idumban collected the hills, and tied them to a simple shoulder pole by means of sacred serpents which were used in the place of ropes.

This was the prototypical Kavadi. Near the forest at a site now known as Palani. Idumban, weary, set the hills down while he rested.

When he attempted to resume his journey, he found that the hills were stuck to the ground
. Upon ascending the slopes he encountered a youth clad only in a loin cloth, holding a staff, and “…shining like a thousand suns.

” This youth claimed the hills as his own. In the subsequent fight, Idumban was killed. Both Agastya and Idumpi (Idumban’s wife), interceded and pleaded on Idumban’s behalf, and Murugan restored Idumban to life.

Idumban requested that he remain forever at the portal of Murugan’s shrine.

Murugan duly appointed Idumban as official gatekeeper at his temple and advised that henceforth all who worshipped Murugan with a Kavadi would first acknowledge Idumban.

This is named as Idumpan Pooja.



the famous kavadis still in malaysia.....battu murugan temple thai poosam festival....
Sri Murugan and the Vel

Sri Murugan and the Vel

The ‘birth' of Murugan is recognition of the yogic Grace extended by Siva. Shanmugan is created by the third eye of Siva, the eye of wisdom which is able to penetrate all illusion. The triumph of the asuras is ultimately based on Mayai's use of illusion, both as cause and effect, which is fundamental to her success.

The Vel represents the highest power of Sakti (Para-Sakti), which when employed by Murugan, dispels all phenomenal illusion and allows the aspirant to see beyond the world created by Mayai (maya).

Murugan's acquisition of the Vel represents the fusing of Jnana-Sakti of Siva (i.e. his absolute power of wisdom), and the Para-Sakti of Parvati, to form Yoga-Sakti (contemplative knowledge). Murugan with his Vel is thus identified as the pursuit of the pure spiritual knowledge, which destroys the asuras or impurities within the devotee. In essence, Murugan may be thus perceived as the principle of Siva-Sakti's action within the substance of the mind.

This is further illustrated by the actual sequence of events surrounding the ‘birth' of Murugan. As we have noted, the divine sparks emanating from Siva's third eye and borne by Vayu (wind) and Agni (fire) to the Ganga which carried them to a lake (Saravana Poihai, or the pond of Saravana). The depositing of the energy (teja) of effulgence in the world involves a combination of the five principles of creation: ether, air, fire, water and earth. Parvati's embrace of the six babies creates a Being with a single body and six faces.

Satki as the dynamic force of the universe thus integrates the Spirit which was six into one, Skanda (the United One), conjoining the Divine Light (Siva) and Life (Sakti), superficially diverse but experienced by the Yogi in essential Oneness. The consignment of the sparks within the divine lake may be seen in terms of the creation of the human soul and the provision of the conditions for its spiritual evolution. The lake itself is thus the human complex, whereas the reeds within the Saravan Poihai represent the web of nerves in the human physical body, the network of life currents known as the nadis in the vital body, and the thought flows in the astral body. Psychically, the nadis become the battleground within the human complex in which the inner war between the devas and the asuras is fought.

In this sense the Vel and Murugan constitute the essential paradigm for spiritual evolution and the attainment of moksha. For in contemplating the animating life energies with which he/she is composed (Sakti-Becoming), the aspirant is led to the discovery of his/her true divine nature (Siva-Absolute) and thus into recognition of the intrinsic unity of all existence. Thus the individual (microcosm) is linked to the universal (macrocosm), and is possessed of the full knowledge of the cosmic union of Siva-Sakti, the duality of oneness in perfect dynamic balance.

The petitioning of Siva by the devas not only signifies the need to enlist yogic forces of God to control the lower nature, but also reveals the longing of the aspirant for liberation, for bestowal of God's Grace. But when the aspirant reaches the stage of asking for Murugan's guidance, he/she is also compelled to acknowledge:

  1. the impulsive power of the lower nature, and the ease with which an individual can succumb to these urges,
  2. the need to develop willpower, and to discipline the mind so that the individual may gain knowledge, and
  3. the necessity for Divine Grace (arul) to remove him/her from the pull of lower urges, and to develop willpower and cognition. Divine Grace will often be bestowed in the form of a Guru.

In the initial stages of spiritual unfoldment the devotee is sustained by powerful emotional forces, which generate a seemingly invincible supply of willpower. This gathering resolution is symbolized by the destruction of Kraunchan, who takes the form of a mountain, and who represents inertia, laziness, sloth and a crude effort to fulfill instinctive urges. At this juncture it appears only a matter of time before the lower forces are routed, and the untroubled mind is permanently installed in the higher cakras or spheres of spiritual energy. But the fervour generated by the emotions is not durable, and in time the mind will deviate to the urging of the lower cakras.

The devotee is able to call upon two forces in his fight to banish ego-dominated ignorance: Discriminative Intelligence (Veerabahu) and Universal Wisdom (Murugan). The early stages of the battle are fought by Discriminative Intelligence, but at all times the devotee is subject to counter attack by asuric forces. The devonic and asuric forces operate from the same ground, (human consciousness), and employ the same vehicles (human intellect and senses) in mounting their ‘campaigns'. Whenever the asuras threaten to overwhelm the devotee, the Divine intercedes, ultimately weakening the ego.

A major enemy of the devotee is the limiting sense of Time, and the belief that despite his/her efforts he/she is not making headway towards his/her final destination. The realization that Time is a product of human imagination is symbolized by the arrival on the battlefield of Bhadra Kali, the embodiment of Time, who is invited to intervene by the asura Agnimukhan (representing the abusive and loud mouthed crudity which displaces methodical knowledge). Upon meeting Veerabahu, the pure form of analytical wisdom, the goddess merely smiles and withdraws. Bhadra Kali can only be terrifying to those enfeebled by ignorance, but she relinquishes all power over those who have acquired the ageless knowledge which has liberated them from the grasp of Time's narrow constraints.

But the major enemy remains the ego. As long as this continues to exist the devotee may be overwhelmed by ignorant and selfish desires. The final battle between Surapadman (ego) and Murugan (Universal Wisdom) represents the conclusive struggle to shatter the ego. Throughout this conflict Surapadman appears in many forms demonstrating the many delusions imposed upon awareness by the sense of ego. Each of these camouflages is uncovered by Universal Wisdom. The diversity of forms assumed by the Surapadman has a simple explanation. In the course of its evolution the soul has passed through many categories, such as inanimate matter, as well as vegetable, plant, tree, bird and animal life, before taking human form. The ego possesses residues of all these past lower existences.

Thus as Murugan repeatedly flushes Surapadman from each of his many disguises, visible and invisible, so the soul is liberated from the remaining pull of the avidya (ignorance) of all of these former categories.

As the ego is isolated and its power is gradually blunted, the aspirant gains a brief and fleeting vision of Lord Murugan, representing the Universal Wisdom he/she has been seeking. The ego makes one final attempt to reimpose its dominance, but has met Divine Grace, and is destroyed.

The destruction of the ego is explicitly symbolized in the form of Surapadman's final incarnations. Towards the conclusion of the battle the asura becomes a tree. However it instructive that this is a mango tree, and that and Surapadman seeks refuge in the ocean. Both trees and mangos may symbolize the power of Sakti; trees often represent procreation avid fertility, and mangos may signify desire and lust, while water is the element of sakti, and the oceans are the ultimate earthly expression of water's power. Surapadman's attempt to take the shape of a mango tree within the ocean, a tree that seeks to smother the world, may thus be seen as the final dramatic determination of the ego to assert full control, and to obliterate all spirituality. The splitting of the tree produces two birds––the rooster and the peacock––which both attack Murugan.

In classical Tamil the term maram also signifies an individual full of anava or ego. The two properties which in combination form anava are yām (or the ‘I' of individual assertion), and ennathu (denoting the possessive self). Yām is symbolized in the form of a rooster as it struts around with its chest puffed out, while ennathu is seen in the vanity of the peacock as it spreads its feathers. Just as Murugan tames both birds with a single loving glance, and incorporates one as his standard and employs the other as his mount, so he first subdues anava and transforms the lower forces of yām and ennathu into pure awareness, so that the soul is forever bound close to him in grace and love.

All major events in Murugan's cosmic history are commemorated in great festivals which prescribe specific forms of ritual worship appropriate to the occasion. The campaign which resulted in Murugan's defeat of Surapadman is celebrated in the six day festival of Skanda Shasti (also known as Kantha Shasti) in the Tamil month of Aippaci (October-November), while Parvati's bestowal of the Sakti Vel is commemorated on or near the full moon day in the month of Tai (January-February).


Atomic Analysis Report Of Palani Sri Dhandayuthapani Subrahmanya- Continues

Atomic Analysis Report Of Palani Sri Dhandayuthapani Subrahmanya- Continues

Kartikeya’s weapon is Vel (spear) in one hand, which is also called as Shakti since his mother Parvati has given all the power to the spear, and he blesses his devotees with the other. The god of war mounts a peacock symbolizing piety and subjugation of all sexual desires and destruction of bad habits and negative influences symbolized by the serpent that is clutched in the peacock’s claws. Kartikeya represents power and strength and worshipping him can get rid of woes and give the worshiper strength. Kartikeya destroyed the demon Tarakasur on the seventh day of his birth. He is known to be the most masculine and fierce among Hindu gods. Known for his valor and as the protector of dharma, Kartikeya has slained several demons like Krauncha, Banasura and Pralamba. He is also always youthful, which gives him the name Kumara (Sanskrit for youth). As Shadanan, Kartikeya has six heads, each standing for the five senses and the mind. The six heads also help him keep an eye in all directions so that he can combat problems coming from any direction. As war god with six faces, Kartikeya also teaches his devotees to battle through life fighting off bad people who could lead you to the wrong path of lobha(greed), kaama (sex), krodh (anger), moha (passion), mada (ego), and matsarya (jealousy).

The three integral elements of Murugan’s personality are spear (Vel) in His hand, peacock as His mount and cock adorning His banner. Vel signifies jñanasakti (power of wisdom); this was given to Murugan by His Divine Mother. Parvati wishing Him victory over asuras (titans) led by the tyrannous Surapadma. The glittering spear of Murugan is venerated by devotees as Sakti Vel or Veera Vel signifying its extraordinary power and strength. Cock and peacock represent nada and Bindu. The peacock displays the divine shape of Omkara when it spreads its magnificent plumes into a full-blown circular form, while the cock proclaims loudly thePranava sound OM. Murugan shines as the very essence of the Vedas and mantras.

Muruku in Tamil denotes divineness, handsomeness, youthfulness, happiness, fragrance and sweetness. The Lord is the very manifestation of handsomeness, robust youthfulness, masculinity, fragrance and unmatched valour and the abode of happiness. One would be endowed with everlasting youthfulness only when he or she is not getting old. Human beings take birth in this earth, pass through different stages such as childhood, adolescence, adulthood and old age and ultimately met with the inevitable death. They are again born in this world not necessarily in the same form as they were in their previous births. This process goes on endlessly. Murugan, on the other hand, has neither a beginning nor an end; He is not born nor dead. Age does not wither Him away. This explains His evergreen youthfulness. The sun is not visible to us temporarily at night; for this reason one cannot conclude that the sun has ceased to exist, for when darkness engulfs a part of the globe, the sun is shining bright somewhere else. We come to know of its existence when it rises again in the morning. Murugan’s ‘appearance’ on this planet is analogous to this eternal phenomenon.

According to the Skanda Purana, Shiva’s first wife Sati angrily immolated herself after she felt insulted by her father Daksha when he didn’t invite Lord Shiva for a Yagna Ceremony and further insulted Him. An irate Lord Shiva then destroyed the Yagna with the help of ganas. An ascetic Shiva was married with great difficulty the first time around and a second marriage was nearly impossible. Taking advantage of the fact the demons ­ Tarakasur and Surapadma thought the boon of being killed only by Lord Shiva’s son would make him invincible.

Skanda Purana, vividly narrates the circumstances which led to the divine ‘appearance’ of Murugan, His glory and heroic achievements. He ‘rose’ to protect gods who were subject to extreme tormentation and cruelty by demon Surapadma. They all appealed collectively to Lord Siva to come to their rescue. Moved by their plight, Siva willed to bring forth a powerful divine personality, an element of Himself, but yet distinct from Him, Who would have unparalleled bravery and who alone would be able to slay Surapadma and his clan.


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