Famous Saints Of Saivism

Saivism is a very ancient sect of Hinduism with a known history of at least 3000 years. It is a historical fact that though Saivism found its adherents in the early Vedic works such as the Svetavatara Upanishad, it took shape mainly in southern India in the remote past.

Many great devotees of Lord Siva who hailed from the land of Tamils, enriched Saivism with their devotional fervor and meritorious religious compositions.

They brought Hinduism out of the closed door policy of castism by taking religion to the masses and teaching them the path of selfless devotion as a way of salvation.

They countered the attacks from monastic religions like Buddhism and Jainism, and defied the social order of their times by often initiating people from the lowest castes into Saivism.

They created a body of entirely new religious literature, of great devotional merit and deep philosophical truths.

Just like many aspects of ancient Indian history, we have little information about the early Saiva saints who shaped Saivism into a great religious movement.

We come across few names like the famous sage Thirumula, Agastya, Manickavasaga, Sundarar, Appar and Thirugnanasambandar. They probably lived during post vedic and later Vedic periods. They were ardent devotees of Lord Siva, and remembered in the scriptures for their devotion and contribution to Saivism.

Tirumular:

An ardent devotee of Lord Siva and a disciple of Nandi, he lived sometime during the sixth century A.D, was endowed with supernatural powers and composed about 3000 poems in the name of Thirumantiram.

Manikkavachaka:

First among the four greatest ancient teachers of Saivism, he is considered as the founder of the path of truth or 'sat marga'. Known for his intelligence from an early age, he worked as a chief minister in the court of a Pandya king for sometime before he became a true enunciate. Gifted with poetical abilities, which earned him the title of Mannikkavachaka, which literally means he whose utterances are gems, he composed many songs in honor of Lord Siva. His work Tiruvachakam is considered to be a pioneering work in Saivism.

Appar:

A contemporary of the Pallava King Mahendra1, and reckoned as the second greatest ancient teacher of Saivism, he lived about 7th Century A.D. He is credited with the discovery of dasamarga or the path of the servant in Saivism. Originally a follower of Jainism he became subsequently a great devotee of Lord Siva and spent considerable time rendering bodily service (dasa seva) to him.

He also composed many poems out of which only a few are available today. He is often compared to the legendary Prahlada for his devotion to Lord Siva.

Gnana Sambandha:

He was a disciple of Appar. He is considered as the third greatest ancient teacher of Saivism, who found the path of satputra marga or the path of the son and therefore he is regarded as the father of the saiva sect.

A precocious child, he was dedicated to Lord Siva and Parvathi from a very early age. He was blessed with the divine feeding of the mother of universe, Parvathi.

He and Appar toured many places in South India and said to have performed many miracles. He composed many beautiful poems extolling Siva and Parvathi. But only a few poems are available today.

If Sambandha had a great teacher in the form of Appar, he also had a great disciple in the form of Tirunilakanda Yalpanar who accompanied him always in his tours and sing along with him.

Kannappa:

Kannappa lived in the region near Kalahasti in the present day Andhra Pradesh. A hunter by profession, he was totally dedicated to Lord Siva. He worshipped Siva regularly every day, with intense love, sometimes offering him such things as flowers and even meat.

Overwhelmed with intense devotion, once he said to have plucked out one of his eyes and offered it to Lord Siva as a symbol of sacrifice. He tried to pluck out the other eye also immersed totally in his devotion, when Lord Siva said to have appeared infront of him and prevented him from proceeding further.

Sundaramurthi:

He is the last among the four greatest ancient teachers of Saivism. He founded sahamarga or the path of the friend. He led a very unusual life. He became a renunciate just before his marriage and thereafter traveled to many places singing songs in praise of Lord Siva. But strangely after sometime, he married a beautiful non Brahmin, maiden named Paravai.

He stayed with her for sometime as she was also a great devotee of Lord Siva. But their association did not last for long. A few miles north of Chennai, he married again, this time to a Brahmin virgin. Subsequently he lost vision in both of his eyes and said to have suffered greatly.

But he regained his lost vision through intense spiritual discipline and devotion. He composed many thousands of devotional poems of which very few are available today.

Karikkal Ammaiyar:

Her devotion to Lord Siva can be compared in someway with that of Mira Bai, the famous devotee of Lord Krishna. Born into a princely family, she was married to a wealthy merchant at an early age.

Seeing her devotional fervor and spiritual yearning, her husband decided to leave her to herself and married another woman. But Ammaiyar, though devoted to Lord Siva from an early age, could not overcome her traditional respect and love for her husband initially.

But seeing her husband in his new role, she overcame that afterwards and dedicated her life completely to Lord Siva. She also composed many devotional poems which reflect the depth of her devotion to Lord Siva.

Auvai:

Another famous woman saint of Saivism, she was endowed with great literary talents and devotional fervor. She composed many verses which immortalized her name in Tamil religious literature.

Meypporul Nayanar:

A king by birth he sacrificed his life out of love for Lord Siva.

Sakya Nayanar:

Originally a Buddhist, he later embraced Saivism and was said to have been blessed with a vision of Lord Siva and Parvathi.

Nandanar:

An untouchable by birth, he was a great devotee of Lord Siva who won the recognition of many learned people and was even admitted into the precincts of the Chidambaram temple which at that time was not open to people from his caste.

Meykandar:

Initiated into Saivism at the early age of three by a sage, he is credited with the composition of the famous work Siva-Jnana-bodham, which contains twelve famous Siva Sutras or aphorisms.

Meykandar is known in the history of Saivism as the seer of Truth and his life is a shining example of knowledge and devotion coming together in total dedication to God.

Arundai Sivachariar:

He became a disciple of Meykandar, after the latter opened his eyes in a famous encounter to the world of devotion and self-surrender. He composed Siva-Jnana-sittiyar, according to the wishes of his guru, explaining the truths hidden in the aphorisms of the latter.

Marai-Gnanasambandar :

Arundai Sivachariar also remembered in Saiva tradition for his initiation of Marai-gnanasambandar into Saivism. The latter though hailed from an untouchable caste was blessed with great literary talent and devotional fervor.

Umapathi Sivam:

Marai-gnanasambandar in turn initiated another famous Saiva saint, named Umapathi Sivam and helped him attain self-realization. Umapathi Sivam contributed greatly to Saiva literature in Tamil. He wrote eight philosophical treatises on Saivism, apart from a short biographical work on the famous 63 Saiva saints.

Pattinathar:

A rich merchant by birth, he turned to spiritualism in strange circumstances when he realized that all his wealth would not accompany him beyond his death.

He along with his princely friend Bhadragiri composed many devotional poems, exhorting people to renounce their worldly ways and enter the world of devotion and self-surrender. He lived about tenth century in Tamilnadu.

Arunagiri:

He lived about fifteenth century. Early in his life, he led a very sinful life, giving himself up entirely to the pleasures of the world. But later a great transformation took place in him and he became a great devotee of Lord Murugan, the first divine child of Lord Siva. Tiruppugal is one of his famous compositions which is known for its lyrical beauty and devotional depths.

Tayumanavar:

He lived in the seventeenth century, and belonged to the priestly family which was attached to the Siva temple at Vedaranyam, in Tamilnadu. He lived and worked for some time at the court of a Naik ruler from Tiruchinapalli, before he renounced his worldly life and became a great devotee of Lord Siva. He expounded the philosophy of Saivism from a Vedantic point of view and tried to reconcile the existing contradictions.

Lingayat Saints:

Mention may also be made of the five famous Lingayat Saints of Virasaivism path, namely Sivaprakasa 1, Santalinga, Kumaradeva and Sivaprakasa 2. They were men of great religious and spiritual merit, who lived during the seventeenth century and composed many religious songs and treatises.

SHIVA PARIWAR

These are part of Siva's Retinue. The most important of them are Nandi, Bhringi, Virabhadra and Chandesvara.

Nandi:

Nandi, the Bull, is Siva's vehicle. Nandi is invariably found sitting right infront of the sanctum sanctorum in every siva temple facing the image and looking at him all the time.

In fact no one is supposed to see the chief deity in a siva temple without paying homage first to the seated Nandi and looking at Siva from a far through the space between the ears and the top of his head.

There are some temples in India which are exclusively built for Nandi like the famous Nandiswara temple in Karnataka. Nandiswara in his anthromorphic form appears just like Siva, with three eyes and four hands of which two are permanently dedicated to the veneration of Siva while the other two carry his weapons.

Symbolically Nandi represents the passion and love of Siva for beings. Nandi is well versed in all scriptural knowledge. Nandi is the first disciple of Lord Siva and he imparted the teachings of Siva to this world. He is the Guru of the great saint Thirumular and he imported the knowledge of devotion to Hanuman. It is a tradition in many parts of rural India to let a Bull roam free in each village as a mark of respect to Nandi and to inseminate the cows in the village.

Bhringi:

He was originally a demon named Andhaka, who was transformed by Siva into a humble devotee and admitted into his force as a commander of his armies.

Bhringisa was so loyal to Siva that in his state of devotion he would not offer his worship to any one including Parvathi. It is said that when he saw once Siva in his Ardhanariswara form, he tried to bore through the middle of the body in the form of a bee to complete his obeisance to only the Siva side of the form, much to the annoyance of Parvathi. Bhringi who got his name thus was made to realize his mistake and change his behavior by Lord Siva.

Virabhadra:

He is Siva in his ferocious mood. Siva manifested himself as Virabhadra, when Daksha, his father in law, ill treated and insulted his wife Sati, Daksha's own daughter, infront of a large gathering.

Unable to cope with the insult, Sati immolated herself. This angered Siva so much, that he descended upon the place of Daksha with his large army and beheaded Daksha's.

The images of Virabhadra depict the anger and ferocity of Siva in that destructive mood, wearing a garland of skulls, and with four arms holding four different kinds of weapons.

Virabhadra is a warrior god who was worshipped during wars in ancient and medieval periods. He is also the principal deity of Virasaiva movement and still worshipped by many in the Karnataka region of India.

Chandesvara:

He is an aspect of Chandi in human form later elevated to the status of divinity, to signify the connection between Siva and Chandi, or Durga.

Chandesvara is a ferocious god, holding weapons of war and ready to do battle for a divine cause. His images are generally found in a corner in all the Siva temples.

As in case of Nandi, devotees usually visit him and pay their respectsat the worship of the Sivalingam in the sanctum sanctorum.

DAKSHINAMURTHY

This is Siva in his aspect as the universal teacher, teaching the secrets of yoga, tantras, yantras, alchemy, magic, occult knowledge, arts and sciences, ancient history or knowledge of the future to the sages and saints, gods and goddesses and his highly qualified devotees.

He is called Dakshinamurthy, because he does his teachings sitting on the snowy mountains of Himalayas and facing towards the Indian subcontinent, which is in the southerly direction to him.

The images of Dakshinamurthy, depict Siva in his pleasant mood, seated on a high seat, with one leg folded while the other rests on the Apasmarapurusha, the deluded self.

Two of his arms hold a snake or rosary or both in one hand and fire in the other. The snake is a symbol of tantric knowledge and the fire is a symbol of enlightenment. Of the remaining two one is in abhayamudra (posture of assurance) and the other holds a scripture in gnanamudra (posture of presenting knowledge).

Lingodhbhava-murthy:

This image signifies the importance of Siva in the form of Linga as the Supreme Self, without a beginning and without an end. According to Hindu mythology, Siva once revealed his infinity to Brahma and Vishnu in the form of a pillar of fire that could not be scaled by either of them from one end to the other. As Lingodhbava-murthy, Siva appears seated in the heart of a Linga, with four arms, while Brahma and Vishnu adore him from the two sides.

Bhikshatana-murthi:

This is Siva in his ascetic aspect, wandering from place to place, with a begging bowl made of human skull, doing penance or lost in his own thoughts. Even today we can see some followers of Siva going around the villages in India in this form. Some of them even do a little magic to attract our attention or scare away the trailing children.

Hridaya-murthy:

This is Siva in a mood of reconciliation and friendship with Vishnu. Also known as Harihara or Sankaranarayana. The images show the right half of Shiva on the right side of the image and the left half of Vishnu on the left side.

Ardhanariswara:

This Siva and Parvathi together in one form signifying the unity of Purusha and Prorate. The feminine left half of Parvathi is fused with the masculine right half of Siva in one continuous form, sometimes standing with the Bull Nandi in the background, or sitting on a pedestal and blessing the worlds, with eyes open or closed.

SIVA AS NATARAJA

Tandavamurthy

Nataraja is Siva who is hidden in all the rhythmic movements of the manifest creation, the so called cosmic dance that ensures the orderliness (Rta) of the universe, the movement of the earth and the heavens, the arrangement of the galaxies and the inter stellar spaces, on which depends precariously the whole balance.

His dance is a divine activity that suffers no conflicts. It entertains our suffering minds and dispels our ignorance. It destroys our illusions and burns the worlds of demons and darkness. Finally, at the end of creation it dissolves the entire universe into a mysterious period of ekanda, a suspended activity.

Lord Siva is a master of dance forms. He is the author of all dance forms. The science of dance ( Natya sasthra) dealing with the 108 types of classical Indian dance forms said to have originated from him just as all the yogic postures.

In case of Lord Siva all dance is a form of expression, which he uses either to destroy the evil or alleviate the sufferings of his devotees.

About nine forms of Siva in dancing mode are described, of which the most popular form is Nataraja (the king of dance). Though we have a number of icons of Siva as Nataraja, he is rarely worshipped in this form either in the temples or in the households.

His other dance forms include, Ananda-tandava-murhty, dancing in a pleasant and cheerful mood, Uma-tandava-murhty, dancing in the company of Parvathi, Tripura-tandava-murthy, dancing while slaying Tripurasura and Urdhva-tandava-murhty, dancing in the air.

The Apsmarapurusha (the forgotten and deluded self), on whose body he rests his feet in the image of Nataraja symbolizes this fact. And for Siva this whole wide world of apasmarapurushas is a stage on which he enacts his dance drama.

SIVA MURHY

Panchanana Siva: In some temples Siva is shown with five faces. Each of the faces has a name and represents a specific aspect. These five faces are Isana, Tatpurusa, Aghora, Vamadeva and Sadyojata. Isana faces south east and represents Iswara aspect of Siva known as Sadasiva, or the Eternal Siva. Tatpurusha faces the east. He is Siva in his aspect as a deluded purusha or ego. Aghora faces the south and represents the destructive and regenerative aspect of Siva that, like fire, first devours life and then prepares the ground for its renewal. Vamadeva faces north. He is healer and preserver. Sadyojata faces west and represents the creative power of Siva.

Anugrahamurthy: This is the milder or peaceful aspect of Lord Shiva when he is in the company of his beloved devotees or his family members.

Ugramurthy: Also known as Rudra , Bhairava, Kankala or Samharamurthy, this is the ferocious or angry form of Siva, generally associated with the events during which Siva assumed his terrible form to slay the demons or the wicked.

The following are his well known terrible forms:

Kankala-bhairava: The form which he assumed after cutting off the fifth head of Brahma.

Gajasura-vadha-murthy: The form he assumed while killing a demon named Nila.

Tripurantakmurthi: The form he assumed while destroying the three cities of gold, silver and iron built by the three sons of Andhakasura.

Sarabhesa-murthy: The form in which he allegedly fought and sanctified, Narasimha, the incarnation of Vishnu.

Kalari-murthy: the form in which he fought and defeated Yama to save his devotee Markandeya.

Kamantaka-murthy: The form in which he destroyed Manmadha, the god of lust, for disturbing him while doing penance.

Andhakasura-vadha-murthy: The form in which he defeated Andhakasura, who subsequently joined his forces as his commander and became popular as Bhringi.

Bhairava-murthy: The form generally found in connection with the cults of teaching the secrets of tantras, yantras, alchemy, magic and occult knowledge.

chan^drashEkharar

Slokam:

With the hands in abhaya (protecting) and varada (boon giving) postures, with a pleasing and decorated expression, a blossomed face and eye, with the shadow created by moon on the crown, with an upright body, and feet in the same level, Coral like formed, holding the deer and axe, (He) stay in the lotus pedestal. (of my heart)

purANa of the deity :

cha.ndra shEkharar : moon ornamented Lord (bhOga mUrti)

daksha had twenty seven stars as daughters. All of them were married to moon. But the moon had special attraction towards rOhiNi. So all the other wives complained it to the father dakasha that their husband moon is not treating them fairly. daksha got angry and cursed the moon to lose its luminance (kala) day by day. Everyday the moon started loosing one luminance part (kala) out of his 16 parts. Afraid and ashamed moon disappeared into the ocean. There are many herbs that require the light of the moon to grow. Without moon, they were harmed. Consequently there was suffering in the world. To end the problem the celestials advised moon to take refuge in the Great Divine, Lord shiva. Left with only one kalA, he took refuge in Lord Shiva. Being the graceful Almighty, He wore the moon crescent on His head, making him grow for 15 days and decay for 15 days periodically.

Thus chan^drashEkharar is considered a giver of refuge.

kalyANa sundarar

Slokam:
Red in color (si.ndhUram), Three eyed, shoulders like yugas (four shouldered), wearing necklace and bracelet, Colorful in divine wonderful dress, Shining in the wedding robe, ornated, with enchanting body, salutations to that mUrti who is in marriage posture, with a hand of dEvi in one lotus hand, with axe and deer in hands and ga.nga and moon on the wound-up hair.

purANa of the mUrti:
kalyANa su.ndarar : The beautiful (mUrti )in marriage(bhOga mUrti)

Shakthi was born as pArvati, the daughter of the king of Himalayas. As a young child, She was not interested in playing like the other children. She was more inclined towards meditating on Lord Shiva in the mountains. She desired to marry Lord shiva. For that she wanted to perform austerity in the snow covered himalayas. Her parents hesitated, but finally had to subdue to the determination of pArvati. pArvati performed austerity from an ashram. Lord Shiva who was happy with Her worship, came as an old devotee to her place. pArvati offered Her respect to the Old bhakta of Her Beloved Lord. Now, He tried to convince Her that She shouldn't waste Her youth doing tapas, but should enjoy life getting married ! He further suggested that She could get married to Him, instead of desiring for Lord shiva Who dances in the cemeteries and wears skulls and bones! pArvati, without knowing that He is God Himself, got very angry on hearing the Old man's words and told Him that She showed Him respect only because He seemed like a devotee and She would not want to hear any little blasphemy of God further. She asked the Old Man to leave the place immediately. The Lord, pleased with Her determination and devotion, revealed who He is. pArvati was surprised and begged the pardon of God. However God had accepted Her scolding as the most pleasant hailing. Didn't it come from a very deep love for God ?! He gave Her the boon She yearned for - getting married to Her.

The himalayan king's family was delighted to see their beloved daughter's wedding. The region was decorated and shining with prosperity. The young beautiful pArvati was decorated with chosen best ornaments for the wedding. Now came the Groom - Lord shiva - to the wedding place - on an old bull, with skull and bone ornaments, with the skin of the tiger as the clothing, accompanied by the roar of the bUta gaNas !! The mother of pArvati mEnai fainted to see the groom in such a form for her sweet daughter, softer than the flowers. Now the Lord changed to the form, glittering in a beautiful wedding robe - with golden ornaments and splendid clothing! When mEnai woke up and saw the Groom she was thrilled to see such a beautiful form and was very pleased that He is "the suitable" groom for her daughter. The play of the Lord has no bounds ! mEnai saw only the external appearance of the Groom. Other than the great pArvati who knows the glory of that Groom ?! The enchanting Lord in the wedding robe got married to the Daughter of the mountains and this form of God is called kalyANa sundharar

kalyANa vratam (paNguni uththiram)

kalyANa vratam is one of the eight auspicious vratas. When the Sun is shining in the Pisces sign(mIna rAsi) that is in the month of paN^guni (mid of March to mid of April) on the uththara naxaththiram on the Moons growing face (shukla paxam), this vratam is observed. This is the day Shakthi married Lord Shiva after a great austerity in the Himaalayas, as the daughter of Himavaan. It is also observed as the auspicious day when Lord Muruga married devaseenaa. This vratam is explained in the skandha purANam.

In the morning after getting up, the observer of the vratam should meditate on the charming Lord shiva in the wedding posture with umA. After taking bath and through with other required deeds, should worship the Lord. The golden idol of the God and Goddess ( who can afford to) should be anointed devotionally with holy substances. Then decorating them should make the wedding ceremony of the Goddess with the God. Making the nice and sweet offerings to the divine Parents, should salute them. Inviting the spiritual people who think of good to all the creatures, who have learnt the vEdas and who are devotees of Lord shiva, along with their wives, should host them a feast. Later should go to the shiva temple, worship, circumambulate three times and prostrate in front of the Lord. In the night should dine along with the kind hearted devotees of Lord shiva and eat the sweet dishes like fruits and pAyasam. Should sleep on the dharbai grass. The next morning after regular deeds, should donate the golden idol of God and Goddess to disciplined love hearted people who are the devotees of Lord shiva. Should eat only once that day.

Observing this vratam will get one the great boon of shri Lord sha.nkara's delight. It would bring much joy and comfort in life, lead to the abode of Lord shiva and give the liberation. mahA vishNu got wedded to laxmi sincerely observing this vratam. brahma wedded saraswati, indra wedded indrANi, moon wedded the 27 stars, sage agastiya wedded lobhamudra observing this vratam. The two daughters of vishhNu namely amR^itavalli, saundaryavalli were married to the six faced Lord as devasEna and vaLLI. The daughter of vedAN^ga R^ishhi called sukesi got married to nandi devar.The two daughters of sage satyapUrNar pUrNa, pushhkaLai were wedded to mahA sAsthA. kAma got rathi, sIta got rAma, jAmbhavati got kR^ishhNa, sage saupari got many princess' and so many more benefitted all in the glory of this vratam. The man who observes this vratam will get the girl he likes and the woman gets beautiful man as her husband. The couple who observe this will get good offspring. Anybody who observes with devotion will get His grace.

ardhanArIshvarar

Slokam:
In the form of male and female, matted hair with moon, axe, smeared in red (aruNa), wearing snakes and the skin of tiger, embracing the bull and with a bent leg, this the right half, and the left black in color, hand holding a (lily) flower close to the chest, with a silk like lotus foot, wearing gold ornaments, salutations to the Half female God.

purANa of the deity
ardha nAri Ishvarar : half female God (bhOga mUrti)

Sage bR^ingi is one of the ardent devotees of Lord shiva. He used to worship only Lord shiva and not shakti. Goddess shakti, being the power as the name indicate, pulled out the energy from bR^ingi mahaR^ishi's body. Now he was even unable to stand. He pleaded to God. God shiva provided him with a stick. On its support he stood and still worshipped Lord shiva alone. Goddess shakti wanted to become an inseparable part of Lord shiva's form. She oberved the kEdhAra mahA vrata (1) austerity, which is now known as deepAvaLi. Pleased with her austerity, Lord shiva granted her the boon of being part of His form. So the Lord now appeared male on the right side and female on the left side and hence became archanArIshvara.

Significance of this form
This is one of the very important form of God, Hindus worship. This is a much-hailed form in scriptures of various languages. Hindus do not say that the God is only male. God is male - female and neuter too ! Since God is conceptually beyond sex, though gets referred as He/She many times, it is more appropriate to refer as It, especially at Its intrinsic condition, as do many hindu scriptures.

Philosophically, this form is quite associated with the Grace of God. shiva and shakti are one and the same Supreme. The formless God is called parashiva. On Its own free-will for the benefit of pashus (souls), which are drowned in pAsha (bondage), It thinks to create the worlds. Its dynamism of creation thus springs out of It, which is called shakti. Now shiva and Its power shakti create everything. This is the form of their togetherness that springs out of Lord shiva. Because of this the form is associated with the grace of God. shiva and shakti though the same may also act independently. They are associated like the person and the action of the person. They are one and the same like the ice and the water - one becomes the other. For this reason scriptures describe that shakti to shiva is a wife (they are together), mother (shakti becomes shiva - so shiva comes out of shakti) and daughter (shiva become shakti). Poet kAlidAsa hails them as inseparable like the word and its meaning, the letter and pronunciation !!

kedhAra (gauri) vratam - Deepavali

KedhAra Gowri vradham familiarly known as dIpAvaLi (Diwali) is celebrated throughout India in a grand manner. Without Caste creed, rich - poor differences people obeserve this festival. Infact very few people know that it is one of the important Saivite vratas. Brungi rishi is a great Shiva bhaktha. When he prays to Lord, he prays only to Lord Shiva and ignores Shakti. Angered by his act Shakti devi removed the energy from his body. He was not able to stand. He prayed to Lord Shiva. God gave him a stick to support his body. Shakti wanted to become part of Lord's body. She observed the kEdhAra vrata, one of Gods favorite vratas. Pleased by Her austerities God gave the left part of His body to shakti and became ardha nArIshwara. The vrata is then called kEdhAra gaurI vrata since Gowri observed it.

When observed

This kedhara vratam is observed for twenty one days starting from shukla paxa dasami (Tenth moonday in its growing face) in the month of purattAchi (mid Sep to mid Oct). The final day (dIpAvaLi) also should be observed in great devotion.

How to observe this vratam

mantras to perform this pUja (pUja vidhAnam)
Install Lord kedhArIshvara svAmi in a filled pot (kalasham). Make a roof (manTapa) above the kalasham. Make vrata threads - 21 fibers having 21 knots. The 16 courtasy worship has to be done for 21 days starting from the purattAchi shukla paxa dasami to aipachi amarapaxa chaturdashi (dIpAvaLi) or amAvAsya. On the culmination day (21st) in a clean decorated area devotionally install the kalasham over the grains spread in a banana leaf and offer various food and fruits to the Lord as offering and donate to others.

Glory
The glory of this vratam is very splendid as shri gauri devi observed this vratam in full devotion and got to be in half the body of Lord Shiva !! viShNu became Lord of vaikunta observing this vratam. braHma got hamsa vehicle, the guards of the eight directions got rid of the bane they got from braHma, bhagyavati and puNyavati got lots of wealth all due to the glory of this vratam. One who observes this vratam with devotion pleases Lord shiva.

naTarAjar

Slokam:
A face with four shoulders, three eyes, to the left destructive fire (in the hand), moon and leaves on the head, hand stretching downwards, the raised foot pointing down, to the right swastika earring, Damarukam (drum), ga.nga (in the head), and protection posture, salutations to that God of ceaseless dance whose matted hair is flowing, standing on the unconscious body (hyapasmAra dEham)

purANa of the deity :
naTa rAjar : king of dance (yOga mUrti)

Lord Shiva dances during the creation, protection and destruction of the worlds, though the kind of His dance varies with respect to the action. (san^dhyA tAnDava, Urdhva tANDava, rudra tANDava, samhAra tANDava etc.). The dance of the Lord takes place in every minute particle, for all of us to exist and act. That is the source of all the energy. His movement is shakti. Yogis hear and see the dance of the Lord by invoking the kuNDalinI shakti.

There were two ardent sages vyAgrapAda and patanjali who were worshipping God to see Its blissful dance that energizes the worlds. vyAgrapAda out of his devotion asked for the eyes and legs of the tiger, so that he could go very early in the dawn, even before the bees wake up, to pluck the flowers very fresh - not even touched by the bees to offer to God ! That is why he was called vyAgrapAda. The other sage was the serpent AdiseSha on which mahA viShNu reside, desired to see the glorious Dance of God. They were performing austerity at the holy place called thillai .

At the same time bhadrakAli, the fierce form of goddess asked for a competition with God in dance. God and mahAkAli came to the thillai, where the sages were performing austerity to see His dance and there began the competition between kAli and Lord shiva. The Lord, Who keeps dancing creating, protecting, destroying, hiding and blessing, won the play by acting the Urdva tANDava, raising His Feet to His Head. The gracious dance of the God filled the hearts of the sages and those who ardently seek Him.

Lord Shiva danced in the five ambalams during various occasions. Out of them chithambaram is very much renowned. Lord danced here to fulfill the worship of patanjali and vyAghra pAda mahaR^ishis.

kAlAri

Slokam:
Red in color (sin^dhUram), Three eyed, shoulders like yugas (four shouldered), with hands holding up the sUlam , noose, axe in hands, with frightening teeth, nice face, with the left foot standing up over the chest of kAla (time - death), with cast down red matted hair, to that pashupati(Lord of creatures), kAlAn^taka I prostrate.

purANa of the deity:
kAla ari : The enemy of kALa(vIra mUrti)
kAla is the dEva who is responsible for death. Taking the kAla as time it can be said kAlari represents the fact that God is beyond the limits of time (mR^ityuJNjayan).

The sage mR^ikaNDu did not have an offspring for quite a long time. He performed tapas to get the blessings of Lord Siva. God appeared in front of him. Now the sage had two choices - either a son indiscipline, cruel and dumb living for long or a son loving, intelligent and a gem of character living very short span of life. The sage chose the second one. His wife gave birth to a child mArkaNDEya, out of a boon from Lord Siva, by which mArkaNDEya would be very intelligent but would live just for 16 years.

Young child mArkaNDEya grew up learning the great scriptures, caring and loving, devotional towards God. His parents were very pleased with him. When he became 16, he found his parents weeping. He came to know that he would die at 16 and that was the cause of the gloom. Intelligent mArkanDeya realized that none other than the God, Who is beyond all the scopes of time and hailed as mR^ityuNJjaya - who conquered the death, can save him from the strong clutches of death. Determined and devotional, he started doing Siva pUja and surrendered himself completely to the Lord. The yamadUtAs who came to take his life away were scared away by the flame of this young boy's devotion. As the the attendants couldn't take away his life, kAla the god of death, himself came. Young mArkaNDEya did not loose his devotion even in the crisis moment. He embraced the Siva liN^gam. As kAla still tried to take away mArkaNDEya's life, the Lord appeared furious from the Siva liN^gam and kicked kAla to death!! He blessed the sincere devotion of the young boy and made mArkaNDEya to be in 16 always - deathless !

All the gods pleaded to Lord to show mercy on kAla. On their request, God gave kAla life back and ordered him not to disturb His devotees.

thiruk kadavUr is the temple associated with this valorous deed of Lord Siva.

daxiNAmUrti

Slokam:
The leg pressing over a demon, on the top of which the Embodiment of merits is sitting with one leg folded, the one who teaches difficult words (vedas) with ease, the sages enjoying (the teachings, sitting) on ground, with the (hand) posture of explaining, a fire pot, book and akshamAla in the four hands, Who trembles away my ignorance, to That dakshiNAmUrti (salutations).

purANa of the deity :
dakshiNA mUrti: south faced Lord (yOga mUrti)

The four sons, of brahmA, sanaka, sanandana, sanAtana, sanat kumAra did austere tapas and analysis, but they were unclear of the Supreme Truth. They finally decided to come to Lord Siva to get the knowledge of the Truth. The Lord sat under the banyan tree, and the four sages also sat down around Him. Lord stayed in the yOga posture without saying a single word. The four sages got all their doubts cleared just by that posture. The form in which God appeared as a Supreme Guide is the form of wisdom dakshiNAmUrti.

This explains that the Truth cannot be explained in words and must be experienced. Including the great chinmudra posture, the posture of shrI dhakshiNA mUrti, who is the teacher of all the teachers, indicates a lot of information that needs days to explain. As thirumUlar says, the posture of the guru is a thing to be thought about always. That is the clarity ! (theLivu guruvuru chin^dhiththal thAnE)