Elements of Hindu Iconography v2.c16.s4.2

v2.c16.s4.2

SIVA is represented in sculptures either as a terrific, destructive deity or a pacific, boon-conferrer. In the former aspect he is known by several names, each one being indicative of the destruction of a particular malevolent and troublesome demoniacal being; for example, he is known as the Gajahāmūrti, having killed an elephant-formed asura; Kālārimūrti, as having killed Kāla, the God of Death; Kāmāntakamūrti, because, he burnt down the God of Love who came to meddle with his austerities; and so on. In the latter or the pacific aspect, Śiva is represented as seated with his consort,—be it noted that the company of the Dēvī is always to keep Śiva in a pacific turn of mind—, bestowing boons and blessings on his deserving votaries. The various boon-bestowing aspects of Śiva are called the *anugrahamūrtis*: for example, Śiva is called Caṇḍēśānugrahamūrti, because he conferred on Caṇḍēśvara the boon of being the steward of the household of Śiva; Viṣṇvanugraha-mūrti, because he restored an eye to Viṣṇu, who had plucked the same for offering it to Śiva, and for which act Śiva also presented Viṣṇu with the chakra or the discus; and so forth. Śiva is a great master in the arts of dancing and music, besides being the greatest Yōgi and philosopher. Being well-versed in the art of dancing, he is often represented as dancing any one of the hundred and eight modes of dances detailed in the Nāṭyaśāstras; as a master of music also he is portrayed as sitting or standing and playing upon the vīṇa, the most perfect of stringed Indian musical instruments. In this capacity he is known as the Viṇādhara-Dakṣiṇāmūrti. As a yōgi and philosopher, he is known as Vyākhyāna-Dakṣiṇāmūrti, etc. Besides the aspects above described there are many others of smaller or greater importance. To sum up, the images of Śiva are of five classes, namely, the Saṃhāramūrtis (or destructive aspects), the Anugrahamūrtis (or boon-conferring aspects), the Nṛitta-mūrtis (or dancing aspects), the Dakṣiṇāmūrtis (or the yōgic, musical and philosophic aspects), and other minor aspects. Let me now deal with each one of these aspects under a separate chapter, noticing the various forms comprised in each of these different aspects.