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Elements of Hindu Iconography v2.c16.s8.t1: Vyākhyāna Dakshiṇāmūrti

Elements of Hindu Iconography v2.c16.s8.t1

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Vyākhyāna Dakshiṇāmūrti

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As an expounder of the *Śāstras*, Dakshiṇāmūrti should be represented as seated on a secluded spot on the Himālayas, under a banyan tree, on a seat covered with a tiger's skin; or, as another account has it, on a white lotus (*padmāsana*). The right leg of Dakshiṇāmūrti should be hanging below the seat while the left one bent and rested across on the right thigh. The kind of sitting posture adopted here is called the *vīrāsana*. The leg hanging down may or may not rest on the back of the *Apasmāra-purusha*. Dakshiṇāmūrti should have three eyes and four arms : of these the front right one is held in the *jñānamudrā* or the *sandarśanamudrā*¹ pose and the front left hand may be kept in the *varada* pose or stretched straight in the *daṇḍa* pose, the elbow resting upon the left knee in that latter posture. Even when the hand is in the *varada* pose it should rest upon the left knee but with the back of the hand touching it. The back right hand should hold the *aksha-mālā*, while in the back left hand there should be either *agni* (fire) or a *sarpa* (snake). In one account it is stated that one of the left hands may be, as already stated, in the *varada* or the *daṇḍa*

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¹ This is known as the *samdaṃśa* in the *Nāṭya-śāstras*, a name which occurs also in the *āgamas*.

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pose; if it is in the former pose, it might keep a book, the other left hand holding a snake, fire or a lotus or *nīlotpala* flower. The various parts of the body of Dakshiṇāmūrti should be free from bends—a rigidity indicative perhaps of the resolute will and force of thought of the god in the aspect of the teacher. His head might be adorned with a *jaṭābhāra*, *jaṭābandha*, *jaṭāmaṇḍala* or *jaṭā-makuṭa*; or the *jaṭās* might be held together with a *paṭṭa-bandha*. In any case the mass of *jaṭās* should be embellished with the flowers of the *durdhura* (*dhatura*) and other wild plants, as also with a serpent on the left and with small tinkling bells, the *kapāla* and the crescent moon on the right side. In the middle of the *jaṭābhāra* there should be visible the smiling face of the river-goddess *Gaṅgā*. The complexion of Dakshiṇāmūrti is pure white, resembling a *sphaṭika* (crystal); according to another account the colour of Dakshiṇāmūrti may be white, red, yellow or black. His person should be adorned with all ornaments, clothed with perfectly white clothes and tiger's skin, should wear a white *yajñopavīta* and have on his chest a coat of white sandal paste. In his left ear there should be a *Śaṅkhapatra* and in the right ear a *kuṇḍala*, or there may be only the *śaṅkha-patra* or the *kuṇḍala* in both the ears. A garland of *rudrākshas* should be hanging round the neck and descending as far down as the chest. The countenance of the god should be absolutely free from even a trace of mental perturbation. His sight must be fixed upon the tip of the nose; according to the *Kāraṇāgama* the sight must be fixed on the tip of the toe. The *Śilparatna* adds that this aspect of Śiva which preaches the *dharma* or law is very auspicious to the devotees and grants all good to its worshipper.

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Surrounding the great teacher-god, are to be *rishis* eager to learn the *śāstras*. The names of the *rishis* are given differently in different works; for example, the *Aṃśumadbhēdāgama* mentions the *rishis* Nārada, Jamadagni, Vasiṣṭa, Bhṛigu, Bhāradvāja, Sanaka and Agastya. The *Kāmikāgama* mentions the names Kauśika, Kaśyapa, Bhāradvāja, Atri and Gautama and omits the names of two others though it gives the number of *rishis* as seven. The *Kāraṇāgama* gives the names of Agastya, Pulastya, Viśvāmitra and Āṅgirasa only. These *rishis* should have *jaṭāmakuṭas* on their heads, the garland of *rudrāksha* seeds round their neck and white *yajñōpavītas* on their person. Their bodies should be covered with ashes (*vibhūti* or *bhasma*) and be clothed in white garments. The height of these *rishis* should not exceed that of the chest of

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Dakshiṇāmūrti. It is stated in the *Kāmikāgama* that the complexion of the *rishis* Kauśika and Kaśyapa should be dark, of two others (unmentioned in the text) yellow, of Bhāradvāja red and of Atri and Gautama a mixture of dark and red. In grouping them on a panel around the figure of Dakshiṇāmūrti, two may be placed on one side and three on the other, or three and three on each side, or three and four on either sides.

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The god Dakshiṇāmūrti should be adored by kinnaras, *dēvas* and others.

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The Apasmāra-purusha should hold his right hand in the *sarpa-mudrā* pose, that is, hold the palm of his hand in the form of the hood of a cobra, in front of the cobra which he should hold in his left hand.

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The *Dakshiṇāmūrti Upanishad* and the *Sūta-saṃhitā* give the esoteric meaning of the figure of Dakshiṇāmūrti. It is stated that He is the supreme god who, at the end of an æon (*kalpa*) absorbs within himself the whole universe and remains resplendent with joy. Dakshiṇāmūrti is such a deity. *Jñāna* (knowledge) is known also as *dakshiṇā* and since *dakshiṇā* is ever in front of Śiva and is gazing at him in the aspect of Dakshiṇāmūrti, he is called Dakshiṇāmukha. The Apsmāra-purusha under his foot is the personification of the ignorance of the living beings, which he keeps under subjection under the tread of his foot. The book he holds in his hand contains all wisdom and illuminates the souls of beings. The *akshamālā* which he carries in his hand is the representation of the *tatvas*. His body is composed of eternal bliss and eternal energy; the wide-spreading banyan tree casting deep shade is the symbol of *māyā* (illusion) and the *vṛishabha* of Śiva is *dharma* (law). Dakshiṇāmūrti is teaching the *rishis* who are already deeply versed in the Vēdas the *ātma-vidyā* (knowledge of self and soul) and rescuing them from *saṃsāra* (bondage). He is himself imperishable, without birth or death and the *kamalāsana* or the lotus-seat upon which he is seated is the symbol of the sacred syllable *Ōm*.

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Eight photographs are reproduced in illustration of the above description. Of these the first illustration, Pl. LXXI, comes from Deogarh and represents a very fine piece of sculpture. This panel has its central figure Dakshiṇāmūrti seated on a raised platform placed under a tree, with his left leg hanging and the right one bent and rested upon the seat. On his head is a *jaṭābandha*; the back right hand carries an *akshamālā* and the front right hand is held in the *jñānamudrā* pose. The back left hand carries a long object which is not easy to identify; perhaps it represents a cadjan

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Jñāna-Dakshiṇāmūrti: Stone Panel: Deogarh.

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manuscript : or a bundle of kuśa grass (kūrcha) the front left hand carries a pot, perhaps an amṛita-ghaṭa, as required in the Viṣṇudharmōttara. He wears round his loins a garment which descend as far down as the knees ; on his left shoulder and descending below as far as the left thigh and lying on it is a kṛiṣṇājina (or deerskin), the head and front legs of the deer being clearly visible there : this skin is worn in the upavīta fashion. The whole figure is slightly bent forward and a few jaṭās are seen descending over the shoulders. The face portrays beautifully the calmness that is insisted upon by the āgamas and the sight is fixed below.

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Below his seat and near his left leg are seen two deer, also listening to this exposition of dharma. This brings to mind the analogy of the representations of Buddha's preaching the dharma wherein also the same animals are introduced as members of the audience. Behind stands an ascetic with crossed arms and legs and carrying on his left hand an akṣamālā; he has a tapering beard and his jaṭās are tied up in a knot on the crown of his head.

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To the left of Dakshiṇāmūrti is seated a person as tall as himself. He is also seated underneath a tree on a rocky seat. This may either be a ṛishi or Śiva himself in the aspect of the Vyākhyāna-Dakṣiṇāmūrti; on the latter supposition the other person (seated to the right) must be taken to be Yōga-Dakṣiṇāmūrti. However it is not possible to say definitely whom this figure represents. The right hand of this image though carrying an akṣamālā is held in the chin-mudrā pose, while the left hand is held in the bhū-sparśamudrā pose. Its head is adorned with a neatly executed jaṭāmakuṭa, and its body is covered with a deer skin in the upavīta fashion. The right leg is let down the seat and is resting on the ground and the left leg is bent and kept on the seat. The garment covering the lower portion of the body descends as far below as the knees. As in the case of the other figure there is behind it a smaller one, also an ascetic, whose right hand, holding an akṣamālā, is kept in the chinmudrā pose and the left hand carries a water pot. Below the seat of this image is a lion couchant with its head resting upon its forelegs which are kept crossed over each other.

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There are dēvas and gandharvas, who are shown as flying in the air over the heads of these two central figures carrying flower garlands in their hands. Higher up and in a separate compartment is sculptured Brahmā as seated on a padmāsana; as usual, he has four heads; but only two arms;

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Fig. 2. Jñāna-Dakshiṇāmūrti: Stone:

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Fig. 1. Jñāna-Dakshiṇāmūrti: Āvur (Tanjore District).

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Jñāna-Dakṣiṇāmūrti: Stone: Tiruvorriyūr.

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The right hand is kept in the *chinmudrā* or *abhaya* pose and the left carries a *kamaṇḍalu*. On both sides of Brahmā are a *dēva* and his *dēvī*, flying in the air and praising him.

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The second image whose photograph is reproduced as fig. 1, on Pl. LXXII, is to be found in the Śiva temple at Āvūr in the Tanjore district. It is also a well executed piece of sculpture. In this image the *jaṭās* are bound together by a *lalāṭapaṭṭa* of elaborate workmanship. In the left ear is a *patrakuṇḍala* and in the right a *nakrakuṇḍala*; on the chest are the *yajñōpavīta* and a necklace of *rudrāksha* seeds; there are also the *chhannavīra* and the *udarabandha* and a cloth worn in the *upavīta* fashion. The front right hand is kept in the *chinmudrā* pose and the front left hand, which rests on the left knee, bears a book. In the back right hand is the *sarpa* (snake) while in the back left hand is *agni* (fire). The right leg hangs down the seat and is placed upon the Apasmāra-purusha and the left foreleg rests upon the right thigh. This image belongs to the early Chōḷa period.

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The photograph reproduced on Pl. LXXIII is of a comparatively modern sculpture to be found in a Śiva shrine built in the second *prākāra* of the temple at Tiruvorriyūr. It is coarse in its execution and lacks effect. The *jaṭās* in this case are spread fanwise and are bound at their base by a *lalāṭapaṭṭa*. The image has the same objects in its hands as the one noticed above (Pl. LXXII, fig. 1). But there is in addition the figure of a *rishi* seated below the seat of Dakshiṇāmūrti, with its hands held in the *añjali* pose. The seat on which Dakshiṇāmūrti is seated in fig. 1, Pl. LXXII, is a *bhadrapīṭha* while in Pl. LXXIII it is the mountain represented in the usual conventional manner.

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The fourth illustration, fig. 2, Pl. LXXII, is exactly similar to the third; but there are two *rishis* sculptured separately and seated on either side of the central figure.

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The fifth illustration, fig. 1, Pl. LXXIV, is from Suchindram in South Travancore. The image is of a comparatively recent date. It has on its head a carefully worked up *jaṭāmakuṭa*; and a few stray *jaṭās* are seen flowing down on the shoulders. The posture assumed herein is the *vīrāsana*. In the right back hand is seen a lotus flower, in the back left hand a *sarpa*, while the front right hand is held in the *chinmudrā* pose and the front left hand carries a book.

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Fig. 2, Pl. LXXIV, is the photograph of the figure of Dakshiṇāmūrti found in Kāvēripakkam and belongs to the Pallava period. Herein, the deity has on his head heavy curls of hair constituting the *jaṭābhāra*; he carries the *akṣamālā* in his back right hand, *agni* (?), in the back left hand and a book in the front left hand; the front right hand is held in the *vyākhyāna-mudrā* pose. The right leg is hanging below the seat, while the left one is kept bent in the *utkuṭikāsana* posture. Round the neck are two *hārās* (necklaces) on the chest, the *yajñopavīta* and in one ear a *vṛtta-kuṇḍala*; the other ear wears no ornament. Below the seat are to be seen a deer and a cobra listening to his discourse.

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Fig. 1. Jñāna-Dakshiṇāmūrti : Stone : Suchīndram.

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Fig. 2. Jñāna-Dakshiṇāmūrti Stone : Kāvēripākkam.

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Fig. 2. Jñāna-Dakṣiṇāmūrti : Bronze : Collection of Mr. Kay, Madras.

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Fig. 1. Jñāna-Dakṣiṇāmūrti : Stone : Tiruvēṅgavāsal.

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Fig. 1, Pl. LXXV, is the reproduction of a photograph of the Jñāna-Dakṣiṇāmūrti kept in the southern niche of the central shrine of the Śiva temple at Tiruvengavāśal in the Pudukottah State. In this case, the deity is represented as seated with his left leg kept in the *utkuṭikāsana* posture and on it is stretched the front left arm. Fig. 2, on the same plate is that of a bronze statuette belonging to the collection of Mr. Kay, Madras. It is almost similar to the figure on Pl. LXXIII; the only difference is that in the figure belonging to Mr. Kay, the back right hand keeps *agni* and the back left one, a snake, whereas in the Tiruvorriyūr image the order is reversed.

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