Elements of Hindu Iconography v2.c16.s1: Lingas

Elements of Hindu Iconography v2.c16.s1

Language: English

Lingas

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SIVA is worshipped in a number of anthropomorphic forms, as also in the symbol of Liṅga. The more common representation is the latter. As has been said already, the chief image in the central shrine of a Śiva temple, is, in a large majority of instances, the Liṅga. Very rarely do we meet with anthropomorphic images of Śiva in the central shrines, and where they are seen, as in some temples of the Pallava period in South India, they occupy a position subordinate to the Liṅga.

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Liṅgas are broadly divided into two classes, namely, the *chala-liṅgas* and the *achala-liṅgas*, that is, the moveable and the immoveable Liṅgas. To the latter class belong the large and heavy stone Liṅgas which are permanently set up in the central shrines of Śiva temples. A description of the different varieties of the *chala-liṅgas*, had better be given first before proceeding to deal with the important class of *achala-liṅgas*.

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The *chala-lingas* are divided into *mṛṇmaya* (those made of earth), *lōhaja* (of metals), *ratnaja* (of precious stones), *dāruja* (of wood), *śailaja* (of stone) and *kṣaṇika lingas*, (those made for the occasion and disposed of immediately their use is over). The *mṛṇmaya lingas* may be of baked or unbaked clay. For making an unbaked clay *liṅga* it is stated in the *Kāmikāgama* that white clay, gathered from pure places, such as the tops of hills and banks of rivers, should be mixed with milk, curds, ghee, as also the flours of wheat and barley, the barks of milky trees, powdered sandal paste, mercury, etc., and the whole mass is then well mixed up and kneaded and kept for a fortnight or, at the most, a month. The *liṅga* is then shaped according to the instructions given in the *Āgamas* for that purpose. The baked clay *liṅga* is used for *ābhichārika* purposes; that is, for incantations such as those made to bring about the destruction of an enemy.

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The *lōhaja liṅgas* may be made of the following eight metals, namely, gold, silver, copper, bell-metal, iron, lead, brass and tin. Similarly, the *ratnaja-liṅgas* may be carved in pearls, coral, cat's-eye

The Chala or Jangama Lingas

The Mrinmaya Lingas

The Lohaja Lingas and the Ratnaja Lingas

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(vaiḍūrya) quartz crystal, topaz (puṣyarāga), emerald and bluestone; that is, the ratnas or precious stones employed in making lingas are seven in number. The Dāruja lingas are made of the timber of the śami, madhūka, karṇikāra, maṇḍūka, tinduka, arjuna, pippala, and udumbara trees; besides these, the timber of all such trees as have barks which exude a milky latex when cut, is also mentioned as good for making lingas; one such tree is the jack and it is very largely employed in the Malabar Coast for carving very fine specimens of images. The Kāmikāgama adds many more trees, such as the khadira, the chandana, the sāla, the bilva, the badara and the dēvādaru, the timber of which is also fit for making lingas. The stone lingas included in the class of chala-lingas are perhaps those small ones which are worn on the person by the people of the sect of Śaivas known as the Jaṅgamas, Liṅgavantas or Liṅgāyats, or Vīra Śaivas. The kṣaṇika-lingas are those that are made then and there for pūjā and are, after the pūjā is over, cast away. They may be made of saikatam (sand), uncooked rice, cooked rice, river-side clay, cow-dung, butter, rudrākṣa seeds, sandal paste,

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The Daruja Lingas.

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The Sailaja Lingas.

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The Kshanika Lingas.

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kūrcha grass, flowers, jaggery, and flour. It is said that worshipping a *liṅga* made of gold grants wealth (*śrīpradam*) *; one of uncooked rice, *vibhava*; a *liṅga* made of cooked rice, grants the worshipper plenty of food; a *liṅga* made of clay gathered from river banks, grants landed estates; of cow-dung, removes all disease; of butter, gives one a jovial temper; of *Rudrāksha* seeds, grants knowledge; one of sandal paste, is prescribed for those who desire *saubhāgya*, while that of *kūrcha* grass for seekers after soul-liberation; a *liṅga* composed of flowers grants long life; one made of jaggery confers all desired ends and that made of flour strength.

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* In the *Uttara-kāṇḍa* of the *Rāmāyaṇa* it is stated that wherever Rāvaṇa went, he carried with him a golden *liṅga* for his worship: placing that *liṅga* in the midst of a pedestal of sand, Rāvaṇa made *pūjā* to it with incense and flowers of fine smell (*yatra yatra cha yātisma Rāvaṇō rākshasēśvara jāmbūnadamayam liṅgam sthāpya Rāvaṇaḥ archayāmāsa gandhaiśchāmṛita gandhibhiḥ*). The commentator remarks " that the golden *liṅga* was intended for constant worship. He worshipped it from the desire of sovereignty. For it is prescribed in the *Tantras* that a golden *liṅga* should be worshipped when any one desires sovereignty. (*Tal-liṅgam jāmbunadamayam nitya-pūjā liṅgam aiśvarya kāmanāya hi tal-liṅga-pūjā Rāvaṇasya aiśvarya kāmasya sauvarṇa-liṅga-pūjāyastantrēshūktah.*)

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It is further stated that the *lingas* made of metals, precious stones etc., should have only the *pūjā-bhāga* or the portion which is projecting above the pedestal in *achala-lingas*, together with the *piṇḍikā* or the pedestal ; in other words, these *lingas* need not be made with the *Brahmabhāga* and the *Viṣṇu-bhāga* and then set up in a separate *piṇḍikā* ; the *piṇḍikā* and that portion of the *linga* which is to be visible and which is known by the name of the *Rudra-bhāga* are to be either carved out of a single block of precious stone or cast in metals. No rules need be observed, as in the case of *achala-lingas* in shaping the *chala-lingas* and they need not bear on them the lines that are required to be marked on the *achala-lingas*.

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The *achala* or *sthāvara-lingas* are, according to the *Suprabhēdāgama*, classified under nine heads, namely, the Svāyambhuva, the Pūrva (or Purāṇa), the Daivata, the Gāṇapatya, the Asura, the Sura, the Ārsha, the Rākshasa, the Mānusha, and the Bāṇa lingas.∗ these, the Svāyambhuva, are said to belong to the uttamōttama (most superior) variety of liṅgas; those belonging to the Daivata and the Gāṇapatya classes, are of the Uttamamadhyama (middling superior) variety; whereas the Asura, the Sura and the Ārsha liṅgas belong to the uttamādhama (lowest among the superior) variety. The Mānushaliṅgas belong to the madhyamādhama (middling among the inferior) variety.

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∗ The *Mānasāra* has another classification according to which the *achala-lingas* are of six kinds, namely, Śaivalinga, Pāśupata-Linga, Kālāmukha-Linga, Vāma-Linga, Bhairava-Linga and a variety which is not mentioned ; but it gives no description of any of these *lingas*. लिङ्गमानविधिं सम्यल्लक्षणं वक्ष्येऽधुना । शैवं पाशुपतं चैव कालामुखमुदाहृतम् ॥ वामं च भैरवं चैव लिङ्गमानंतु षड्विधम् ।

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Their classification.

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The Makuṭāgama recognises only four classes of sthira-liṅgas, namely, the Daivika, the Ārshaka, the Gāṇapa, and the Mānusha liṅgas, whereas the most authoritative of all the Śaiva Āgamas, the Kāmikāgama states that the sthāvara-liṅgas are divided into six classes, the Svāyambhuva, the Daivika, the Ārshaka, the Gāṇapatya, the Mānusha and the Bāṇa liṅgas. Though there is apparent diversity among the statements of the various Āgamas in the classification of the sthāvara liṅgas, practically there is no difference at all in them; some of them include the minor varieties under the major heads and swell the list, while others are somewhat more rigorous in keeping apart the major and the minor divisions among the sthāvara liṅgas.

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The Svāyambhuva Liṅga is described in the Kāmikāgama as one which rose up and came in into existence by itself and had existed from time immemorial. As such, even if these are slightly damaged by causes such as fire, wild elephants, inundation or encroachment of rivers, enemies of religion like the Tulushkas,[*] madmen or men possessed by devils, they need no re-setting up (jirṇoddhāra). If anything at all is necessary, it

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∗ While commenting on the word ripavah, Nigamajñānadēva, son of Vāmadēvasivāchārya says, ripavah śatruvastulushkādaya : Vāmadēva was a contemporary and protege of a king called Sambhuvarāya. There are three or four Sambhuvarāyas, (that is, members of a dynasty of chiefs who styled themselves Sambhuvarāyas), of whom the Sambhuvarāya, the patron of Vāmadēva seems to be Rājanārāyaṇa Sambhuvarāyar, whose initial date is A. D. 1322-23. In one of the inscriptions discovered by me at Tiruvāmattūr and which is dated 1335-6 A.D., it is said that the Turukkar invaded some time previously and caused ruin to the country and that the pūjā in the Śiva temple at Tiruvāmattūr was suspended for want of funds and that Rājanārāyaṇa Sambhuvarāyar granted some lands and money to revive the pūjās. This Rājanārāyaṇa constructed a gōpura in the Aruṇāchalēśvara temple at Tiruvaṇṇamalai; sitting in this gōpura, Vāmadēva wrote the original and commentary of the Jirṇoddhāra daśaka. Hence, the invasion and havoc caused to the temples by the Mussalmans under Malik Kafur, the general of Alla-ud-din Khilji, were fresh in the mind of the author who, therefore, includes in the term ripavah, the Tulushkas.

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The Svayambhuva Linga.

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is but a few ceremonials that might be done to purify the liṅga from pollution. If a portion of the Svāyambhuva Liṅga is broken, the broken part is required, if possible, to be bound with the main part with bands of gold or copper; if however, the damage is such as to prevent the pieces being bound together the broken part may be thrown away. If, however, a Svāyambhuva Liṅga is, by some cause or other, completely removed from its setting and thrown out, the event would cause the king his destruction as also of his kingdom, perhaps because he and his officers, responsible for the safety of such objects of hoary antiquity, were negligent in their duty. In fact, a Svāyambhuva Liṅga is considered so sacred that it is above all the rules laid down in the Āgamas for the other classes of Liṅgas. If such indeed be the superiority of the Svāyambhuva Liṅgas over others, it is no wonder that every village claims the Svāyambhuva nature for the Liṅga set up in its temple. Sixty-eight places, which are situated in various parts of India, are said to possess Svāyambhuva Liṅgas and a list of these places, is given in the commentary on his Jirṇoddhāra-daśakam by Nigamajñānadēva of Vyāghrapura, son of Vāmadēvaśivāchārya.∗

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∗ The sixty-eight places wherein Svāyambhuva Liṅgas are said to be found are :—

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The Daivika Liṅgas are recognised, according to the *Makuṭāgama*, by their characteristic shapes. They may

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be of the shape of a flame or resemble a pair of

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| No. | Place. | Name of the deity. |
| 22 | Bhadravaṭa | ... | Bhadra. |
| 23 | Bhairava | ... | Bhairava. |
| 24 | Kanakhāla | ... | Rudra. |
| 25 | Bhadrakarṇa | ... | Sadāśiva. |
| 26 | Dēvadāruvana | ... | Daṇḍi. |
| 27 | Kurujāṅgala | ... | Chaṇḍēśa. |
| 28 | Trisandhi | ... | Ūrdhvarētas. |
| 29 | Jāṅgala | ... | Kaparddi. |
| 30 | Ēkagrāma (?) | ... | Kṛittivāsas. |
| 31 | Mṛitakēśvara | ... | Sūkshma. |
| 32 | Kālañjara | ... | Nīlakaṇṭha. |
| 33 | Vimalēśvara | ... | Śrīkaṇṭha. |
| 34 | Siddhēśvara | ... | Dhvani. |
| 35 | Mṛitakēśvara | ... | Gāyatri. |
| 36 | Kāśmīra | ... | Vijaya. |
| 37 | Makuṭēśvara | ... | Jayanta. |
| 38 | Kṛitēśvara | ... | Bhasmakāya. |
| 39 | Kailāsāchala | ... | Kirāta. |
| 40 | Vṛishasthāna | ... | Yamaliṅga. |
| 41 | Karavīra | ... | Kṛitaliṅga. |
| 42 | Trisandhi (?) | ... | Tryambaka. |
| 43 | Virajā | ... | Trilōchana. |
| 44 | Dīpta | ... | Māhēśvara. |
| 45 | Nēpāla | ... | Paśupati. |

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hands held in the *añjali* pose; they may have rough

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| No. | Place. | Name of the deity. |
| 46 | Kārōhaṇa | ... | Lakuḷi. |
| 47 | Ambikā | ... | Umāpati. |
| 48 | Gaṅgāsāgara | ... | Amara. |
| 49 | Hariśchandra | ... | Hara. |
| 50 | Mahēśvara | ... | Ōmkāra. |
| 51 | Kuruchandra | ... | Śaṅkara. |
| 52 | Vāmēśvara | ... | Jaṭila. |
| 53 | Makuṭēśvara | ... | Sauśruti. |
| 54 | Saptagōdāvara | ... | Bhīma. |
| 55 | Nagarēśvara | ... | Svayambhū. |
| 56 | Jalēśvara | ... | Triśūli. |
| 57 | Kailāsa | ... | Tripurāntaka. |
| 58 | Karṇikāra | ... | Gajādhyaksha. |
| 59 | Kailāsa (?) | ... | Gaṇadhipa. |
| 60 | Hēmakūṭa | ... | Virūpāksha. |
| 61 | Gandhamādana | ... | Bhūrbhuva. |
| 62 | Himasthāna | ... | Gaṅgādhara. |
| 63 | Bāḍabāmukha | ... | Anala. Dānavāri (?) |
| 64 | Vindhyāparvata | ... | Varāha. |
| 65 | Koṭitīrtha | ... | Ugra. |
| 66 | Ishṭikāpura (in Laṅka?) | ... | Varishṭa. |
| 67 | Pātāla | ... | Hāṭakēśvara. |
| 68 | Liṅgēśvara | ... | Varada. |
| 69 | Gajapriya | ... | Jalaliṅga. |

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exterior with elevations and depressions, deep hollows and scars resembling ṭaṅka (chisel) and śūla (trident). The Daivika Liṅgas do not possess the brahma or the pārśvasūtras.

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The Gāṇapa-liṅgas are those that are believed to have been set by Gaṇas. They are of the shape of the fruits of cucumber, citron, wood-apple or palm. The Ārsha Liṅgas are those set up and worshipped by Ṛishis; they are spheroidal in shape, with the top portion less broad than the lower portion; in other words, they are like an unhusked cocoanut fruit. Both the Gāṇapa liṅgas and the Ārsha liṅgas, like the Daivika liṅgas, are without the brahma-sūtras. The Kiraṇāgama informs us that the Svāyambhuva, the Ārsha and the Daivika liṅgas have no shape (rūpa) and no measurements (māna) and are recognised only by their respective shapes.

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The largest number of the achala or the sthāvarā liṅgas, are of the class of Mānusha liṅgas. As the name indicates, this class of liṅgas consists of those set up by human hands. They are sculptured in accordance with the rules definitely laid down in the Āgamas and consist of ten classes. The measurement of the Mānusha Liṅgas depend upon any one of the following, namely, the height of door-way of

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The Ganapa Lingas and the Arsha Lingas.

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The Manusha Lingas.

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the central shrine, the length of one side of the central shrine (which is generally cubical in shape) or the natural unit, the *hasta* or the cubit. The Mānusha lingas are made up of three parts, namely, the lowest which is square in section and is known as the Brahma-bhāga, the middle of octagonal section, known as the Vishṇubhāga and the top-most, of generally circular section, known as the Rudrabhāga; the lengths of these parts vary with the different classes of lingas. On the Rudrabhāga of all Mānusha lingas are carved certain lines called *brahma sūtras*, and the tops of the lingas technically known as *śirōvarttana* are fashioned in a number of forms; the rules for tracing the *brahma-sūtras* and for making the *śirōvarttanas* will be described in a subsequent portion of this chapter.

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The *lingas* whose measurements depend upon the length of the side of the central shrine are called the *Sārvadēśika lingas*; different proportions which are fractions such as three-fifths, five-ninths, or half, of the length or breadth of the central shrine are prescribed for the lengths of the lingas, which are further classed under *uttama*, *madhyama* and *adhama* or the superior, the middling and the inferior varieties.

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Lengths of the Sarvadesika Linga.

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The second class of the Mānusha liṅgas is called the Sarvasama liṅga. It is also called Sarvatōbhadra in the Mayamata and the Kāmikāgama.

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In the Sarvasama* class of liṅgas the brahmabhāga, the Vishṇubhāga and the Rudrabhāga are equal in length; whereas in the class known as the Varddhamāna liṅga,† which is also known, according to the Siddhāntasārāvaḷi, as the Surēḍhya liṅga, the proportion of the Brahmabhāga, the Vishṇubhāga and the Rudrabhāga are as 4, 5, 6 or 5, 6, 7, or 6, 7, 8, or 7, 8, 9. Of these the proportion 4, 5, 6 is prescribed for Brāhmaṇas and the other three for the Kshatriyas, the Vaiśyas and the Śūdras respectively. The lengths of the Brahmabhāga etc., in the Śaivādhika‡ liṅgas are according to the Kāmikāgama, the Kāraṇāgama and the Mayamata are 7, 7, 8 or 5, 5, 6 or 4, 4, 5 or 3, 3, 4, respectively; and are meant for the four castes respectively beginning with the Brāhmaṇas.

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∗ Literally 'all-equal'. † Literally 'of ascending order of lengths.' ‡ Literally 'with the Śaiva part of larger length.'

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Of Svastika Lingas. This class appears to be the same as the Anāḍhya liṅga of the Siddhāntasārāvaḷi. The proportion of the lengths of the Brahmabhāga and other parts in the Svastika liṅga, is given in the Kāmikāgama and the Mayamata as 2, 3, 4 respectively.

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Of Trairasika Lingas. In the class known as the Trairāśika or Traibhāgika liṅgas, the lengths of the various parts are given as follows: dividing the whole length of the liṅga into nine equal parts, the periphery of the Brahmabhāga should be equal to eight of these parts, that of the Viṣṇubhāga seven and that of the Rudrabhāga six. It should be noted here that the diameter of the liṅga is not given and we have to deduce it from the periphery; supposing that the total length of the liṅga is nine feet, the length of each division is one foot. If, as we have already said, the periphery of the square section of the brahmabhāga is eight times one division, the length of a side of the square will be two feet. The same is the length of the diameter of the octagon and the circle inscribed in this square. Mathematically the proportions of the periphery of the square, and the octagon and the circle inscribed in it are approximately 8, 6. 624* and 6.3 times one division. (See fig. 1, Pl. VII.) Thus there is a slight discrepancy between the proportions laid down in the *Āgamas* and those obtained mathematically. All the works, such as the *Kāmikāgama*, the *Kāraṇāgama*, the *Suprabhēdāgama* and the *Mayamata* are uniform in giving the same proportions to the three parts of the *Trairāśika-liṅga*. There is yet one more class of *liṅgas*, the *Āḍhya-liṅga* of the *Siddhāntasārāvaḷi*: the lengths of the *Brahmabhāga*, the *Viṣṇubhāga* and the *Śivabhāga* of this variety are given as 8½, 8 and 7½ respectively. So far about the lengths of the various classes of *liṅgas*. I shall now proceed to the general rule regarding the width of *liṅgas*.

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∗ 8r, 16 tan 22·5° and 2πr, respectively where r = the radius of the circular Rudrabhāga, which we have assumed to be = 1.

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The *Siddhāntasārāvaḷi* lays down the following rule for fixing the widths of the *Āḍhya*, the *Anāḍhya*, the *Surēḍhya* and the *Sarvasama liṅgas*: divide the total length of the *liṅga* into sixteen equal parts; the width of the *Āḍhya liṅga* should be six of these parts; that of the *Anāḍhya liṅga*, five; that of the *Surēḍhya liṅga*, four; and lastly of the *Sarvasama liṅga*, five; the width of the three parts having the square section, the octagonal section and the circular section of the *liṅga* is obviously the same throughout.

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The *Mayamata* gives the widths of the various *lingas* in greater detail.

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The central shrines of Hindu temples are roughly divided according to their ground plans and superstructure into three classes, namely, the Nāgara, the Drāviḍa, and the Vēsara classes.

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The width of the *linga* to be set up in the central shrine of the Nāgara variety is given in the *Mayamata* as follows: divide the total length of the *linga*, (which itself depends upon the length of one side of the central shrine),* into sixteen equal parts: the widths of the *linga* that is to be set up in it might be 5, 4 or 3 of these parts. The one with a width of five parts is known as the *Jayada* or the victory-bestowing variety; that with a width of four parts is of the *Pauṣṭika* or the strength-bestowing variety and that with a width of three parts, the *Sārvakāmika* or the all-desires-bestowing variety.

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∗ The central shrines of all Śiva temples are square in plan. The length of the *adhamādhama* or the most inferior *linga* that might be set up in the Nāgara type of central shrine is .5 of the length of one side of the central shrine and that of the *uttamōttama* or the most superior *linga* is .6. Between these two extreme limits are seven varieties of *lingas*, the *adhama-madhyama*, *adhamōttama*; *madhyamādhama*, *madhyama-madhyama*, *madhyamōttama*; *uttamādhama* and *uttama-madhyama*; these have lengths obtained by adding a seventh part of the difference in length between the *uttamōttama* and the *adhamādhama* varieties, which in the case of the Nāgara temples is .1.

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In the case of the *lingas* to be set up in the *Drāviḍa* form of central shrines, the following rule gives their widths: divide the total length of the *linga** into twenty-one equal parts: the *linga* whose width is six of these parts is called the *Jayada linga*; that whose width is five parts is *Pauṣṭika* and that whose width is four parts is *Sārvakāmika*.

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The *Jayada*, *Pauṣṭika* and *Sārvakāmika* *lingas* set up in the *Vēsara* class of central shrines have the following proportions: if the total length of the *linga*† is

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∗ The length of the *Uttamōttama* class of the *linga* set up in the *Drāviḍa* temple is 13/21, part of the length of one side of the central shrine; that of the *adhamādhama* is 10/21 and the difference is 3/21 or 1/7. Dividing this difference into seven equal parts and adding one, two, etc., of these latter smaller parts to the length of the *adhamādhama linga* we obtain the seven varieties of *lingas* of intermediate lengths.

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† The length of the *Uttamōttama linga* of the *Vēsara* type of the *garbha-griha* is 16/25 of the side of the central shrine; that of the *adhamādhama*, 13/25 and the difference in their lengths is 3/25; this difference is divided into seven equal parts; by the

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ĀḌHYA-LINGA.

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ANĀḌHYA-LINGA.

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SURĒḌHYA-L.

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SARVASAMA-L.

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SECTION AB.

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3" 2" 1" 12 11 10 9 8 7 6 5 4 3 2 1

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divided into twenty-five equal parts, the width of the *Jayada linga* is eight parts; that of the *Pauṣṭika*, seven parts; and of the *Sārvakāmika*, six parts.

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A few of the *lingas* described above are drawn to scale and are reproduced on Pl. VI; it might be noticed that they have different types of tops, some resembling a half-moon; some, the top of an umbrella and others, shaped like the egg. The process of rounding of these tops is technically known as the making of the *śirōvarttana*. Minute rules are laid down for producing the various tops, about which it is necessary to give here a brief account.

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The tops of *lingas* are of several kinds, the most important of which are five, according to the *Mayamata*, and four according to the *Siddhāntasārāvali*. They are named respectively *chhatrākāra*, *tripuṣākāra*, *kukkuṭāṇḍākāra*, *arddha-chandrākāra* and *budbuda-sadṛśa* meaning the umbrella-shaped, the cucumber-shaped, the egg-shaped, the half-moon-shaped and the bubble-like respectively. The last named variety has been omitted by the *Siddhāntasārāvali*, probably because its author is addition of one, two, etc., of these smaller parts to the *adhamādhama* variety we get seven *lingas* of intermediate lengths.

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inclined to include it in the *arddha-candrākāra* class. These different forms represent different conic sections and the rules relating to their formation are of greater interest to the mathematician than to the iconographer; they are of great use to the sculptor. These rules would help an investigation into the various curves known to the Hindus and furnish some materials for the study of the History of Hindu mathematics. As these rules are extremely minute and are not quite easy to understand they have been omitted here; but the original texts have been inserted in the appendix for the benefit of those who can make any use of them.

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**Brahma-sutras.** There is yet one more detail in the making of a *liṅga*, without which the *liṅga* does not become complete and fit for worship; it is the tracing of certain lines known as the *brahma-sūtras* on the *liṅga*. Two vertical lines are engraved on the surface of the *Rudrabhāga* (or the *pūjābhāga*, as it is often referred to in the *Āgamas*). The length of these lines* should be, according to the *Siddhāntasārāvali*, determined by the Warrier, Shrikala

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∗ These lines are called by the name of *lakṣaṇōddhāraṇa* in Mayamata; *maṇirēkhā*, *pārśva-sūtrā*, etc., are also other names of these.

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NOT FOR LOAN: Do not remove from Library

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Please return this item to the collection point by the end of TODAY

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The Wellcome Library is a reference library following rule: divide the length of the *pūjābhāga* of the *linga* into three equal parts: divide further the two lower parts into eight equal divisions: now the distance between the two parallel vertical lines should be one of these smaller divisions; the thickness and depths of the lines, should be one-ninth of this division: two lines are to be traced, one on either side, which should begin from near the tops of the vertical lines, descend sloping down and removed farther and farther from the central double parallel lines until they reach a distance which is two divisions from the lowest portion of the *pūjābhāga*; then the two sloping side-lines, (*pārśva sūtras*), should be traced in a horizontal plane so as to meet each other at the back. (See fig. 1, Pl. VI, Pl. VII and fig. 1, Pl. X). The two central vertical parallel lines should be joined at their tops by a curved line whose curvature should resemble that of the top or (*śiras*) of the *linga*.

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Fig. 3. Mukhaliṅga.

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Fig. 1. Trairāśika Liṅga.

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Fig. 2. Aṣṭōttara-śata Liṅga.

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Among the *Mānuṣha-lingas* are included five more varieties, namely, the *Ashṭottara-śata-linga*, the *Sahasra-linga*, the *Dhāra-linga*, the *Śai-veṣhṭyalinga* and the *Mukha linga*. Of these, the first, the *ashṭottara-śata-linga* or the 108 miniature *lingas* are required to be carved on the *pūjābhāga* of the *Surēḍhya linga*. They are produced

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The Ashtottara sata Linga.

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by cutting four equidistant horizontal deep lines on the surface of the *pūjābhāga*; at right angles to these and parallel to the axis of the *linga* are to be carved twenty-seven deep lines. The portions of the surface of the main *linga* formed by the intersection of the vertical and horizontal lines are small oblongular blocks, which are later on shaped into the form of the *pūjābhāga* of the ordinary *lingas* by rounding the sides and the top. Thus are formed a hundred and eight *lingas* (practically half-*lingas*) attached on the back to the main *linga* (See fig. 2, Pl. VII, and fig. 1, Pl. VIII).

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The *Sahasra-linga* is obtained in exactly the same manner as the *ashṭōttara-śata-linga*. The carving of the thousand and one *lingas* should be done on the surface of the *pūjābhāga* of an *Ādhya-linga*. In the case of the *Sahasra-linga* the horizontal lines are eleven and the vertical lines ninety-nine (See fig. 2, Pl. VIII).

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The *Dhārā-lingas* are *lingas*, the *pūjābhāga* of which has round it vertical fluted facets ranging from five to sixty-four in number. The *Suprabhēdāgama* prescribes 5, 7, 9, 12, 16, 20, 24 and 28 facets for *Dhārā* *lingas*, while the *Kāraṇāgama* mentions only 16 facets. But the *Māyamata* lays [Figure: Fig. 2. Mukhaliṅga : Stone. Chakodi : Jodhpur District, Marwar.]

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Fig. 1, Aṣṭōttara-śata liṅga. Stone: Tiruvoṟṟiyūr.

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Fig. 2, Sahasra-liṅga : Stone : Tiruvoṟṟiyūr.

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[Figure: Fig. 1. Mukhaliṅga : Stone : Charchoma, Kotale District : Marwar.]

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down the rule that the number of facets in the *Brahmabhāga*, the *Viṣṇubhāga* and the *Rudra-bhāga* should be either 4, 8 and 16; 8, 16 and 32; or 16, 32 and 64 respectively. The text of the *Kāmikāgama* is corrupt and hence what rule it lays down on this point is unintelligible. The *Dhārāliṅgas* should be made out of the *Sarvasama* liṅgas.

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The Mukhaliṅga is one of the varieties of *Mānuṣa-liṅgas* and is distinguished from all other *liṅgas* in that it bears one or more human faces sculptured on it. Regarding the making of a Mukhaliṅga all the *Āgamas* and *Tantras* have detailed descriptions. The substance of these is that a Mukhaliṅga should be made on the *pūjābhāga* of the *Sarvasama-liṅga* and that it might have one, two, three, four or five faces corresponding to the five aspects, Vāmadēva, Tatpuruṣa, Aghōra, Sadyōjāta and Īśāna, of Śiva. If the central shrine has only one door-way in its front or the east side, there should be carved only one face and that on the front side of the *liṅga* facing the door-way (See fig. 1, Pl. IX); if it has two door-ways one in front and the other at the back of the central shrine, that is, on the eastern and western sides, there should be two faces carved on the front and back of the *liṅga* ; there should be three faces on the *linga*, if there are three door-ways, that is, on all sides except the west (See fig. 2, Pl. IX) ; if, lastly, there are four doorways, there should be four faces or five ; in the former case, the faces are turned in the four directions of the quarters ; in the latter case, in addition to the four faces, there is to be one on the top of the *linga* and facing the east. The Īśāna aspect of Śiva is represented by the face on the top of the *linga* ; the Tatpurusha, by that facing the east, the Aghōra, by that facing the south ; the Sadyōjāta, by that facing the west and the Vāmadēva, by that facing the north. In the case of the four faces carved on the four sides of the Mukhaliṅga they should be attached to bodies which ought to be represented only as far as the chest (*stana-sūtra*) (See fig. 3, Pl. VII, Pl. XI and Fig. 2, Pl. X). Each of these figures should have only one pair of arms and be fashioned in all other respects in conformity with the rules laid down for the making of images.

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From the descriptions of the Mānusha *lingas* given above, it is easily seen that the symbol represents a phallic emblem, of which the part projecting above the *pītha* is the representation of the *memtrum virile* and the *brahmasūtra* makes of the nut from the shaft and the rounded top completes its likeness to the human phallus. The [To face page 98.]

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Fig. 1.

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Fig. 2. Mukhaliṅga : Marble : Nasik.

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Fig. 3. Dhārā-liṅga : Stone : Tirūvorriyūr.

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Mukhalinga : Stone. Joti, (Cuddapah District.)

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*Brahmabhāga* and the *Viṣṇubhāga* are only designed to fix the *liṅga* firmly in the pedestal. Of the component parts of the *pīṭha*, that slab of stone with a square hole, in which the square portion of the *liṅga* fits in and which forms the lower member of the *pīṭha*, prevents its rotation. The second slab with an octagonal hole in it and which is the second or upper member of the *pīṭha* restricts the vertical motion of the *liṅga*.

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*Liṅgas* are almost always set up in pedestals known as the *piṇḍikās* or *pīṭhas*. These may be square, oblongular, octagonal, elongated octagon, hexagon, elongated hexagon, duodecagon, elongated duodecagon, 16 sided, regular or elongated, circular, elliptical, triangular and semi-circular, in plan.¹ In a square *pīṭha*, which is the Length of the side of the pīṭhas. one commonly met with, the length of one side of it may be twice the length of the pūjābhāga, or equal to the total length of the liṅga; in other words two-thirds of or equal to the total length of the liṅga. The pīṭha, the length of whose side is equal to the total length of the liṅga is said to belong to the Uttamōttama class and that whose side is equal to two-thirds the total length of the liṅga, adhamādhama. Dividing the total length of the liṅga into twenty-four equal parts, the following classification of the pīṭhas is obtained.

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¹ The *Mānasāra* lays down the rule that the form of the *pīṭha* that should be used in the Nāgara, Drāviḍa and Vēsara forms of *vimānas* (central shrines) is the nāgara, drāviḍa and vēsara respectively and it defines that the nāgara *pīṭha* is square; the drāviḍa *pīṭha*, octagonal and the vēsara *pīṭha* circular in plan. कुर्यात्तु नागरे लिङ्गपीठं नागरमेव च । द्राविडे द्राविडं प्रोक्तं बेसरे बेसरं तथा ॥ धारालिङ्गं तु सर्वेषां धारापीठं प्रकल्पयेत् ।
* * * * * नागरं चतुरश्रं स्यादष्टाश्रं द्राविडं तथा । वृत्तं च बेसरं प्रोक्तमेततपीठाकृतिस्तथा ॥

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| Adhamādhama pīṭha's side | 16 | parts. |
| Adhamamadhyama ,, ,, | 17 | ,, |
| Adhamōttama ,, ,, | 18 | ,, |
| Madhyamādhama ,, ,, | 19 | ,, |
| Madhyamamadhyama ,, ,, | 20 | ,, |
| Madhyamōttama ,, ,, | 21 | ,, |
| Uttamādhama ,, ,, | 22 | ,, |
| Uttamamadhyama ,, ,, | 23 | ,, |
| Uttamōttama ,, ,, | 24 | ,, |

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Or, dividing the total length of the liṅga into 32 parts, the nine above-mentioned varieties are obtained by taking the same number of parts as in the above case; then the Uttamōttama variety of pīṭha has a side whose length is, three-fourths of the total length of the liṅga and the adhamādhama variety, one-half of the total length of the liṅga.

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BHADRA-PĪṬHA.

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VAJRA-PADMA.

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ŚRĪKARA-PĪṬHA.

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PĪṬHA-PADMA.

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ELEVATION AT DE.

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END ELEVATION AT CD.

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SECTION AB.

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The length of a side of the *pīṭha* may also be equal to three times the diameter of the *liṅga* or equal to the periphery of the *pūjābhāga* or equal to the periphery of the *Viṣṇubhāga*.

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The height of the *pīṭha* may come up as far as the upper end of the *Viṣṇubhāga* of the *liṅga*; or it might cover up the *pūjābhāga* to a height equal to a quarter or even half the height of the *Viṣṇubhāga*. These *pīṭhas* are made of one, two or three slabs of stones placed one over another and they are shaped with various kinds of ornamental mouldings which are arranged in tiers one over another. They are named according to the number and form of the different kinds of mouldings as Bhadrapiṭha, Mahāmbuja-P., Śrīkara-P., Vikara-P., Mahāvajra-P., Saumyaka-P., Śrīkāmya-P., Chandra-P., and Vajra-P. The various items of the mouldings are known as *upāna*, *jagati*, *kumuda*, *padma*, *kampa*, *kaṇṭha*, *paṭṭikā*, *nimna* and *ghṛtavāri*. Drawings made to scale of a few of the *pīṭhas* are given on Pl. XII. The upper surface of the *pīṭha* from which the *pūjābhāga* of the *liṅga* juts out is so shaped as to allow a free flow of water towards the water spout, which is generally found attached to the side of the *pīṭha* on the left of the *liṅga*, as the worshipper faces it. (See the plan and section of a *pīṭha* reproduced on Pl. XII). The length of this water spout or water-course which is known in Sanskrit as the *nāla*, as also its width at its origin, is required to be one-third or one-fourth of the length of the side of the *pīṭha*, and its breadth at the free end, three-fourths of its breadth at the origin. The side view of the *nāla* should be like the lip of an elephant. (See the end elevation at C.D., Pl. XII).

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The *liṅga* should be made out of *pum-śilā* or the male stone, while the *piṇḍikā* or *pīṭha* of *strī-śilā* or female stone. A very elaborate dissertation on the male, the female or the neuter nature of stones, timber, and other objects, is given in all *āgamas*, but it is perhaps unnecessary to detail their descriptions here.

Cites (11)

Kāmikāgama — Sanskrit
Mānasāra — Sanskrit
Suprabhedāgama — Sanskrit
Mayamata — Maya, Sanskrit
Kāraṇāgama — Sanskrit
Makuṭāgama — Sanskrit
Kiraṇatantra — Sanskrit
Śvetāmbara Āgama — Ardhamāgadhī Prakrit
Vālmīkirāmāyaṇa — Vālmīki, Sanskrit
rgyud 'bum — Classical Tibetan
Siddhāntasārāvalī — Trilocanaśiva, Sanskrit