It is believed from the archaeological evidence of Mohenjo-Daro and Harappa, that Murugan, or Skanda, or Kartikeya, was known in the ancient civilisation of these places. He was known through the ancient city kingdoms of Meluha (as Mohenjo-Daro and Harappa civilisations were earlier known) as a fierce God, capable of severe destruction. He was also known as an expert hunter.
Even within the domain of Harappan knowledge, Murugan was considered as an ancient God. Cankam poetry presents Muruku (Murukan) or Murugan as one of the most primitive gods of the Tamil peoples. Cankam poetry is the pre-Pallava poetry that describes the Tamil culture before its contact with the Sanksrit language.
There is a deviant aspect of the representation of Murukan in the Meluha finds. This deviant aspect depicts 'Murukan' as being formless. The manifestation of Murukan as known in pre-contemporary or through recent history is usually through a living human body, specifically of a priest or a woman. The human-manifestation through a priest is usually rhythmic and verbal. The manifestation through a woman extends to rhythmic dance accompanied by verbal incantations that may be addressed to someone in particular or none among those present. The manifestation through the priest may conclude after a certain period by itself, while the woman may need assistance from another woman or a priest who would know how to go about it.
Murugan is, of course, known as the war-general of the gods and also as a wandering hunter, throughout the Indian Subcontinent and Sri Lanka. Significantly, the prominent aspects of representation of the formless deity, Murugan, is with his spear, 'Vel' (= Tamil). The single-headed spear is specifically distinct from the three-headed spear, 'Trishul' of Shiva, his father. Murugan is also usually identified with the blood-red colour, and sacrifices, and thus, the most determined of his devotees undergo and inflict upon themselves, severe ceremonies that lead to excessive bleeding and enormous pain.
The form of devotion, rituals and prayers to Murugan have continually changed during the Anno Domini years. Some temples are as yet witness to severe forms of devotion by inflicting pain whereas the gentler rituals and ceremonies have also gained prominence throughout the lands south of the Mount Kailash. Murugan is now traditionally represented in these lands as Kartikeya, Shanmukhananda, Kumara, Skanda or Palani Andavar. Most devotees and knowledgeable followers of Murugan today would rarely question or discuss or be familiar in detail with the earlier known aspects of the deity without form.
The recent hundreds of years of contemplation through devotion of Murugan, in the various temples, and through rituals and sacred ceremonies is of Kartikeya, the handsome householder, or Shanmukhananda, the innocent infant, or Palani Andavar, the mendicant-lad, or Skanda, the youth-as-a-war-general, who probably never caused destruction to human civilisation.
Even within the domain of Harappan knowledge, Murugan was considered as an ancient God. Cankam poetry presents Muruku (Murukan) or Murugan as one of the most primitive gods of the Tamil peoples. Cankam poetry is the pre-Pallava poetry that describes the Tamil culture before its contact with the Sanksrit language.
There is a deviant aspect of the representation of Murukan in the Meluha finds. This deviant aspect depicts 'Murukan' as being formless. The manifestation of Murukan as known in pre-contemporary or through recent history is usually through a living human body, specifically of a priest or a woman. The human-manifestation through a priest is usually rhythmic and verbal. The manifestation through a woman extends to rhythmic dance accompanied by verbal incantations that may be addressed to someone in particular or none among those present. The manifestation through the priest may conclude after a certain period by itself, while the woman may need assistance from another woman or a priest who would know how to go about it.
Murugan is, of course, known as the war-general of the gods and also as a wandering hunter, throughout the Indian Subcontinent and Sri Lanka. Significantly, the prominent aspects of representation of the formless deity, Murugan, is with his spear, 'Vel' (= Tamil). The single-headed spear is specifically distinct from the three-headed spear, 'Trishul' of Shiva, his father. Murugan is also usually identified with the blood-red colour, and sacrifices, and thus, the most determined of his devotees undergo and inflict upon themselves, severe ceremonies that lead to excessive bleeding and enormous pain.
The form of devotion, rituals and prayers to Murugan have continually changed during the Anno Domini years. Some temples are as yet witness to severe forms of devotion by inflicting pain whereas the gentler rituals and ceremonies have also gained prominence throughout the lands south of the Mount Kailash. Murugan is now traditionally represented in these lands as Kartikeya, Shanmukhananda, Kumara, Skanda or Palani Andavar. Most devotees and knowledgeable followers of Murugan today would rarely question or discuss or be familiar in detail with the earlier known aspects of the deity without form.
The recent hundreds of years of contemplation through devotion of Murugan, in the various temples, and through rituals and sacred ceremonies is of Kartikeya, the handsome householder, or Shanmukhananda, the innocent infant, or Palani Andavar, the mendicant-lad, or Skanda, the youth-as-a-war-general, who probably never caused destruction to human civilisation.
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