2016 ~ Sankar Art Works

Tuesday 11 October 2016

Clay Dolls Making Procedure

Clay Dolls Making Procedure

Stage 1:

We usually start making a Clay dolls from Vijayadashami on wards with Pooja.

Die for making clay dolls

The Ashvamedha (Sanskrit: अश्वमेध aśvamedhá) is a horse sacrifice ritual followed by the Śrauta tradition of Vedic religion. It was used by ancient Indian kings to prove their imperial sovereignty: a horse accompanied by the king's warriors would be released to wander for a period of one year. In the territory traversed by the horse, any rival could dispute the king's authority by challenging the warriors accompanying it. After one year, if no enemy had managed to kill or capture the horse, the animal would be guided back to the king's capital. It would be then sacrificed, and the king would be declared as an undisputed sovereign.

Contact US:

Mr. M.Sankar,
Sankar Art Works,
25 A Karpaga Vinnayagar Kovil Street,
Old Vandipalayam,
Cuddalore 607004

Mobile/Whatsapp : +919942249699

Sita Swayamvar Set

Sita Swayamvar (Rama and Sita Marriage) Set

King Janaka was the ruler of the kingdom of Videha. Its capital city was Mithila. Janaka was not only a brave king, but was also very well-versed in the Shastras and Vedas. One day, while a field was being ploughed in the presence of the king, he found a female child in the deep furrow dug by the plough. Janaka and his wife Sunayana were overjoyed by this discovery and adopted the little baby girl as their own. The child was named Sita, meaning ‘Furrow’ in Sanskrit. Thus, Sita is considered to be the daughter of Bhumi Devi (Mother Earth) since she was born or found in the earth.

Sita grew up to be a girl of unparalleled beauty and charm and possessed the greatest of womanly virtues. When Sita became of marriageable age, the king decided to have a Swayamvara which included a contest. The king was in possession of an immensely heavy bow, presented to him by the God Shiva. Whoever could wield the bow and string it, could marry Sita.

After the protection of Vishwamitra’s sacred ritual, on their way back to Ayodhya, Rama and Lakshmana traveled to Mithila. Accompanied by Vishwamitra, they attended Sita’s Swayamvara. Rama successfully broke Shiva's bow as he picked it up and was examining the tautness of its bowstring. The young prince’s strength and courage perplexed all the attendees. And with the breaking of the bow, Janaka proposed Sita to Rama in marriage. On the approval of Sage Vishwamitra, Janaka sent his messengers to Ayodhya to convey the message to Dasharatha. Upon hearing the story of how his son Rama not only lifted the bow of Shiva, but also broke it, Dasharatha was overjoyed. He gladly accepted the marriage proposal of Rama and Sita. The next day, King Dasharatha’s delegation traveled to Mithila to carry out the wedding ceremony. Upon reaching there, he received proposals for marriage of his other three sons. Lakshmana was betrothed to Urmila, another daughter of Janaka. Vishwamitra proposed the marriages of Bharata and Shatrughna with the two daughters of Kushadhvaja, the younger brother of Janaka. Thus Bharata was married to Maandavi and Shatrughna to Shrutakeerti.

After the wedding ceremonies of his four sons, Dasharatha and his delegation returned to Ayodhya. The young princes and their brides were welcomed with pomp and grandeur. Yudhaajit, the maternal uncle of Bharata, who had come for the weddings of the princes, now took Bharata and Shatrughna to his kingdom. Rama and Lakshmana engaged in the welfare of their subjects, at the behest of their father. The couples entered the threshold of their blissful married lives.

Contact US:
Mr. M.Sankar,
Sankar Art Works,
25 A Karpaga Vinnayagar Kovil Street,
Old Vandipalayam,
Cuddalore 607004
Mobile/Whatsapp : +919942249699

Dashavatara Set

Dashavatara Small & Big Set

Dashavatara (Sanskrit: दशावतार, daśāvatāra) refers to the ten avatars of Vishnu, the Hindu god of preservation. Vishnu is said to descend in form of an avatar to restore cosmic order. These Avatars play a major role in shaping human evolution through centuries.

Dashavatara Small & Big Set

The ten avatars of Vishnu - Matsya, Kurma, Varaha, Vamana, Krishna, Kalki, Parshurama, Rama and Narasimha, Krishna.

1. Matsya (Fish)

2. Kurma (Tortoise)
3. Varaha (Boar)
4. Narasimha (half-man/half-lion)
5. Vamana (Dwarf)
6. Parashurama
7. Rama
8. Krishna
9. Buddha (Gautama Buddha)
10. Kalki (destroyer of darkness)

Contact us for doll order:
Mr. M.Sankar,
Sankar Art Works,
25 A Karpaga Vinnayagar Kovil Street,
Old Vandipalayam,
Cuddalore 607004
Mobile/Whatsapp : +919942249699

Shri Krishna Leela Set (13 Scenes)

Shri Krishna Leela Set (13 Scenes)

Krishna Leela

Krishna is the eight incarnation of lord Vishnu and was born in the Dvarpara Yuga as the “dark one”. Krishna is the embodiment of love and divine joy, that destroys all pain and sin. Krishna is the protector of sacred utterances and cows. Krishna is a trickster and lover, an instigator of all forms of knowledge and born to establish the religion of love.

1.Krishna Jananam

2.Vasudevar

3.Kaatru arakan

4.Maan unda Kannan

5.Vennai Thirudal

6.Ural Kannan

7.Naarai Vatham

8.Aaga Suran

9.Kaalinga Narthanam

10.Govarthana Giri

11.Jalakiridai

12 Gopi Dance

13.Kamsan Vatham

Contact Us for Doll Order :

Mr. M.Sankar,
Sankar Art Works,
25 A Karpaga Vinnayagar Kovil Street,
Old Vandipalayam,
Cuddalore 607004

Mobile: +919942249699

Whatsapp: +919942249699

Email: msankar.cud@gmail.com

Navaratri Tamboolam Offerings

Navaratri Tamboolam Offerings

If you are giving gifts to women invited for Navaratri Pooja, then the tamboolam plate will typically consists of the following

Betel Leaves
Betel Nuts
Areca Nuts
Kumkum
Turmeri
Small Mirror
Comb
Bangles
Fruits – Bananas, Apples, Oranges etc.
Prasadam like Sundal, Chakkara Pongal etc.
Small gifts for kanya girls like Chains, Bracelets, Earrings etc.
Blouse Bits for married women.

Navaratri Naivedhyam Recipes

Navaratri Naivedhyam Recipes

Recipe # 1 – Ven Pongal and Peanut Sundal

Ven Pongal

Ingredients
1 cup rice
1/2 cup split moong dal
4 – 6 cups water
1 table spn fresh ginger, finely chopped
1 tspn whole black pepper corns
1/5 tspn cumin seeds
4 – 5 curry leaves
2 tblspn raw cashew nuts, unsalted
2 tblspn ghee
salt to taste

Preparation

Cook the rice and dal together in the water until very very soft. Perhaps use 4 cups to begin with and add more if required. It will take 20 – 30 minutes to cook.

While the rice and dal is cooking, finely chop the ginger and roast it in 1Tblspn ghee.
Add the cumin, whole black pepper and curry leaves. Sauté a little without burning to release the flavours. Set aside.
Roast the cashews in the remaining ghee until golden brown but not burnt.
When the rice and dal mixture is cooked, mix vigorously, mashing the dal and rice together. You want a buttery texture. Mix in the spices with the ghee that they were sautéed in. ·
Top with the roasted cashews.

Peanut Sundal

This variety of Sundal made of raw peanuts does not need any soaking.

Ingredients
2 cups of Raw Peanuts
Salt
Hing
1/3 cup of fresh coconut grated.
4 Green Chillies.
Curry Leaves.
A few drops of coconut oil.

Preparation

Place the peanuts in a cooking vessel, inside the pressure cooker and add sufficient salt. Add enough water.
Cook for at least 2-3 whistles.
Drain all the water
Take a kadai or wok and add a spoon of coconut oil.
When the oil is hot, add mustard, curry leaves, hing and immediately the cooked peanuts.
Allow to saute for a few minutes.
Meanwhile, grind the coconut and green chillies without adding any water in the mixer for a few seconds. Set aside.
When the contents of the kadai are well mixed and sauted, add the ground coconut mix.
Add a little more salt only if needed.

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Recipe # 2 - Moong Dal Sundal

Ingredients

2 cups of Moong Dal.
Water to cook the dal.
Salt
Hing.
Pinch of red chilli powder.
1/3 cup of fresh grated coconut.
5-6 green chillies or according to taste.
Seasoning: Mustard, Curry Leaves.
Oil.

Preparation

Moong Dal cooks very easily so there is no need to soak ahead.
Take a vessel and put in the moong dal. Then add water to just cover the moong, salt and a pinch of red chilli powder.
Allow it to cook on medium flame for about 6-7 minutes. You will see that the moong with absorb the water and slightly grow in size.
It is important that you do not overcook the moong as it tends to get mushy.
Drain out the water and set aside to cool down for 10 minutes or so. If needed, spread it out on a plate so it dries out the water a little.
Meanwhile grind the coconut and green chillies in a mixer to a rough mix.
Take a kadai, add 2 spoons of gingely/coconut oil and allow to heat.
Season with mustard, hing, curry leaves and then add the cooked moong dal.
Immediately add the pulsed coconut-chilli mix and give it a slow mix.
Use your ladle to carefully mix in the ingredients and flavouring. Too much handling could again break the moong and make it mushy.
Garnish with chopped cilantro.

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Recipe # 3 - Arachu Vitta Sundal

Ingredients

White Channa – 2 cups.
Water just enough to cover and cook.
Salt
Hing

Roast

4 spoons Channa Dal.
2 spoons Dhania.
8 red chillies
1 spoon of urad dhal.
1/3 cup of coconut.
Mustard, Curry Leaves, Oil & Hing for seasoning.

Preparation

Soak the white channa for at least 6-8 hours prior to preparation of neivedhyam. Cook in the pressure cooking adding water, salt and turmeric for 3 whistles.
Drain the water
In a kadai, add a spoon of oil and when it is hot, add all the ingredients specified for roasting. Roast on a medium flame until they get brown and you get a gentle aroma.
Pop in the mini mixer jar, add fresh grated coconut and using a little of the cooked channa water, grind to a very smooth paste.
Take your kadai/wok and add 2 spoons of oil. Season with mustard, curry leaves and hing and add the cooked white channa beans.
Stir them gently and now add the ground masala from the mixer jar.
Mix well and allow to cook for a couple of minutes until all the water is absorbed. · You can also make this sundal out of Mochai or Field Beans

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Recipe # 4 - Yellow Peas Sundal

Ingredients

1 cup Yellow Peas.
1/4 cup of dessicated coconut.
3 green chillies.
Salt.
Hing.

Seasoning

Mustard, Curry Leaves

Preparation

Soak the yellow peas for about 6-8 hours.
Drain all the water and pressure cook with a little salt and just enough water.
Switch off after 2 whistles.
Grind the coconut and green chillies without any water in to a coarse mix. Set aside.
In a kadai, add a spoon of coconut oil and when it is hot, add mustard, curry leaves and a dash of hing.
Immediately add the cooked yellow peas and a little salt and hing as required.
Garnish with the coconut-chilli mix and incorporate it well in to the peas.

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Recipe # 5 – Kadambam Sundal

Ingredients

Channa /Chickpea - 1/2 cup
Brown Channa - 1/2 cup
Dried Peas, Mochai, Peanuts, Moong dal, Black eyed pea - fistful
Blanced Almonds - 5

Seasonings

Mustard seeds, Urad dal - 1 tsp
Channa dal - 1/2 tsp
Green Chilis - 1
Red Chilis - 2
Curry leaves - 5 - 6
Coriander leaves for garnish
Oil - 1 tsp
Salt to taste

Preparation

Since the cooking time is different for each lentil, pressure cook each of them separately. Let it drain. Chop the blanched almonds, keep aside.

Heat a pan with oil, season it with mustard seeds, channa dal, urad dal, chopped green chilies and red chilies. Saute for 2 mins.
Then add the drained legumes to the pan and season it with salt. Simmer for 2 mins and remove.

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Recipe # 6 – Sweet Green Gram Sundal

Ingredients

1 cup Green Gram Dal.
3/4 cup grated Jaggery or soft brown sugar.
Water to cook.
1 tsp of Cardamom Powder.
1 spoon of ghee.

Preparation

Take the cup of green gram dal and roast it dry in the kadai for a few minutes. You will slowly get the aroma of the roasted green gram dal. This should suffice. It is not required to soak the green gram dal.
Always roast on a medium flame. Set aside.
When the dal cools considerably, put in a vessel and pour water to cover the beans. Cook it without adding salt.
Switch off after ten minutes, and set aside.
In a kadai, add spoon of ghee, and the cooked green gram dhal.
Now add the 3/4 spoon of jaggery and mix well. The jaggery will melt and coat the cooked green gram dhal.
Immediately switch off the stove and add the crushed cardamom.
Stir in immediately and mix well.

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Recipe # 7 - Sweet Black Eyed Beans Sundal (Vellai Karamani Vella Sundal)

Ingredients

1 cup Black Eyed Beans (Vella Karamani)
3/4 cup grated Jaggery or soft brown sugar.
Water to cook.
1 tsp of Cardamom Powder.
1 spoon of ghee.

Preparation

Soak the Black Eyed Beans in water for at least 4-5 hours prior to preparation of Sundal.
Cook in the pressure cooker until you get one whistle and then reduce the heat and cook in low for ten minutes and then switch off.
Drain the water
Rest of the procedure is the same as in Green Gram Sundal given above

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Recipe # 8 - Black Channa Sundal garnished with sliced coconut pieces

Ingredients

1 cup Black Channa.
Water to cook
Salt
Oil
Mustard
Curry Leaves
4 dry red chillies
1/4 cup of finely slit coconut pieces.

Preparation

Soak the black channa for at least 6 hours prior to cooking.
Put in a wide mouthed container, add salt, turmeric and add just enough water to cover the channa.
Cook in a pressure cooker. Wait for one whistle and then reduce the flame and keep for ten minutes and then switch off.
Drain the water
Take a kadai, add 2 spoons of coconut oil. When the oil is hot add mustard, curry leaves, hing, dry red chillies and then the cooked channa.
Mix well and wait until the seasoning ingredients are mixed well in to the legumes. · Garnish with finely sliced coconuts

Navaratri Songs

Navaratri Songs

One of the other things that is very unique and special for the Navaratri festival is the rendering of songs every evening for the Golu and the deities. Devotional songs of all types ranging from the most classical (full of swarajatis) to the simplest ones are sung by women folk – both at their own homes and in front of the Golu at other homes, which they visit regularly.

In this section, we shall specifically focus on the Nava-Avarana-Kritis, which are unique, very rich in tantric content, and extremely pleasing to the listener as well. There are three broad categories of navavarana kritis – penned by Sri Muthuswami Dikshitar, Maharaja Sri Swati Tirunal and by Oothukkadu Kavi.

Sri Muthuswami Dikshitar

The Kamalamba Navavarana Kritis by Shri Muthuswami Dikshitar (1776-1836) are some of the most famous pieces of music in the Carnatic system of Indian classical music. They are treasures which embody not only the technical brilliance of the composer but also offer a peep into the advaitic school of Hindu philosophy and elements of Tantric rituals. They are very elaborate compositions which may be well compared with major symphonies in the Western system.

These songs are set in praise of the Goddess Kamalamba who is enshrined in Tiruvarur in the Tanjore district of Tamil Nadu in South India. The Goddess is the reference to the Divine Mother of the universe, or the Supreme Consciousness.

The lyrics and the descriptive details are loaded with the mystical symbolism of the Vedantic (advaita) tradition and the chakras of the human system are closely linked to the evolutionary aspects described in the compositions that reflect the scholarly reach, musical depth and mystical significance of the composer.

Musically, they are par excellence and the majestic sweep of well known ragas (melodic forms) like Todi, Kalyani, Kambhoji, Sankarabharanam, Sahana, Anandabhairavi and Bhairavi are offset against haunting melodies in lesser known ragas like Punnagavarali, Ghanta and Ahiri.

Dikshitar uses several talas (time measures) although Rupakam (3 beats) seems to be his favourite. Ata talam (14 beats) and Misra Jampa (10 beats) in the Kambhoji and Bhairavi pieces are rarely used because of the technical difficulty in executing these. An added element is the use of different case endings (which Dikshitar uses in his other group krities, like the Abhayamba and Nilotpalamba set). The Dhyana (invocatory) kriti in Todi is in the vocative case, followed by the Anandabhairavi in the nominative, Kalyani in the accusative, Sankarabharanam in the instrumental, Kambhoji in the dative, Bhairavi in the ablative and so on.

The ninth avarana kriti in Ahiri has all the cases; interestingly the raga itself has all the 22 Sruti (notes) in the octave. It is believed that such a fusion of all melodic and temporal elements in the same kriti is a musical way of expressing the advaitic ideal of "aham Brahmasmi" or complete union with the Absolute. Indeed the Ahiri composition is very unusual musically especially the pallavi which has a repeating and distinctive prose sections, are seamlessly put together.

The set concludes with a short and sweet mangalam (auspicious conclusion) in Sri ragam set in Khanda Ekam (5 beat talam). The entire set consists therefore of the dhyanam (invocation), the nine avaranas, and the mangalam (conclusion), a total of 11 pieces.

Dikshitar’s Kritis

The 9 kritis are as follows:

1. Kamalamba Samrakshathu - Anandabhairavi - Misra Chapu
2. Kamalambaam Bhajare - Kalyani - Adi
3. Sri Kamalambikaya Katakshitoham - Shankarabharanam - Rupakam
4. Kamalambikayai - Kambhoji - (Khanda) Ata
5. Sri Kamalamba param - Bhairavi - Misra Jampa
6. Kamalambikayaastava - Punnagavarali - Rupakam
7. Sri Kamalambikayam - Sahana - Tisra Triputa
8. Sri Kamalambike - Ghanta - Adi
9. Sri Kamalamba Jayati - Ahiri - Rupakam

The rendering of these Kritis are considered to be extremely challenging owing to the complexity of the words and the notations. The D.K. Pattamal and D.K. Jayaraman school are considered to be specialists in the rendering of these compositions. It requires years of training to render them to perfection.

You can listen to the Kritis online by clicking on the below link:
http://www.raaga.com/player4/?id=268147,268148,268149,268150,268151,268152,268153,268 154,268155,268156,268157

Maharaja Swati Tirunal

Maharaja Swati Tirunal, one is invariably reminded of Lord Padmanabhaswami of Thiruvananthapuram.

The Maharaja used the various paryayam-s (equivalent phrases) of the proper noun "Padmanabha" as the mudra (author's signature) in most of his musical compositions. He has also composed kritis on various other deities in and around the courtyard of the temple. Among these, the nine kritis he composed, for singing the praise of Goddess during the Navaratri festival stand out as a distinct and precious collection.

The first six songs in the series are addressed to Saraswati, and the last three to Parvati. The composer bows to the Goddess, seeking Her blessings, with an earnest appeal to protect him and save him from sins and torments.

Swati Tirunal Kritis

The nine Devi Kritis to be sung on each Navarathri day as follows:

Navarathri day	Kriti (with clickable links to view lyrics and listen online)	Raga	Tala
Day 1	Devi jagat Janani	Sankarabharanam	Adi
Day 2	Pahimam Sri Vageeswari	Kalyani	Adi
Day 3	Devi pavane	Saveri	Adi
Day 4	Bharati mamava	Todi	Adi
Day 5	Janani mamavameye	Bhairavi	Misra Chapu
Day 6	Saroruhasana jaye	Pantuvarali	Adi
Day 7	Janani pahi	Shudha Saveri	Misra Chapu
Day 8	Pahijanani santatam	Natta Kurinji	Misra Chapu
Day 9	Pahi Parvatanandini	Arabhi	Adi

Oottukkadu Venkata Kavi

Ootthukkadu Venkata Kavi The Great!! (c.1700 - 1765 CE) was a prominent composer of Carnatic music. He lived in South India in the present-day state of Tamil Nadu. Also known by the name Oothukkadu Venkatasubba Iyer, he is attributed to over 400 compositions. These were handed down from generation to generation by the descendants of the composer's brother's family.

Venkata Kavi's compositions reveal that he was a complete master of the science and art of music in all senses of the term – melody, rhythm or lyrics and was eloquent in Sanskrit and Tamil. He was proficient in a variety of musical forms such as the kriti, tillana and kavadichindu. He used talas and themes that not many other Carnatic composers have preferred to handle.

His compositions are a blend of a high degree of scholarship on a variety of subjects and inspired expression. Several pieces also reveal his humility, reverence for the great personalities before his times and the high state of bliss that he probably experienced almost ceaselessly.

His works scarcely contain autobiographical notes and show that he had reached great spiritual and philosophical heights. His works also reveal the proximity he felt towards God and show his deep devotion.

Oottukkadu Navavarana Kritis

Venkata Kavi also composed Navavarnams (nine varnams) on the goddess Srividya to be sung during Dasara – popularly called Kamakshi Navavarana Kritis. Apart from the main nine songs for the nine nights, he has also composed Vinayaka stuti, Dhyana stuti and a Phala stuti.

There are several similarities (and differences) between his Navavaranams and that of Muthuswami Dikshitar but both reveal the composers’ scholarship in the various aspects of Devi worship. These are:
1. Sri Ganeshwara – Shanmukhapriya – Adi – Vinayaka stuti
2. Vanchayati yadi kushalam – Kalyani – Adi – Dhyana stuti
3. Santatam aham seve – Deshakshi – Adi - (1st avaranam)
4. Bhajaswa shree – Nadanamakriya – Adi - (2nd avaranam)
5. Sarvajeeva dayapari – Shuddha Saveri – Mishra Chapu - (3rd avaranam)
6. Yoga yogeshwari – Anandabhairavi – Khanda Triputa (2 kalais) - (4th avaranam)
7. Neelalohita ramani – Balahamsa – Khanda Dhruvam (2 kalais) - (5th avaranam)
8. Sadanandamayi – Hindolam – Sankeerna Matyam - (6th avaranam)
9. Sakalaloka nayika – Arabhi – Adi - (7th avaranam)
10. Shankari Shri Rajarajeshwari – Madhyamavathi – Adi - (8th avaranam)
11. Natajana kalpavalli – Punnagavarali – Adi - (9th avaranam)
12. Haladharanujam praptum - Manirangu - Adi - Phala stuti

You can listen to the Kamakshi Navavarana Kritis, by downloading the audio files.

Click the below link to download:
http://www.mediafire.com/?x69c9e880l61i65

Navaratri Puja

Navaratri Puja

Generally, the women perform all the pujas during Navaratri. That does not stop the male members doing their share of pujas, just goes to add that women get a special preference and rights for doing their puja around this festival.

You have already installed the Goddess in the form of Purna Kumbha. Light a lamp morning and evening on all nine days.
Elaborate pujas are conducted in the evening.
Other women (relatives, friends and neighbours) are invited for the puja in the evening.
The first three days is dedicated to Goddess Durga.
The next three days is dedicated to Goddess Lakshmi.
The final three days is dedicated to Goddess Saraswathi.
Fresh kolams are drawn on all nine days.
Shlokas that are recited on nine days include Durga Ashtotaram, Devi Mahatmiyam, Shyamala Dhandakam, Lakshmi Sahasranama, Lakshmi Ashototaram, Lalitha Sahasranama, Saraswathi Stotram, Saraswathi Ashototaram.

Daily Sri Lalitha Sahasranamam is chanted in the morning and a neivedhyam generally payasam/pongal made with jaggery is offered in the morning. To appease the navagraha deities, sundal is offered as neivedhyam in the evening.

Friends and relatives are invited home and offered haldi, kum kum and ravikkai thuni(blouse bits) along with sundal and other snacks. Children & women also exercise their vocal chords by rendering devotional songs . Daily aarthi is performed to the deity at the end of the day.

On Saraswathi puja day, all books and tools( ayudha) are placed in front of Goddess Saraswathi and Saraswathi puja is performed.

The tenth day is Vijayadashmi day – an auspicious day for starting good tasks and initiating children into education called ‘Akshara abhysam’. After the prayers and puja, one doll in the golu padi is made to ‘sleep’ on the rack perhaps symbolizing the end of the festival.

The South Indian Way of Observing Navaratri

The South Indian Way of Observing Navaratri

The main event during Navrathri in South India is the display of dolls and idols – Golu and the placing of Kalasam, which represents Goddess.

Navaratri puja might seem a huge complicated event for many. You can always perform a simple puja by worshipping the Goddess on nine days by lighting a lamp and offering a fruit as prasadam.

Rituals are important but the devotion is certainly more important.

Here is a step by step method on how to perform Navaratri Puja.

Getting Ready

· Get the house cleaned and ready. You are inviting Goddess into the home. Usually this is done on the Amavasai day, a day before the beginning of Navaratri.
· Mango leaf festoons are installed on doors, windows and in puja room. Fresh Kolams are drawn.
· If you are keeping Golu, get all the Golu dolls ready.
· Decide upon the Bommai Golu Theme.
· Plan early about the pooja prasadam (neivedya) and also about the gifts that you plan to give to women guests.

Requirements for Navaratri Puja

· If you are keeping Kolu dolls, purchase new dolls at least a couple of new ones. The most important doll needed is the Marapachi dolls (Male and Female pair of dolls).
· A pot for Kalasha or Kumbha (brass pot)
· Face of Goddess to be stuck on Kalasha. It is fine if you do not opt for this. · Sweets
· Ingredients of the Prasadam to be prepared (this depends on what neivediya you are preparing)
· Betel leaves
· Betel nuts
· Bananas
· Coconut
· Usual fruits
· Usual pooja items like lamp, incense, agarbathis etc.
· Lotus flower for Goddess Saraswathi and Goddess Lakshmi. Jasmine for Durga. Avoid wild flowers.

A day before Navaratri Puja

Navaratri Puja begins on the Puratasi Amavasai day, a day before Navaratri begins. All arrangements are done on this day.

· In the evening, Kalasha or Purna Kumbha is prepared. This is an invitation to Goddess to enter your home.
· Purna Kumba or Kalash is kept on a kolam in such a place that there is space behind to keep the Bommai Kolu. You can attach a face of Goddess to the Purna Kumbha and decorate the Kumbha with jewelry, turmeric, sandal paste, flowers etc.
· Those who do not keep Kolu, keep the Kalash in the Pooja room.
· Betel leaves, Betel nuts, a coconut is placed in front of the Kalasha. Cooked rice or boiled and sweetened milk is kept as prasadam or neivedya in front of the Kalasha.
· This Kalasha is to be kept for next nine days – it symbolizes Goddess.
· A lamp is lit every evening and morning for nine days.
· Normal puja is performed.

Arranging the Golu

The golu stand is assembled on the Puratasi Amavasai day, the day before the Navaratri festival commences. There is an ethics in constructing steps or Padi for Golu. The Golu consist nine steps or Padi in Tamil. These steps or Padi should not exceed nine. If you wish to keep less than nine steps it should be in odd numbers like 3, 5, and 7.

The philosophy behind the nine steps or Padis for Golu is said as: To worship Devi Durga goddesses, there are nine ways of worship. They are swarnam, kirthanam, smaranam, paadasevanam, archanam, vandhanam, dasyam, sakyam, atmasevadhanam. This concept is represented in nine steps or Padis. The nine steps or Padis in Golu represent nine planets or Navagrahas.

From the bottom to top, the length of the steps should reduce. For instance, from the bottom, if you keep five feet length for the first step or Padi, then the second step or Padi length should be short than the first one and the third step or Padi length should be shorter than the second one and so on and so forth.

The stair is usually covered with a cloth and dolls are placed neatly and as per the theme.

Arrangement of dolls in Golu Padi

· Dolls of animals, birds and insects should be kept in last row, the base.
· Dolls of farmers, householders, vendors, etc should be in the next step.
· Dolls of saints, and mahans should be kept next
· Dolls of incarnations such as Dasavathara, Krishna, Rama should be kept next.
· Dolls of Ambal, Shivan, Vishnu, Lakshmi should be kept on the uppermost step.

Some themes for consideration

· Majority of the Bommai Golu displayed in homes opt for the traditional method of display.
· The most important dolls in the kolu arrangement are the Raja-rani or the marapaachi bommais. These are expensive dolls and a set of them is found in all traditional households. Another important idol is that of Goddess Saraswati.
· Park, cricket ground are created with the help of sprouted mustard seeds etc on sand.
· Forest, trees, ponds, paddy field etc can also be created easily at home.
· For paddy field, take a flat basin fill it with some mud and sow wheat. Wheat grows quickly. While placing the tray in Golu hide the tray cleverly, so that only the green part is seen.
· Ponds too can be created in similar fashion.
· Trees can be done on cardboards and thermocole.
· If you are interested in vegetable carving, depending upon your theme you can make carvings using melon, carrot and other such vegetables.
· Decorations and lightings are done to beautify the golu.

(Article from Navaratri Special Edition Ebook)