Awakening at the Chit Sabha, Chidambaram

I have reached a strange feeling in my journey in Shiva realization. A series of thoughts just hit me one one after another. I feel a strange futility in writing. How can I explain my experience of the divine formless Lord in words when I realize I cant really communicate the intensity or its essence in entirety?

I have realized the different layers of learning. I am excited about my finds but I am unable to share it with anyone...not that they wont listen but they may not realize the real beauty in it. How do you tell a blind man the color of bright orange flowers that grows and blooms on the tree in front of him? I feel alone, I feel some where from here my journey is that of a lone one, and no amount of explaining is going to get my thought across to anyone. And yet for some strange reason... I write.

Oh Lord Shiva, I stand speechless again at the door of your divine hall. The Vishnudharmottara says that the Supreme Brahman is formless, yet Agastyar created Urvashi by drawing her form out of mango juice, redifining the essence of beauty to all in heaven. He brought life to her character, he brought power to her form by just drawing a few lines to describe her. Such was the beauty of the divine apsara, who danced her way into the hearts of all the devas at Indra's court. Such was the power of painting and art that it gave life to imagination. This is the real power of art in expression.

Even more mystifying is the divine hall of dance on earth, the chit sabha at Chidambaram. The Golden hall in which Lord Shiva performs. In this grand venue, the Natya Raja's presence is felt, his formless self takes life within the lines of grace at this power center and he lights up the floor that gave birth to the Akasha linga.

I stand here spell bound, staring at the hall, where no one stands, where nothing moves. I look on into the sanctum, far inside surrounded by a door of flickering lamps. No flowers adorn his being, but just pure jewellery covers his self. He is Lord Nataraja, the Lord of dance, of expression, of life.

This is divine illusion, this is divine reality as the Lord awakens the rhythm into the air and the bells resound. The lamps rise, various flames light up this interior as the priest performs Arti. This is a dream, where in this chamber he raises his leg with grace. Its a delight, its a heavy feeling in the heart as one breaks down to absorb this amazingly unique form of the lord.

Within his chamber, shrouded by the deep backness of ignorance, the flames of enlightenment are lit. Within the resounding echo of mantras that wash the floor, he steps on Apasmara purusha. As the divine light of Arti rise he blesses us in Abhaya. How expressive is he, how handsome his face, how lavish his appearance in the glow of gold, and how his presence lights up the floor of dark ignorance. Indeed what a divine illusion, brought so magneficiently to life, indeed the light of enlightenment appears to be a figment of Lord Shiva's imagination, one that he makes us want, while we suffer in the blackness of its ignorance.

Imagination is a talent, it is the power to imagine, to describe beauty and attributes, to describe form and color, to describe action and rules and give it life... isnt this world just Lord Natarja's imagination, one even greater than that of Agastya?

I am speechless, I realize why most of the adorations written are in poetry. There is no better form to explain or express HIM in any better way. Language is limited to those who dont know how to use it, sound is powerful to those who know how to. Its so beautiful when we realize that this post in English is all powerless while just a single word "Hrim" can encapsulate the very energy of the Goddess Durga. How hopeless I am, that I dont even know how to craft the beauty of the Lord that i see within my limited imagination.

I simply stare at his divine form dance, silhoutted by the rising flames that gracefully dance around him. Speechless, silent, awakened.

Courtesy: Raja Deekshitar A heartfelt thanks to him for granting me this divine vision at Chidambaram.

Stella Kramrisch - Vishnudharmpttara Part 3
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Significance of the Panchamukha Linga

When I am dormant
The energy lies within me
Atma lingaaya Nama Om

The flame of this energy
Rises into divine vision
Into Rudra, the divine self
The red glow, the hue
Shines forth with all divinity.

The raw form of Rudra, in his fiery matted hair has been depicted beautifully in the Ekamukha linga of Lord Shiva at Udayagiri in the 4th cen A.D. by the Guptas. The self, raw, alone, composed with wisdom is described here. Within a sacred rocky chamber that echoes his presence I come alive within the Eka Mukha linga.



The Prana rises within me
I grow, I am present
I reside everywhere
I engulf the universe
I cover all the directions
I am panchamukha linga
I am Sadashiva



Panchamukha, the rising Shiva grows in all directions. As I evolve He rises too within me. The self, Atma lingam is at the core - Isana*. Isana is the root of the self, the core that holds all the energy within. The power of Isana is to reveal the energy of the self, this is the power of enlightenment, this is space, this is consciousness, this is Shiva within me.

To its east rises Tatpurusha, that which I am, "Tat Tvam Asi". My being rises, awakens to the world, awakens to consciousness. This is the expression of the supreme soul, of Atman that rises and is the life within us, the very presence of Iswara, He is Surya the rays of life. He is the prana I breathe, He is light, He is air.

To the south rises Aghora, the fire, the flames of life, the raw heat and beauty of Rudra in his fiery presence. He signifies life, he signifies dissolution or re-absorption, he signifies the end. He signifies the equilibrium that lies beyond birth and death, he signifies eternal bliss in the living fire of Shiva Rudra*.

To the west rises Sadyojata, the power to create. This is the power to multiply beyond the self. This is the universal power of creation where the miracle of life is visible to us. I am alive, I am the self, I can create, I am represented by Sadayojata, I am the earth that flourishes with life, I am Brahma* the creator.

To the north rises Vamadeva. Vamadeva is the beauty of the self, the poetry and the aesthetics that makes us. Vamadeva is the epitome of all the grace that we have, the presence of our beautiful nature for the world to behold. Vamadeva is the personification of love, representing the feminine form of Shiva, warmth that makes us want to take care of what we create. Vamadeva represents the Vishnu* aspect of preservation within us. It represents sustenance with life giving waters.

Panchamukha Shiva Linga is a powerful symbolism, a reflection of a great reality that encompasses all supreme deities. This form represents the Universe and all its creation, its life and itself as a whole in all directions.

The beauty of the panchamukha linga explains apparently disconnected concepts -
1) why the other heads of the panchamukha linga at Eklingji temple near Udaipur alone are named differently,
2) the placement of other deities around the Bana linga in the Panchayatana puja
3) the connection with Trimurthy at Elephanta and Adbhutanath Shiva*
4) the meaning of panchamukha which is a supreme thought, much more than just the mere naming of 5 heads.

* Elephanta Trimurthy has the 3 heads named as Vishnu, Brahma and Rudra Shiva
* Adbhutanath Shiva has the 3 heads named as Vamadeva, Isana Shiva and Aghora Rudra

Related topics:

Eklingji town, Shiva temples near Udaipur, Rajasthan
Bana Lingas from the depths of the Narmada River
Adbhutanath Shiva and the miracle of living!
Mahasadashiva - Vishwaroopa darshanam

Photo courtesy: Unknown, flickr.com

Divinity of Lord Shiva

Srinivasan sat down to pray, he was tired, tired of life, its miseries, tired of people. He sat down to spend some time with the Lord, wishing he could give more time than he had to just thinking and being with the Lord. He thought back on his life, and remembered his frustration over not understand the root principle of his deepest desire that drew him close to these temples and yet he could not explain the intensity of that emotion to anyone.

It had costed him many sleepless nights, frustration of doing things he didn’t like and of not spending time where he really wanted to. He was exhausted with life, and failed to understand this uncanny thirst he suffered without reason. He wondered about the temples, the sheer rocks that made them, the echo and tune when hit upon the sharply chiseled sides and the hollows that reverberated with the music of the heavens. He wondered about the odors, the chill in the interiors, the play of light and darkness and the many forms that embraced him as he walked through the silent corridors. He thought about the elaborately carved pillars, the symbols of divinity sprinkled all over the walls and ceiling, and everything was so magical as they called out to his heart asking him to look a little closer but yet he found nothing, he didn’t understand the meaning. This ate into his mind; the deep desire to want to know these aspects had made him act on various impulses yet nothing answered the restlessness within his mind which continued to persist.

Srinivasan began his worship, looking at the Lord in complete adoration as his hymns gathered momentum and reached certain equilibrium. He had begun to sway; he had touched the feet of the Lord in his mind and offered flowers. He sang to the Lord praising him with gratitude for granting him this opportunity to clear his mind and worship him. He felt blessed that he was able to perform puja of a serious nature while the rest of the world shunned it and consumed itself looking for immediate benefits.

Srinivasan saw the temple in his minds eye again. Why was he so drawn to it? Why did he break down into tears when he walked around it? Why did he feel bliss in the scorching heat of the rocky floor in the hot sun as he walked around it? Why did his heart swoon to the Lord in the inner sanctum, why did his eyes well up with tears, why did he break into song of divine words and why was his heart so heavy that he couldn’t breathe anymore.

Srinivasan's voice broke as he forced the mantra strongly as he sang; he was overwhelmed as he sat facing the Lord. He was breaking down again when his mind woke up once more. He had felt the Lord within his heart, he had felt the power of the Lord within the temple sanctum, he had felt the force that draws only the pure hearts, he felt the Lord calling him every time. Srinivasan broke down. His quest about himself was ending and he was beginning to piece himself together. He was coming face to face with himself, as another entity, realizing what all he, Srinivasan, really wanted. As the mantras heightened, and the rhythm filled the air drowning every sound around it, Srinivasan just broke down. It took 15 years to answer one questions, it took 15 years to realize one aspect about himself, it took 15 years to let the temple talk to him and touch his heart, it took 15 years to realize the force, the power of the Lord call him, and make him realize he was able to even connect with them!

Srinivasan was exhausted, almost paralyzed in bliss as his body awakened to this new found knowledge within his mind. The world looked a distant reality, its troubles were trivial and its people were a lost herd of sheep waiting for their master to help them out of their aimless lives. He was awakening his mind and it was so fresh and open and so receptive to the tunes of heaven, he could barely believe he had made it to the doors of Kailasa within his mind. He prayed again, raising the lamp of enlightenment to the Lord. He thanked the Lord for this moment that he would keep as his own and explain it to no one for they wouldn’t understand what bliss is. This was a quest about himself that was answered, he was now a step closer to the Lord, he was Atman touched and realized again for a brief moment, and He is Shiva the moment of truth.

Jagannath Puri Rath Yatra, Bhubhaneshwar

Amidst the entire fan fair that surrounds the mela of the Jagannath Rath Yatra, the three deities Krishna Jagannatha, Subhadra and Balabhadra make their way out of the shrine of Puri. Whether they go on vacation or to their aunt’s house or to Krishna Jagannatha’s birthplace is still a speculation on the original myth. What appears to be a complex mammoth wooden structure covered with cloth to almost look like the very temple on the move could hold far more significance than just a wooden structure that transports the Gods to their heavenly abode. It is unfortunate that the emphasis is put on the Rath Yatra or Rath Tana which starts in the afternoon and not on the invoking ceremony in the morning that is the Ratha Prathistha of the Rathas themselves.

The Rath is made to look like a temple, that which traditionally represents the original temple with a platform. The wooden platform has wheels embedded within it with ropes that get pulled by the devotees. This is no ordinary Rath, it is the very character of the Lord Jagannatha Krishna enshrined into the wood that makes up this giant structure.

What’s obvious about this Rath is the towering vimana(roof) that houses the deity within with horses that pull this chariot. What is not obvious is the shape of the floor of the Rath which is far more symbolic than a few logs of timber held together. The Rath Yatra may appear to be a joy ride for the Lord and his family on three Raths being pulled all the way for Puri Jagannath mandir with drum beats and song, with folk dance and color celebrating the journey of the Lord, but it is a little more than just all the fun.

The answer to this might be found in the Brihat Tantra Sara, a large compilation of Tantrik texts that suggest that Krishna appears as a full bloomed tantrik devata with his own yantra/mandala. This yantra has the Krishna Mantra in the center:

Krishnaya Govindaya Klim sadhya Gopijanavallabhaya Svaha|

This mantra which is the essence describing the potency of Lord Krishna Jagannatha is the epicenter of the mandala the form of which can also be the “naksha” or floor plan of the Rath. The Rath where the main idol of Lord Krishna is kept is within the center of the floor plan. Surrounding it is an imaginary six pointed star, where the beeja mantras of Krishna, i.e. Shreem and Hrim alternate each other thrice, as part of the design of the mandala symbolic in nature and embedded within the floor and could be given life to during the morning ceremony. Scattered in logical order around the points of the hexagonal star are the letters of Sri Krishna:

Klim Kri shna ya Na mah

Within the 8 petals of the yantra is the longer mantra of Shri Krishna:

Namah Kamadeva| ya Sarvajanapriya| ya Sarvajan| sammohana| ya Jvala Prajvala| Sarvajanasya Hri| dayamavamsham| Kurukura Svaha||

Surrounding the 8 petals are the Matrikas or the letters of the sanskrit alphabet and in the angles of the protecting walls are the beeja mantras Shreem and Hrim again.

The Rath is sacred; the floor of the Rath is of a peculiar shape, a shape that has approximately 12 pointed ends which form this protective wall resembling the Krishna Mandala, and also reflects the temple ground plan on which the wooden temple stands. The sacred space between the protective external walls and the hexagonal star in the center contains the very letters of praise to Lord Jagannatha, within the lotus flower with 8 petals around the circle of potency, but what we see are a crowd of priests who are seen all over this sacred space.

This is the character of Lord Krishna Jagannatha, this is His power, and this is Him represented by the entire Rath from the floor to the shikhara of the Rath. What we see is the schematic tribal version of the Lord within this sacred space, completely decorated and seated atop his Rath, and though this vision of the Lord sits at the epicenter of this mobile throne, the very essence of the Lord is symbolized all across the flood and in the air that surrounds Him.

The Rath is the very embodiment of Lord Krishna Jagannatha and his family, it is the very element of their presence as they sway through the air purifying it with sound and light. The Lord in all his prana, housed in this very Rath drives through the Indian countryside of Puri. This land is blessed, to see the very Lord mingle with his people.

Related topics:
Jagannathpur temple - Ranchi - anything but Juggernaut.

Courtesy:

Religiousworlds.com. © 1975-1999. All rights reserved.

Shiva within the sacrificial fire

To Lord Lingodbhava within the wall of fire I pray
To Lord Rudra, the vanquisher of evil, I bow
To Lord Nataraja who dances with grace within a ring of fire
In adoration I pour my heart in the form of flowers

Shiva has been depicted with fire as Lingodbhava, as Rudra, and as Nataraja. Fire, Agni, Surya denote Shiva, as the very flame of wisdom within our heart. How do we in this life and at these times connect to this divine fire? The secret of this is in the worship of the Lord through fire sacrifice.

Tantra 1 in the Thirumantiram reveals the beauty of this sacrificial flame as well as its potency. As the words in Tamil poetry roll out the worship of this sacred flame in rhythmic verses, the Thirumantiram also brings out its value to us.

Prosperity springs from sacrifice, for fire is a unique method of conversation with the supreme. Fire, is not just an element, but a path that connects the mortal with the supreme. Fire cannot be created, it can only be discovered and its true potency can only be realized by that aspirant who worships its very flames. Fire doesn’t die, it just appears and disappears, it is the very presence of the Lord, that we fail to realize. Fire is sacred, its pure, it is the power of life revealed.

Fire is the path that through which every mantra recited is purified. When mantra is recited feeding the fire with ghee, it burns away all our karma, both good and bad. This fire that rises out of the sacrificial pit, burns our ego in its divine flames. It purifies our thoughts and kills the ego within our heart. It is the path to salvation; its flames are our door to ever lasting bliss. Within the inner flame of the heart, all karmic evils accumulated are a wick that burns in this divine flame. All diseases that karma brings in its presence, fade and fall into the sacrificial fire that rapidly rises within us.

Sacrifice brings with it wealth, wealth and honor of a different kind. While accumulated wealth brings lack of peace and constant greed, its a grievous curse we live with. The fire of the sacrificial pit brings wealth to us, beyond the limited materialism of our mind. As fire sacrifices are performed, undying wealth is attained.

Lord Shiva himself is the fire, he is that burning flame that resides within my heart. He is the Lord who has fire in his eyes, each flame is denoted by Surya, Chandra and Agni. The Lord is the master of the holy fire sacrifice. The fire of Agni that of enlightenment is the fire in his third eye. The Lord is the fire within all fires, he is the inner flame, the inner fire. He is that which burns, He is the heat, He is the light, He is the flame that dances, He is that life giving flame within my heart. The Lord is the fire I trigger in the sacrificial pit, growing His warmth with twigs and ghee, reciting His various names with mantra, calming His climbing flames with honey.

Lord Shiva is in the fire of the funeral pyre. He raises the soul to a higher realm, to the truth of existence. He whispers the Taraka to the dead and holds the flaming Kali over Himself, leading the dead through transit from life to that beyond.

Within this limited time of my life, I raise the sacrificial flames of the Lord within the yagna kunda. Bless me with prosperity Lord, bless me with new life. Keep this fire within my heart alive, day and night, render me immortal with these flames.

Another interpretation of the sacrificial fire is given in the 3rd chapter (verse 14) of the Bhagavat Gita. Lord Krishna says, that Karma has to be performed, one cannot escape it. Its within these undying flames that the same Karma is burnt.

Chapter 3 verse 14, Bhagavat Gita:

Annaad bhavanti bhootaani parjanyaad anna sambhavah|
Yajnaad bhavati parjanyo yajnah karma samudbhavah||

From food comes forth being, and from rain food is produced, from the fire sacrifice arises the rain and sacrifice is born of action.

Lord Krishna says, it is the fire sacrifice that sustains us, for its through the flames of this sacrifice that the rain is brought. When it rains the parched land awakens, and blooms into prosperity. When there is abundance, food is produced and from this life sustaining food comes the being.

The Bhagavat Gita renders the meaning of this prosperity most beautifully and it requires Karma to get these riches. Without karma we cannot live and by accumulating it we do not attain salvation. The only way out of this karmic cycle is the offering of the self to the sacrificial fire.

Photo courtesy:
Ermes's Public Gallery, Picasa
Copyright © community.webshots.com/user/ancientcoinsofindia
Copyright © Britannica

Lajja Gauri and the Tree of Life

Disclaimer - Content of this post needs to be understood with an open mind.

The complexity of India art, ritual and belief system can be simplified into two forms of worship and adoration. One is for the miracle of death which is realized in the worship of ancestors in which the quest for afterlife and rebirth are dwelled upon and the other is for the miracle of life that is realized in creation and its constant presence around us in the world. This is pronounced in the depth of both Hinduism and Buddhism.

Indra with a staff

Going back to the ancient days of the Ashoka era, when vedic deities held supreme power, Lord Indra was accepted into both Buddhist and Hindu pantheon of Gods. Indra is often depicted with a staff and is believed to have released life giving waters to earth after slaying the demon and also released the Sun into the sky thereby starting the cosmic cycle. This placed Indra as one of the supreme deities who brings to earth the miracle of life, and his releasing water to the earth is associated with water cosmology. Indra's staff therefore became the potent symbol of life spiritually, and denoted supremacy and proliferation of race and rule politically.

This potent belief of Indra's staff was further explored by Ashoka in the kingdom of Magadha, where he spread his faith on Dharma by placing edicts across his kingdom in the form of Ashoka Pillars. The Ashoka pillars stand for spiritualism and pure living, they teach the value of dharma and exude his imperialism across Magadha. But what were these pillars and what was their significance?

The pillars were not just a list of rules for better living surmounted by a lion signifying imperialism. These pillars in their very construct were the symbolism of the "Tree of Life" that stems from the pot of water placed at the bottom from which rises the shaft( yashti) of the pillar(stambha). The "Tree of Life" flowers into a lion capital or into an architectural unit depicted on temple walls in later years(photo below with pillars marked in white) but primarily re-emphasizing on the root principle of water cosmology.

Airavateshwara Temple, North wall, Darasuram near Kumbhakonam

The "Tree of Life", was symbolized by Ashoka when he erected his pillars with engraved edicts and placed them into the earth by digging a pit and covering it with water or placed an earthen pot full of water at the base inside the pit from which rises the shaft of the pillar. This architectural unit of a water-pot based pillar signifies the potency of the miracle of life and its constant presence in this world as we know it.

Meanwhile far away in the interior forests of the Hindu Brahmanical countryside way back in an era even before Ashoka probably, another version of the potent "Tree of Life" took shape. Going back into the realm of Lord Shiva, there runs a mythical story on Lord Shiva and Parvati (Mother Goddess). After their wedlock they returned to Kailasa and retreated into the caves of this divine mountain. For eons they remained here, in union away from all the worlds. Meanwhile, there was trouble in Devaloka and on earth as the Asuras had again begun to harass the devas and other mortals. This disturbed the Rishis, Devas and other Gods and they came to the cave entrance seeking Lord Shiva's help to vanquish the charging Asuras. Realizing that they were unable to awaken Lord Shiva out of his marital bliss, they decided to step into the cave. Deep within the cave, the Lord and His consort, lay in union. Parvati was taken by surprize on the sudden entry of the heavenly folk, and in order to save her embarassment, she picks up a full bloomed lotus and covers her face.

This moment, of Parvati attempting to cover her embarassment (Lajja) has been depicted in sculpture as Lajja Gauri showing her face covered with the lotus as well as her holding a lotus bud in each hand signifying fertility, life and creation. Her raw beauty has been depicted without any subtlety, her moment of union with Lord Shiva has been captured by the scuptor. Dr. Ramachandra C. Dhere in his book "Lajja Gauri" describes her womb to represent an earthen pot. This representation brings alive the original concept of the miracle of living where the "Tree of Life" is represented by progeny and lineage. The potency of the life giving waters in water cosmology is metaphorically represented by the waters within the yoni of the woman.

This echoes the same symbolism with which Ashoka erected his edicts around Magadha. These waters are considered enpowering and they render the living all powerful and brings prosperity. Such was the depth of belief in Indian iconography and representation in Indian art.

Photo courtesy:
Indra with staff: Christopher Tadgell is Senior Lecturer in Architectural History at the School of Architecture, Canterbury College, Kent Institute of Art and Design 1996, http://www.ellipsis.com/history/
Ashoka Pillar: © Lexicon of Greek Personal Names. All rights reserved.
Lajja Gauri: Naganatha Temple, Naganathakolla, Bijapur District, India. Badami Museum, Item B36 Archaeological Survey of India (ASI), government photograph. Date c. 650 CE. Image scanned by uploader from Bolon, Carol Radcliffe, Forms of the Goddess Lajja Gauri in Indian Art, The Pennsylvania State University Press (University Park, Penn., 1992)
This image is in the public domain in India because its term of copyright has expired.
Airaveteshwara temple: commons.Wikipedia.org

Alidhanrita Shiva: Victory dance over evil

Click of the photo to view the complete form of

Alidhanrita Shiva, Kailasanatha temple, Kanchipuram

The most famous form of Nataraja that we know envelops the Panchakriyas, i.e. the five activities comprising of:
Shristi - the process of creation and evolution,
Sthiti - the process of continuous maintenance,
Samhara - the process of destruction,
Tirobhava - the curtain of illusions by his various incarnations, and
Anugraha - ultimate salvation and release.

The form of Alidhanrita Shiva is the expression of victory or Samhara brought out through natya and shilpa shastras. This form of Shiva has been described in sculpture, painting and dance as the victory over evil, over the cities of Tripura. Alidhanrita Shiva is the culmination of the dance form of Tripurantaka Shiva and depicts a warrior's victory over one's own evils.

What does the form of Tripurantaka Shiva signify?

While destroying the three cities of Tripura, Shiva plays the warrior who rides the chariot into space to destroy the three flying cities. This celestial chariot vividly paints Brahma as the charioteer who rides the earth, one of Shiva's Ashtamurtis* that makes up the chariot. The Sun and the Moon who also are a part of the Ashtamurtis and are the very eyes of Lord Shiva Trayambakeshwara, take up their significant roles as the wheels of this celestial chariot. Shiva's ornament Vasuki, the snake plays the bow-string and Mount Meru is the very bow that twangs sending reverberations of victory over the three cities. Vishnu, is the arrow that is aimed at Tripura along with Agni who is again a part of the Ashtamurtis of Shiva. The four horses that pull this divine chariot are the Vedas that are the very breath of Brahma. Shiva, the great warrior rides this divine chariot. This is described in the dance form of Alidha depicting Tripurantaka Shiva vanquishing the three cities.

Raghuvamsa describes: (Raghuvamsa 3, 52)

atishthad alidhaviseshasobhina vupuhprakarshena vidambitesvarah

Lord Shiva Tripurantaka destroys the three cities in terrific rage, the furious emotion that is expressed in his gaze is called Raudra Drishti in the Natya Shastra. This expression is depicted in only the paintings at the Tanjore temple murals and is not captured in the sculptural version of this form, where the expression is more of Karuna or compassion. His fury is vividly described in the painting, where his eyebrows are raised and his eyes are wide open displaying pupils that are depicted as wide rounded balls. The eyes are crooked and depict the severe fury raging out of the being of Tripurantaka Shiva.

How do we relive the experience of Tripurantaka Shiva and the victorious dance of Alidhanrita Shiva when we worship the Lord?

With emotions tuned into the realm of Shiva we as a Bhakta surrender to Lord Shiva during puja. As the sacred syllables roll out into mantras in rhythmic flow, in the light of the ghee lamp we offer flowers and vilva leaves to the Lord.

Om Trighalam trigunadharam trinetram chakrayuttam
Trijanmapapa sangharam yega vilvam Shivarpanam

With this prayer to Lord Shiva residing within the chamber of my heart, I offer myself to the Lord, and to the divine three eyed Lord I give up my sins and karma of the last three janmas. I take on the very same warrior like form of Alidhanrita Shiva and destroy my own three cities of evil and dance my own victorious dance of liberation destroying my own karma. I am Him, I am alidha, I am what remains when I vanquish my own desires and bad thinking with my own furious gaze and burn those thoughts to ash. And after giving up myself into an egoless existence, I pray to the Lord to free me off this misery. In pure adoration to the Lord I offer myself, and with my chariot symbolized by Agni, Surya and Chandra, each signified by the three leaves of the Vilva, the very embodiment of Trayambaka, the three eyes of the Lord Himself, each defined by Chandra, Surya and Agni, I embark on my chariot to destroy my own demons, with every offering of Vilva leaves I make during my worship.

Thus, having imbibed the very form of Tripurantaka Shiva and having destroyed our own karma, one enters the realm of Alidhanrita Shiva where one is in union with the Lord dancing the joyous dance of victory after severing (samhara) one's own deep desire of self pride.

*The Ashtamurtis are Prithvi, Chandra, Surya, Agni, Vayu, Water, Varuna and Dikpalas.

Photo courtesy:Origin of photo unknown
Reference: Nataraja in Art, Thought and Literature - C.Sivaramamurti

The realm of Shiva, the meaning of Atman

Shiva is a state of mind, Shiva is Atman, Shiva is you, and Shiva is me.
Shivaya nama Shivalingaaya nama om|

What happens when two drops of Atman meet in the realm of ether, in this world, in this Maya?

I am the mystic you look for; I am the mystic you discover within you. I am the rhythm of the Lord in my heart, the lotus blooms within my soul. I am the tune you wish to sing, I am the heart beat within you. I am Atman I am me I am you, I am where you too exist, in this divine ether between the earth and space, within this Maya we meet, an egoless existence, pure music, pure soul, the constant in my breath is the constant in yours, Atman in pure form is felt at last.

Atman is pure love, Atman is soul,
Atman is the constant that makes me, make you.
Atman is what gives a circle its form,
Atman is what gives the flame its glow
Atman is what makes the world arise.
Atman is the sheen on your skin,
Atman is the twinkle in my eye,
Atman is the bliss that swells your heart,
Atman is that of which you and me are a part.

Atman is what you admire in me
Atman is what brings us close
Atman is what makes the nerves tingle
Atman is that energy that flows
Atman is what brings life to our breath
Atman is the darkness beyond the light of reason
Atman is that which stays constant
Atman is that which i admire in you

Oh Lord Shiva, so divine is your love
Your presence felt when two Atmans meet
In your admiration we drown our self
In your realm we cease to exist
In your fire does our ego burn
In your beauty do we realize our own
In your ocean does our goodness flow
In your blooming lotus do we feel your warmth
In your realm do we admire
My Atman as well as yours.

Atman is that word that truth
Atman is what merges you and me
Atman is not man nor woman
Atman is our ocean of love
Atman is my beauty and yours
Atman is my mystic and yours
Atman is my character and yours
Atman is my mind and yours
Atman is what IS when we merge
Atman is what will be when we part.

In this drama of life, Atman is my ode to the Lord. In this breath i take in Atman is the soul within. In the sunlight of the day, Atman is what glows on my face, In this cruel world of egos, Atman is my saving grace. In this realm of murderous war, Atman is what binds my tears of love. In this jumble of words that unfold, Atman is the garland of letters untold.

Aatmaaya nama atmalingaaya nama om||

Atman is the zone of mutual admiration, it is the zone of no ego, it is the zone of no age or gender, it is the zone of single pointed concentration on the self, on other selves. It is the zone where "I" doesn't exist. It is the zone where only goodness is felt, a zone where human beauty in the self is appreciated. Atman is present in this moment, now, within us waiting to be realized.

This post has been inspired by Maanikkavaachakar's Thiruvaachakam. The author Maanikkavaachakar was a poet and a mystic of his time and his works date back to 3rd cen A.D.

Essence of the Shiva Kavach

Mantra kavacha coupled with a sword to fight, sacred ash and a conch to subdue the enemy is all that is required for victory over problems and enemies in ones life. This armour is woven out of sacred syllables, which call on Lord Shiva to protect, through the magic of Rishi Rishabha's penance.
Shiva Kavacha is revealed to mortals through the divine dialog between Rishi Rishaba and prince Suta. Offering his worship to Lord Shiva Neelakantha, the beloved of Uma, the 3 eyed and thousand armed Sambhu who destroys all enemies. Here is the supreme secret of all penance, possessing which you will be ever successful and redeemed from all pain and sin.

Worship of the Lord involves Karanyaas, which is the method of energising the fingers by mantra (mudra). It is followed by Hridayadi Anganyasah which is the process of energising the heart and the whole body with single pointed concentration on the Lord, concentrating on the heart, head, crown of the head, eyes, the third eye, and by circulating the right hand giving a click of the finger. One is ready and moves into a deep state of Dhyanam or meditation. Seated in composure, in a sacred place, one should contemplate upon the imperishable Shiva with all his senses subdued and pranas controlled.

Having invoked the Lord in the lotus of your heart, whose presence is bliss that is beyond the senses, having disentangled yourself from the bonds of action one is ready to wear the Kavach Om Namah Shivaya.
"
May the supreme divinity raise me from the clutches of Samsara
May He render me free of all fears
May the eight fold form of Shiva save me from all earthly deseases
May Kala Rudra who dances the Tandava after destroying all at the end of the yuga, protect me
May Trinayana, four headed who is replendent in lightening like gold look after me in the east and the south
May the Lord, spotless like the jasmine who bears the moon and crystals protect me in the west and north
May the five faced Iswara protect me from all evil
May Lord Chandramauli protect my mind, Phalanetra protect my forehead and eyes and destroy my lust
May Lord Vishvanatha who breathes the Vedas protect me
May the Lord who holds Pinaka protect my throat and hands
May the Lord who destroyed Daksha protect me from all evil
May my hip, waist, stomach and navel be protected by Dhurjati, the destroyer of cupid.
In the first watch of day may Mahesha protect me
In the second watch of day may Vamadeva protect me
In the third watch of day may Trilochana protect me
In the fourth watch of day may Vrishaketu protect me
May Lord Sashishekhara protect me in the dark
May Lord Gangadhara protect me in the night
May Lord Gauripati protect at dawn and Lord Mrityunjaya protect my all the time
May Lord Neelakantha dispel my fears at all times
My prayers to Virabhadra, who is as fierce as Yama

I bow down and surrender to Lord Sadashiva
Who is supreme truth
Who is the incarnation of Rudra and Brahma
Whose very eyes are the Sun, moon and fire
Who is smeared in white holy ash
Who is studded with diamonds and jewelery
Who kills the tide of time
Who resides alone in the Muladhara
Who is the permanent abode of the Ganges
Who wears the eight serpent kings round his neck
Who is the very form of Pranava
Who is the embodiment of pure consciousness
Who wears a universal necklace of stars, planets and galaxies
Who is spotless and pure
Who is the supreme witness of the entire universe
Who is the supreme secret of all the Vedas
Who bestows boons upon his devotees
The merciful Lord Who is free from all lust, greed and sorrow
Who is devoid of desire, disease, ego and attachment
Who is beyond the chains of cause and effect
On whome doubts fade and action ceases
O Lord Sadashiva, Mrityunjaya, Thrayambaka I pray to you again and again
"
Having revealed the sacred syllables to invoke Lord Shiva, Rishi Rishabha blesses Suta and gives him a conch, a mighty sword purified by the sacred mantra Kavach, sprinkles holy ash on him and blesses him with magic that renders him supreme.

The Kavach renders itself in a unique way in today's world. The mantra kavach renders the enemy lifeless, meaning even if someone plans to attack you, they will forget the reason at the time of confrontation. When they interact, the protection of the Lord will keep them at bay. The metaphorical reverberating noise of the conch will deafen their minds with their own thoughts and confuse them thereby rendering you victorious. Clad in the syllables of Shiva Kavacha Om namah Shivaya, you can conquer the world and destroy your enemies.
Saying this Rishi Rishabha departed.

Bana Lingas from the depths of the Narmada River

Omkareshwar by the river Narmada

The peace of the night descended as Srinivasan walked down to the banks of the Narmada at Omkareshwar. Across the river, covered in a veil of lights stood the main temple housing the Jyothir Linga. At his feet were the still and gentle waters of the Narmada, ripples that whispered a lot more in the deafening silence. These waters flowed from the very being of Lord Shiva, and as they did they carved out the bed rock into tiny forms of the Lord himself, into Bana Lingas that drew the essence of worship from other worlds within themselves.

Srinivasan recited a Shloka to himself, the origin of which was in folk lore as he pondered:
gangA gItA ca gAyatrI govindeti catuShTayaM |
Catur-gakAra-samyukte punar-janma na vidyate ||

That which started with the syllable "ga" meant emerging forth and being constantly present. As the verse goes, Ganga, Gita, Gayatri and Govinda are constants. In fact the very meaning of Linga in the Agama context signifies "ling" which means to destroy and "ga" which is to emerge. Bana Lingas emerge as natural swayambhuva Shiva Lingas. These are found only in the Narmada river bed and are very sacred stones as they contain the very form and energy of Lord Shiva similar to Jyothir Lingas. They are naturally powerful and hold the essence of divinity within them.

According to the Aparajita-pariprchchha (205, 1-26) there is mythology attached to the Bana Lingas association with the Narmada River. It is believed that when Lord Shiva destroyed the flying city of Tripura (Tripurantakamurthy) which had been obtained by the arrogant demon Banasura, He let go a fiery dart from his bow - Pinaka. This destroyed the three cities into tiny bits, which fell in three spots - on the hills in Sri-kshetra (of unknown identity), on the peaks of Amarkantak in the Vindhya range, and on the banks of the holy river Narmada. These soon multiplied into crores of Lingas and as they were part of the possession of Banasura, they came to be called Bana Lingas. The Padma Purana reveals that the holy river of Narmada has many ghats all of which are associated with Bana Lingas and Raudra Lingas.

Bana is also known to be the eldest son of Bali, who in turn was the son of Virochana and the grandson of Prahalada who was the son of Hiranyakashipu and a great devotee of Narasimha. Banasura himself was a great devotee of Lord Shiva and having done severe penance Shiva granted him in the form of Natural Lingas - Bana Lingas (banrchartham krtam lingam).

Srinivasan watched the silent ripples wash the shores and wondered in amazement over the potency of these waters. These waters protected rounded bed rock within its darkness, that when polished revealed to us, their beauty within. He pulled out a Bana Linga from his pocket and stared at it closely. The Siddhanta Sekhara (an astronomical work by Sripati in 1039 cen A.D.) revealed that the Bana Lingas have already been worshiped by deities and contain the impress of their worship visible in the marks on the Lingas:

Lotus mark (padma) reveals it was worshipped by Brahma
Mark of a parasol (chhatra) indicated Indra
Mark of two heads (siro-yugma) indicated Agni
Three steps (Pada) mark indicated it was Yama
Mark of a mace (Gada) indicated Isana Shiva
Mark of a water vessel (kalasha) indicated varuna
A banner mark (dhwaja) indicated the energy of Vayu

This rendered Bana Lingas as Daiva lingas and hence these Bana Lingas are considered extremely superior compare to other lingas.
The power of the Bana Lingas is felt in a few conditions. A Bana Linga, carrying the marks of Indra when worshipped fulfills all the desires of the devotee and bestows upon him respect and wealth. The Agneya variety of the Bana Linga is warm to touch, and contains the marks of Shakti's weapon. The Yamya Linga has the forms of a cudgel or that of a tongue. The nairutti Linga appears like a sword and carries stains on its body and bestows the benefits of gyana and yoga; however it should not be worshiped by a Grihasta (householder). The Varuna Lingas are round in shape and can be distinguished by the marks of a noose (pasa) and it is worshipped to secure wealth and prosperity. Lingas that signify the energy of vayu are black or ash gray in color and carry a flag post symbol on its head. The Kubera Linga also has the form of a mace (gada) or arrow (tuna) depicted by a hairline like line in the center. The Raudra Lingas are lustrous like a block of ice but bear the marks of a bone or spear. Vishnu's symbols could range from conch shell (samkhabha-mastaka), discus, mace, to the jewel on the chest (sri-vatsa and kaustubha) or foot print.

Srinivasan recollected the ancient verses of Adi Shankaracharya. In the ancient days all cults, namely those of Shiva, Vishnu, Ganesha, Devi and Surya were independent and fighting for supremacy till Adi Shankaracharya set the rules to unite all of them. The result was the performance of the Panchayatana puja, by the Smartas towards their Ishta Devata, that deity being placed as the central altar. Each deity was represented in that aniconic form. This was the worship of the 5 sacred altars. In this orthodox tradition initiated by Adi Shankaracharya, five stones each representing the respective deities are placed on the sacred altar for the Panchayatana worship.

Sun God Surya is represented by a crystal found in Vallam in Tamil Nadu
Mother Goddess Shakti is represented by the Swarnamukhi stone found in Swarnamukhi river in Andhra Pradesh
Vishnu is represented through Salagramas found only in the Ghantaki river in the Himalayas
Ganesha is represented by the red Shonabhadra stone found in the river bed of the Sone river flowing into the Ganges.
Shiva is represented by the Bana Lingas found in the Narmada river bed near the island of Mandhata.
Different sets of rules apply to the Brahmacharya, Grihasta, Vanaprastha and the Sanyasa.

Srinivasan got up to leave these waters, reliving his darshan of Narmada Bana Lingas at other potent Shrines. Here was the ancient belief and promise to a pious and happy existence, and across these waters Srinivasan could see the new world of dams almost submerging all of this reality into the depths of the raging Narmada. Would all this just come to an end? Would this knowledge be submerged into the depths of time and ignorance?




Click on photos to view enlarged picture

Shankaracharya Temple
Brihadeshwara Tanjore Temple
Somnath Jyothir Linga
Kashi Vishwanath Varanasi

Other related topics:
The meaning of Jyotir Linga
Jyothir linga Somanatham - The moon descends to earth
Jyotir Linga Omkareswar and Amaleshwar in the Vindhya hills
Jyotirlinga - Kasi Vishwanath, Varanasi
Temple of a saint - Adi Shankaracharya

Courtesy photos and original content:
Shlokas and meaning: Copyright© V. Krishnamurthy
Last updated Oct 2005. Copyright Ajit Krishnan [ 1999 - 2005 ]
mukti4u2.dk/Narmada_river

Chaunsat yogini temple, Bheraghat Jabalpur

Strange temples that beat the canons of popular architecture echo the presence of an esoteric cult of the Mother Goddess in the form of "Chaunsat Yogini" shrines. Though the cult of the Goddess has survived in a more favorable way of ritual worship, few examples bring to life the extreme form of this worship during the 8th to 12th cen A.D.

In the darkness along the gushing course of the Narmada River, atop a hill in the silence of the moonless night a lamp is lit. The fire of the lamp lights up the faces of 64 Yoginis within the walls of a great temple, the temple of the Goddess. Shakti trasforms into power here, she is pure feminine beauty, she is sexuality and she is life. Raw female power is awakened within these walls of a circular roofless temple and as the ritual unfolds, these graceful yoginis begin to dance. These forms of the Goddess are full breasted and voluptuous with slim waists as they move with grace exuding beauty as the Sadaka worships their many forms, imbibing the very element of Shakti into his experience of the Goddess. As the Chausathi Mahamayavi Tantra and the Chandi Purana of the 15th century composed by Sarala Das describe through folk songs of the era, these yoginis constitute the different parts of the body of the Mother Goddess herself.

Chaunsat Yogini temple interior, Bheraghat

As the night deepens, the winds dance with the flames presenting a divine spectacle. Shiva leela, of a more potent kind spreads through the air within the walls of this temple. 64 beautiful yoginis pronounce the woman in all her grace and beauty to Bhairava, the form taken in by the Sadaka. Casting dancing shadows on the rocky temple floor, these 64 yoginis dance around Shiva and take up their place and sit in Lalitasana within the circle of Bhairava (3 in red in top right corner in the picture below).

Seduction gushes forth as these Goddesses come alive, dressed in flowing skirts held together by an ornate girdle worn low on their hips. Shimmering necklaces and garlands cover their chests, as the sounds of their bangles and anklets in sweet notes fill the air. 64 yoginis, charge the air as they dance around Bhairava, their elaborate hairdo pronouncing their lush beauty, their earrings shimmering in the light of the fire that wakes the sleeping night within this temple. Their lotus eyes bring sweetness to their beings, grace to their forms and warmth to their presence. Bhairava, the potent Lord dances with them within his circle, the Chakra of life, it is an experience for the living. This is the world of the tantriks, this is the world of Bhairava Shiva as the fire cuts through the darkness bringing on the experience of the Goddess divine.

Chaunsat Yogini temple, Hirapur

The aspirant goes into deep meditation, invoking the yoginis as he performs his rituals. Bhairava dances on, waking up the essence of Kuala Marga. The attainment of perfection is the path to Siddhi, one that brings perfection and a higher spiritual bliss of a different kind. The conquest of power and the taming of the Goddess's wilderness, the harnessing of her Supreme beauty into energy render the Sadaka powerful. Five elements are offered to the Yoginis, Matsya (fish) first followed by Mamsa (meat), Mudra (parched grain) and Madya (liquor) and finally Maithuna (couples in intercourse). The juices of life are offered to the yoginis at the culmination of this ritual. The depth of Tantrik sadhana is reached and the energies are imbibed by the aspirant as the 64 yoginis look on from within their niches.

The air is still, the lamp light is feeble, as the floor is flooded with the ritualistic syllables of the Goddesses. This magical world descends into darkness. Most yogini temples have the dancing Bhairava fiercely rendering his presence at the center of the courtyard. Here he dances with the 64 damsels through the night. At the temple of Bheraghat, Lord Shiva descends within the temple, seated with his beautiful consort Parvati on the back of Nandi Bull in the central shrine as they make their way into the tantrik rituals of this temple.

Bheraghat is one of 9 temples that dot the Indian landscape. Other Yogini Shrines are at Hirapur, Ranipur Jharial, and Khandriya Mahadeva temple Khajuraho to name the most prominent. There are dilapidated structures that dot the countryside of Orissa, Madhya Pradesh and Tamil Nadu.

These temples redefine a strange cult practice that involved human sacrifices and offerings of blood, or the use of fresh corpses out of war (Dead kings, soldiers and warriors) and ritual practices of a tribal (Adivasi) kind that invoke the power of Kali and Mahakala Bhairava of the ancient Tantrik tradition. These 64 yoginis have also been grouped into 8 supreme Goddesses known as the Astamatrika. Interestingly in these temples even Ganesha has a feminine form - Ganeshani (bottom right in red in picture above).

Ganeshani at Bheraghat

These ritual practices have probably died with time or have moved back into the tribal villages of Orissa. What remain are powerful eerie temples that reflect the fury and tantrik power of Shiva Bhairava and the Mother Goddess.

Related posts:
64 Yoginis dance with Bhairava
Potency of Lord Shiva – Part 2
Ekapada Shiva - The one legged Shiva

Photo Courtesy:
ganapati.club.fr/mp/images

Samadhi: Path to the Perfect Cave

The state of Samadhi is one of mystery and intrigue, a state of sublime, a state of constant bliss, commonly known as Nirvana.

Tantra 7 of the Thirumantiram composed by the great Tamil poet Thirumular contains 8 verses 1902 to 1909 that describe what happens when success is achieved in Yoga Samadhi as well as its failures and downfalls. These verses explain why a Jnani’s body is buried and not cremated as well as the ritualistic way in which it needs to be done.

As against common belief that Hindus cremate their dead, there are certain exceptions to the rule. When a Siddhar* fails to achieve Samadhi, he is reborn into this world and continues to worship Lord Shiva from where he had last left off. In the new life that he is granted, he has the complete potential to reach Siddhahood and attains Shiva Yoga, rising into the realm of celestials. When an aspirant goes into Mauna Samadhi he is neither reborn and nor does he attain Jiva Mukta, he is in constant union with the Lord. This is a state of pure consciousness where the body dies but the Siddhar* is still conscious and alive and has completely merged with the Lord. Such a jnani though limited within his human walls during his life time will exude the consciousness that is one with the all pervasive Lord Shiva.

A jnani’s body is never consigned to the flames of a funeral pyre; they say it challenges nature and brings about catastrophic changes to the land where he belonged resulting in disease and famine. Jnani’s are supposed to be buried as per the rules in the Agamic scriptures.

The jnani or Siddhar* is buried in an underground sepulcher which should be located in a riverbed, wooded grove, dense forest or a high mountain valley. The measurements of the sepulcher should be 5 by 5 feet and at a depth of 9 feet. To prepare this chamber, five precious metals and nine rare gems need to be spread within the cave on top of which the seat needs to be placed. Kusha grass is scattered and white holy ash is spread all over the chamber. Further to this turmeric powder in yellow gold mixed with incense is spread over the ash laden grass bed. The cave is square shaped inside and is further covered with garlands of flowers, sandal, musk, and diverse unguents and sprinkled with rose water. The ritual oil lamp is now lit within the cave with complete devotion towards the deceased Siddhar* (jnani). The white holy ash acts as a protective covering around the body. The body is now placed in the appropriate asana and the cave is filled with earth. The Siddhar’s* sandals, earrings and an image with his/her face and eyes decked in suitable clothing are placed over this cave along with rice food and tender coconut. White holy ash is again poured along with powdered incense as well as flowers and vilva leaves. Holy water is sprinkled over this sacred burial chamber and a platform of 3 feet is raised above it. Atop this platform a sapling of a peepal tree is planted or a Shiva Linga is installed. The Sannadhi faces North or East and 16 rituals are performed with complete devotion.

Few Samadhis speak volumes with this approach towards the deceased. Among many Samadhis that dot the Indian countryside some come with excessive divinity, around which the power and magnetic field continues to be strong.



Adi Shankaracharya’s Samadhi, Kedarnath
Samadhi of Siddhar Bogar, Murugan temple at Palani

The small shrine of Adi Shankaracharya at Kedarnath speaks of a Samadhi, at the same place where Adi Shankaracharya is believed to have spent his last days. The cave temple of Siddhar* Bogar, who went into Samadhi in the early part of the Kali Yuga in about 3000 B.C. is even older than that of Adi Shankaracharya. Both Samadhis are found at high altitudes and both have a representation of the Siddhar* and a Shiva Linga installed at the surface. While Adi Shankaracharya’s is a humble version, that of Siddhar* Bogar is a lot more flamboyant. Surrounded by the Nava Durga as well as Sri Bhvaneshwari, and hosting a unique sacred emerald Lingas (Maragada Lingam), not to be found anywhere else in the world along with a right mouthed conch shell, is the self made Samadhi of Siddhar* Bogar, under the main shrine of (Dandapani vigraha) in the Muruga temple at Palani. Interestingly Siddhar* Bogar and Adi Shankaracharya are believed to have traversed the world through air, while the former spread the science of medicine and aviation all the way in China as described in the Saptakanda, the latter went back to his mother during her last moments of life.

The Relic Stupa of the Licchavis at Vaishali

The ancient sites of Sanchi, Bharut, Sarnath and Vaishali contain the ash relics of Buddha embedded within a wooden box, with 9 precious stones and earrings of the Bodhisatva. It appears that a square pit was dug here too within the stupa at Vaishali to place these relics and covered with earth, capped by a stupa on top. The gateways depict the life of the Bodhisatva in sculptural representations across their panels.

The sacredness of these shrines leaves us breathless and makes us feel small and not just incompetent but wasteful in our approach for a more perfect life. The question now is “What is perfect living?”

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*A person who has acquired all the 8 Siddhis during his lifetime is called a Siddhar. Typically Siddhars belonged to the previous yugas including the beginning of the Kaliyuga and lived approximately for a minimum of 125 to 300 years and a maximum that covered a yuga

Also read: Siddhar Bogar Samadhi, Palani Murugan Temple

Credits:
Creative Commons Attribution ShareAlike 2.5, Wikipedia
S.Mahalingam: Painting of Artist Silpi depicting Siddhar Bogar’s Samadhi.

Pataleshwar temple, Shiva Temple in Rashtrakuta Style

Pataleshwar Temple, alias Panchaleshwara temple, Pune:

The ancient land of the Rashtrakutas displays fine craftsmanship in chiseling out a place of residence and worship right into the heart of the very earth that surrounds their land. The Rashtrakutas are better known during the 6th to 8th century for their contributions to the Ellora caves. Their sculpture is not the finest, being extremely broad shouldered sculptures with very small legs; they are rather disproportionate, such that the sculpture cannot carry his/her weight. This is the point of view of a current day art critic.

The Rashtrakutas provided places to stay for wandering intellects and tired travelers during the Monsoons. Pune would have been a fabulous destination during the ancient days. Today the city has grown swallowing up this tranquility into itself with cement residential areas coming up everywhere.

Please click on the photos to enlarge them

There was a time when intellects and monks stayed here in these caves for a brief period. During this time they discussed matters of philosophy and worshipped the Lord in the main shrine. Beating the Monsoons and providing a quiet ambience, Pataleshwar temple defines every inch of what rock cut cave architecture is about. The circular mandapa is a treat to the eye, with pillars carved into a single bed rock that stands sculpted in the middle of the courtyard. This whole temple complex would have once been a sheer solid rock outcrop and carving into it would have been an ambitious task.

Moving back to the era of the 8th century around which time this temple was planned, the initial landscape would have been that of a rocky boulder with probable thick vegetation surrounding it. Assuming the surface was flat, the initial ground plan would have been visualized to describe the form of a Shiva linga, with the current Nandi Mandapa forming the main linga circle of this temple in aerial view. Digging down into live rock, with acute sense of geometry and precision, this temple would have taken a few years to sculpt out of live rock. Situated on the river side, this temple has the perfect ambience of a Buddhist chaitya and vihara.

It was a perfect place to stay, with room like cells dug into the walls on either side of the main hall. The ambience was very close to that of a Buddhist vihara, with a reservoir/well for water supply. This place would have been spectacular during the Monsoons with wet rocky floor carpeted with green moss across. Pataleshwar temple is a simple structure. As a chaitya, it contains a unique central Nandi mandapa, circular on the outside providing a path of circum-ambulation around the stone idol of Nandi housed within 4 square pillars on a square base. Nandi looks on straight towards the shrine chamber of Lord Shiva.

The courtyard is simple, flattened out and smoothened, leading up to a small cave with 2 rows of simple square pillars very similar to those found at Ellora (Teen tala). This cave was carved during the same period hence the resemblance is very vivid. Walking deeper into the main hall, this cave was left half finished in the interiors. What was probably planned for was a path of circum-ambulation around the main sanctum which was left incomplete, mysteriously in the same way as that of the ancient cave temples in the south at Mahabalipuram. The plan for this sanctum was to have a single entrance only.

Two rows of distinctly crafted pillars carefully chiseled out indicates that as the temple was being dug into, there were a set of sculptors polishing up the exterior row of pillars while others had already begun to carve the iconography of the Lord onto the large niches. None of the sculptures remain; hence it’s largely guess work to identify the sculptures of Shiva that adorned these walls. The central zone has three chambers in a line; I would suspect that these were originally empty. The present sculptures of Rama, Lakshman and Sita are later additions, maybe belonging to our era. By iconographical reference, they do not fit into this temple given their Vaishnavite origin. During the 8th century, there was no mix of divinity in these forms.

The main shrine is a living temple today, with a rather small Shiva linga in the center of this little chamber. Given the monumental shrines we see at the sanctums of Ellora, Ajanta and Elephanta, this is particularly small. I would suspect the Linga had been destroyed in time and has now been reinstalled for this size does not fit that era. The shrine chamber definitely has been subjected to a high degree of renovation in current times, given the floor has tiles inlay for the peetha and a brass crown covers the present linga.

This is a beautiful example of Rashtakuta design in sculpture and architecture, a clear representation of deep faith, a result of all the sweat and hard work to sculpt this abode for the Lord. The crowning glory of this region of course is not remembered for the making of this cave temple during this period but later during this period of the Peshwas in 1749 A.D. when Maharaj Chatrapati Shivaji came to reside here with his mother.

The Rashtrakutas have faded into history, their dynamism stretching across Karnataka and Maharastra is embedded within these cave temples that now provide the much needed peace and tranquility in the middle of a bustling metropolitan city.

Photo courtesy: Flickr.com (creative commons)