We sat back having lunch, thinking about all the good old days when we were young, living the typical orthodox lifestyle as administered back home by Pati and Thatha (grandma and grandpa), in our good old Brahmin household.
Somethings don't change at all. I have noticed brahmins, at least the older ones or the more traditional and now i relate to them very well. The typical house, with kolam in rice powder at the door step leading the way into a reasonably dark room, with barely any furniture in it! Yes, somehow we never seem to have learned the art of interior decoration. The main living room as i would call it is probably one of the darker ones too with windows split into 4, 2 kept closed, largely painted green for some strange reason :)
The living room, sounds more exotic, but has almost no furniture except two wooden chairs and yes of course the plastic chair indicating the intrusion of modernity into our otherwise ancient backward lives. The plastic chair of course being as priced as the other chairs in the room, might be right next to the grandfather chair, which is close to being inaccessible to all except of course - grandpa. He sits there, in his mundu vesti, reading the morning newspaper, with "caapi" served when ever he asks for it, be it in the morning or with tiffin... One shelf if available in this room hosts all the objects on display, no matter how incongruous they look together.
The other rooms, remain rooms, largely nameless with papers hanging out of shelves, and of course the very famous Murugan calendar with dates gaping straight at us as Murugan continues to smile the whole year around. Its interesting to see such households can accommodate 20 people easily, the bedding kept in one room, all mattresses rolled up on a wooden bed, a single bed, maybe the only bed in the entire house :) there is an art in arranging bedding, starting from the mattresses at the bottom, neatly rolled and forming a reasonably large bulk in the center of the room. above that are stacked up a set of pillows, neatly one above three below leaving vertical room for bedsheets. various colors, various sizes, various textures line up above the pillows forming a large mass, which stares you in the face when you enter the otherwise really small room!
But of course sleeping in one of those rooms, with the fan way above making noise, a slow creek with a few cobwebs hanging off it, large wooden cupboards surrounding you, which seem to contain all the priced possessions of the household, stare down at you, lying in the center of the room sleeping blissfully. And trust me, what a sleep that is, cozy in a different sort of way, you need the noise, the wood, the partial darkness and of course the dim light streaming in through the green windows.
Somewhere in the rear end of the house straight above is the clothes line, not the general usage one but one exclusively for pati and her "madi business". this is a concept, the idea being one is completely pure when they come out of bath, in wet clothes and change into this other set that hangs down from the ceiling. they should not be touched until puja is over, and trust me this untouchability is bible! you better make sure you dont touch, lest pati gets mad at you! should that happen it means your ration of "bhakshanam" for the day is almost gone to one of your luckier uncles, who would be one of her most pampered sons!
There are those days of course when pati forgets her clothes and wants you to fetch them for her while she sticks her hand out of the bathroom door. While she waits we kids quite deftly need to pick her "bady" and underskirt off the clothes line way up near the ceiling and without touching it, carry it by the help of a long stick. Invariably there are accidents, the "bady" falls to the floor and one has to drag the stick along the "bady" on the floor trying to get it back on, finally giving up in frustration and hanging it hoping no one caught us putting it back onto the end of the stick. Slowly this highly respected piece of cloth is carted to the bathroom to now impatient hands yelling at us to hurry up!! every one moves, stick to walls, leave room for the articles to find their way through the pure air in the corridors of the house to the frantic hands still waiting to receive them. :))
The bath, well an even smaller room, with all the known containers inside, largely made of steel, brass or the like, take much of the floor, which has more craters than the moon itself. water is just about everywhere, and its hard to find a dry place to keep any clothes. The clothes hanger would be a hook or nail on the wall next to a half eaten door which barely closes the room, with as many holes in it as possible, the gaps between the wood almost increasing every minute, and the bottom half eaten by erosion? The door is held up to be locked by a single hook which threatens to give way anytime, you should see the confidence with which pati goes for bath, its unthinkable. cant believe i took bath there too!!!
Well anyway, now to the most holy section of the house, a room dedicated to the gods, ancestors, saints and anyone you want to put up on the walls. This is a room to see to believe, all the gods in teak wood frames smeared with vermilion stare down at you well just about all the time! This would include all vaishnavite human incarnations, the known swamigals in town, all forms of the mother goddess, lesser gods, greater gods everyone... and if they are really orthodox, you wouldn't miss the brass idols at the bottom with a whole new range of rule sets if there is a shaligrama in the middle of it all. This is a truly blessed household.
Last but not the least is the backyard, and the kitchen, surrounded in aromatic smells of a pure healthy brahmin meal in the making. Everything is done on the floor mostly, the cooking range being the only one on a "medai" which has two sections, the pathu and non pathu which segregates the boiled food from the unboiled, the milk and milk products given special importance. there are imaginary walls here, demarcations which define what food item can be kept where, and you are doomed if you get it wrong! i largely kept away from it.
Finally fresh air by the well in the backyard, with mango trees and potted tulsi maram(plant) and clothes of all twenty people lined up to dry on the general clothes line! what a life. truly a tradition fast dying out! I miss it.
5.05.2005
5.03.2005
Girivalam - the journey
Girivalam, Thiruvannamallai (3 hours from Chennai), is a 14km stretch that circles the imposing hill, believed to be Lord Shiva himself. What appears to be an unassuming tar road, seems to speak volumes on life and death along its path. We started out, exploring Girivalam, more out of curiocity than with an intension of walking the entire mile.
The first trip we made was by car, at about 9.30 at night. We were told it was reasonably unsafe, though we figured it was not all that bad later. Girivalam hosts a number of way side shrines, holds the life of many sanyasas, who are either there looking for a higher truth or escaping from their reality by drowing themselves in ganja. Girivalam, has something to offer to every one who shows up there. It stays silent to all onlookers, stays peaceful to all passer-bys, holds burial grounds for deceased staunch shaivites and cremates a few other less lucky souls.
Every hill that stands across the path, against the main imposing hill, holds a temple. You would find every one here, Mother Goddess, Ganesha, Krishna, Kannappa nayanar and of course Lord Shiva himself. The stretch itself is covered by a canopy of trees, some shading Naga cult icons smeared with vermilion and turmeric, from the dreadful heat and sunlight. All over is a feeling of peace, and tranquility. In the night, the path looks different, errie for starters, when you walk past a cemetery hosting the cremation of a recently deceased man engulfed in flames, eating into the wood that was his final bed.
The whole stretch has eight lingas located on it, which when visited promise good life, wealth, health, no fear of death, status and what ever else you wanted from your mundane existance, hoping for an easy and better life. Most people come to seek such blessings.
Yes you get everything, as you walk along Giri Pradakshanam. But strangely, Girivalam has more to offer, if you are willing to look for it. The answers to all our inner searches, the next step when you are at a deadend seeking your own truths and just waiting for the "calling". Girivalam calls, to seekers and all you need to do is listen. Girivalam enlightens you to a reality beyond our lives, tells us how much we have been wasting our time looking for happiness in our mundane worlds. There is no happiness in seeking wealth, there is no happiness in human ties. The air of Girivalam holds a host of truths which you will see, only if you are receptive to it.
Girivalam shows life to you as it is. It houses the sanyasa, it houses the escapist, it houses the grihasta, it houses the dead, it houses the siddhas, it houses the Gods, it houses the animals. A complete universe pulsating with every breath of yours as you walk down trying to cover a 14 km stretch. Its indeed a walk through life and beyond... depending on what you want to see....
The first trip we made was by car, at about 9.30 at night. We were told it was reasonably unsafe, though we figured it was not all that bad later. Girivalam hosts a number of way side shrines, holds the life of many sanyasas, who are either there looking for a higher truth or escaping from their reality by drowing themselves in ganja. Girivalam, has something to offer to every one who shows up there. It stays silent to all onlookers, stays peaceful to all passer-bys, holds burial grounds for deceased staunch shaivites and cremates a few other less lucky souls.
Every hill that stands across the path, against the main imposing hill, holds a temple. You would find every one here, Mother Goddess, Ganesha, Krishna, Kannappa nayanar and of course Lord Shiva himself. The stretch itself is covered by a canopy of trees, some shading Naga cult icons smeared with vermilion and turmeric, from the dreadful heat and sunlight. All over is a feeling of peace, and tranquility. In the night, the path looks different, errie for starters, when you walk past a cemetery hosting the cremation of a recently deceased man engulfed in flames, eating into the wood that was his final bed.
The whole stretch has eight lingas located on it, which when visited promise good life, wealth, health, no fear of death, status and what ever else you wanted from your mundane existance, hoping for an easy and better life. Most people come to seek such blessings.
Yes you get everything, as you walk along Giri Pradakshanam. But strangely, Girivalam has more to offer, if you are willing to look for it. The answers to all our inner searches, the next step when you are at a deadend seeking your own truths and just waiting for the "calling". Girivalam calls, to seekers and all you need to do is listen. Girivalam enlightens you to a reality beyond our lives, tells us how much we have been wasting our time looking for happiness in our mundane worlds. There is no happiness in seeking wealth, there is no happiness in human ties. The air of Girivalam holds a host of truths which you will see, only if you are receptive to it.
Girivalam shows life to you as it is. It houses the sanyasa, it houses the escapist, it houses the grihasta, it houses the dead, it houses the siddhas, it houses the Gods, it houses the animals. A complete universe pulsating with every breath of yours as you walk down trying to cover a 14 km stretch. Its indeed a walk through life and beyond... depending on what you want to see....
4.25.2005
Hinduism and its secrets
I have been studying a lot of art history and it has led me into a lot of other fields, made me ask questions, try and find answers which i must say have come to me in the strangest way ever!
for the last 6 months i have been dwelling on Lord Shiva, his forms, the places of worship, the characterestics of his temples ... well just about everything. I have noticed that just one things kept constantly coming back to me, and this was the basic yantra which defines everything, centrally the energy center for shiva. This caught my eye for a very long while and i just found myself at a dead end waiting for something to happen in reality, for me to see what all this was about. This research into Hinduism and to a certain extent "magic" if i can call it has led me to do and believe many things which are normally not expected of a city bred woman.
For one, I have realized a few things about this great society we live in, i have figured how happy they are to live in a make belief world where there are no troubles.... strange isnt it, how can you not have trouble, and why hope for a trouble free life where everything comes easy! trouble defines that circumstance that comes into your life which you certainly do not accept. Its the non acceptance(personally or socially) of it that leads it to be defined as trouble.
Second, the average man on the street is not willing to experiment more than he needs to with his faith. My father and a few other oldies in my family are not exactly sure that what am going into is the best for me. but fear rules them and i think thats what their down fall/ignnorance is all about. they will never get it. religion doesnt stop with going to a temple, you have not even scratched the iceberg of potency of faith if you think its enough to just display your so called religiousness, or know a few stories from mythology.
Thirdly, this religion has been tested by time, its lasted everything, obviously people were not dumb to just sit around carving rock all across the countryside, spreading a faith! somethings just never changed through the ages... thats what is our culture. The gods remained the same, those associated with the gods remained the same, the actions of ritual associated with the gods remained the same. look around you and you will know the next time you see a stelae with two entwined snakes carved into it, that ancient schools of thought are just a foot away from you, just silent, waiting for you to realize them...
All this starts with the complete faith and knowledge of yantras which are the stepping stone towards finding out more... of course you dont go about getting one until you are initiated.. and initiation is not an easy task. its meant for those who are mentally eligible for it. Am sure this flew above your head.. i know..lets leave it here, beyond this .. i cannot explain.
for the last 6 months i have been dwelling on Lord Shiva, his forms, the places of worship, the characterestics of his temples ... well just about everything. I have noticed that just one things kept constantly coming back to me, and this was the basic yantra which defines everything, centrally the energy center for shiva. This caught my eye for a very long while and i just found myself at a dead end waiting for something to happen in reality, for me to see what all this was about. This research into Hinduism and to a certain extent "magic" if i can call it has led me to do and believe many things which are normally not expected of a city bred woman.
For one, I have realized a few things about this great society we live in, i have figured how happy they are to live in a make belief world where there are no troubles.... strange isnt it, how can you not have trouble, and why hope for a trouble free life where everything comes easy! trouble defines that circumstance that comes into your life which you certainly do not accept. Its the non acceptance(personally or socially) of it that leads it to be defined as trouble.
Second, the average man on the street is not willing to experiment more than he needs to with his faith. My father and a few other oldies in my family are not exactly sure that what am going into is the best for me. but fear rules them and i think thats what their down fall/ignnorance is all about. they will never get it. religion doesnt stop with going to a temple, you have not even scratched the iceberg of potency of faith if you think its enough to just display your so called religiousness, or know a few stories from mythology.
Thirdly, this religion has been tested by time, its lasted everything, obviously people were not dumb to just sit around carving rock all across the countryside, spreading a faith! somethings just never changed through the ages... thats what is our culture. The gods remained the same, those associated with the gods remained the same, the actions of ritual associated with the gods remained the same. look around you and you will know the next time you see a stelae with two entwined snakes carved into it, that ancient schools of thought are just a foot away from you, just silent, waiting for you to realize them...
All this starts with the complete faith and knowledge of yantras which are the stepping stone towards finding out more... of course you dont go about getting one until you are initiated.. and initiation is not an easy task. its meant for those who are mentally eligible for it. Am sure this flew above your head.. i know..lets leave it here, beyond this .. i cannot explain.
4.16.2005
Tantrik Cults and temples
The misconception to Tantrik cults in India is that it appears to be an orgy of sorts. The other biased opinion is that sex is wrong or bad. A good question would be "Why"? Its definite that those higher up in the social ladder have had extremely biased opinions and that definitely has trickled down to the masses over time.
The actual truth of it is this. Tantra is a version of the AtharvaVeda. It prescribes various rituals to one of the many activities of man in a day - sex. Whats wrong with that and why consider it bad? Tantrik cults have prevailed across india everywhere. The khajurao and konark temples speak for it so do the temples in the south, though not as explicite.
Why is sex important, or is it the lack of it that makes people commercialize something so sacred into an element of shock or silent delight? Why dilute the potency of the act or ritual? These texts help a human being attain a higher goal through sadhana and rituals which need to be performed with the right thought and respect. It was never simple, and living in a superficial world only dilutes the entire act to a mere performance with results that are satisfactory, leaving one to just imagine what the real thing would be like. Not that i know it, but i believe there is more to it than what meets the eye.
We cannot dismiss something that we fail to understand the first time and stupidity. You need to have patience, for the subtle world is not so easy to understand. No wonder its called "Subtle".
Temples at best can depict concepts at various levels of potency and its up to the aspirant to really try and understand it. What appears as a grose act on the walls of Khajuraho, actually hides something far more potent within its sculptures and people in their limited thoughts just think it stops with sex! These are tantrik diagrams, or yantras which are best understood only be the initiated and are meant only for them. The rest of the superficial guys can quite go fly a kite!
These temples depicted a way of life, whether it is the depiction of a devotee in the act of decapitation or whether its a human sacrifice on full moon night, whether its the worship of the Mother or whether its the fear of Kali, whether its an act of copulation or whether its a sensuous kanya entising a man to enter the temple walls, it has value and that is meant to be respected, not ridiculed. The temples silently tell us through their walls, that there is a world out there beyond our senses and we are quite wasting our time if we do not attempt finding it out.
Living the "real way" was never so simple, so the next time you head to the temple, ask yourself whether it stops with that, or whether you really want to know what the temple has to offer. Clarity come when you open yourself to receive it, till then... you wait.
The actual truth of it is this. Tantra is a version of the AtharvaVeda. It prescribes various rituals to one of the many activities of man in a day - sex. Whats wrong with that and why consider it bad? Tantrik cults have prevailed across india everywhere. The khajurao and konark temples speak for it so do the temples in the south, though not as explicite.
Why is sex important, or is it the lack of it that makes people commercialize something so sacred into an element of shock or silent delight? Why dilute the potency of the act or ritual? These texts help a human being attain a higher goal through sadhana and rituals which need to be performed with the right thought and respect. It was never simple, and living in a superficial world only dilutes the entire act to a mere performance with results that are satisfactory, leaving one to just imagine what the real thing would be like. Not that i know it, but i believe there is more to it than what meets the eye.
We cannot dismiss something that we fail to understand the first time and stupidity. You need to have patience, for the subtle world is not so easy to understand. No wonder its called "Subtle".
Temples at best can depict concepts at various levels of potency and its up to the aspirant to really try and understand it. What appears as a grose act on the walls of Khajuraho, actually hides something far more potent within its sculptures and people in their limited thoughts just think it stops with sex! These are tantrik diagrams, or yantras which are best understood only be the initiated and are meant only for them. The rest of the superficial guys can quite go fly a kite!
These temples depicted a way of life, whether it is the depiction of a devotee in the act of decapitation or whether its a human sacrifice on full moon night, whether its the worship of the Mother or whether its the fear of Kali, whether its an act of copulation or whether its a sensuous kanya entising a man to enter the temple walls, it has value and that is meant to be respected, not ridiculed. The temples silently tell us through their walls, that there is a world out there beyond our senses and we are quite wasting our time if we do not attempt finding it out.
Living the "real way" was never so simple, so the next time you head to the temple, ask yourself whether it stops with that, or whether you really want to know what the temple has to offer. Clarity come when you open yourself to receive it, till then... you wait.
3.22.2005
the truth
The Nataraja:
The origin of this sculture in its prototype can be taken right back to the Indus valley civilization with the seal that depicts a three headed god. This does not mean that the other two heads belonged to Vishnu and Brahma. A good many centuries down the line depict the same concept of the Trinity in the Shiva cave at Elephanta, off the Mumbai coast. Here definitely the three heads of the Trinity depict Aghora or Bhairava to the left, the center depicts Shiva Mahadeva and the right depicts Vamadeva (Uma).
Before you come back with a contradiction the introduction of Vishnu and Brahma into the Trinity seems more like a political move to me. I may be wrong here and you are completely entitled to your opinion.
The next form of the trinity as pure shiva symbolism is Nataraja in Tandava. Oh what a beautiful sculpture. The more i realize it the more the beauty of it i see. Perfect. Here it does not remain a scultpure anymore. But shiva comes to life. The concept of the trinity, or the concept of creation, preservation and destruction is not left for Doom's Day, but its meant to be part of every activity that we do. Every act of ours is either of creation, maintenance or destruction.
Here destruction is not negative, its not that something perishes, but its the end, as in the end of a particular activity, the completion of it.
When you start something, you bring life into it. it could be as simple as starting a painting, or buying a plant. the moment you bring your interest and attention to it, the activity is created. As you go about your business of painting or watering a plant the act of maintenance continues (preservation). When the painting is over or the plant has lived its life the end is near, it ceases to "exist". its complete. (with respect to the painting, i am unable to grasp the subtle reality of "existance", i am still biased that destruction means a sad ending/death).
In every act of yours there is Shiva. In every move of yours He rules. Isnt that just beautiful. I know for a fact that i am perfect when it comes to creating some thing or destroying it for that matter. But maintenance has been a problem with me until i realized this.
The appearance of the act of maintenance is boring on the surface. But as you put your mind to it, it transforms itself. The churning of your ocean starts, there is rhythm in your activity and you grow with it. You mature with it, realizing and learning along the way the beauty of the activity itself. Thats where only you are thoroughly enlightened and excited and nobody else can share that joy with you (because they have not been there). Thats a moment when you elevate yourself, the activity ceases to remain just an activity but something much greater than that, because you grew up to understand yourself better. Its a crazy feeling.. and the fact that you can't share it with anyone simply frustrates you. I would say, dont share... just cherish the moment.
Its worth a lifetime!
Oh Shiva is great. Simply great... and i didnt see it at all....i just didnt get to see it for so long.
Thank you GOD.
P.S. The trinity explains why Aghora is called the left hand path. (refer earlier posts on aghora)
The origin of this sculture in its prototype can be taken right back to the Indus valley civilization with the seal that depicts a three headed god. This does not mean that the other two heads belonged to Vishnu and Brahma. A good many centuries down the line depict the same concept of the Trinity in the Shiva cave at Elephanta, off the Mumbai coast. Here definitely the three heads of the Trinity depict Aghora or Bhairava to the left, the center depicts Shiva Mahadeva and the right depicts Vamadeva (Uma).
Before you come back with a contradiction the introduction of Vishnu and Brahma into the Trinity seems more like a political move to me. I may be wrong here and you are completely entitled to your opinion.
The next form of the trinity as pure shiva symbolism is Nataraja in Tandava. Oh what a beautiful sculpture. The more i realize it the more the beauty of it i see. Perfect. Here it does not remain a scultpure anymore. But shiva comes to life. The concept of the trinity, or the concept of creation, preservation and destruction is not left for Doom's Day, but its meant to be part of every activity that we do. Every act of ours is either of creation, maintenance or destruction.
Here destruction is not negative, its not that something perishes, but its the end, as in the end of a particular activity, the completion of it.
When you start something, you bring life into it. it could be as simple as starting a painting, or buying a plant. the moment you bring your interest and attention to it, the activity is created. As you go about your business of painting or watering a plant the act of maintenance continues (preservation). When the painting is over or the plant has lived its life the end is near, it ceases to "exist". its complete. (with respect to the painting, i am unable to grasp the subtle reality of "existance", i am still biased that destruction means a sad ending/death).
In every act of yours there is Shiva. In every move of yours He rules. Isnt that just beautiful. I know for a fact that i am perfect when it comes to creating some thing or destroying it for that matter. But maintenance has been a problem with me until i realized this.
The appearance of the act of maintenance is boring on the surface. But as you put your mind to it, it transforms itself. The churning of your ocean starts, there is rhythm in your activity and you grow with it. You mature with it, realizing and learning along the way the beauty of the activity itself. Thats where only you are thoroughly enlightened and excited and nobody else can share that joy with you (because they have not been there). Thats a moment when you elevate yourself, the activity ceases to remain just an activity but something much greater than that, because you grew up to understand yourself better. Its a crazy feeling.. and the fact that you can't share it with anyone simply frustrates you. I would say, dont share... just cherish the moment.
Its worth a lifetime!
Oh Shiva is great. Simply great... and i didnt see it at all....i just didnt get to see it for so long.
Thank you GOD.
P.S. The trinity explains why Aghora is called the left hand path. (refer earlier posts on aghora)
3.19.2005
A tribute to Shiva.
Kiratarjuniya panel, Mahabalipuram:
I would wonder whether this panel is a tribute to Lord Shiva or a tribute to the beautiful verses of Bharavi's poetry on the Mahabharata. None the less, there seems to have been a beautiful merger of sculpture, architecture and poetry in this era. As you can see i am pretty overwhelmed by this whole thing.
Here stands Shiva, very clearly surrounded by ganas. The man in meditaion on one foot is either Arjuna or Bhagiratha. We have a view of all the celestials, the gandharvas, the kinnaras, so on and so forth. The reason again for this repetition is that I am seriously tending to believe that they exist, are not visible through normal eye sight but estabhish their presence from the spirit world in rather strange ways.
So much for my strange beliefs which seems to get reinforced only by ancient mythological panels and nothing else!!! somewhere i do hope am right.
I would wonder whether this panel is a tribute to Lord Shiva or a tribute to the beautiful verses of Bharavi's poetry on the Mahabharata. None the less, there seems to have been a beautiful merger of sculpture, architecture and poetry in this era. As you can see i am pretty overwhelmed by this whole thing.
Here stands Shiva, very clearly surrounded by ganas. The man in meditaion on one foot is either Arjuna or Bhagiratha. We have a view of all the celestials, the gandharvas, the kinnaras, so on and so forth. The reason again for this repetition is that I am seriously tending to believe that they exist, are not visible through normal eye sight but estabhish their presence from the spirit world in rather strange ways.
So much for my strange beliefs which seems to get reinforced only by ancient mythological panels and nothing else!!! somewhere i do hope am right.
3.17.2005
Shiva the hunter
Mahabalipuram:
Few people would imagine that an entire dynasty looked at plain rock surfaces as a canvas to depict mythology, and fewer would go all out to make it a reality. Mahabalipuram, witnesses creativity and passion of the pallavas during the 8th century AD. Here standing in the middle of rock outcrops are one of the most beautiful depictions from poetry of the same era.
The Kiratarjuniya panel: known for a particular episode in the Mahabharata, this panel has attempted to depict the story by throwing hints on various aspects of it. Here in this picture is the depiction of Lord shiva as a hunter. The beauty of this panel is that lord shiva is depicted as a hunter in various activities. Its like a comic strip, just the lower half, showing one man doing various things. Interestingly he wears a moustache, not very often depicted on sculptures of this era.
The forest is most beautifully carved into the rock. celestial beings fly across, gandharvas, kinnaras adorn the skies. the sculptors have obviously tried to show all the worlds at the same time. the real world as we see it and the spirit world as we would believe to see it.
the striking element of course is that of shiva who is seen in the right corner here. he is best identified by the ganas who are seen around him and he carries the trishul. interestingly he occupies the top center of this whole panel.
Few people would imagine that an entire dynasty looked at plain rock surfaces as a canvas to depict mythology, and fewer would go all out to make it a reality. Mahabalipuram, witnesses creativity and passion of the pallavas during the 8th century AD. Here standing in the middle of rock outcrops are one of the most beautiful depictions from poetry of the same era.
The Kiratarjuniya panel: known for a particular episode in the Mahabharata, this panel has attempted to depict the story by throwing hints on various aspects of it. Here in this picture is the depiction of Lord shiva as a hunter. The beauty of this panel is that lord shiva is depicted as a hunter in various activities. Its like a comic strip, just the lower half, showing one man doing various things. Interestingly he wears a moustache, not very often depicted on sculptures of this era.
The forest is most beautifully carved into the rock. celestial beings fly across, gandharvas, kinnaras adorn the skies. the sculptors have obviously tried to show all the worlds at the same time. the real world as we see it and the spirit world as we would believe to see it.
the striking element of course is that of shiva who is seen in the right corner here. he is best identified by the ganas who are seen around him and he carries the trishul. interestingly he occupies the top center of this whole panel.
3.15.2005
The world beyond the senses.
i am currently neck deep into shaivism trying to understand if not realize its various facets. i have reached the end of the road as far as art history books are concerned, from here on the path is beginning to look different. i cannot follow cold blooded logic anymore, i need to emote. i need to start feeling it to get the complete drift.
this has raised questions, unexplained questions which are so difficult to understand because they restrict a person within the world of senses and do not let him look beyond that. strange questions like who are gandharvas, kinnaras, yakshas and yakshis. i have heard them to be some sort of spirits as aghora puts it believing in them is quite a different story.
there are other questions on why the path of circum-ambulation has been so important. its seems to be in line with the fields of energy that encircles the main garbha griha, which itself is the main store house of potent energy.
another thought is about the mention of vehicles like pushpaka vimana which can be controlled by the mind and necessarily has a charioteer. well that apart there are "divyastras" like the "pasupatastra" which can kill and destroy the whole universe. the rules of usage are precribed that it should not be "wasted" on a mere mortal as it can cause great harm, but should be used on a supernatural being privileged to handle it. it can be controlled by the mind, the eyes, as well as the bow.
well why look at people out of mythology, the lotus flower itself is believed to be a store house of energy. hence most of the energy centers along the spine in kundalini yoga are depictions of a lotus flower with varied number of petals, with the bija mantra of a particular deity embedded in them.
on a larger scale we can just wonder why the caves of elephanta (mumbai) are carved the way they are. its based on the mandala pattern of shiva, with most of his sculptures adorning its walls. Or for that matter why are there so many erotic sculptures around the temples of khajuraho? they conceal tantric diagrams of mandalas used to protect the temple, which distract the uninitiated from knowing the true value of these sculptures and delight them with raw sex instead.
to be honest our forefathers were not playing the fool. the temple of chidambaram was not constructed for fun but based on the energy center of one of the chakras known in kundalini yoga. hinduism is a way a life. it needs to be understood and passionately. its beyond the limits of the senses and therefore can only be experienced and cannot be explained. its subtle and complex and it requires deep intellect to get the hang of it.
the west will never get it right, because they are blinded by their senses. they believe in that which exists, that which can be touched, smelt, tasted, seen, or heard. within this limited scope the west has managed to prove certain things, the rest has largely been left to imagination.
there is a lot to learn here, and until we have the drive, we aint going to get anywhere near it. nothing comes easy, nothing can be spoon fed. thats the whole reason why we have lasted this long. i really wonder what kind of free world they are talking about. every thing has a meaning, every ritual has a purpose. maybe we are not half as interested to know what we are fully capable of.
this has raised questions, unexplained questions which are so difficult to understand because they restrict a person within the world of senses and do not let him look beyond that. strange questions like who are gandharvas, kinnaras, yakshas and yakshis. i have heard them to be some sort of spirits as aghora puts it believing in them is quite a different story.
there are other questions on why the path of circum-ambulation has been so important. its seems to be in line with the fields of energy that encircles the main garbha griha, which itself is the main store house of potent energy.
another thought is about the mention of vehicles like pushpaka vimana which can be controlled by the mind and necessarily has a charioteer. well that apart there are "divyastras" like the "pasupatastra" which can kill and destroy the whole universe. the rules of usage are precribed that it should not be "wasted" on a mere mortal as it can cause great harm, but should be used on a supernatural being privileged to handle it. it can be controlled by the mind, the eyes, as well as the bow.
well why look at people out of mythology, the lotus flower itself is believed to be a store house of energy. hence most of the energy centers along the spine in kundalini yoga are depictions of a lotus flower with varied number of petals, with the bija mantra of a particular deity embedded in them.
on a larger scale we can just wonder why the caves of elephanta (mumbai) are carved the way they are. its based on the mandala pattern of shiva, with most of his sculptures adorning its walls. Or for that matter why are there so many erotic sculptures around the temples of khajuraho? they conceal tantric diagrams of mandalas used to protect the temple, which distract the uninitiated from knowing the true value of these sculptures and delight them with raw sex instead.
to be honest our forefathers were not playing the fool. the temple of chidambaram was not constructed for fun but based on the energy center of one of the chakras known in kundalini yoga. hinduism is a way a life. it needs to be understood and passionately. its beyond the limits of the senses and therefore can only be experienced and cannot be explained. its subtle and complex and it requires deep intellect to get the hang of it.
the west will never get it right, because they are blinded by their senses. they believe in that which exists, that which can be touched, smelt, tasted, seen, or heard. within this limited scope the west has managed to prove certain things, the rest has largely been left to imagination.
there is a lot to learn here, and until we have the drive, we aint going to get anywhere near it. nothing comes easy, nothing can be spoon fed. thats the whole reason why we have lasted this long. i really wonder what kind of free world they are talking about. every thing has a meaning, every ritual has a purpose. maybe we are not half as interested to know what we are fully capable of.
3.08.2005
Its called the Trimurti cave
Mahabalipuram, Trimurti cave, Tamil Nadu:
Its a cave i have been missing for a while, and a long while at that. 7 years is a long time, to miss something which is so close to home!!! How could i miss it is all i ask myself right now!
but the feeling of discovering something new is great, specially when everything is so known in this little town. And a quaint little town it is. This cave is hidden, one needs to walk a little and hunt around and get there. Its hidden among rock caves, and its a complete beauty when its found!
this cave, dedicated to the trinity, has a few interesting features. it has three shrines, each dedicated to shiva, vishnu and brahma respectively. all three have flying ganas, a very shaivite symbolism. vishnu stands in samabhanga pose, stiff backed, hand resting on his hip. shiva looks half clad, brahma, well he didnt look himself.
there are three seperate entrances to each shallow shrine into the cave, the center one seems to be dedicated to shiva, though the corner one looked like they had sculpted him in the background. to be honest am still guessing here. but the interesting element is that this cave having been so well hidden that the shiva linga in the central cave still stands.
its a beautiful linga. black and clearly carved into three parts. The upper part is the "shiva bhaga" which is circular and depicts the linga in true style. The second part (lower) called the vishnu bhaga, is octagonal and the lowest half which is inserted into the yoni pitha is the brahma bhaga which is square, fitting perfectly into a square cavity in the stone floor.
the facade of this cave has a line of haras, in true dravida style of architecture. Among the dwarapalas who guard the entrances, there is a beautiful sculpture of the mother goddess, Mahishasuramardhini which looks more like an after thought to me.
a completely perfect cave... untouched by time.
Its a cave i have been missing for a while, and a long while at that. 7 years is a long time, to miss something which is so close to home!!! How could i miss it is all i ask myself right now!
but the feeling of discovering something new is great, specially when everything is so known in this little town. And a quaint little town it is. This cave is hidden, one needs to walk a little and hunt around and get there. Its hidden among rock caves, and its a complete beauty when its found!
this cave, dedicated to the trinity, has a few interesting features. it has three shrines, each dedicated to shiva, vishnu and brahma respectively. all three have flying ganas, a very shaivite symbolism. vishnu stands in samabhanga pose, stiff backed, hand resting on his hip. shiva looks half clad, brahma, well he didnt look himself.
there are three seperate entrances to each shallow shrine into the cave, the center one seems to be dedicated to shiva, though the corner one looked like they had sculpted him in the background. to be honest am still guessing here. but the interesting element is that this cave having been so well hidden that the shiva linga in the central cave still stands.
its a beautiful linga. black and clearly carved into three parts. The upper part is the "shiva bhaga" which is circular and depicts the linga in true style. The second part (lower) called the vishnu bhaga, is octagonal and the lowest half which is inserted into the yoni pitha is the brahma bhaga which is square, fitting perfectly into a square cavity in the stone floor.
the facade of this cave has a line of haras, in true dravida style of architecture. Among the dwarapalas who guard the entrances, there is a beautiful sculpture of the mother goddess, Mahishasuramardhini which looks more like an after thought to me.
a completely perfect cave... untouched by time.
2.24.2005
Importance to Vishnu in Kiratarjuniya Panel
Kiratarjuniya Panel, Mamallapuram, Tamil Nadu, India:
Beauty of this sculptural panel is that it is the depiction of the poetry of Bharavi, a poet during the Pallava period. The beauty of this panel is that it depicts poetry through a scultors eye. He describes a dramatic scene from the Mahabharata where arjuna does severe penance to aquire various weapons for war, from the Gods. This is one such story where Shiva tests Arjuna's devotion by being a hunter opponent who kills a wild boar at the same time as arjuna strikes it as well. Here Shiva, disguised as a hunter comes to Arjuna who is going through severe penance to aquire the "pasupatastra". Interesting name that denotes the pasupata cult of shaivism.
Thats the story. Now lets look at its reference with respect to the panel, and in relation to Vishnu. Through out vishnu's vahana Garuda, has been replaced by a boar, the Varaha incarnate. Yet in this panel there seems to be no reference to a boar, that was supposed to kill arjuna and definitely was not supposed to be Varaha.
Secondly, in the profound drama taking place across this panel, which strongly represents shaivism, there seem to be hints of Vaishnavite flavour in select areas. This picture displays Vishnu in true form, in Samabhanga pose( stiff, back straight, hand resting on hip) in a strong brahmin environment where, there is depicted a sage who is shown as a scribe here, with a few other headless disciples listening to his possible discourse. The ambience of a village or a gurukul has been most beautifully brought out.
This seems to be located near a river, which is brought to life every time it rains at mahabalipuram (a rarity around Chennai these days). Next to him are a series of sages taking a bath and worshipping the sun god. It is interesting to note that in the middle of this theatrical event, Vishnu has gathered a special place as the deity in a shrine, at the bottom of this panel. This is probably the only place where he is represented in this form.
Beauty of this sculptural panel is that it is the depiction of the poetry of Bharavi, a poet during the Pallava period. The beauty of this panel is that it depicts poetry through a scultors eye. He describes a dramatic scene from the Mahabharata where arjuna does severe penance to aquire various weapons for war, from the Gods. This is one such story where Shiva tests Arjuna's devotion by being a hunter opponent who kills a wild boar at the same time as arjuna strikes it as well. Here Shiva, disguised as a hunter comes to Arjuna who is going through severe penance to aquire the "pasupatastra". Interesting name that denotes the pasupata cult of shaivism.
Thats the story. Now lets look at its reference with respect to the panel, and in relation to Vishnu. Through out vishnu's vahana Garuda, has been replaced by a boar, the Varaha incarnate. Yet in this panel there seems to be no reference to a boar, that was supposed to kill arjuna and definitely was not supposed to be Varaha.
Secondly, in the profound drama taking place across this panel, which strongly represents shaivism, there seem to be hints of Vaishnavite flavour in select areas. This picture displays Vishnu in true form, in Samabhanga pose( stiff, back straight, hand resting on hip) in a strong brahmin environment where, there is depicted a sage who is shown as a scribe here, with a few other headless disciples listening to his possible discourse. The ambience of a village or a gurukul has been most beautifully brought out.
This seems to be located near a river, which is brought to life every time it rains at mahabalipuram (a rarity around Chennai these days). Next to him are a series of sages taking a bath and worshipping the sun god. It is interesting to note that in the middle of this theatrical event, Vishnu has gathered a special place as the deity in a shrine, at the bottom of this panel. This is probably the only place where he is represented in this form.
2.17.2005
Vishnu on ananta - Mahabalipuram
Cave shrines at Mahabalipuram, Tamil Nadu:
Deviating from Shiva, Vishnu is depicted in a limited set of forms across Mahabalipuram. Well to think that shiva's somaskanda panel is all we get to see apart from Kiratarjuniya panel, vishnu cult definitely had more to show for it!
Yet its interesting to note that garuda, Vishnu's vahana is not seen anywhere. Here, Vishnu reclining on ananta is one of the most exploited concepts at Mahabalipuram. In this particular panel, he is seen reclining with Madhu and Kaitaba, two demons on the mode of silent attack .
A very relaxed Vishnu is sculpted lying on ananta, five hooded with attendants. Brahma is not there but is replaced by flying celetials. The beauty of these panels is that its represented not just in art but in dance as well. These stories have been depicted in art, dance and literature. All the forms of expression for a concept, whose subtle meaning still remains a question! What aspect of the subtle reality were they trying to tell us, its something i still fail to realize.
Deviating from Shiva, Vishnu is depicted in a limited set of forms across Mahabalipuram. Well to think that shiva's somaskanda panel is all we get to see apart from Kiratarjuniya panel, vishnu cult definitely had more to show for it!
Yet its interesting to note that garuda, Vishnu's vahana is not seen anywhere. Here, Vishnu reclining on ananta is one of the most exploited concepts at Mahabalipuram. In this particular panel, he is seen reclining with Madhu and Kaitaba, two demons on the mode of silent attack .
A very relaxed Vishnu is sculpted lying on ananta, five hooded with attendants. Brahma is not there but is replaced by flying celetials. The beauty of these panels is that its represented not just in art but in dance as well. These stories have been depicted in art, dance and literature. All the forms of expression for a concept, whose subtle meaning still remains a question! What aspect of the subtle reality were they trying to tell us, its something i still fail to realize.
2.14.2005
Shiva - the enticer
He sits there silent, stone cold, like nothing ever bothers him. He is passive silent distant and truely unapproachable. His potency spreads like wild fire to all those who seek him, yet he sits there... silent unattainable.
to awaken him is tough, to tell him i have come is tough, to ask him to shower his attention on me is tough... to give up my ego is tough. How then do i ask him to look at me? how then do i ask him about life.. how then do i ask him to explain what brought me here... when he just sits there silent... shut.
i wait, wait and wait... while life just goes by... i patiently wait dreaming of him all the time. I wait just hoping somewhere he will notice me... i wait to just have him explain "me" to me. yet he sits there silent....
i give up, engulfed in anger, desperation.. dont you hear me... he doesnt budge... he tests me. i look for him around me, i try to figure him out. yet stone cold is all i see. where is your emotion, dont you have a heart. i have given up all to get here and you dont even take a glance? no... i should wait and watch... wait .. just wait .. thats all there is to it. I feel the chilling breeze, in my breath, i feel the chill in my throat. i feel the freshness in the air when i fix my mind on him.
there is no pleasure nor pain, there is no sign of life.. just calm, simple calm on his face. i dont know what to expect...yet i feel the heat rise. whats in his mind, whats in that world, that resembles a thousand petalled lotus? what is that energy which i know exists.. but i fail to just see it within my limited self.
i feel the heat in my eyes, i hear every beat of me heart. i can see the madness in every rising emotion as it rebels within my being... the noise inside me is hard to control, the fleeting emotions too hard to bear, while all lies silent outside... silent calm and cold. what is this that controls me, what is this that attracts. what is this makes me crave for it when i just cant seem to get.
is this something i imagine, is this something that really exists, what ever it is... i rather not question for i simply fail to understand it... i feel like him, i behave like him, i try to be him... yet incomplete... yet frustrating... where is the essence of him. all i want is a drop of him, a drop to bathe me in his being. as i sit and chop my human being, in sheer anger and frustration. as i shred it to pieces to look for him within... as i cry in pain and kill while i cant seem to find my answer.... i stop to hear the rhytm within myself...the rythm of of creation within myself.... shiva awakens within me.... and draws me to himself. the power uncontrolled, burns my aching body, his essence flows over and dissolves me within... i cease to exist anymore... i cease to think... i cease to be...
to awaken him is tough, to tell him i have come is tough, to ask him to shower his attention on me is tough... to give up my ego is tough. How then do i ask him to look at me? how then do i ask him about life.. how then do i ask him to explain what brought me here... when he just sits there silent... shut.
i wait, wait and wait... while life just goes by... i patiently wait dreaming of him all the time. I wait just hoping somewhere he will notice me... i wait to just have him explain "me" to me. yet he sits there silent....
i give up, engulfed in anger, desperation.. dont you hear me... he doesnt budge... he tests me. i look for him around me, i try to figure him out. yet stone cold is all i see. where is your emotion, dont you have a heart. i have given up all to get here and you dont even take a glance? no... i should wait and watch... wait .. just wait .. thats all there is to it. I feel the chilling breeze, in my breath, i feel the chill in my throat. i feel the freshness in the air when i fix my mind on him.
there is no pleasure nor pain, there is no sign of life.. just calm, simple calm on his face. i dont know what to expect...yet i feel the heat rise. whats in his mind, whats in that world, that resembles a thousand petalled lotus? what is that energy which i know exists.. but i fail to just see it within my limited self.
i feel the heat in my eyes, i hear every beat of me heart. i can see the madness in every rising emotion as it rebels within my being... the noise inside me is hard to control, the fleeting emotions too hard to bear, while all lies silent outside... silent calm and cold. what is this that controls me, what is this that attracts. what is this makes me crave for it when i just cant seem to get.
is this something i imagine, is this something that really exists, what ever it is... i rather not question for i simply fail to understand it... i feel like him, i behave like him, i try to be him... yet incomplete... yet frustrating... where is the essence of him. all i want is a drop of him, a drop to bathe me in his being. as i sit and chop my human being, in sheer anger and frustration. as i shred it to pieces to look for him within... as i cry in pain and kill while i cant seem to find my answer.... i stop to hear the rhytm within myself...the rythm of of creation within myself.... shiva awakens within me.... and draws me to himself. the power uncontrolled, burns my aching body, his essence flows over and dissolves me within... i cease to exist anymore... i cease to think... i cease to be...
Shiva - the unattainable
Shiva, is self taught, raw, unadutrated truth, too hard to digest, too hard to comprehend, too hard to accept in our pathetic lives. he is the maverick, who casts his spell on those who are capable of taking it. he is potent, undigestable, at the same time loving in his own way.
to love shiva is to love none other. to want him is to give up all social rules and obligations, to attain him is to die a human. he is a spark that cannot be explained, yet vast and enveloping you at the same time. he is power, he is fear, he is truth, he is death. he is my madness within which lies dormant waiting to pour forth...
he is within me silent as ever, yet i feel his presence withing my walls. he empowers me to take on any problem... to live with it like that is life. he makes me accept the outlandish, he makes me give up myself. he is my breath, he makes me quiver, reveals to me a person i have never known. i have looked for him everywhere, they say he would come and teach me the way i can learn. i see him every where now beyond this mundane world i live, stuck in its own ignorance... i rise. its not simple, me heart aches, it pains...while it tells me to leave everything behind, leave every one behind.
from here on i tread alone, a road less travelled, a road feared, a road unknown. a road silent, a road throbbing with passion, a road unexplained, a road left to experience, a road dangerous, the mortal killer, oh lift me from this misery called life.. take me away from it... far far away...to an unknown world where i know nothing, i take birth to breath teh fresh potent air of love, of devotion.. of shiva...i sink, and yet in a sweet voice he says come.. i will take care of you.
he leaves me in tears.. he melts my heart, for him nothing else seems to matter no more. i awaken in his arms like a baby, where all i learn and see.. is his beauty...those eyes.. they are feared, respected, left alone. now he is with me...
to love shiva is to love none other. to want him is to give up all social rules and obligations, to attain him is to die a human. he is a spark that cannot be explained, yet vast and enveloping you at the same time. he is power, he is fear, he is truth, he is death. he is my madness within which lies dormant waiting to pour forth...
he is within me silent as ever, yet i feel his presence withing my walls. he empowers me to take on any problem... to live with it like that is life. he makes me accept the outlandish, he makes me give up myself. he is my breath, he makes me quiver, reveals to me a person i have never known. i have looked for him everywhere, they say he would come and teach me the way i can learn. i see him every where now beyond this mundane world i live, stuck in its own ignorance... i rise. its not simple, me heart aches, it pains...while it tells me to leave everything behind, leave every one behind.
from here on i tread alone, a road less travelled, a road feared, a road unknown. a road silent, a road throbbing with passion, a road unexplained, a road left to experience, a road dangerous, the mortal killer, oh lift me from this misery called life.. take me away from it... far far away...to an unknown world where i know nothing, i take birth to breath teh fresh potent air of love, of devotion.. of shiva...i sink, and yet in a sweet voice he says come.. i will take care of you.
he leaves me in tears.. he melts my heart, for him nothing else seems to matter no more. i awaken in his arms like a baby, where all i learn and see.. is his beauty...those eyes.. they are feared, respected, left alone. now he is with me...
2.11.2005
Vimana - a mysterious word in itself.
I have had a lot of people coming up with interesting comments on the Vimana. Here are a few view points! These are not discoveries made by these individuals, but ideas that have quite taken their fascination.
Mr. Joshi, a retired civil engineer doing his own research, a very interesting personality with unique ideas and experiences to narrate, is of the opinion that the pyramidal structure had a very close relation to the pyramids in egypt as well as those in Gautamala peninsula of the Mayas, conceptually, as its believed that there is a point in the center of the pyramid that holds mysteries of keeping anything lasting longer within its interiors.
Taking his view further, its indeed true that in the large pramid at giza, the kings chamber is exactly one third the distance from the bottom. This spot offers exceptional energies that increase the immortality curve for anything thats is perishable within its space(a mummy probably in this case as the egyptians are known to enbalm their dead). How does this apply to a vimana (dravida style down south in india, nagara style in north india or angkhor wat in cambodia) is anyones guess.
Srinivasan, a cartoonist, a coleague and a good friend of mine is of the opinion that vimanas are mainly vehicles or 'viman', which suits the temples as most of them were "chariots of the Gods". The pushpaka vimana(ravana abducted sita using this vehicle) has quite intrigued him, as a machine that has been described to be used to fly across the sky to transport devas and other divinities, and strictly has a charioteer. The science of this is of course lost maybe, but it does throw a lot of light on the Rathas as a vehicle. At ellora of course, there is a depiction of a chariot with sita while ravana fights jatayu.
The third opinion on the vimana is that it is a part of a larger structure that represents the human body, starting from the stupi (head) , the gala (neck) the vimana (body) ending in the kapota(roof) , the bhiti (walls) housing the garbha griha(womb house), the mandapas (legs), and finally the gajastambha as the feet. It depicts the human body seated with legs outstretched.
What ever the vimana ultimately meant, it reached the pinnacle of expression in the temple of tanjore and gangaikondacholapuram in the south and that of khandriya mahadeva in the north, at khajuraho. Its depiction raises serious question on what a vimana was viewed to be. Was it a pyramidal structure that defined the path to heaven for the human soul to rise, was it a pyramidal structure that preserved perishable material for longer within its walls or was it a Chariot that flew across the sky transporting celestial beings.Was it a representation of mount kailasa with all its minor vimanas tapering towards the highest pinnacle or was it a representation of the human body being the personification of the atman within?
Honestly, i wouldnt know! Please let me know what you think!
Mr. Joshi, a retired civil engineer doing his own research, a very interesting personality with unique ideas and experiences to narrate, is of the opinion that the pyramidal structure had a very close relation to the pyramids in egypt as well as those in Gautamala peninsula of the Mayas, conceptually, as its believed that there is a point in the center of the pyramid that holds mysteries of keeping anything lasting longer within its interiors.
Taking his view further, its indeed true that in the large pramid at giza, the kings chamber is exactly one third the distance from the bottom. This spot offers exceptional energies that increase the immortality curve for anything thats is perishable within its space(a mummy probably in this case as the egyptians are known to enbalm their dead). How does this apply to a vimana (dravida style down south in india, nagara style in north india or angkhor wat in cambodia) is anyones guess.
Srinivasan, a cartoonist, a coleague and a good friend of mine is of the opinion that vimanas are mainly vehicles or 'viman', which suits the temples as most of them were "chariots of the Gods". The pushpaka vimana(ravana abducted sita using this vehicle) has quite intrigued him, as a machine that has been described to be used to fly across the sky to transport devas and other divinities, and strictly has a charioteer. The science of this is of course lost maybe, but it does throw a lot of light on the Rathas as a vehicle. At ellora of course, there is a depiction of a chariot with sita while ravana fights jatayu.
The third opinion on the vimana is that it is a part of a larger structure that represents the human body, starting from the stupi (head) , the gala (neck) the vimana (body) ending in the kapota(roof) , the bhiti (walls) housing the garbha griha(womb house), the mandapas (legs), and finally the gajastambha as the feet. It depicts the human body seated with legs outstretched.
What ever the vimana ultimately meant, it reached the pinnacle of expression in the temple of tanjore and gangaikondacholapuram in the south and that of khandriya mahadeva in the north, at khajuraho. Its depiction raises serious question on what a vimana was viewed to be. Was it a pyramidal structure that defined the path to heaven for the human soul to rise, was it a pyramidal structure that preserved perishable material for longer within its walls or was it a Chariot that flew across the sky transporting celestial beings.Was it a representation of mount kailasa with all its minor vimanas tapering towards the highest pinnacle or was it a representation of the human body being the personification of the atman within?
Honestly, i wouldnt know! Please let me know what you think!
2.08.2005
Dharmaraja Ratha - A shiva iconographic catalogue
The Dharmaraja ratha being the largest of the rathas, has been dedicated to shiva. It has a stone ladder which reaches up to the first floor where sculptures are carved into various niches of the ground floor as well as the first two upper storeys, offering a catalogue of pallava iconography, in a three storeyed vimana. The dharmaraja ratha is unfinished, but the first storey has been hollowed out and is empty. The figures in the niches of the dharmaraja ratha are in perfect early pallava style of sculpture. There are shallow porticos on three sides of the ratha and an equally shallow porch projects from the west.
The dharmaraja ratha is an Anarpita vimana ie. the haras are not attached to the Haramyas, thus leaving a circumambulatory passage behind. This permitted niches with sculptures on the haramya wall, figures of shiva decorate all the three talas, which were meant to have sanctuaries. The aditala was intended to consist of a sanctuary surrounded by a pradakshina patha, with closed walls only at the four corners. The aditala has eight scupltural panels. Two figures of shiva, each with four arms face west. Brahma and harihara face north. Shiva ardhanarishwara and skanda as Gurumurthi face east. Four armed shiva and royal figures face south.
Madhya tala of the unfinished sanctuary with its shallow portico occupy the center of the western side. Flanked by pairs of dwarapalas and shiva kankalamurti other sculptures include, shiva vinadhara, four armed shiva with a atandu, shiva with chandesa, gangadhara, vishnu leaning on garuda and vrishabhantika(vrishabhavana ).
Interestingly, the dharmaraja ratha also lays the architectural foundation of possibilities for the designs of the Kailashnatha temple at Kanchi as well as the Vaikunta Perumal temple. These temples lead to the upper floors, which in later temples is lavishly painted and left in the dark inner passages around the sanctum.
The dharmaraja ratha is an Anarpita vimana ie. the haras are not attached to the Haramyas, thus leaving a circumambulatory passage behind. This permitted niches with sculptures on the haramya wall, figures of shiva decorate all the three talas, which were meant to have sanctuaries. The aditala was intended to consist of a sanctuary surrounded by a pradakshina patha, with closed walls only at the four corners. The aditala has eight scupltural panels. Two figures of shiva, each with four arms face west. Brahma and harihara face north. Shiva ardhanarishwara and skanda as Gurumurthi face east. Four armed shiva and royal figures face south.
Madhya tala of the unfinished sanctuary with its shallow portico occupy the center of the western side. Flanked by pairs of dwarapalas and shiva kankalamurti other sculptures include, shiva vinadhara, four armed shiva with a atandu, shiva with chandesa, gangadhara, vishnu leaning on garuda and vrishabhantika(vrishabhavana ).
Interestingly, the dharmaraja ratha also lays the architectural foundation of possibilities for the designs of the Kailashnatha temple at Kanchi as well as the Vaikunta Perumal temple. These temples lead to the upper floors, which in later temples is lavishly painted and left in the dark inner passages around the sanctum.
2.04.2005
Dharmaraja Ratha - true beauty in dravida style
Gigantic with respect to all the other rathas found here, the dharmaraja ratha is a chariot of the Lord Shiva. A larger version of the Arjuna ratha, it displays all the aspects of true dravida style. A pyramidal structure with 3 tiers before the shikhara appears, here also called the stupi.
There are various interpretations to this stupi. One is that it represents the peak of Mount Meru, the other is that its has been influenced by the buddhist stupa, which is actually a mound for the dead (a sort of ancestral worship where the ancestors were the various gurus in the buddhist sangha and not exactly blood relations). The largest of its kind can be seen on a 10 ton rock atop the brihadeshwara temple in Tanjore.
The haras contain smaller rooflets called karnakutas(corners) and shalakutas (broader in center). One can walk along the first floor through a flight of steps. The next best temple to really show the true characterestics of dravida architecture under the pallavas is at kailashanatha temple at kanchipuram, where entry into the top floors is from the back of the temple. This ratha is obviously incomplete. yet there are hints of squarting lions supporting pillars. This temple is rich in iconography as it displays shiva in various roles around the main body of the temple. It has to be noted here that pallava sculpture compare to their neighbours was very simplified puerly becuase of the hardness of the rock like granite. Its in the later periods that they manage to handle the stone far better. This also indicates the adventurous move into stone from wood.
There are various interpretations to this stupi. One is that it represents the peak of Mount Meru, the other is that its has been influenced by the buddhist stupa, which is actually a mound for the dead (a sort of ancestral worship where the ancestors were the various gurus in the buddhist sangha and not exactly blood relations). The largest of its kind can be seen on a 10 ton rock atop the brihadeshwara temple in Tanjore.
The haras contain smaller rooflets called karnakutas(corners) and shalakutas (broader in center). One can walk along the first floor through a flight of steps. The next best temple to really show the true characterestics of dravida architecture under the pallavas is at kailashanatha temple at kanchipuram, where entry into the top floors is from the back of the temple. This ratha is obviously incomplete. yet there are hints of squarting lions supporting pillars. This temple is rich in iconography as it displays shiva in various roles around the main body of the temple. It has to be noted here that pallava sculpture compare to their neighbours was very simplified puerly becuase of the hardness of the rock like granite. Its in the later periods that they manage to handle the stone far better. This also indicates the adventurous move into stone from wood.
2.01.2005
Nakula sahadeva ratha - Temple for Indra
Indra is a deity very closely associated with Buddhism, the edicts of Ashoka were carved on pillars which took their idea from his staff. The story of Indra goes way back to pre aryan beliefs of water cosmology. The edicts were engraved on pillars which laid the foundation for later styles of pillar architecture.
The buddhist chaityas were the first to display such maturity in style, where the symbolic pot containing the tree of life was actually enhanced into pillars, still retaining its original form and sybolism. Of course along the way this changes but traces of it are seen in this ratha right here at mahabalipuram.
Whats interesting about this ratha is that it takes its idea from a remote chaitya in besra, where the chaitya griha and the vihara have been incorporated into the one single building. Yet when a chaitya griha is removed from the live rock and reproduced as a structural temple, or carved out of monolithic rock, what appears finally is the nakula sahadeva ratha. The barrel vaulted roof from the outside now appears like "gajaprshta" or elephant back side which is very clear in this picture. Hence its also clear with the monolithic rock elephant carved next to it, that the cave has been dedicated to Indra. Whats stands out most is the prominent arch window at the entrance of the ratha, depicting the altar inside, though the real altar is not carved into the rock as its rather small. The pillars of this ratha though are more inclined towards pallava style than towards the old buddhist tradition of pot based pillars. Two lines of haras crown the super structure indicating a merger of two architectural traditions - buddhist and dravida.
It might also be of great interest that the first cave at ajanta actually depicts a small dravida temple from mahabalipuram on its walls, indicating a healthy exchange of ideas between the two regions.
The buddhist chaityas were the first to display such maturity in style, where the symbolic pot containing the tree of life was actually enhanced into pillars, still retaining its original form and sybolism. Of course along the way this changes but traces of it are seen in this ratha right here at mahabalipuram.
Whats interesting about this ratha is that it takes its idea from a remote chaitya in besra, where the chaitya griha and the vihara have been incorporated into the one single building. Yet when a chaitya griha is removed from the live rock and reproduced as a structural temple, or carved out of monolithic rock, what appears finally is the nakula sahadeva ratha. The barrel vaulted roof from the outside now appears like "gajaprshta" or elephant back side which is very clear in this picture. Hence its also clear with the monolithic rock elephant carved next to it, that the cave has been dedicated to Indra. Whats stands out most is the prominent arch window at the entrance of the ratha, depicting the altar inside, though the real altar is not carved into the rock as its rather small. The pillars of this ratha though are more inclined towards pallava style than towards the old buddhist tradition of pot based pillars. Two lines of haras crown the super structure indicating a merger of two architectural traditions - buddhist and dravida.
It might also be of great interest that the first cave at ajanta actually depicts a small dravida temple from mahabalipuram on its walls, indicating a healthy exchange of ideas between the two regions.
1.31.2005
Bhima ratha - Abode of Vishnu
Surprizing as it may sound, and very rightly deduced by J C Harle, there is a very high likelyhood that this ratha was attributed to none other than vishnu himself. The unfinished carving of the interior and the very width of this cave indicates, that there are strong possibilities of a plan for a reclining vishnu on ananta well within these walls.
And how sure are we? to think that mahabalipuram already flaunts 2 other reclining vishnus not too far away in the mahishasuramardhini cave as well as in the heart of the shore temple, it appears that vishnu had a very strong role to play as a cult deity paralleling shiva, who seems to have gained reasonably strong ground in these regions. whats even more interesting is that apart from this form vishnu has been depicted in his varaha incarnate as well as trivikrama in the varaha cave. These is interestingly the krishna govardhana panel that cannot be ignored, but all in all there is no garuda depicted, instead we have a boar right next to the shore temple. The boar is the varaha incarnate and definitely not the vahana as it would project itself to be in this case.
So coming back to the unfinished rock we see at the left of the Bhima ratha (not visible here) its very clear that there is a strong possibility of a boar being carved out of this rock more than garuda, as we have previously seen next to the shore temple. Inicidentally, the rock is unfinished, but there is no indication that a boar could have been carved there. yet given the trend of the way things seemed to have worked there, its highly possible that a boar would have taken position next to the Bhima ratha indicating this cave being dedicated to Vishnu.
Pulling ourselves a step away, is there a point we are beginning to see here? The rathas seem to be dedicated to the respective deities, Mother goddess, Shiva, vishnu, Indra ... the only ratha that does not follow the rule is the Dharmaraja ratha, which takes on Shiva, and displays an entire calatogue of shiva iconography on its walls.
truely amazing apart from iconography is also the architectural elements of this ratha. this is one of the few monuments that seems to have taken after the chaitya graha at Besra, this again is quoting J C Harle. Interesting opinion as we notice very clearly that a small cell in the besra monument has very beautifully been depicted here on monolithic rock on the roof of Bhima ratha. even more interesting is that most of the old houses (wooden prototypes) depicted on the bharut and sanchi stupa have remote resemblances with this roof!
Interestingly the botton line is that the main arched window atop most of the structures seems to be the main source of light into these houses. Very close to the buddhist chaitya graha - or the later cathedrals for that matter. yet the corners indicate barrel vaulted roof which has a stupa at the far end - altar maybe. The pillars like the rest of the monuments echoes pallava style with squarting yalis at the base.
Interestingly this ratha is also the prototype to later Gopurams that sprang up during the later pallava and chola periods. If you had to add more of this roof to itself and taper them as you go along, you end up with a gopuram. Interestingly, the ganesha ratha is a clear indicator of such innovations in architecture. The finial of this structure seems to find itself not only at the roof (currently destroyed) but around the rathas as well, specifically the draupadi ratha! Am yet to figure out their function. The main decor of the roof has a kapota and a line of shala kutas and karna kutas forming one hara above the pillars. These are interspaced with smaller arched windows or gavakshas also called kudus in Tamil.
And how sure are we? to think that mahabalipuram already flaunts 2 other reclining vishnus not too far away in the mahishasuramardhini cave as well as in the heart of the shore temple, it appears that vishnu had a very strong role to play as a cult deity paralleling shiva, who seems to have gained reasonably strong ground in these regions. whats even more interesting is that apart from this form vishnu has been depicted in his varaha incarnate as well as trivikrama in the varaha cave. These is interestingly the krishna govardhana panel that cannot be ignored, but all in all there is no garuda depicted, instead we have a boar right next to the shore temple. The boar is the varaha incarnate and definitely not the vahana as it would project itself to be in this case.
So coming back to the unfinished rock we see at the left of the Bhima ratha (not visible here) its very clear that there is a strong possibility of a boar being carved out of this rock more than garuda, as we have previously seen next to the shore temple. Inicidentally, the rock is unfinished, but there is no indication that a boar could have been carved there. yet given the trend of the way things seemed to have worked there, its highly possible that a boar would have taken position next to the Bhima ratha indicating this cave being dedicated to Vishnu.
Pulling ourselves a step away, is there a point we are beginning to see here? The rathas seem to be dedicated to the respective deities, Mother goddess, Shiva, vishnu, Indra ... the only ratha that does not follow the rule is the Dharmaraja ratha, which takes on Shiva, and displays an entire calatogue of shiva iconography on its walls.
truely amazing apart from iconography is also the architectural elements of this ratha. this is one of the few monuments that seems to have taken after the chaitya graha at Besra, this again is quoting J C Harle. Interesting opinion as we notice very clearly that a small cell in the besra monument has very beautifully been depicted here on monolithic rock on the roof of Bhima ratha. even more interesting is that most of the old houses (wooden prototypes) depicted on the bharut and sanchi stupa have remote resemblances with this roof!
Interestingly the botton line is that the main arched window atop most of the structures seems to be the main source of light into these houses. Very close to the buddhist chaitya graha - or the later cathedrals for that matter. yet the corners indicate barrel vaulted roof which has a stupa at the far end - altar maybe. The pillars like the rest of the monuments echoes pallava style with squarting yalis at the base.
Interestingly this ratha is also the prototype to later Gopurams that sprang up during the later pallava and chola periods. If you had to add more of this roof to itself and taper them as you go along, you end up with a gopuram. Interestingly, the ganesha ratha is a clear indicator of such innovations in architecture. The finial of this structure seems to find itself not only at the roof (currently destroyed) but around the rathas as well, specifically the draupadi ratha! Am yet to figure out their function. The main decor of the roof has a kapota and a line of shala kutas and karna kutas forming one hara above the pillars. These are interspaced with smaller arched windows or gavakshas also called kudus in Tamil.
1.28.2005
Smashan tara, a form of Kali?
The mystery of the draupadi ratha has indeed made me post again. Dwelling into the tantric cult of west bengal, here is something of interest:
At midnight on the dark night of the moon an aghori sits alone in the great cremation ground (smashan) of Tarapith the 'sacred site of Tara' in Bengal, India. He is naked or 'sky-clad', fearless and unashamed, and gazes in wonder at the resplendent form of his beloved goddess, Smashan Tara. His matted hair is piled up into a topknot symbolizing that he upholds his tantric vows, and the rest of his hair hangs down freely representing
that he is completely free from the restraints of conventional reality. His right hand holds a skull, indicating that he has realized the insubstantial nature of all phenomena and the ultimate truth of selflessness. With his left hand he counts the beads of a rosary made from rudraksha seeds as he invokes the goddess with her mantra. He is seated upon a stone plinth and surrounded by pieces of bone from the charnel ground, and has created a protective circle around himself by hammering pegs of bone into the ground and binding them with black thread a ritual practice known as kilana.
Behind the aghori's head is a small Shiva temple crowned with an iron trident, whilst in the background are a range of triangular mountains and the ascending columns of smoke from smoldering funeral pyres. Behind his back is a shrine to Bhairava and Bhairavi the wrathful forms of Shiva and his consort Parvati which are represented by a stone boulder with a wrathful face painted upon it, and a trunk of wood painted with the three eyes of the goddess. In front of this shrine are three skulls, which represent Shiva's mastery over the three gunas or qualities of nature dynamic (rajas), pure (sattva), and inert (tamas). At the back of this shrine is a leafless bel or bilva tree a tree that is especially sacred to Shiva and to all manifestations of the goddesses or shaktis. In front of the aghori is a female jackal, who serves as the 'messenger' or emissary of Smashan Tara. The jackal bares her teeth and gazes back lovingly towards her Mistress, after she has crossed the boundary of the aghori's protective circle with her right paw. Behind the jackal is a wrathful lamp fashioned from an upturned human skull. The skull rests upon a square block representing the element of earth, and is fuelled by human fat and a wick twisted from the hair of a corpse. From the flames of this lamp arises the symbol of a tantric staff or khatvanga, which is fashioned from a small skull mounted upon a handle of human vertebrae. At the top of this skull-staff is a flaming iron trident, which symbolizes the goddess's victory over the three realms (beneath, upon, and above the earth), three times (past, present and future), and three poisons (ignorance, desire and aversion). [Note: The wrathful lamp image is on the spine of the book and not pictured here.]
Smashan Tara 'Tara of the Cremation Grounds' - is deep blue in color, with one face, three eyes, and four arms. She arises amidst the blazing heat of a funeral pyre, and stands in 'warrior- stance' upon the fire-consumed skeleton of a male corpse with her right foot pressing upon the breast of the skeleton (the place of desire), and her left foot pressing upon the skeleton's legs (the place of worldly ambition or progress). The roaring flames of the funeral pyre represent the 'fire at the end of time' (kalagni) the ultimate conflagration of the universe, which transmutes all phenomenal appearances into the unified ashes of selflessness. Her body is formed of pure light and the flames can be seen through her lower legs. She is unrestrained, wild, terrifying and fearless, with a beautiful midnight-blue complexion that represents her immutable and indestructible nature. She is the color of space vast and measureless like the night sky and she is beyond all concepts or qualities (nirguna). Her breasts are large or pot-shaped (ghatastani) symbolizing the spiritual nourishment of her devotees, and her stomach is full and rounded (lambodari) symbolizing her hunger for the corpses of selflessness and the blood of ecstatic bliss. She is naked or 'clothed in the sky' (digambara), symbolizing her freedom from the veils of emotional defilements. Around her waist she wears a girdle of eight blood-dripping forearms, which symbolizes her severance of all actions or karmas and the eight worldly dharmas of loss and gain, praise and blame, pleasure and pain, ignominy and fame. Her long black hair is disheveled and hangs freely behind her back, symbolizing that she has untied the knot of appearances and revels in her unconditional freedom.
Courtesy: Robert Beer. 06/09/2002
Of course there is also Anubis, who is the God of death and enbalming for the ancient Egyptians!
Read more on Smashan Tara
At midnight on the dark night of the moon an aghori sits alone in the great cremation ground (smashan) of Tarapith the 'sacred site of Tara' in Bengal, India. He is naked or 'sky-clad', fearless and unashamed, and gazes in wonder at the resplendent form of his beloved goddess, Smashan Tara. His matted hair is piled up into a topknot symbolizing that he upholds his tantric vows, and the rest of his hair hangs down freely representing
that he is completely free from the restraints of conventional reality. His right hand holds a skull, indicating that he has realized the insubstantial nature of all phenomena and the ultimate truth of selflessness. With his left hand he counts the beads of a rosary made from rudraksha seeds as he invokes the goddess with her mantra. He is seated upon a stone plinth and surrounded by pieces of bone from the charnel ground, and has created a protective circle around himself by hammering pegs of bone into the ground and binding them with black thread a ritual practice known as kilana.
Behind the aghori's head is a small Shiva temple crowned with an iron trident, whilst in the background are a range of triangular mountains and the ascending columns of smoke from smoldering funeral pyres. Behind his back is a shrine to Bhairava and Bhairavi the wrathful forms of Shiva and his consort Parvati which are represented by a stone boulder with a wrathful face painted upon it, and a trunk of wood painted with the three eyes of the goddess. In front of this shrine are three skulls, which represent Shiva's mastery over the three gunas or qualities of nature dynamic (rajas), pure (sattva), and inert (tamas). At the back of this shrine is a leafless bel or bilva tree a tree that is especially sacred to Shiva and to all manifestations of the goddesses or shaktis. In front of the aghori is a female jackal, who serves as the 'messenger' or emissary of Smashan Tara. The jackal bares her teeth and gazes back lovingly towards her Mistress, after she has crossed the boundary of the aghori's protective circle with her right paw. Behind the jackal is a wrathful lamp fashioned from an upturned human skull. The skull rests upon a square block representing the element of earth, and is fuelled by human fat and a wick twisted from the hair of a corpse. From the flames of this lamp arises the symbol of a tantric staff or khatvanga, which is fashioned from a small skull mounted upon a handle of human vertebrae. At the top of this skull-staff is a flaming iron trident, which symbolizes the goddess's victory over the three realms (beneath, upon, and above the earth), three times (past, present and future), and three poisons (ignorance, desire and aversion). [Note: The wrathful lamp image is on the spine of the book and not pictured here.]
Smashan Tara 'Tara of the Cremation Grounds' - is deep blue in color, with one face, three eyes, and four arms. She arises amidst the blazing heat of a funeral pyre, and stands in 'warrior- stance' upon the fire-consumed skeleton of a male corpse with her right foot pressing upon the breast of the skeleton (the place of desire), and her left foot pressing upon the skeleton's legs (the place of worldly ambition or progress). The roaring flames of the funeral pyre represent the 'fire at the end of time' (kalagni) the ultimate conflagration of the universe, which transmutes all phenomenal appearances into the unified ashes of selflessness. Her body is formed of pure light and the flames can be seen through her lower legs. She is unrestrained, wild, terrifying and fearless, with a beautiful midnight-blue complexion that represents her immutable and indestructible nature. She is the color of space vast and measureless like the night sky and she is beyond all concepts or qualities (nirguna). Her breasts are large or pot-shaped (ghatastani) symbolizing the spiritual nourishment of her devotees, and her stomach is full and rounded (lambodari) symbolizing her hunger for the corpses of selflessness and the blood of ecstatic bliss. She is naked or 'clothed in the sky' (digambara), symbolizing her freedom from the veils of emotional defilements. Around her waist she wears a girdle of eight blood-dripping forearms, which symbolizes her severance of all actions or karmas and the eight worldly dharmas of loss and gain, praise and blame, pleasure and pain, ignominy and fame. Her long black hair is disheveled and hangs freely behind her back, symbolizing that she has untied the knot of appearances and revels in her unconditional freedom.
Courtesy: Robert Beer. 06/09/2002
Of course there is also Anubis, who is the God of death and enbalming for the ancient Egyptians!
Read more on Smashan Tara
1.25.2005
Standards of Jatamukuta for Shiva
This is a deviation from my marathon on the Rathas, but i am just floored to see the amazing similarity between the jatamukuta( head gear of shiva with jatas) of Shiva at Mahabalipuram in the previous posting and that of Shiva in the Sadashiva panel at Elephanta.
Shiva in the previous post is of Vrshabhavana and that at Elephanta is of sadashiva, this jatamukuta at Elephanta seems to be a trend followed all across the sculptures there. These caves were carved out during the 6th century by King Krishnaraja of the Kalachuri dynasty. The Pallavas are said to have ruled around the same period till the 8th century. Yet a classic Kalachuri jatamukuta seems to have made its way into pallava sculptures. This is entirely my interpretation without substantial evidence.
Yet it seems too obvious to ignore. Seems like we need to start looking at various kinds of crowns worn by rulers or the like to understand whether this was dynasty specific or whether it was a part of the shilpa shastra. Or maybe kalachuri influences did enter southern territory as there is enough political evidence to suggest they were contemporaneous to Cholas which means they have been around for a while. My guess might not be wrong after all...
Photo Courtesy: American Institute of Indian Studies
Shiva in the previous post is of Vrshabhavana and that at Elephanta is of sadashiva, this jatamukuta at Elephanta seems to be a trend followed all across the sculptures there. These caves were carved out during the 6th century by King Krishnaraja of the Kalachuri dynasty. The Pallavas are said to have ruled around the same period till the 8th century. Yet a classic Kalachuri jatamukuta seems to have made its way into pallava sculptures. This is entirely my interpretation without substantial evidence.
Yet it seems too obvious to ignore. Seems like we need to start looking at various kinds of crowns worn by rulers or the like to understand whether this was dynasty specific or whether it was a part of the shilpa shastra. Or maybe kalachuri influences did enter southern territory as there is enough political evidence to suggest they were contemporaneous to Cholas which means they have been around for a while. My guess might not be wrong after all...
Photo Courtesy: American Institute of Indian Studies
1.24.2005
Arjuna Ratha - Dedicated to Lord Shiva.
Arjuna ratha: Dedicated to Lord Shiva, this ratha speaks a lot about Shiva iconography and dravida style of architecture. It seems to be governed by the local shaivite faith, interestingly depicting on one of its walls as Vrishabhavana Murti - shiva leaning on Nandi, his bull inteh central niche.
The images on either side seem to be similar to the representations of yakshi couples but cannot be ascertained. I might just be wrong. The main vimana has a stupi below which are three lines of haras making it a three storeyed tower. The hara consists of shala kutas and karna kutas with gavakshas spread across. If you look closer its very visible to see sculptures within the niches.
Here is a larger view of the same, its worth a look
Below the main ratha are a series of rectangular grooves which indicate that there has been some kind of wooden beams that might have stretched out of the main structure. Whether it held a path of circumambulation around it is anybody's guess. The Nandi is carved on a rock behind the main structure, in this case, due ot the availability of rock there. Interestingly, the arjuna ratha and the draupadi share a platform, held up on the backs of elephants and lions, discovered recently in the last 6 months.
The images on either side seem to be similar to the representations of yakshi couples but cannot be ascertained. I might just be wrong. The main vimana has a stupi below which are three lines of haras making it a three storeyed tower. The hara consists of shala kutas and karna kutas with gavakshas spread across. If you look closer its very visible to see sculptures within the niches.
Here is a larger view of the same, its worth a look
Below the main ratha are a series of rectangular grooves which indicate that there has been some kind of wooden beams that might have stretched out of the main structure. Whether it held a path of circumambulation around it is anybody's guess. The Nandi is carved on a rock behind the main structure, in this case, due ot the availability of rock there. Interestingly, the arjuna ratha and the draupadi share a platform, held up on the backs of elephants and lions, discovered recently in the last 6 months.
1.21.2005
Draupadi Ratha
This very clearly represents a hut from a rural area, largely from bengal. Its part of a museum of architecture which also emphasizes in all this the iconography of every diety. The draupadi ratha is dedicated to goddess durga, which is re-emphasized by the lion in front of it, which is the vahana(vehicle) of the goddess.
The dwarapalas are replaced by female attendants or shalabhajikas, who are representations of fertility, the original concept being taken from yakshi cults prevelant in north india. The entrance has an elaborate makara torana which has initially been seen in very early pallava caves later dominating the cholan architecture.
The main shrine on the inside has the goddess in the centre with two attendants on either side among others, one in the act of cutting his head off in repect to the goddess. This is indeed very interesting as the ruling cults of Orissa and Bengal are of mother goddess and largely tantric in nature, which involved human sacrifices as part of their rituals. Maybe the rathas tried to explain a lot more than be mere museums of architecture. The dwarapalikas or the salabhanjikas on the outside have a very seductive welcoming gesture, but what is depicted inside is quite a different story.
This gives the same feeling as the Vittal Deul temple at Chaurasi in Orissa, where the external walls depict acts of seduction while the interior depicts bhairava and kali with scenes of human sacrifices. What really needs to be understood is that the societies were very open towards esoteric cults and such practices were not considered evil, and were very prevelant around the regions of Orissa and bengal.
There was therefore a mingling of cultural practices, and this was not restricted to politics and architecture as has been believed earlier.
The dwarapalas are replaced by female attendants or shalabhajikas, who are representations of fertility, the original concept being taken from yakshi cults prevelant in north india. The entrance has an elaborate makara torana which has initially been seen in very early pallava caves later dominating the cholan architecture.
The main shrine on the inside has the goddess in the centre with two attendants on either side among others, one in the act of cutting his head off in repect to the goddess. This is indeed very interesting as the ruling cults of Orissa and Bengal are of mother goddess and largely tantric in nature, which involved human sacrifices as part of their rituals. Maybe the rathas tried to explain a lot more than be mere museums of architecture. The dwarapalikas or the salabhanjikas on the outside have a very seductive welcoming gesture, but what is depicted inside is quite a different story.
This gives the same feeling as the Vittal Deul temple at Chaurasi in Orissa, where the external walls depict acts of seduction while the interior depicts bhairava and kali with scenes of human sacrifices. What really needs to be understood is that the societies were very open towards esoteric cults and such practices were not considered evil, and were very prevelant around the regions of Orissa and bengal.
There was therefore a mingling of cultural practices, and this was not restricted to politics and architecture as has been believed earlier.
1.19.2005
Latest on the Rathas at Mahabalipuram
The Rathas:
Interesting evidence shows that the rathas were indeed earlier in chronology as compare to the Kailasanatha temple at Ellora. The fact that prominent elephant and lion base at Ellora has been "discovered" here at Mahbalipuram. This of course is restricted only to what is called the Draupadi ratha and the Arjuna ratha.
Here is some details on the Rathas themselves:
Draupadi ratha: Attributed to the goddess Durga, as its re-inforced by the lion vahana on the outside, this ratha follows pure bengal style of rural architecture. It represents a hut, has the goddess enshrined inside the main and only sanctum. Interestingly, the devotees of this goddess, are shown in the act of almost chopping off thier heads as a mark of adouration.
Arjuna ratha: A miniature version of the dharmaraja ratha, and a true picture of dravida style of architecture, this monument is dedicated to shiva. For one, the nandi is carved right next to it, and secondly the iconography of shiva is extremely rich along its walls.
Bhima ratha: An interesting structure, this clearly is a prototype of later gopurams. Judging by the way its been constructed, it was likely to be dedicated to vishnu, as the rock seems to be prepared for carving a reclining vishnu, as seen in other cave temples at Mahabalipuram as well as shore temple. This would indicate that the unfinished rock next to it was either for a boar, as seen in shore temple next to the vishnu shrine or for garuda, the actual vahana.
Dharmaraja ratha: its all too clear. the iconography speaks for itself, so much so that the nandi was not carved next to this big shrine. the vimana, an elaborate dravida style roof holds a whole catalogue on shiva iconography. This was clearly attributed to Shiva.
Nakula shahadeva ratha: built to the style of a buddhist chaitya, but attributed to Indra, since we have the elephant vahana next to it, this temple seems to be greatly influenced by the only cave temple at besra. the style and motifs clearly indicate strong influences from the north.
More coming later.
Interesting evidence shows that the rathas were indeed earlier in chronology as compare to the Kailasanatha temple at Ellora. The fact that prominent elephant and lion base at Ellora has been "discovered" here at Mahbalipuram. This of course is restricted only to what is called the Draupadi ratha and the Arjuna ratha.
Here is some details on the Rathas themselves:
Draupadi ratha: Attributed to the goddess Durga, as its re-inforced by the lion vahana on the outside, this ratha follows pure bengal style of rural architecture. It represents a hut, has the goddess enshrined inside the main and only sanctum. Interestingly, the devotees of this goddess, are shown in the act of almost chopping off thier heads as a mark of adouration.
Arjuna ratha: A miniature version of the dharmaraja ratha, and a true picture of dravida style of architecture, this monument is dedicated to shiva. For one, the nandi is carved right next to it, and secondly the iconography of shiva is extremely rich along its walls.
Bhima ratha: An interesting structure, this clearly is a prototype of later gopurams. Judging by the way its been constructed, it was likely to be dedicated to vishnu, as the rock seems to be prepared for carving a reclining vishnu, as seen in other cave temples at Mahabalipuram as well as shore temple. This would indicate that the unfinished rock next to it was either for a boar, as seen in shore temple next to the vishnu shrine or for garuda, the actual vahana.
Dharmaraja ratha: its all too clear. the iconography speaks for itself, so much so that the nandi was not carved next to this big shrine. the vimana, an elaborate dravida style roof holds a whole catalogue on shiva iconography. This was clearly attributed to Shiva.
Nakula shahadeva ratha: built to the style of a buddhist chaitya, but attributed to Indra, since we have the elephant vahana next to it, this temple seems to be greatly influenced by the only cave temple at besra. the style and motifs clearly indicate strong influences from the north.
More coming later.
12.29.2004
Gudimallam linga - Satavahana style
This is truely one of the most spectacular sculptures found here, a little north of Chennai. It is known to date back to the 1st century BC, it is also proclaimed to be sculpted in the Satavahana style. Surprizingly there is no other sculpture of the same kind any where near this geographically to associate it with any pattern in art styles.
The gudimallam linga, depicts the true nature of a Shiva linga, with the human form carved well within the limits of the linga. Here we see a sculpture of Shiva standing with a club on one side, the only sculpture where shiva is carved completely within the linga. We later see versions of the same in the Lingodbhavamurthi which shows only part of shiva, found at Kanchipuram and later temples in the southern regions.
We get to know more about the Pallavas from the 6th century onwards because of the constant clashes with the Chalukyas, but as far as early sculptures are concerned, the Gudimallam Linga, stands a class apart.
There are other interesting caves around the Pallava region. The caves at Dalavanur, are probably one of the earliest caves made by the Pallavas. This cave at Dalavanur, depicts the characterestics of the pallava caves with very confused dwarapalas, whose bodies are flexed rather awkwardly. Interestingly, the pillars are very bare and at the most have medallions which is a Chalukyan take off. This si actually in the Shatrumalla cave near Chennai. These caves were built during the period of Mahendravarman and have very square pillars on two ends with an octagon in the center. No yali figures accompany this cave which are so charcterestic to Pallavas. We see that the yali figures come in later constructions.
The gudimallam linga, depicts the true nature of a Shiva linga, with the human form carved well within the limits of the linga. Here we see a sculpture of Shiva standing with a club on one side, the only sculpture where shiva is carved completely within the linga. We later see versions of the same in the Lingodbhavamurthi which shows only part of shiva, found at Kanchipuram and later temples in the southern regions.
We get to know more about the Pallavas from the 6th century onwards because of the constant clashes with the Chalukyas, but as far as early sculptures are concerned, the Gudimallam Linga, stands a class apart.
There are other interesting caves around the Pallava region. The caves at Dalavanur, are probably one of the earliest caves made by the Pallavas. This cave at Dalavanur, depicts the characterestics of the pallava caves with very confused dwarapalas, whose bodies are flexed rather awkwardly. Interestingly, the pillars are very bare and at the most have medallions which is a Chalukyan take off. This si actually in the Shatrumalla cave near Chennai. These caves were built during the period of Mahendravarman and have very square pillars on two ends with an octagon in the center. No yali figures accompany this cave which are so charcterestic to Pallavas. We see that the yali figures come in later constructions.
12.12.2004
Shiva Nataraja - Chatura pose
Shiva's dance involves all of 108 poses, some of which have been sculpted in bronze as well as stone on temple walls. Here at the Brihadeshwara temple, under the rule of Rajaraja chola and the patronage of queen Sembiyan Mahadevi, one of the leading queens of the Chola dynasty are depicted the various forms of shiva.
To the Chola rulers, apart from Tanjore, Chidamabaram was another place that boasted the strong presence of Shiva. Apart from the beautiful bronze Nataraja at the Chidambaram temple a lot of similar forms have been installed along the temple niches for the diety.
Here at Brihadeshwara, along its south wall we see Shiva in the chatura pose. The chatura pose is that where the right leg is firmly placed on the apasmarapurusha (ignorance) and the left leg is raised half way into the air shortly before being stretched out as the nataraja tandava pose. Shiva wears a jatamukuta and holds the crecent moon and ganges in his hair! In this sculpture he is seen holding a trident as one of his many attributes.
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Photos courtesy: Michael D. Gunther / ww.art-and-archaeology.com
To the Chola rulers, apart from Tanjore, Chidamabaram was another place that boasted the strong presence of Shiva. Apart from the beautiful bronze Nataraja at the Chidambaram temple a lot of similar forms have been installed along the temple niches for the diety.
Here at Brihadeshwara, along its south wall we see Shiva in the chatura pose. The chatura pose is that where the right leg is firmly placed on the apasmarapurusha (ignorance) and the left leg is raised half way into the air shortly before being stretched out as the nataraja tandava pose. Shiva wears a jatamukuta and holds the crecent moon and ganges in his hair! In this sculpture he is seen holding a trident as one of his many attributes.
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Photos courtesy: Michael D. Gunther / ww.art-and-archaeology.com
12.05.2004
The Pallava foundation of temples
Before we jump to the temples of the Cholas we need to understand what brought about their forms and the prototypes for the same. Their predecessors the Pallavas had by now mastered the art of carving temples into live rock. The rathas and the shore temple are the standing examples of Pallava architecture in Mahabalipuram and the Kailashnatha temple is at Kanchipuram. They house dieties from both Shaivite and vaishnavite iconography.
Lets take a glimpse at the architectural forms at Kailashnatha temple, Kanchipuram. Look closely at the Gopuram. Its the structural version of the sculptural representation of the shrine models as seen in Mahabalipuram. The pillars are mounted on yali figures. The yalis also adorn the sub shrines around the main sanctum which is rich in indian iconography. Each sub shrine marks a part of the outer wall, a sort of fortification a little different from what we get to see at shore temple Mahabs.
The main gopuram though small is very similar to that found on the Bhima ratha. Its a clear understanding here that the subshrines have shallow porches and are a miniature version of that found at the Varaha cave at Mahabalipuram.
The pallavas definitely had their had at structural temple architecture. This was probably one of the larger temples they built. Its very interesting to notice that the Kailashnatha temple though rich in iconography, the sculptures are not life size as that in Mahabalipuram or Ellora. In later temples they will taken on much smaller forms as in the pillars of later Chola temples.
Lets take a glimpse at the architectural forms at Kailashnatha temple, Kanchipuram. Look closely at the Gopuram. Its the structural version of the sculptural representation of the shrine models as seen in Mahabalipuram. The pillars are mounted on yali figures. The yalis also adorn the sub shrines around the main sanctum which is rich in indian iconography. Each sub shrine marks a part of the outer wall, a sort of fortification a little different from what we get to see at shore temple Mahabs.
The main gopuram though small is very similar to that found on the Bhima ratha. Its a clear understanding here that the subshrines have shallow porches and are a miniature version of that found at the Varaha cave at Mahabalipuram.
The pallavas definitely had their had at structural temple architecture. This was probably one of the larger temples they built. Its very interesting to notice that the Kailashnatha temple though rich in iconography, the sculptures are not life size as that in Mahabalipuram or Ellora. In later temples they will taken on much smaller forms as in the pillars of later Chola temples.
12.01.2004
Temple architecture under the Cholas.
The Cholas were Shaivite follower though they were tolerant towards other sects. Their Kuladeivam was Lord Shiva in whose honour they are known to have built the Golden Hall at Chidambaram. Its interesting to note that temple architecture under the Cholas took a new shape. Under the patronage of Queen Sembiyan Mahadevi, the temples were now planned and housed dieties on the niches along its outer wall.
Given the rising power of the minor dieties, the temple had to now save its own vitality and hence give room to minor shrines like the mother goddess within the temple premises. This was definitely not an earlier practise. Its also under the Cholas that the temples now have a gargoyle spout on the North wall. The back wall or the west wall always houses a Lingodbhava murti.
Mother Goddess and Ganesha adorn the other niches of the Shiva temple. The shala kutas and Karna kutas(architectural features) continue to decorate the vimana of these temples. Its also during the Chola times that the Vimana shoots up into the sky which can be seen in Brihadeshwara temple, Tanjore, Gangaikonda Cholapuram and Tribhuvanam. Its at Darasuram that the vimana remains at 5 storeys. My next posts will have more on these temples.
Given the rising power of the minor dieties, the temple had to now save its own vitality and hence give room to minor shrines like the mother goddess within the temple premises. This was definitely not an earlier practise. Its also under the Cholas that the temples now have a gargoyle spout on the North wall. The back wall or the west wall always houses a Lingodbhava murti.
Mother Goddess and Ganesha adorn the other niches of the Shiva temple. The shala kutas and Karna kutas(architectural features) continue to decorate the vimana of these temples. Its also during the Chola times that the Vimana shoots up into the sky which can be seen in Brihadeshwara temple, Tanjore, Gangaikonda Cholapuram and Tribhuvanam. Its at Darasuram that the vimana remains at 5 storeys. My next posts will have more on these temples.
Politics under the Cholas.
The Cholas ruled in South India from the 9th century to the 13th century. Along with the Pandyas they defeated the Pallavas, who finally disappeared after 300 years. This period also saw the crystalization of the tamil culture. The chola culture ruled the regular life styles of the people thus making it the Classical era.
This is a mural depiction of Rajaraja Chola with Guru Karuvurar at the Brihadeshwara temple at Tanjore.
The chola empire extended further to the south east Asian countries like Java etc. Politically the Cholas have ruled in Tamil Nadu since the first century AD but came into the lime light of historical importance when the first ruler Parantaka 1 defeated the Pandhyas and established his rule over the south. He was later defeated by the Rashtrakutas. The Cholas rule did have its ups and downs but rose again when they reclaimed their territories from the Rashtrakutas, who by then had faced enough harassment from the Chalukyas. This time the Chola empire came to be more stable under the rule of Rajaraja 1 (985- 1014) is son Rajendra Chola.
Commerce flourished under the Cholas and they were very well aware of their competition in the Arab traders who were supported by the rulers of Kerala. Hence the Cholas went and conquered the Malabar coast and monopolized on this. Further they had ties with China and other south east Asian countries. Indeed a politically very well knit state!
This is a mural depiction of Rajaraja Chola with Guru Karuvurar at the Brihadeshwara temple at Tanjore.
The chola empire extended further to the south east Asian countries like Java etc. Politically the Cholas have ruled in Tamil Nadu since the first century AD but came into the lime light of historical importance when the first ruler Parantaka 1 defeated the Pandhyas and established his rule over the south. He was later defeated by the Rashtrakutas. The Cholas rule did have its ups and downs but rose again when they reclaimed their territories from the Rashtrakutas, who by then had faced enough harassment from the Chalukyas. This time the Chola empire came to be more stable under the rule of Rajaraja 1 (985- 1014) is son Rajendra Chola.
Commerce flourished under the Cholas and they were very well aware of their competition in the Arab traders who were supported by the rulers of Kerala. Hence the Cholas went and conquered the Malabar coast and monopolized on this. Further they had ties with China and other south east Asian countries. Indeed a politically very well knit state!
11.25.2004
Shiva dances at Ellora
they called this the dancing skanda. i still think this is shiva himself ( the jattas probably give him away). but having come upon skanda, here is an interesting story.
The Kumbh Legend In Skanda Purana
The ancient Hindu scripture, the Skanda Purana, recounts the legendary origin of the Kumbh Mela. The Devas or Gods and the Asuras or Demons sought the nectar of immortality, hidden in the depths of the ocean. Using Mount Meru as a churning stone with the python, Vasuki Naga, coiled around it like a rope, balanced on Vishnu who had assumed the form of a tortoise, the epic exercise began. On the one side, the Devas took hold of the python's tail , on the other, the Asuras held his head. Together they turned the gigantic contraption and churned the ocean into a ferment. The beleaguered ocean then threw up enough deadly poison to swamp and destroy all the three worlds.
Before it could do so, however, Lord Shiva descended from the heavens, and swallowed it up. Parvati held his throat in order to stop the poison from descending, this turned his throat blue, hence he is called Nilakantha. After the ocean had purged itself, the universe was granted a treasure trove of boons. Among these was a flying horse, a wish-granting cow, a priceless jewel, a magic moon, a skycar, a musical instrument, the apsara Rambha, Lakshmi the goddess of wealth, and Vishwakarma the mystic architect. Ultimately, Danwantri the divine healer, appeared bearing the Amrit or nectar of immortality. The jar that held it, was the Kumbh.
As the Asuras made a grab for the Amrit , Rambha began dancing to distract them. Jayanta, son of Indra , transformed himself into a large bird and flew off with the Kumbha . Jayanta's flight to paradise took him twelve days. On his journey, he flew over the Earth, stopping at four places. First, Prayag or Allahabad, then Haridwar, Trimbakeshwar (near Nasik) and finally, Ujjain. At each place, a few drops of nectar fell into the river. These, therefore, are the holy places of the Kumbh Mela, and the significance of the ritual bath.
The Kumbh Legend In Skanda Purana
The ancient Hindu scripture, the Skanda Purana, recounts the legendary origin of the Kumbh Mela. The Devas or Gods and the Asuras or Demons sought the nectar of immortality, hidden in the depths of the ocean. Using Mount Meru as a churning stone with the python, Vasuki Naga, coiled around it like a rope, balanced on Vishnu who had assumed the form of a tortoise, the epic exercise began. On the one side, the Devas took hold of the python's tail , on the other, the Asuras held his head. Together they turned the gigantic contraption and churned the ocean into a ferment. The beleaguered ocean then threw up enough deadly poison to swamp and destroy all the three worlds.
Before it could do so, however, Lord Shiva descended from the heavens, and swallowed it up. Parvati held his throat in order to stop the poison from descending, this turned his throat blue, hence he is called Nilakantha. After the ocean had purged itself, the universe was granted a treasure trove of boons. Among these was a flying horse, a wish-granting cow, a priceless jewel, a magic moon, a skycar, a musical instrument, the apsara Rambha, Lakshmi the goddess of wealth, and Vishwakarma the mystic architect. Ultimately, Danwantri the divine healer, appeared bearing the Amrit or nectar of immortality. The jar that held it, was the Kumbh.
As the Asuras made a grab for the Amrit , Rambha began dancing to distract them. Jayanta, son of Indra , transformed himself into a large bird and flew off with the Kumbha . Jayanta's flight to paradise took him twelve days. On his journey, he flew over the Earth, stopping at four places. First, Prayag or Allahabad, then Haridwar, Trimbakeshwar (near Nasik) and finally, Ujjain. At each place, a few drops of nectar fell into the river. These, therefore, are the holy places of the Kumbh Mela, and the significance of the ritual bath.
11.23.2004
Gangadhara Shiva - Ganges in Shiva's Jatamukuta
Bhagirata was the renowned king and forefather of Rama of Raghu Vamsa. His forefathers known as Sagaras were burnt down due to a curse. In order to uplift his ancestors from the curse and finally get them to heaven, he wanted to bring the river Ganges to earth. The concept is that when the waters of the Ganges touch the ash of Sagaras, they would be uplifted from their sin.
Bhagirata performed very severe austerities to get Indra's acceptance. He gave permission to bring the Ganges to the earth. However, the decision of coming down to earth would be Ganga's. So Bhagirata again started his penance and prayed to the Goddess to descend. She agreed to come down, but he was warned that earth would not withstand the force with which she would descend.
Bhagirata worshipped Lord shiva for help. He performed severe austerities to pleasing Lord Shiva. Shiva was pleased with his devotion and agreed to hold the Ganges when she descends to earth. Ganges blinded by her own pride and ignorance thought that the Lord wouldn't be able to withstand the force! She descended with an intention to flow down with heavy force on the Lord.
Lord Shiva, the creator of the entire universe arrested her flow in His Jatamukuta! She tried her best to release herself only to get locked further.Bhagirata, prayed to the Lord to show mercy on the Goddess and release her. Ganges flowed gently down from his matted locks to purify the earth and the Sagaras off their sins. Ganges then flowed gracefully and blessed Patala with her waters. Thus the ancestors of Bhagirata were resurrected by the holy water of the Ganges.
Shiva sculptures depict Ganges in Shiva's Jatamukuta. This is most often seen in the Nataraja sculptures with Ganges on one side and the crescent moon on the other!
Bhagirata performed very severe austerities to get Indra's acceptance. He gave permission to bring the Ganges to the earth. However, the decision of coming down to earth would be Ganga's. So Bhagirata again started his penance and prayed to the Goddess to descend. She agreed to come down, but he was warned that earth would not withstand the force with which she would descend.
Bhagirata worshipped Lord shiva for help. He performed severe austerities to pleasing Lord Shiva. Shiva was pleased with his devotion and agreed to hold the Ganges when she descends to earth. Ganges blinded by her own pride and ignorance thought that the Lord wouldn't be able to withstand the force! She descended with an intention to flow down with heavy force on the Lord.
Lord Shiva, the creator of the entire universe arrested her flow in His Jatamukuta! She tried her best to release herself only to get locked further.Bhagirata, prayed to the Lord to show mercy on the Goddess and release her. Ganges flowed gently down from his matted locks to purify the earth and the Sagaras off their sins. Ganges then flowed gracefully and blessed Patala with her waters. Thus the ancestors of Bhagirata were resurrected by the holy water of the Ganges.
Shiva sculptures depict Ganges in Shiva's Jatamukuta. This is most often seen in the Nataraja sculptures with Ganges on one side and the crescent moon on the other!
11.21.2004
Kalyanasundara Murti - wedding of Shiva and Parvati
Mother goddess Shakthi was reborn as parvati, the daughter of the king of Himalayas. As a young child, she was not interested in playing with the other children. She was more inclined towards meditating on Lord Shiva in the mountains and she desired to marry him. 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.
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 who he is, got very angry on hearing his words 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.
The Lord, pleased with her determination and devotion, reveals who he is. He gave her the boon she yearned for and accepted to marrying her. The Himalayan king's family was delighted to have their beloved daughter wedded. The region was decorated and shining with prosperity. The young beautiful Parvati was decorated with beautiful 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 bhuta ganas !! Having seen this form of Lord Shiva, the wedding was called off. In order to please the royal family and having realized the hypocrisy in society Lord Shiva decided to change his form, into a groom in glittering beautiful wedding robes and golden ornaments! The queen could not belive that what came in such a hidious form now looked so devine and beautiful ! The enchanting Lord in the wedding robe got married to the daughter of the mountains and this form of god is called kalyana sundhara.
Click here for the complete story
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 who he is, got very angry on hearing his words 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.
The Lord, pleased with her determination and devotion, reveals who he is. He gave her the boon she yearned for and accepted to marrying her. The Himalayan king's family was delighted to have their beloved daughter wedded. The region was decorated and shining with prosperity. The young beautiful Parvati was decorated with beautiful 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 bhuta ganas !! Having seen this form of Lord Shiva, the wedding was called off. In order to please the royal family and having realized the hypocrisy in society Lord Shiva decided to change his form, into a groom in glittering beautiful wedding robes and golden ornaments! The queen could not belive that what came in such a hidious form now looked so devine and beautiful ! The enchanting Lord in the wedding robe got married to the daughter of the mountains and this form of god is called kalyana sundhara.
Click here for the complete story
11.17.2004
The Nataraja in dance
The Nataraja is definitely one of the most popular sculptures, brought to the lime light under the Cholas. The form had been sculpted before, but in bronze its a class apart.
This form of Tandava is one of three steps in dance, this being the final pose. The beauty is seen in a series of Natarajas sculpted under the Chola rule. Over three centuries we see this form take shape most beautifully in bronze. Shiva stands on the Apasmara purusha on his right leg, while his left leg almost rises into the air but has still not left the ground - this is the lalita pose.
When he raises his leg mid way into the air but yet not out stretched its in the Chatura pose, and when he finally stretches his left leg out and points to it in the gaja hasta pose with his left hand, the right hand continuing to remain in abhaya pose - signifying "do not fear" and seek refuge in lord Shiva, it is the final Nataraja.
Interestingly there are around 108 poses depicted in shiva's dance. For now, click here to view another sculpted pose of Lord Shiva.
Click here to know more on the dance of Shiva
This form of Tandava is one of three steps in dance, this being the final pose. The beauty is seen in a series of Natarajas sculpted under the Chola rule. Over three centuries we see this form take shape most beautifully in bronze. Shiva stands on the Apasmara purusha on his right leg, while his left leg almost rises into the air but has still not left the ground - this is the lalita pose.
When he raises his leg mid way into the air but yet not out stretched its in the Chatura pose, and when he finally stretches his left leg out and points to it in the gaja hasta pose with his left hand, the right hand continuing to remain in abhaya pose - signifying "do not fear" and seek refuge in lord Shiva, it is the final Nataraja.
Interestingly there are around 108 poses depicted in shiva's dance. For now, click here to view another sculpted pose of Lord Shiva.
Click here to know more on the dance of Shiva
11.16.2004
Shiva Bhikshatana - the enchanting mendicant.
This story of Shiva portrays him as a mendicant who went through the villages and seduced wives of brahmins. It was this yogic personality that gave Lord Shiva his irresistible looks.
As described in the Suprabhedagama, Shiva is said to have passed the slopes of Mount Meru without any garments. The wives of the Rishis fell in love with him and lost their chastity. The rishis wild with rage, performed incantations to kill Shiva, the seducer of their wives. From their ceremonial grounds there came snakes, a Krishna-Mriga, an Apasmarapurusha, a Parasu, a bull, a tiger, a lion and several other things.
The latter took for his sport the black deer, the snake and the parasu, the apasmarapurusha was trampled under his feet, the lion and tiger were killed as worn as garments, while the skull and the moon were placed on his jatamukuta.
There are of course various versions to what he carries as attributes. The snakes are either on his waist or in his jatas. The primary point here is that the Bhikshatana murti leads to him possessing most of the attributes depicted in the Nataraja.
As described in the Suprabhedagama, Shiva is said to have passed the slopes of Mount Meru without any garments. The wives of the Rishis fell in love with him and lost their chastity. The rishis wild with rage, performed incantations to kill Shiva, the seducer of their wives. From their ceremonial grounds there came snakes, a Krishna-Mriga, an Apasmarapurusha, a Parasu, a bull, a tiger, a lion and several other things.
The latter took for his sport the black deer, the snake and the parasu, the apasmarapurusha was trampled under his feet, the lion and tiger were killed as worn as garments, while the skull and the moon were placed on his jatamukuta.
There are of course various versions to what he carries as attributes. The snakes are either on his waist or in his jatas. The primary point here is that the Bhikshatana murti leads to him possessing most of the attributes depicted in the Nataraja.
Nataraja and its various forms
What is evident from looking closely at the themes that best describe shiva at Elephanta is that they all belong to his "soumya rupa" or his lasya form. Apart from these sculptures (click here for the list of sculptures) Shiva is known to be depicted in two forms - the soumya rupa and the ghora rupa. Most of his stories depict him in one of these two forms.
Now take for example the Nataraja itself, he is said to have performed the dance in both forms. The tandava itself has various parts to it. In all these sculptures Nataraja is said to stand onthe apasmara purusha, hold the damaru, covered in tiger and lion skins and have a snake around his waist.
How did he come around possessing these icons! This leads us back to the story of Bhikshatana Murti. A mythological story that clearly shows how he came to possess these attributes.
Now take for example the Nataraja itself, he is said to have performed the dance in both forms. The tandava itself has various parts to it. In all these sculptures Nataraja is said to stand onthe apasmara purusha, hold the damaru, covered in tiger and lion skins and have a snake around his waist.
How did he come around possessing these icons! This leads us back to the story of Bhikshatana Murti. A mythological story that clearly shows how he came to possess these attributes.
11.15.2004
The Trimurti at Elephanta.
The Elephanta Nataraja re-emphasizes the beauty of sculpture. Here mostly destroyed Nataraja carries the following attributes. In a Nataraja sculpture, Shiva is depicted with the following attributes
His upper right hand carries the Damaru, the upper left a bowl of fire, which is destruction, the dissolution of form.. The lower right hand is raised in blessing, betokening preservation. The right leg, representing obscuring grace, stands upon Apasmarapurusha, a soul temporarily earth-bound by its own sloth, confusion and forgetfulness. The uplifted left leg is revealing grace, which releases the mature soul from bondage. The lower left hand gestures toward that holy foot in assurance that Shiva's grace is the refuge for everyone, the way to liberation. He wears the skins of lions and tigers on his loins and the moon and skull adorn his jatamukuta.
The circle of fire represents the cosmos and especially consciousness. The all-devouring form looming above is Mahakala, "Great Time." The cobra around Nataraja's waist is kundalini shakti, the soul-impelling cosmic power resident within all.
This is the enlarged view of Nataraja at Elephanta.
See this post on Nataraja
His upper right hand carries the Damaru, the upper left a bowl of fire, which is destruction, the dissolution of form.. The lower right hand is raised in blessing, betokening preservation. The right leg, representing obscuring grace, stands upon Apasmarapurusha, a soul temporarily earth-bound by its own sloth, confusion and forgetfulness. The uplifted left leg is revealing grace, which releases the mature soul from bondage. The lower left hand gestures toward that holy foot in assurance that Shiva's grace is the refuge for everyone, the way to liberation. He wears the skins of lions and tigers on his loins and the moon and skull adorn his jatamukuta.
The circle of fire represents the cosmos and especially consciousness. The all-devouring form looming above is Mahakala, "Great Time." The cobra around Nataraja's waist is kundalini shakti, the soul-impelling cosmic power resident within all.
This is the enlarged view of Nataraja at Elephanta.
See this post on Nataraja
11.14.2004
The Nataraja - extension of the Trinity
The misconception of this sculpture being a part of the trinity is age old. The assumption is that the preserver as seen in Elephanta is Vishnu when actually, as mentioned earlier its Vamadeva, while the destroyer is Bhairava. Very clearly these are aspects of Lord Shiva himself.
The sculpture has been given another form in the later Chola sculptures. Here of course the three forces of Shiva have been depicted symbolically, there is no human form representing all three forms of Shiva, but instead the feminine form of Vamadeva the creator is replaced by the Damaru - the symbol from which creation issues forth. The other hand carries fire, the symbol of distruction or Bhairava.
Shiva himself in the center is the preserver and this dance of Anandha Tandava depicts reassurance and perservation of all those who seek refuge in him. This is Shiva Nataraja from the Chola period dated bck to the 11 -12th cen AD, Madras Museum.
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Courtesy: photo copyright © Madras Museum
The sculpture has been given another form in the later Chola sculptures. Here of course the three forces of Shiva have been depicted symbolically, there is no human form representing all three forms of Shiva, but instead the feminine form of Vamadeva the creator is replaced by the Damaru - the symbol from which creation issues forth. The other hand carries fire, the symbol of distruction or Bhairava.
Shiva himself in the center is the preserver and this dance of Anandha Tandava depicts reassurance and perservation of all those who seek refuge in him. This is Shiva Nataraja from the Chola period dated bck to the 11 -12th cen AD, Madras Museum.
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Courtesy: photo copyright © Madras Museum
The merging of Vrishabhavana and Ardhanarishwara
This is indeed an extremely interesting sculpture. What typically is known as the Ardhanarishwara has been treated differently here at Elephanta. With the introduction of Nandi and the pose of Shiva, this sculpture brings together two aspects of Lord Shiva.
Vrishbhavana is the name given to Lord Shiva with his bull Nandi, a casual pose with his right arm resting on the bull.
Ardhanarishwara is the merger of Shiva and Parvati described in an earlier posting. This sculpture truely unique and maybe the only one of its kind is found here at Elephanta.
The over all theme gives an idea of attendants at the bottom of the panel, flying celestial figures to depict the heavens and the abode of the Lord at the Kailasa peak. The central definitely being the imposing sculpture of Lord Shiva in a combination of Vrishabhavana and Ardhanarishwara. The bull is realistically sculptured and almost larger than life as if to almost walk out of the panel. Parvati is depicted in the tribhanga pose (the S shaped twist to the body in three parts). This pose is followed in most of the sculptures of the goddesses in the south during the later Chola period.
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Photo courtesy: www.colby.edu/art/AsianArt
Vrishbhavana is the name given to Lord Shiva with his bull Nandi, a casual pose with his right arm resting on the bull.
Ardhanarishwara is the merger of Shiva and Parvati described in an earlier posting. This sculpture truely unique and maybe the only one of its kind is found here at Elephanta.
The over all theme gives an idea of attendants at the bottom of the panel, flying celestial figures to depict the heavens and the abode of the Lord at the Kailasa peak. The central definitely being the imposing sculpture of Lord Shiva in a combination of Vrishabhavana and Ardhanarishwara. The bull is realistically sculptured and almost larger than life as if to almost walk out of the panel. Parvati is depicted in the tribhanga pose (the S shaped twist to the body in three parts). This pose is followed in most of the sculptures of the goddesses in the south during the later Chola period.
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Photo courtesy: www.colby.edu/art/AsianArt
11.13.2004
Elephanta rock cut temples
Western india is famous for a string of rock cut temples ranging in date from the 2nd century BC to the 12th cen AD.around Mumbai. within a radius of 20 kms lie several caves which include the buddhist rock cut temples of Kanheri and Kondivite and the brahmanical caves of Elephanta, Mandapesvar and Jogeshwari.
The island of elephanta originally known as gharapuri, derives its name from a massive stone elephant now displayed in the victoria gardens at Mumbai. Except for a few Kshatrapa coins of the 4th cen AD found here, nothing is known of the history of elephanta prior to the defeat of mauryan rulers if konkan by the chalukyan emperor Pulakesin 2 of badami in a naval battle of the island in 635 AD.
there are three caves (rock cut temples) out of which one is dedicated to shiva. others are of no particular interest. the main cave datable to the mid 7th cen AD conprises of a pillared hall in which a small shrine with four entrance doors is flanked by dwarapalas. it is a unique example of gupta and chalukyan art. while the massive but graceful figures of divinities and guardians and certain architectural features such as square pillars with cushion capitals suggest chalukyan influences the depiction of mountains and clouds and the hair styles of the women are reminiscent of gupta art.
Click here for more information
The island of elephanta originally known as gharapuri, derives its name from a massive stone elephant now displayed in the victoria gardens at Mumbai. Except for a few Kshatrapa coins of the 4th cen AD found here, nothing is known of the history of elephanta prior to the defeat of mauryan rulers if konkan by the chalukyan emperor Pulakesin 2 of badami in a naval battle of the island in 635 AD.
there are three caves (rock cut temples) out of which one is dedicated to shiva. others are of no particular interest. the main cave datable to the mid 7th cen AD conprises of a pillared hall in which a small shrine with four entrance doors is flanked by dwarapalas. it is a unique example of gupta and chalukyan art. while the massive but graceful figures of divinities and guardians and certain architectural features such as square pillars with cushion capitals suggest chalukyan influences the depiction of mountains and clouds and the hair styles of the women are reminiscent of gupta art.
Click here for more information
All about Shiva - truely an enigmatic diety!
Here is more on Lord Shiva. I know i sound religious, but to be honest i have been really fascinated with this diety. he is truely amazing and terribly anti-social at the same time, which is whats most interesting. here is something of interest to you. A list of his various forms as far as I can remember, in alphabetical order(they were my mailing list folders :D)
Andhakasuravadh
Ardhanarishwara
Bhikshatana
Dakshinamurti
Gangadhara
Harihara
Kailasanatha
Lingodbhava
Nataraja
Rhishabavana
Sanathana
Somaskandha
Tandava
Tripuranthaka
Trivikrama
Most importantly, the linga is sculpted only for the lingodbhava murti!
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Photos courtesy: Michael D. Gunther
Andhakasuravadh
Ardhanarishwara
Bhikshatana
Dakshinamurti
Gangadhara
Harihara
Kailasanatha
Lingodbhava
Nataraja
Rhishabavana
Sanathana
Somaskandha
Tandava
Tripuranthaka
Trivikrama
Most importantly, the linga is sculpted only for the lingodbhava murti!
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Photos courtesy: Michael D. Gunther
Shiva at Elephanta for the tourist.
To the untrained eye, Elephanta is all but a tourist spot, known to have a few sculptures which are almost reduced to dust now. Elephanta caves are remote, carved into a hill near the Mumbai coast.
Little is known about the true nature of these caves except for a few sculptures that speak of the glories of Lord Shiva. Interesting facts are that these caves at Elephanta are the only surviving caves that depict Shiva. No where else in India do we find a cave dedicated to Shiva, with a Linga in the central shrines. The silence and the darkness of these caves does have a lot in store for us.
I had learned before that there is more to that darkness than what meets the eye. Here is an idea on what is actually the biggest quest of life. A series of iconographic sculpture depicting the paradoxes of life. In case you are headed to Elephanta, this is what you should look for.
These sculptures include:
Marriage of Shiva and Parvati - Kalyanasundara murti,
Shiva holding the Ganges - Gangadhara,
Ravana shaking Kailasa - Ravana Anugrahamurti,
Shiva as Ardhanarishwara,
The dancing shiva - Lasya form Nataraja,
The lord of the yogis - Yogiswara
The destroyer of evil - Samharamurti
Trimurti - comprising of Aghora, Shiva and Vamadeva
Shiva who bestows gifts - Anugrahamurti
Right through the cave His aura is felt - silent, enigmatic, meditating... Interestingly, Shiva has many more forms like the Bhikshatana, Gajasuvadhamurthi, Tandava Nataraja, Lingodbhava murthi, none of which are depicted in this cave, but do make a permanent appearance in later temples of south India.
Little is known about the true nature of these caves except for a few sculptures that speak of the glories of Lord Shiva. Interesting facts are that these caves at Elephanta are the only surviving caves that depict Shiva. No where else in India do we find a cave dedicated to Shiva, with a Linga in the central shrines. The silence and the darkness of these caves does have a lot in store for us.
I had learned before that there is more to that darkness than what meets the eye. Here is an idea on what is actually the biggest quest of life. A series of iconographic sculpture depicting the paradoxes of life. In case you are headed to Elephanta, this is what you should look for.
These sculptures include:
Marriage of Shiva and Parvati - Kalyanasundara murti,
Shiva holding the Ganges - Gangadhara,
Ravana shaking Kailasa - Ravana Anugrahamurti,
Shiva as Ardhanarishwara,
The dancing shiva - Lasya form Nataraja,
The lord of the yogis - Yogiswara
The destroyer of evil - Samharamurti
Trimurti - comprising of Aghora, Shiva and Vamadeva
Shiva who bestows gifts - Anugrahamurti
Right through the cave His aura is felt - silent, enigmatic, meditating... Interestingly, Shiva has many more forms like the Bhikshatana, Gajasuvadhamurthi, Tandava Nataraja, Lingodbhava murthi, none of which are depicted in this cave, but do make a permanent appearance in later temples of south India.
11.12.2004
Dwarapalas of shiva temple - Elephanta.
The Linga shrine in the cave temple of Shiva is unusual in having four entrances, one at each cardinal direction. Beautiful dvarapalas guard the entrances. Although detached from the walls, the shrine is, like everything else in the cave, cut from a matrix of living rock.
Extensive damage has been done to these guardian sculptures, by the Portuguese. Yet their appearance and their crowns gives us a hint of how flamboyant they are. Their silence speaks of a thousand wars long time ago. The yajnopavita is very clearly defined here, of what is commonly known as the brahmin holy thread.
These dwarapalas remind us of Egyptian deities along the temple walls at Abu Simbel. Large life size sculptures re-emphasize either the supernatural or the imperialism of the ruling dynasty. The trend of dwarapalas continued though they were borught down well in size. Few temples later show four gateways to the shrine within, its was a piece of architecture that was slowly stopped as a practice.
This image is of the dwarapalas at Elephanta caves near Mumbai.
---------------------------------------------------------------
Photos courtesy: Michael D. Gunther / www.art-and-archaeology.com
Extensive damage has been done to these guardian sculptures, by the Portuguese. Yet their appearance and their crowns gives us a hint of how flamboyant they are. Their silence speaks of a thousand wars long time ago. The yajnopavita is very clearly defined here, of what is commonly known as the brahmin holy thread.
These dwarapalas remind us of Egyptian deities along the temple walls at Abu Simbel. Large life size sculptures re-emphasize either the supernatural or the imperialism of the ruling dynasty. The trend of dwarapalas continued though they were borught down well in size. Few temples later show four gateways to the shrine within, its was a piece of architecture that was slowly stopped as a practice.
This image is of the dwarapalas at Elephanta caves near Mumbai.
---------------------------------------------------------------
Photos courtesy: Michael D. Gunther / www.art-and-archaeology.com
11.10.2004
Deep within the walls of Elephanta
This is a silent cave, built by the Vakatakas and located off the Mumbai coast,which is dedicated to Lord Shiva. Strange but true, its one of its kind and truly magnificent. It has an aura of suspense and a shroud of the unknown envelopes this cave.
Within its walls are one of the greatest treasures of art history. All the cave walls depict a story from Shiva's exploits. These mythologies include:
Andhakasuravada murthi
Kalyanasundara murthi
Ardhanarishwara
Trimurti
Saptamatrikas
Nataraja
Vrishabhavana
This cave has a lot to contribute not only to the iconography of Shiva but also to cave architecture during those ages. Its very evident that they were still experimenting with cave architecture and attempting to give full justice to the canons of architecture for the garba griha. In this cave we see the garbha griha has 4 entrances each in a cardinal direction.
The striking features of this dark place is a square linga enshrined in a garbha griha, with life size dwarapalas on all side which are damaged but beautiful.
Elephants is one of very few cave temples that depict Lord Shiva to the fullest. The other Shiva temple during the same period is Kailasanatha temple at Ellora.
Within its walls are one of the greatest treasures of art history. All the cave walls depict a story from Shiva's exploits. These mythologies include:
Andhakasuravada murthi
Kalyanasundara murthi
Ardhanarishwara
Trimurti
Saptamatrikas
Nataraja
Vrishabhavana
This cave has a lot to contribute not only to the iconography of Shiva but also to cave architecture during those ages. Its very evident that they were still experimenting with cave architecture and attempting to give full justice to the canons of architecture for the garba griha. In this cave we see the garbha griha has 4 entrances each in a cardinal direction.
The striking features of this dark place is a square linga enshrined in a garbha griha, with life size dwarapalas on all side which are damaged but beautiful.
Elephants is one of very few cave temples that depict Lord Shiva to the fullest. The other Shiva temple during the same period is Kailasanatha temple at Ellora.
11.09.2004
Bhringi the three legged sage.
Bhringi, a great devotee of Lord Shiva, is shown sculpted here on the walls of a Shiva temple in the Vijayanagar period. The story of Bhringi is quite interesting.
Sage Bhringi was an ardent devotee of Lord Shiva, but he never considered Parvati to be a part of his worship.
As always, sage Bhringi meditated over Lord Shiva at his abode at Mount Kailasa. At the end of his worship he would religiously circum-ambulate Lord Shiva. Parvati having seen this ritual of Bhringi, chose to be part of it and sat closer to Lord Shiva. Sage Bhringi noticed this, and realizing what had just happened, turned himself into a bee and went around Shiva thrice.
Parvati was enraged and Shiva wanted to teach Bhringi a lesson that Parvati is an integral part of Him and cannot be excluded. He merged Himself with Parvati such that Bhringi would have to circum-ambulate both of them.
Bhringi is often depicted as a skeleton in most images, this is because Parvati cursed him in fury to become thin and completely emaciated, so weak that he could not stand. Shiva, moved by Bhringi's plight, gave a 3rd leg for support.
Hence Bhringi is always depicted with three legs.
Sage Bhringi was an ardent devotee of Lord Shiva, but he never considered Parvati to be a part of his worship.
As always, sage Bhringi meditated over Lord Shiva at his abode at Mount Kailasa. At the end of his worship he would religiously circum-ambulate Lord Shiva. Parvati having seen this ritual of Bhringi, chose to be part of it and sat closer to Lord Shiva. Sage Bhringi noticed this, and realizing what had just happened, turned himself into a bee and went around Shiva thrice.
Parvati was enraged and Shiva wanted to teach Bhringi a lesson that Parvati is an integral part of Him and cannot be excluded. He merged Himself with Parvati such that Bhringi would have to circum-ambulate both of them.
Bhringi is often depicted as a skeleton in most images, this is because Parvati cursed him in fury to become thin and completely emaciated, so weak that he could not stand. Shiva, moved by Bhringi's plight, gave a 3rd leg for support.
Hence Bhringi is always depicted with three legs.
Chaturamukha Linga
Chaturamukha linga or the four faced linga: typically a linga is devided into three parts - the rudra bhaga which is the bottom most part, most often this is not visible as it is placed in the groove of the yoni. the second part is the vishnu bhaga and the top most part is the shiva bhaga. only 3/4ths of this linga will be visible above the yoni. come to think of it shaivism pretty much deals with fertility worship.
More on shiva: The mythology of Shiva is complex and contradictory. He is sometimes depicted as a chaste, wandering ascetic, but at the same time an ideal family man, monogamous, powerful and fertile. Shiva is usually worshipped in the form of the linga, an erect phallus. Rather than an image charged with sexuality, the linga is regarded more as a symbol of the god's energy and potential.
The four faces, each pointing in a cardinal direction, allude to Shiva's most prominent aspects. These comprise Bhairava, a manifestation of Shiva in his terrifying form, two faces which show his different attitudes as a withdrawn and serene ascetic and lastly, Parvati, his consort, the embodiment of feminine power.
The four-faced linga is sometimes regarded as symbolic of the five elements – Earth, Water, Wind, Fire and Space, the latter alluded to by the invisible face imagined to be on top of the sculpture and referred to by the vertical axis.
More on shiva: The mythology of Shiva is complex and contradictory. He is sometimes depicted as a chaste, wandering ascetic, but at the same time an ideal family man, monogamous, powerful and fertile. Shiva is usually worshipped in the form of the linga, an erect phallus. Rather than an image charged with sexuality, the linga is regarded more as a symbol of the god's energy and potential.
The four faces, each pointing in a cardinal direction, allude to Shiva's most prominent aspects. These comprise Bhairava, a manifestation of Shiva in his terrifying form, two faces which show his different attitudes as a withdrawn and serene ascetic and lastly, Parvati, his consort, the embodiment of feminine power.
The four-faced linga is sometimes regarded as symbolic of the five elements – Earth, Water, Wind, Fire and Space, the latter alluded to by the invisible face imagined to be on top of the sculpture and referred to by the vertical axis.
11.05.2004
The lingam - Phallic symbol of Lord Shiva.
Shiva is one of the oldest dieties in the Indian pantheon of Gods. He was first depicted on Indus valley seals as Pashupata. The first depictions are of him in a yogic pose, with a horn crown over his head. He is surrounded by animals including a unicorn. Mukha lingas are found across the country. the Ekamukha linga, dvimukha linga chatura mukha linga, so on and so forth.
His later sculptures depictions his various exploits. He is depicted in his symbolic form, the phallus in most temples in the Garba Griha. His human form adorns the outer walls. This sculpture is from the early 5th cen AD, the place - cave 4, udayagiri, MP.
This is a single faced linga, The rock-cut caves at Udayagiri seem to have been the focus of a complex mixture of Shiva worship (interior), Vishnu worship (exterior), sun worship, and astronomical activity including the prediction of monsoons.
His jattas, long ear lobes(like buddha) and his third eye!!!
His later sculptures depictions his various exploits. He is depicted in his symbolic form, the phallus in most temples in the Garba Griha. His human form adorns the outer walls. This sculpture is from the early 5th cen AD, the place - cave 4, udayagiri, MP.
This is a single faced linga, The rock-cut caves at Udayagiri seem to have been the focus of a complex mixture of Shiva worship (interior), Vishnu worship (exterior), sun worship, and astronomical activity including the prediction of monsoons.
His jattas, long ear lobes(like buddha) and his third eye!!!
Ardhanarishwara - union of Shiva and parvati
The sculpture of ardhanarishwara is one of the most unique sculptures ever conceived. It depicts the union of shiva and parvati. The story behind the making of this sculpture goes as follows. Sage Bhringi was an ardent devotee of lord shiva, but he never considered parvati to be a part of his worship.
As always, sage Bhringi meditated on lord Shiva. The sage regularly worshiped lord Shiva at his abode in the Kailasa moutain. at the end of his worship he would religiously circum-ambulate Shiva. On one of these regular occasions, Parvati observed him and moved up close to Shiva so that bhringi would have to go around both of them instead of Shiva alone.
Sage bhringi noticed this, and realizing what had just happened, he turned himself into a bee and went around shiva thrice. This enraged Parvati and Shiva noticed what had happened. In order to teach bhringi a lesson that parvati is a part of him and cannot be excluded, he merged himself with parvati such that bhringi would have to circum ambulate both instead of just him.
The sculpture depicts the same form that shiva aquired in order to let bhringi know that he is incomplete without parvati.
An add on: bhringi is often depicted as a skeleton in most images, this is because parvati having noticed that bhringi did not go around her, cursed him in fury to become thin and completely emaciated, so weak that he could not stand. shiva, moved by bhringi's plight, gave a third leg for support.
As always, sage Bhringi meditated on lord Shiva. The sage regularly worshiped lord Shiva at his abode in the Kailasa moutain. at the end of his worship he would religiously circum-ambulate Shiva. On one of these regular occasions, Parvati observed him and moved up close to Shiva so that bhringi would have to go around both of them instead of Shiva alone.
Sage bhringi noticed this, and realizing what had just happened, he turned himself into a bee and went around shiva thrice. This enraged Parvati and Shiva noticed what had happened. In order to teach bhringi a lesson that parvati is a part of him and cannot be excluded, he merged himself with parvati such that bhringi would have to circum ambulate both instead of just him.
The sculpture depicts the same form that shiva aquired in order to let bhringi know that he is incomplete without parvati.
An add on: bhringi is often depicted as a skeleton in most images, this is because parvati having noticed that bhringi did not go around her, cursed him in fury to become thin and completely emaciated, so weak that he could not stand. shiva, moved by bhringi's plight, gave a third leg for support.
The ideology behind Soma Skanda
Most mythologies that circle around Shiva have subtle meanings in the science of Kundalini. The concept of Kundalini deals with Shiva in many ways. It is a school of thought that enables a human being to attain salvation through certain practices.
Its a belief that every human being has male and female energy within him/ herself. The female energy is typically referred to the kinetic energy and resides in the Muladhara chakra at the tip of the spinal chord. This element is represented as "Parvati" from the mythological perspective. The element of Shiva is the inactive energy which is housed in the region of the third eye. The merger of these two energies is defined as enlightenment which can be realized by individual experiences alone and cannot be explained.
As the female kinetic energy rises through the spinal chord upwards it has to pass through various energy centers called chakras. When the chakra at the throat region is activated, the aspirant is no longer dependent on the external world for his sustenance. The eternal drink of immortality or Soma/Amrit is believed to flow freely and the aspirant turns "immortal".
Soma Skanda in simpler terms, is the result of the union of these two potent opposite forces giving rebirth to the aspirant as an evolved being. This is best described in mythology as the union of Shiva and Parvati resulting in the birth of Soma Skanda and hence results in immortality.
Its a belief that every human being has male and female energy within him/ herself. The female energy is typically referred to the kinetic energy and resides in the Muladhara chakra at the tip of the spinal chord. This element is represented as "Parvati" from the mythological perspective. The element of Shiva is the inactive energy which is housed in the region of the third eye. The merger of these two energies is defined as enlightenment which can be realized by individual experiences alone and cannot be explained.
As the female kinetic energy rises through the spinal chord upwards it has to pass through various energy centers called chakras. When the chakra at the throat region is activated, the aspirant is no longer dependent on the external world for his sustenance. The eternal drink of immortality or Soma/Amrit is believed to flow freely and the aspirant turns "immortal".
Soma Skanda in simpler terms, is the result of the union of these two potent opposite forces giving rebirth to the aspirant as an evolved being. This is best described in mythology as the union of Shiva and Parvati resulting in the birth of Soma Skanda and hence results in immortality.
11.04.2004
The concept of Shiva - Somaskanda murthi
In Indian iconography, Shiva is often depicted in one of two forms. The soumya(pleasant) rupa(form) and the (a)ghora(terrific) rupa. In ancient times Shiva cults across India has been accepted as esoteric, magical and often non conformist. He is worshiped at cremation grounds, his company is depicted as ghosts and dwarfs and ganas etc... His exploits in various mythological stories appear reasonably rebellious to social order, yet he is one of the most respected deities in the pantheon of Gods.
Depictions of him in soumya rupas are related to his family. Here the reference is made to his son Karthikeya also called Soma Skanda. Soma - is also a drink. It is an intoxicant, it is also the elixir to immortality.
Shiva is also associated with the Tantric school of thought that deals with the raising of the Kundalini. This sculpture, though very simple and basic holds a far more amazing concept than what meets the eye.
Somaskandamurthi:
Somaskandamurthy is one of the most famous sculptures of Shiva and depicts Shiva with Parvati and their son Karthikeya. This sculpture is a Chola sculpture from then 10th century AD, in the Rajaraja Museum at Tanjore.
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Photos courtesy: Michael D. Gunther / ww.art-and-archaeology.com
Depictions of him in soumya rupas are related to his family. Here the reference is made to his son Karthikeya also called Soma Skanda. Soma - is also a drink. It is an intoxicant, it is also the elixir to immortality.
Shiva is also associated with the Tantric school of thought that deals with the raising of the Kundalini. This sculpture, though very simple and basic holds a far more amazing concept than what meets the eye.
Somaskandamurthi:
Somaskandamurthy is one of the most famous sculptures of Shiva and depicts Shiva with Parvati and their son Karthikeya. This sculpture is a Chola sculpture from then 10th century AD, in the Rajaraja Museum at Tanjore.
---------------------------------------------------------------
Photos courtesy: Michael D. Gunther / ww.art-and-archaeology.com
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