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Elements of Hindu Iconography v2.c16.s6: Anugrahamurtis

Elements of Hindu Iconography v2.c16.s6

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Anugrahamurtis

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CITOMANIACOPIA

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A S we have already stated Śiva possesses also the faculty of affording grace to his votaries and that in this aspect he is said to be a Anugrahamūrti. Let me proceed with the description of some of the anugrahamūrtis of Śiva.

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In the village of Śeyñalūr on the bank of the river Maṇṇi in the Chōḷa country there lived a pious and learned Brāhmaṇa named Yajñadatta of the Kāśyapagōtra. He had a son by name Vichāraśarman of great intelligence. One day when the lad was going to the school, he saw a cowherd assaulting brutally a cow, that sacred animal which deserves being worshipped. Incensed at the behaviour of the cowherd, young Vichāraśarman took upon himself the duty of tending the cows of the village, to which the villagers acceded. From that day the cows became happy and began to yield much more milk than their udders could hold and naturally the extra milk began to flow out. Vichāraśarman seeing that the milk was wasted, collected it in vessels, set up *lingas* made of sand and began to bathe them with this extra milk, with intense piety for Śiva. The cowherd who lost his position on account of this Brāhmaṇa boy, found this a fine cause for denouncing him and immediately repaired to the village and reported to the villagers that the boy Vichāraśarman was wantonly milking the cows, drinks milk with his chums and spills the rest on mounds of sand. The complaint thus often repeated, made one of the villagers go and see for himself the truth of the accusation preferred by the cowherd and to his surprise he saw young Vichāraśarman actually pouring milk on sand mounds, but he did not pause to investigate and see that it was only the extra milk that the boy, in his intense devotion to Śiva, was offering the sand-made symbol of the *linga*. Forthwith he complained to the father of the boy, Yajñadatta, about the wickedness of his son. On this complaint the father also went one day to the river side to see what his boy was doing and found him in the act of spilling milk in the sand. He approached the boy and stood near him, but, in his deep devotion the proximity of the father was not perceived by Vichāraśarman. On seeing the apparent mischief of his son, Yajñadatta, in anger, kicked the mound of sand; whereupon the son

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woke up from his reverie and cut off with his axe the leg that kicked the object of his worship with the result that Yajñadatta fell. Śiva who was pleased with the devotion of this boy Vichāraśarman appeared on the scene with his consort Pārvatī and offered him his grace. Śiva told the boy that in his intense love for himself (Śiva) he even went to the extent of cutting off the leg of his father, and promised him that thenceforth he would be in *loco-parentis* to him, embraced him and made him the head of his *gaṇas* and the steward of his household under the name of Caṇḍēśa. Śiva commanded that thenceforth the offerings made to him must be given to Caṇḍēśvara, the clothes worn by him should be set aside for his devotee and in token of his favour he also tied round the head of Vichāraśarman the flower garland then worn by him.

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The scene representing Śiva as offering to Caṇḍēśa his grace is described in the *Amśumadbēdāgama*. Śiva should be seated with Pārvatī as in the case of Umāsahitamūrti described already. But his face should be turned a little to the left; his right hand should be held in the *varada* pose and the left hand be placed on the head of Caṇḍēśa. With hands folded in the *añjali* pose Caṇḍēśa should be standing on a *padmāsana* in front of Śiva; the colour of Caṇḍēśa is golden yellow. The Uttarakāmikāgama states that Śiva and Umā should be seated as in the case of Chandraśēkhara-mūrti and Caṇḍēśvara with hands in the añjali pose should be either standing or sitting before Śiva, who with his right hand should be holding the end of a flower-garland and with the left hand tying it round the head of Caṇḍēśa. The height of the figure of Caṇḍēśa may be up to the knee, thigh, navel, breast, neck or mouth of that of Śiva and it should be made in accordance with the adhama-daśa-tāla measurement. The Pūrvākāraṇāgama and the Śilparatna have practically the same description as that found above.

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Four pictures are reproduced to illustrate the description given above. The first fig. 1, Pl. XLIX, is of a sculpture to be seen in the big Śiva temple at Gaṅgakoṇḍaśōḷapuram, built by Rājēndraśōḷa, the son of Rājarāja the great. In this is seen Śiva seated with his wife Pārvatī on a seat, below which is seated Caṇḍēśa. In the two back hands of Śiva are the paraśu and the mṛiga; the right front hand holds the end of a flower garland and the left front one is tying it round the head of Caṇḍēśa. This fine piece of sculpture belongs to the Chōḷa period and is of the first quarter of the eleventh century A.D.

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Fig. 1. Caṇḍēśānugrahamūrti : Stone : Gaṅgaikoṇḍaśōḻapuram.

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Fig. 2. Caṇḍēśānugrahamūrti : Stone : Conjeevaram.

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The original of the second illustration, fig. 2, Pl. XLIX is found in the Kailāsanātha temple at Conjeevaram. In this Śiva is standing on his right leg, while the left one is resting upon a raised seat. He has four hands, the right one of which is held in the *varada* pose; it is not quite clear from the photograph what objects are kept in the remaining hands. To the right of Śiva stands Caṇḍeśvara with the axe with which he cut down the leg of his father resting upon his right shoulder. Below him and fallen on the ground is the father of Caṇḍeśa, with his left hand held in the *vismaya* pose. The sculpture is in a highly damaged condition. It belongs to the reign of the Pallava King Rājasimha and is of the 7th century A.D. The third and the fourth illustrations, figs. 1 and 2, Pl. L, are of the Caṇḍeśānugrahamūrtis sculptured on the base of the *gōpura* in front of the Sthāṇunāthasvāmin temple at Suchindram and on the pillar in the front *maṇḍapa* of the Mīnākshī-Sundarēśvara temple at Madura respectively. They both resemble the sculpture at Gaṅgaikoṇḍaśōlapuram.

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Viṣṇu obtained through the grace of Śiva the *chakra* and the circumstances thereof are narrated in the *Śivapurāṇa*. On one occasion Viṣṇu found himself unable to conquer certain asuras, and prayed to Śiva for the grant of the *chakra* which was in Śiva’s possession. To his prayer he added a *pūjā* in which he employed a thousand lotus flowers daily. One day he sat for *pūjā* with the required number of flowers but at the end he missed one flower, which, to test the strength of his devotion Śiva had secreted; Viṣṇu at once plucked one of his eyes which are always compared to lotuses, (*kamala-lōchana*) and threw the same in offering on Śiva. Śiva became so pleased with the devotion of Viṣṇu that he presented him with the *chakra* which was originally in his possession. This fact is also alluded to in the *Mahābhārata*.

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2. Vishnvanugrahamurti, or Chakradanamurti.

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The *Uttarakāraṇāgama* and the *Śrītattvanidhi* give the description of the *Chakradānamūrti*. The first authority states that Śiva should have three eyes, four arms, a pacific appearance, and the *jaṭāmakuṭa* on the head. The left leg should be bent and be resting on the seat, while the right one should hang down. In the right hands are to be the *ṭaṅka* and the *chakra*, the left ones being in the *varada* pose and holding a *kṛiṣṇa-mṛiga*. Surrounding the head of Śiva is to be a *prabhāmaṇḍala* and a *śiraśchakra*. On the left of Śiva should be seated Pārvatī and on the right Brahmā should be standing. Viṣṇu, with hands folded in the *añjali* pose, should be worshipping or doing *pūjā* to Śiva with lotuses and his eye.

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Fig. 1. Viṣṇvanugrahamūrti (or Chakradānamūrti) : Stone : Conjeevaram.

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Fig. 2. Viṣṇvanugrahamūrti : Stone : Madura.

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Fig. 1. Caṇḍēśānugrahamūrti : Stone : Madura.

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Fig. 2. Caṇḍēśānugrahamūrti : Stone : Suchīndram.

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The *Śrītattvanidhi* is not particular about the *taṅka* in the hand of Śiva, but gives the alternative of carrying the *paraśu*. In this work it is stated that Viṣṇu ought to be standing to the left of Śiva in such a manner as to indicate his readiness to receive the boons and the *chakra*, after finishing his *pūjā* of Śiva with lotuses and his eye. Śiva should be seen presenting Viṣṇu with a *pītāmbara* (a yellow garment), the *kaustubha* (an ornament) and the *chakra*, as also the name Kamalāksha to Viṣṇu. Viṣṇu should be black in colour, clad in yellow garments and adorned with all ornaments. In two of his hands should be the *śaṅkha* and the *chakra* and the other two ones should be held in the *añjali* pose.

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Two illustrations of Viṣṇvanugrahamūrti are reproduced. The first of these, Pl. LI, fig. 1, belongs to the Kailāsanātha temple at Conjeevaram. Śiva is seated on a raised seat with his consort, having his two back hands raised up in astonishment (*vismaya* pose), the right front hand rests upon the seat, the remaining left hand being held in the *simhakarṇa* pose. Behind Śiva stands an attendant and below the seat is seen Viṣṇu kneeling; with one of his left hands he is plucking out his eye, the other left hand holding the last remaining lotus flower; the front right one is held in the kaṭaka pose, while the remaining hand is not visible in the photograph. The second illustration, fig. 2, Pl. LI, is of a piece of sculpture found in the Mīnākshi-Sundarēśvara temple at Madura. In it, Śiva and Pārvatī are seated upon a bhadrāsana and Śiva is seen presenting the chakra to Viṣṇu, who is standing reverently and receiving it.

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3. Nandisanugrahamurti.

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Nandikēśvara is an important adjunct to the family of Śiva. His history is given in detail under Nandikēśvara or Adhikāra-Nandi elsewhere in this volume. When Nandi's tenure of life on earth was coming to an end, he prayed intensely to Śiva to grant him a longer lease of life. Śiva appeared and granted him his prayer, as also the command over a portion of his gaṇas, and complete exemption from old age and pain. He then took the boy near him and threw round his neck the flower garland that was gracing his own. At once he became a duplicate of Śiva, with three eyes and ten arms. Śiva took a quantity of the water of the Ganges which he had tied in his jaṭā and sprinkled it upon Nandi. It began to flow as the river Jaṭōdaka. Śiva ordered his consort Pārvatī to treat Nandi thenceforth as her own son. She also smelled

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the top of the head of Nandi* and milk began to flow from her breast and fall in three spouts on the head of Nandi; this milk also became a river under the name Trisrōtas. Nandi out of joy bellowed then like the bull. This noise also gave rise to a river named Vṛishadhvani. Śiva still more pleased with Nandi presented him with his own golden makuṭa and ear-rings set with precious gems. Sūrya seeing that Nandi was thus honoured and loved by Śiva sent a cool downpour of rain. The water having come in contact with the gold of the makuṭa, began to flow as two rivers named Svarṇōdaka and Jāmbūnadi. Thus near Japyēśvara the place where all these events occurred, five rivers began to flow. Nandi was afterwards crowned as the lord of the gaṇas and was married to Suyaśa the daughter of the Marut gaṇas.

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4. Vighnesvara-nugrahamurti. In this aspect of Śiva, Vighnēśvara seems to have been blessed by Śiva immediately after he was restored to life by placing on his shoulders the head of an elephant. (For this account of Gaṇēśa, see Vol. I, pp. 36-39). Śiva should have, as usual, four arms, three eyes and the head adorned with a jaṭā-makuṭa and he should be seated with his consort Pārvatī. Śiva should have one of his right hands in the *abhaya* pose and placed on the head of Vighnēśvara; the corresponding left hand should be in the *varada* pose and the remaining hands should be shown as carrying the *paraśu* and the *mriga*. The right leg of Śiva should be bent and be resting on the seat while the left one should be hanging down. The colour of Śiva is to be black and there should be all ornaments on his person. Near him on the left should be seated Pārvatī, smiling and keeping in her right hand a *utpala* flower and holding the left hand in the *varada* pose. Curiously enough, it is stated here that Pārvatī should have three eyes. She too has her right leg bent and the left one hanging.

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∗ An instinctive practice of mothers in regard to their children.

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Vighnēśvara, of red colour, adorned with a *kirīṭamakuṭa* on his head, and carrying in his hands the *pāśa* and *aṅkuśa*, should be standing reverently before Śiva with his other two hands held in the *añjali* pose.

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5. Kiratarjunamurti. Arjuna was presented by Śiva with the powerful weapon named the *pāśupatāstra* to fight successfully against the Kauravas. The account of the gift of the weapon by Śiva is narrated in the *Vanaparvan* of the *Mahābhārata* thus: Arjuna being advised by Indra to beseech Śiva to grant him

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the powerful pāśupatāstra, went north to the Himalaya mountain, where he began to observe severe austerities for pleasing Śiva. The *rishis* were alarmed at the severity of the austerities of Arjuna and reported the matter to Śiva. Śiva being already aware of the reason for the penance of Arjuna, pacified the *rishis* and himself assuming the form of a *kirāta* (hunter) approached Arjuna. Just at that moment an *asura* in the form of a boar was about to attack Arjuna; Arjuna having seen the boar coming against him aimed his arrow against it, but the *kirāta* disputed the right of Arjuna to shoot the boar which he was the first to aim at. Arjuna not consenting to the claim of the *kirāta*, they both simultaneously shot the boar and killed it. Arjuna then reviled the *kirāta* as an unsportsman-like person, upon which a fight ensued between the *kirāta* and Arjuna, in which the latter was uniformly unsuccessful, and at the end fell exhausted. After he regained his senses, he recognised in the *kirāta* Śiva himself and fell at his feet and praised him. Śiva in his turn admired the strength and courage of Arjuna and promised the most powerful weapon which Arjuna was praying for and was fit to employ, namely the pāśupatāstra. Thus did Arjuna procure from Śiva the pāśupatāstra.

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The Kirātārjunamūrti is described as having four arms, three eyes and a jaṭāmakuṭa on the head. He is adorned with all ornaments and wears nice garments and a yajñōpavīta. His colour is red. He is to be standing perfectly erect (samabhaṅga) carrying in his hands the dhanus, the bāṇa, the paraśu and the mṛiga. Arjuna is to be seen standing on the right of Śiva and Gaurī on the left. Arjuna should be represented as having only one face, set with two eyes and standing with his hands held in the añjali pose. His head should be adorned with a jaṭāmakuṭa and his person with all ornaments.

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Two illustrations are given of the Kirātamūrti. The first belongs to the Śiva temple at Tiruchcheṅgāṭṭaṅguḍi, in which Śiva and Pārvatī stand together. The former carries the paraśu, the mṛiga and a bow. The photograph is of an image to be found in Śrīśailam. In this is seen Śiva portrayed in the act of giving the weapon pāśupatāstra to Arjuna. (See Pl. LII, figs. 1 and 2).

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The weapon pāśupatāstra is described in the Saivāgamas as a person thus:—The Pāśupatāstra should have four faces each with three eyes; it should have four arms and terrific faces with awful tusks, stiff hair and fierce moustache, all lending strongly the impression that it is a terrific aspect of Śiva. In the four hands should be the śakti, the mudgara, the śaṅkhā and the khaḍga. This image representing the Paśupatāstra should be seated upon a padmāsana.

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Fig. 2. Pāśupatāstradānamūrti : Stone : Śrīśailam.

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Kirātamūrti : Stone : Tiruchcheṅgāṭṭanguḍi.

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Rāvaṇa, king of Laṅka, having gone to defeat Kubēra was returning after achieving his purpose. On his way he came to Śaravaṇa, the place in which Kārttikeya was born. He ascended the hill, from the top of which he saw a much more pleasant garden whither he drove his vimāna Pushpaka. But when it neared the place it would not move any further. At this place Rāvaṇa met a tawny coloured, monkey-faced and powerful dwarf, by name Nandikēśvara, one of the strong adherents of Śiva, who, on being asked why the car was unable to move further, told Rāvaṇa that Mahādēva with his consort Umā was sporting on the mountain and had prohibited all, even the gods, from crossing that way. In great anger Rāvaṇa asked who that Mahādēva was and laughed contemptuously at the monkey-faced Nandikēśvara. Nandikēśvara, who was no other than a form of Śiva, grew incensed at the insult offered to him by Rāvaṇa and cursed that he should be destroyed by monkeys like himself in appearance and strength. Not being able to proceed further and being cursed by Nandikēśvara, Rāvaṇa determined to pluck up the mountain Kailāsa, from its very roots, threw his ten arms round the mountain and began to lift it up. He was able to move it, so that those that were on it trembled and Umā actually began to shake out of fear and clung to her lord. Śiva, learning the real cause, pressed the mountain with the great toe of his foot, which fixed the mountain firmly as of old and also pinned down Rāvaṇa underneath it. Rāvaṇa seeing his own miserably helpless condition, and advised by his counsellors to propitiate Mahādeva wept for a thousand years, singing hymns in praise of Śiva; the latter was at last pleased with Rāvaṇa, whom he presented with a sword at his request and let him return to Lanka. Because he cried, he was given the name Rāvaṇa.

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Three photographs are reproduced in illustration of this legend. The first and second, Pls. LIII and LIV belong to the Ellora rock caves and the third to Bēlūr in the Mysore State. The first which is to be found in the Daśāvatāra cave is one of the finest pieces of sculpture extant in India. The natural proportions of each image in the group, the great realism in their moulding and the expression on the face of many a figure in it, especially the fright of Pārvatī, all these are admirably worked out. In this group, Rāvaṇānugrahamūrti: Stone: Bēlūr.

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Rāvaṇānugrahamūrti: Stone Panel: Ellora.

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Rāvaṇānugrahamūrti : Stone Panel: Ellora.

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Śiva and Pārvatī are seated upon the mountain Kailāsa which the artist has in the conventional manner represented as a pile of rhomboidal pieces. Surrounding this pair are seen two of his own attendants and two female attendants of Pārvatī and on either side are two of the gaṇas, dwarfish little fellows standing in a very reverential attitude. Below the mountain is to be seen Rāvaṇa, of mighty strength trying to up-root the Kailāsa hill. His posture is suggestive of the display of his strong muscular energy. Pārvatī, in great fear, embraces the well-proportioned and well-built body of Śiva, who is calm and unperturbed, and is seen in his turn embracing and reassuring his frightened consort.

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The second panel which is found in the so-called Dhumar Lena Cave, is almost similar to the above described sculpture, but utterly lacks the spirit and realism of the former. The other differences between the two are that in the latter there are more gaṇas and a number of gods with their consorts praising Śiva and Pārvatī.

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The original of the third photograph is sculptured on the south wall of the central shrine of Chennakēśavasvāmin temple at Bēlūr. It is a most elaborately carved piece of sculpture and is characteristic of the Hoysaḷa style. The Kailāsa mountain is so minutely carved as to accommodate in it a large number of gods and goddesses and all sorts of animals, from the elephant down to the snake. On the top and in a finely carved maṇḍapa are seated Mahādēva and Pārvatī, surrounded by a number of other deities who are praising him. Below the mountain is to be seen Rāvaṇa in a kneeling posture trying to lift up the mountain, as in the other photographs. He has a sword in his hands, perhaps the one presented to him by Śiva.

Cites (7)