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Elements of Hindu Iconography v2.c16.s2.t1: Liṅgōdbhavamūrti

Elements of Hindu Iconography v2.c16.s2.t1

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Liṅgōdbhavamūrti

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right loin and Viṣṇu from the left loin; all three of us are really one, but are now separated into three aspects, namely, Brahmā, Viṣṇu and Mahēśvara. Brahmā will in the future be born of Viṣṇu and at the beginning of a *kalpa*, I myself will be born from the angry brow of Viṣṇu.” Thus declaring, Mahēśvara disappeared. From this time the *liṅga* came to be worshipped by all men.

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While searching for the top of the pillar of fire, Brahmā came by a petal of the *kētaki* flower and asked it wherefrom it was descending; to this the petal answered that it was falling from the head of Mahēśvara, for what length of time it could not remember. Taking hold of this petal, Brahmā descended and lied to Viṣṇu that he had discovered the head of Mahēśvara and from it had brought this petal of the *kētaki* flower. For uttering this piece of falsehood Brahmā was cursed not to receive any worship from men on earth. Hence, it is stated, Brahmā is never enshrined in a separate temple and offered worship.

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In the *Aṃśumadbhēdāgama* is found the following description of the Liṅgōdbhavamūrti: The figure of Śiva in the aspect of Chandraśēkharamūrti should be carved on the front of a *liṅga*. It is stated in the *Kāraṇāgama* that one-fifth part of the *liṅga* should be left out on the top and at the bottom respectively without any sculpture. The legs below the knees of the figure of Chandra-śēkhara carved on the *linga* should be invisible, that is, should be left unsculptured. On the right of the *linga* and near its top Brahmā should be represented in the shape of a swan (*haṁsa*) while Viṣṇu should be carved in the form of a boar on the left at the foot of the *linga*. The figures of Brahmā and Viṣṇu should be sculptured on the right and left respectively of the *linga* and also facing it, with two hands held on the chest in the *añjali* pose. The colour of the figure of Śiva should be red, that of Viṣṇu black and that of Brahmā golden yellow. Over and above this description, a few additional details are found in the *Kāmikāgama*. The size of the swan, it is stated, should be the same as that of the face of Śiva, while that of the boar, twice that of the face of Śiva. The figure of the boar should be worked out as digging into the earth. The figures of Viṣṇu and Brahmā should be expressive of submission and be sculptured beautifully; or they may be altogether omitted from the panel; in this latter case, the swan and the boar should necessarily be there. The *Śilparatna* adds that Śiva should carry the *śūla* in one of his hands; whereas, the *Kāraṇāgama* requires that of the four hands, one should be in the *abhaya* pose,

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Liṅgōdbhavamūrti : Stone : Kailāsanāthasvāmin Temple : Conjeevaram.

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another in the *varada* pose, a third should carry the *paraśu* and the fourth a *kṛṣṇa-mṛga* (a black buck) and that the digit of the moon (*candra-kalā*) should adorn the crown of Śiva. Such is the description of the Liṅgōdbhavamūrti, which is illustrated with three pictures. The first photograph (Pl. XIII) is that of the Liṅgōdbhavamūrti found in the Kailāsānāthasvāmin temple at Conjeevaram and is over twelve hundred years old. This piece of sculpture is very much at variance with the textual descriptions. The figure of Śiva-Candraśēkhara has eight arms of which some are seen carrying the *paraśu*, the *śūla*, an *akṣamālā* and some other objects, while one is held in the *abhaya* pose and another is resting upon the hip (*kaṭyavalambita*). Then again the one-fifth part of the *liṅga* on the top is not left unsculptured, nor is the part of the *liṅga* lower than the knees of the figure of Śiva, equal to a fifth of the total length of the *liṅga*. But the sculpture agrees with the Sanskrit texts in that the legs of Śiva below the knees are left out unsculptured; the digit of the moon is shown on the crown of Śiva; the boar-*avatāra* of Viṣṇu, with four hands out of which two are shown as digging the earth and the other two as carrying the *śaṅkha* and the *chakra*, and not an ordinary boar, as stated in the Āgamas, is carved out at the bottom space of the panel; Brahmā is seen flying in the air in his own form instead of as a swan; one of his legs, as also that of the other deities on the left of the *linga*, is horizontal, while the figures of Brahmā and Viṣṇu each having four arms are sculptured on the right and left of the *linga*; they have each one arm lifted up in the pose of praising, while the other rests upon the hip, and the remaining ones carry their characteristic weapons. The top of the niche has got a highly artistically carved *makara-tōraṇa*.

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The second photograph, Fig. 2., Pl. XIV, represents the Liṅgōdbhavamūrti in the temple of Śiva at Ambar Māgāḷam. In this, the *linga* has a wreath of flowers thrown over its top; the figure of Śiva is shown with four arms, one of which is held in the *abhaya* pose, the other in the *kaṭyavalambita* pose (resting upon the hip), and the remaining two carry the *paraśu* and the black buck. The legs of the figure of Śiva below the knees and up to the ankles are sculptured against the rules laid down in *Āgamas*; the feet alone are kept hidden in the *linga*. On the right of the *linga* and on its top is to be seen the swan whose beak is prominently visible; below and on the left of the *linga* is to be seen the boar, half man and half beast, burrowing the earth. This piece of sculpture belongs to the mediæval Chōḷa period, that is, to the 11th or 12th century A.D.

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Fig. 1. Liṅgōdbhavamūrti : Stone : Daśāvatāra Cave : Ellora.

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Fig. 2. Liṅgōdbhavamūrti : Stone : Ambar-Māgāḷam.

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The third picture, (Fig. 2, Pl. XIV), is a pen and ink sketch of the Liṅgōdbhavamūrti from the Daśāvatāra Cave at Ellora. The whole panel is a remarkable piece of artistic work; it consists of the blazing pillar of fire at the centre, with the figure of Śiva emerging from the middle of it, having one hand in the *abhaya* pose, another resting on the hip, while the others are carrying perhaps the *paraśu* and *mṛiga* (deer). Since Śiva is said in some *purāṇas* to have presented himself before Brahmā and Viṣṇu as a flaming pillar (the *Skambha* of the *Atharvaṇavēda*), the artist has shaped the *liṅga* like a pillar with a capital. Flames are bursting out in tongues on both sides of the pillar. Brahmā with four faces is seen flying in the air, and Viṣṇu as Varāha is digging the earth with his hands and snout. On the right and left are seen Brahmā and Viṣṇu respectively standing in a reverential attitude, with two hands clasped in the *añjali* pose and the other two carrying the characteristic objects such as the *śaṅkha*, the *chakra*, the *kamaṇḍalu*, etc., of these two deities. The details in this sculpture are executed in the most exquisite manner. It might be observed that in all these cases, the figure of Śiva is enclosed in a lenticular aperture on the surface of the *liṅga*.

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