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Elements of Hindu Iconography v4: Volume 4

Elements of Hindu Iconography v4

Language
English

Contents

Volume 4

Front matter

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ELEMENTS OF

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T. A. GOPINATHA RAO

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ELEMENTS OF HINDU ICONOGRAPHY.

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OF

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BY

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T. A. GOPINATHA RAO, M.A., SUPERINTENDENT OF ARCHÆOLOGY, TRAVANCORE STATE.

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Vol. II—Part II.

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THE LAW PRINTING HOUSE MOUNT ROAD :: :: MADRAS 1916

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All Rights Reserved.

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PRINTED AT THE LAW PRINTING HOUSE, MOUNT ROAD, MADRAS.

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Sadasivamurti and Mahasadasivamurti, Panchabrahmas or Isanadayah, Mahesamurti, Ekadasa Rudras, Vidyesvaras, Murtyashtaka and Local Legends and Images based upon Mahatmyas.

Miscellaneous Aspects of Śiva

(i) Sadāśivamūrti and Mahāsadāśivamūrti

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T HE idea implied in the positing of the two gods, the Sadāśivamūrti and the Mahāsadāśivamūrti contains within it the whole philosophy of the Śuddha-Śaiva school of Śaivaism, without an adequate understanding of which it is not possible to appreciate why Sadāśiva is held in the highest estimation by the Śaivas. It is therefore unavoidable to give a very short summary of the philosophical aspect of these two deities as gathered from the Vātulaśuddhāgama. According to the Śaiva-siddhāntins there are three tatvas (realities) called Śiva, Sadāśiva and Mahēśa and these are said to be respectively the *nishkalā*, the *sakalā-nishkalā* and the *sakalā*¹ aspects of god: the word *kalā* is often used in philosophy to imply the idea of limbs, members or form; we have to understand, for instance, the term *nishkalā* to mean

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Sadasivamurti.

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(1) Also *sūkshma*, *sthūla-sūkshma* and *sthūla*, and *tatva*, *prabhāva* and *mūrti*.

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that which has no form or limbs; in other words, an undifferentiated formless entity. Now the Śiva-tatva mentioned above is identified with the *nishkalā* aspect of the Supreme god, because in this state all created beings merge their bodies, which they had obtained for the purpose of the enjoyment of actions of the pure and impure kinds, in the primeval cause, and therein suppress all activities. In the *nishkalā* state the Supreme Being has no beginning, no limit or boundary and is pervading everywhere, is indestructible, incomparable, extremely subtle and supreme, and is unknowable by any mode of proof. At the end of an aeonic destruction, (*samhāra*) for the purpose of creating the *śuddha-tatvas*, the *suddha-bhuvanas*, and for the removal of dirt (*mala*) from Yōgis, five Saktis evolve as follows: when Śiva in his boundless mercy wills, a thousandth part of his self emerges out of him as Parāśakti; from a thousandth part of this Parāśakti comes out Ādiśakti, a thousandth part of Ādi-śakti gives rise to Ichchhāśakti; from this latter are produced in a similar manner Jñānaśakti and Kriyāśakti. These five Saktis are also known as Parāśakti=Śāntyātitaśakti, Ādiśakti=Śāntiśakti, Ichchhāśakti=Vidyāśakti,

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Jñānaśakti=Pratishṭhāśakti and Kriyāśakti=Nivṛttiśakti in the technology of the Śaiva philosophy. Because it produces the faculty in souls of the enjoyment of karmas (good and bad actions) the Kriyāśakti is called nivṛtti; because it yokes to the purusha tatvas which are naturally inert and supremely subtle, the Jñānaśakti is called pratishṭha; because it understands māyā, the objects ushered into existence by the māyā and the distinction of the soul from the above two, the Ichchhāśakti is called vidyā; because it destroys mala, māyā and karma, the Ādiśakti is called śānti; and because it is the source through which souls attain the knowledge of the sat-chit-ānanda svarūpa of the Supreme Being, the Parāśakti is called śāntyātita.¹ From the five Śaktis mentioned just now appear the five different Sadāśiva-tatvas as follows :—

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¹ See also verse 27, Chap. 14 of the Yajña-khaṇḍa of the Sūta-saṃhitā and the commentary thereon.

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1. From a tenth of Parāśakti comes the first Sadāśiva-tatva, Śivasādākhya, known also by the name of Sadāśiva; because it is born of Parāśakti and is pure, it is called Śiva; and it exists everywhere as a subtle divine light, bright as the lightning and pervading the space in the universe;

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2. from a tenth portion of Ādiśakti is evolved the second Sadāśiva-tatva, Amūrtta-sādākhya, known also as Īśāna. Because Ādiśakti, like Parāśakti, is also formless, this second tatva is called the amūrtta; that is, this is also nishkalā. This sādākhya exists as a luminous pillar whose lustre is equal to that of a crore of suns put together. This pillar is called the Divya-liṅga or the Mūla-stambha. As everything takes its origin from the mūla-stambha and ends finally in it, it was called the liṅga; (1)

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3. from a tenth of Ichchhāśakti is produced the third Sadāśivatatva, Mūrttasādākhya, known also as Brahmā. Because this tatva has form it is called mūrtta; in other words it is sakalā. This tatva exists in the form of a Divyaliṅga with the brightness of fire and having flames of fire playing round it. On the top of

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(1) लयं गच्छन्ति भूतानि संहारे निखिलं यतः। सृष्टिकाले पुनस्तृष्टस्तस्माल्लिङ्गमुदाहृतम्॥ Suprabhēdāgama.

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this *liṅga* there is a figure with a beautiful face having three eyes, four arms and all other limbs. It carries in two out of its four hands the *paraśu* and the *mṛga* and the remaining hands are held in the *varada* and the *abhaya* poses ;

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4. from a tenth part of Jñānaśakti proceeded the fourth *tatva*, Kartṛisādākhya, otherwise Īśvara. Because Jñāna is the characteristic of the *kartā* (doer) this *tatva* received the name Kartṛisādākhya. Usually it is believed to exist in the form of a Divyaliṅga of immeasurable lengh and girth : the characteristic quality of this *liṅga* is its crystal clearness. On this *liṅga* resides Śiva, the origin of all existence, in the form of a figure having four faces, twelve eyes, eight ears and arms, and two legs. In the right hands of this figure are *śūla*, *paraśu*, *khaḍga* and *abhaya*, whereas in the left ones are *pāśa*, *sarpa*, *ghaṇṭā* and *varada* and is adorned with all ornaments ; and similarly

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5. from a tenth part of Kriyāśakti emerged the fifth *tatva*, Karmasādākhya, known also as Īśāna. (1) It is called karma because it is of the nature of kriyā. This tatva exists as the liṅga set upon the pīṭha. As the act (karma) of the conjunction of these two objects is the condition precedent to creation, the tatva received the name of Karmasādākhya.

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Each one of these tatvas is dependant upon its immediate predecessor; for example, the amūrtasāda depends upon the śivasāda, the mūrtta on the amūrtta and so on. Therefore, the Karmasādatatva is to be taken as containing in it all the five sādākhyas. The deity Īśāna representing the Karmasāda has a perfectly white body resembling the flower of the kunda (a kind of jasmine) or the full moon; having five heads adorned with jaṭā-makuṭas; bearing on each face three eyes, ten arms and two legs. He is standing on a padmāsana and keeps in his right hands the śūla, paraśu, khaḍga, vajra and abhaya and in the left ones the nāga, pāśa, aṅkuśa, ghaṇṭa, and agni. He is beautiful

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(1) The names of these five aspects corresponding to the five sādākhyas are usually known as Vāmadēva (=Īśa), Tatpurusha (=Īśāna), Aghōra (=Īśvara), Sadyōjāta (=Brahmā) and Īśāna (=Sadāśiva) and they face the north, east, south, west and the top respectively.

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adorned with all ornaments, draped in fine clothes and is with a smiling countenance full of peacefulness. The significance of the articles in the hands of all these deities have already been explained in the Chapter on "Āyudhapuruṣas" in Vol. I of this work. Of the five faces of this deity, the one facing the east is that of Īśāna; that facing the south, of Īśvara; the west, of Brahmā; the north, of Īśa and the top of Sadāśiva. All ceremonials, such as installation (*sthāpana*), should be done only for the Īśāna face and not for the other faces. The other faces are meant for the meditation of those who have attained perfection in *yōga*, mantra-siddhi, etc. It is from these five faces the *Śaivāgamas* were given out to the world¹. From a thousandth part of this Karmēśa, there came into existence Mahēśamūrti, who is the direct agent in the acts of *srishti* (creation), *sthiti* (protection) and *laya* (reabsorption) : (1) he must therefore be understood as a

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¹ The Āgamas that were proclaimed to the world by the Sadyōjāta face are:—
1. Kāmikāgama,
2. Yōgajāgama,
3. Chintyāgama,
4. Kāraṇāgama and
5. Ajitāgama; those by the Vāmadēva face are:—
1. Dīptāgama,
2. Sūkṣmāgama,
3. Sahasrāgama,
4. Aṁśumānāgama and
5. Suprabhēdāgama;

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those by the Aghōra face are:—
1. Vijayāgama,
2. Niśvāsāgama,
3. Svāyambhuvāgama,
4. Analāgama and
5. Virāgama; those by the Tatpurusha face are:—
1. Rauravāgama,
2. Makuṭāgama,
3. Vimalāgama,
4. Chandrajñānāgama and
5. Mukhabimbāgama; and those by the Īśāna face are:—
1. Prōdgītāgama,
2. Lalitāgama,
3. Siddhāgama,
4. Santānāgama,
5. Narasimhāgama,
6. Pāramēśvarāgama,
7. Kiraṇāgama and
8. Vāṭulāgama, making in all twenty-eight in number.

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(1) In connection with the five aspects of Śiva, it is interesting to compare the Śaktimaya-vyūha of Vaishṇavaism given on pp. 235—237, Vol, I, as also the five Bōdhisatvas, namely, sakala-mūrti. It is this Mahēśamūrti that manifests himself to the devotees in different forms, performing several sports (līlās) as seated or standing, dancing or riding upon vehicles, as terrific (ugra) or pacific (saumya) and so on. This Mahēśa has one face set with three eyes, the head adorned with a jaṭā-makuṭa, four arms, and is standing on a padmāsana. In two of his hands are the mṛiga and the paraśu and the remaining two hands are held in the abhaya and the varada poses. The Līlāmūrtis of Mahēśa are twenty-five in number and they are:—

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1. Chandraśēkharamūrti.
2. Umāsahita M.
3. Vṛishabhārūḍha M.
4. Nṛitta M.
5. Kalyāṇasundara M.
6. Bhikshāṭana M.
7. Kāmadahana M.
8. Kālāntaka M.
9. Tripurāntaka M.
10. Jalandharavadha M.
11. Gajāri M.

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Ratnapāṇi, Vajrapāṇi, Samantabhadra, Padmapāṇi and Viśvapāṇi, of the Bauddha Mahāyāna philosophy, who also possess similar powers and functions as their parallels in the Śaiva and Vaishṇava philosophies.

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12. Virabhadra M.
13. Śaṅkara-Nārāyaṇa M.
14. Ardhanārīśvara M.
15. Kirāta M.
16. Kaṅkāla M.
17. Caṇḍēśanugraha M.
18. Viṣāpaharaṇa M.
19. Chakradāna M.
20. Vighnēśvarānugraha M.
21. Sōmāskanda M.
22. Ēkapāda M.
23. Sukhāsana M.
24. Dakṣiṇāmūrti and
25. Liṅgōdbhavamūrti.

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Again, from Mahēśvara were produced the following: Rudradēva who is a thousandth portion of Mahēśa; Viṣṇu who is one part out of a crore of Rudra; Brahmā who is one part out of a crore of Viṣṇu and the three luminaries the sun, the moon and the fire, from the three eyes of Mahēśa; the wind from his nose; jñāna from his mouth; Gaṇēśa from his neck; Ṣaṇmukha from his chest; fifty crores (!) of divine beings from his navel; and several crores (!) of rishis from his hair. Such in short is the philosophy of the five sādākhyas, the five mūrtis and the tatvas of the Śaiva-siddhānta.

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From the above we can very well understand that Sadāśiva is the highest and the Supreme Being, formless, beyond the comprehension of any one, subtle, luminous and all pervading; not contaminated by any qualities (*guṇas*) and above all actions (*karmas*). It is from this Supreme Being all else have their origin, being and end at his will. This Sadāśiva-tatva is said to be *sakala-nishakala*, for this reason, namely:—after a cosmic destruction, a cosmic evolution has to follow; for, those souls that have not been cleansed of their dirt of actions (*karma-mala*) should be made to undergo once again worldly bondage (*saṃsāra*) thereby enabling them to rub down the effects of their bad *karmas* done in past births and accumulate in the present existence those of good *karmas* and finally be relieved of mundane existence. For the purpose of creation, the Supreme Being attempts to cause the movement of the *bindu* (sperm) and it is in this state that he is considered as *sakala-nishkala*. This abstruse conception of the Sadāśivamūrti, which the *Āgamas* themselves declare cannot be comprehended by ordinary mortals has fortunately been idolised in a material form for the benefit of men and the description of this image is found in all Śaivagamas.

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The Uttara-kāmikāgama states that the colour of Sadāśivamūrti should be of white colour and be standing upon a padmāsana. There should be five faces and the heads be adorned with jaṭāmakuṭas, whose jaṭās are required to be of brown colour. Sadāśiva should have ten arms; in the five right hands there should be the śakti, śūla, khaṭvāṅga, abhaya and prasāda (?) and in the five left ones, the bhujaṅga (a snake), akṣamālā, ḍamaru, nīlotpala and a fruit of the mātuḷuṅga. Or, Sadāśiva may be conceived as having only one face set with three eyes which represent the Ichchhāśakti, the Jñānaśakti and the Kriyāśakti; with the Chandrakalā (the crescent moon), which stands as a symbol of jñāna (wisdom), tucked up in the jaṭāmakuṭa and adorned with all ornaments such as the yajñopavīta. Manōnmanī, the Supreme goddess, should be standing by his side.

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Figs. 1 and 2, Pl. CXII and Pl. CXV illustrate the description of Sadāśivamūrti. The seated figure has five heads each of which is adorned with a jaṭā-makuṭa; it has ten arms; one of the right hands is held in the abhaya pose and a corresponding left one in the varada pose. The other hands carry the akṣamālā, pāśa, khaḍga, ṭaṅka (or paraśu), kamaṇḍalu and other objects not quite clear in the photograph. The standing figure (fig. 2, Pl. CXII), also possesses five heads of which the topmost has tongues of flames playing round it;

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Fig. 1. Sadāśivamūrti : Bronze : Collection of Mr. W. A. Beardsell, Madras.

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Fig. 2. Sadāśivamūrti : Bronze : Collection of Mr. K. Kay, Madras.

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Sadāśivamūrti : Stone : Elephanta (from Viśvakarma).

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some of the faces have side-tusks and the figure is nude; all these are characteristic features of a terrific (or *ugra*) aspect of the deity. There are eighteen arms, the hands of which are seen to carry such objects as the *śūla*, *pāśa*, *khaḍga*, *khēṭaka*, *musala*, *paraśu*, *ghaṇṭa*, *kapāla* and others. The figure is adorned with various necklaces of which one is long enough to descend as far as the ankle and is composed of tiny bells. Both these images appear to be modern.

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The beautiful figure of Sadāśivamūrti reproduced on Pl. CXV is said to have been discovered in Elephanta and is badly damaged. Like all other pieces in the caves at Elephanta this one also is carved splendidly. The very well executed *jaṭā-makuṭas* adorned with finely wrought discs, the row of small curls of hair fringing the forehead (*uṣṇīṣa*), the necklaces, the *yajñōpavīta*, the girdle round the loins are all very nicely worked out. The figure has four faces and since all its arms are broken, it is not possible to say how many it originally possessed.

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Mahāsadāśivamūrti is conceived as having twenty-five heads and fifty arms bearing as many objects in their hands. The five heads of Sadāśivamūrti which represent the five aspects of Śiva (the Pañchabrahmās), who are the lords of creation, protection, etc., are each substituted by five heads, making on the whole twenty-five; which stand for twenty-five *tatvas* of philosophy. The *Mānasāra* states that Mahāsadāśiva should be represented with twenty-five faces, having on the whole seventy-five eyes and fifty arms. The heads should be adorned with *jaṭā-makuṭas* and the ears with *kuṇḍalas*, and there should be a number of snake ornaments (*sarpālaṅkāra*). One of the hands should be held in the *abhaya* and another in the *varada* pose respectively. A representation such as this is rarely found portrayed in sculpture; one instance is found in Vaittīśvarankōyil (Tanjore District) made of brick in mortar. In this, one other peculiarity is also observable, namely the heads are arranged in tiers in arithmetical progression. The topmost tier has only one head, the next one below has three, the next five and so on till the last tier has nine heads. Only those heads which are on the borders of this triangle of heads could be adorned with *jaṭāmakuṭas* and they alone are actually ornamented with these in the sculpture. Surrounding the image are two flower garlands so put on as to represent a sort of *prabhāvaḷi*. Out of the large number of hands, one is held in the *abhaya* and another in the *varada* poses.

(ii) Pañchabrahmās or Īśanādayah

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The five aspects of Śiva known collectively as the Pañchabrahmās and whose individual names are Īśāna, Tatpurusha, Aghōra, Vāmadēva and Sadyōjāta are, as we have already said, emanations from the nishkala-Śiva (the formless, unmanifested Parabrahma of the Vēdāntins and Vāsudeva of the same state of existence according to the Vaishṇavāgamas).

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The Pādmapurāṇa also states that Rudra when he cried to Brahmā to give him (Rudra) names, the latter conferred upon him the eight names Bhava, Śarva, Īśāna, Śiva, Paśupati, Bhīma, Ugra and Mahādēva. These eight aspects of Rudra became the presiding deities over the sun, the water, the fire, the earth, the air, the ether (ākāśa), the brāhmaṇas who had performed sacrifices and the moon respectively. The names of the consorts corresponding to these eight aspects of Śiva are Suvarchalā, Ushā, Vikēśī, Śivā, Svāhā, Diśā, Dikshā and Rōhiṇi and those of their sons, Sanaiśchara, Śukra, Lōhitāṅga (Mars), Manōjava, Sarga, Śunda, Santāna and Budha.

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The figures representing these five aspects are described in the Āgamas, the Vishṇudharmōttara and the Rūpamaṇḍana. The descriptions of these according to the Āgamas have already been given in the summary of the Śaiva philosophy added at the beginning of this chapter.

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The *Viṣṇudharmōttara* states that these aspects should have each five faces and ten arms : it omits describing one aspect, which is perhaps the Īśāna considered to be above all the other four. The colours of Tatpuruṣa, Aghōra, Vāmadēva and Sadyōjāta, according to this authority should be white, yellow, black and red respectively and they may also be considered to belong to the four *varṇas* (castes) namely, the Brāhmaṇa, the Kṣatriya, the Vaiśya and the Śūdra. They should keep in their hands the khaḍga, khēṭaka, dhanus, bāṇa, kamaṇḍalu, akṣamālā, varada, abhaya, śūla and padma.

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Īśāna, according to the *Rūpamaṇḍana*, should have the colour as pure as that of the crystal; his head should be adorned with a jaṭāmakuṭa ornamented with the crescent moon and his hands should have the akṣamālā, triśūla, kapāla and abhaya. The colour of the garment and the yajñōpavīta of Tatpuruṣa is to be yellow and in his left hand there is to be a mātuḷuṅga fruit and in the right one an akṣamālā. The face of Aghōra should be of terrific look, set with three yellow coloured eyes and the mouth having side tusks; on the head there should be a garland of human skulls and a snake, and snake ornaments everywhere; two snakes serving as the ear-rings, two others as *kēyūras*, one as *hāra*, one as *yajñōpavīta*, one as *kaṭisūtra* (the waist-zone), the snakes Taksha and Pushṭika as anklets, and so on; there should also be a garland composed of scorpions (*vṛiśchika*). The colour of the body of Aghōra should be blue like the *nīlōtpala*, and that of the *jaṭās*, yellow, and these should be adorned with the crescent moon. The general look of this aspect of Śiva should resemble that of Kāla (the god of death) and appear as though terrifying a host of enemies. The left hands should bear in them the *khaṭvāṅga* the *kapāla*, the *khēṭaka* and the *pāśa* while the right ones, the *triśūla*, the *paraśu*, the *khaḍga* and the *daṇḍa*. The colour of the body, the eyes, garments, the head-gear, the *yajñōpavīta*, the garland, the sandal-paste and ear-ornament of Vāmadēva should be red. As usual, the crescent moon should be adorning the *jaṭāmakuta* of this deity also. He should have three eyes and a prominent nose, be decorated with all ornaments and carry in his hands the *khaḍga* and the *khēṭaka*. The colour of the body, garland, sandal-paste and the garments of Sadyōjāta should be white. His head should be adorned with a *jaṭamakuṭa*, ornamented with the crescent moon. He should have a good-looking face expressive of joy, three eyes and two arms: the two hands should be held in the varada and the abhaya poses.

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The *Śritatvanidhi* gives somewhat different descriptions of the Pañchabrahmās. For Īśāna there should be, according to this work, five faces, and four for each of the rest; each of these faces should have three eyes; the colour of Īśāna, Tatpurusha, Aghōra, Vāmadēva and Sadyōjāta, are respectively white, golden-yellow, blue, red and white. They ought to face the top, east, south, north and west respectively. Īśāna should have in his hands abhaya, varada (?) (iṣṭa in the original), aṅkuśa, pāśa, ṭaṅka, kapāla, ḍhakka (a musical instrument), akṣamālā and śūla. In two out of the four hands of Tatpurusha there should be kuṭhāra (a sort of axe) and vidyā (jñāna-mudrā or a book) and the remaining two should be held in the abhaya and the varada poses; whereas there should be the paraśu, vēda (a book ?), aṅkuśa, pāśa śūla, kapāla, ḍhakka and akṣamālā in the hands of Aghōra. Two of Vāmadēva’s hands should be held in the varada and the abhaya poses and the two remaining ones should hold in them the akṣamālā and the ṭaṅka; while similarly two of those of Sadyōjāta are to be held in the varada and abhaya poses and the two remaining ones keep the *vēdas* and the *akshamālā*. But Sadyōjāta is distinctly required to be sculptured so as to appear of greater importance than the rest.

(iii) Mahēśamūrti

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Mahēśamūrti, we have been told by the Śaivāgamas, is the fully manifested Supreme Śiva and is the cause of creation, protection and destruction. The figure of this deity is described at some length in the *Suprabhēdāgama*. It is stated therein that Mahēśa should have five heads, the faces of four of which alone should be visible; each of these faces should possess three eyes besides a mouth, a nose and a pair of ears and should be placed above a neck each. Mahēśa should have two legs and ten arms; two of his hands are to be held in the *varada* and the *abhaya* poses, while the remaining four right ones should keep the *śūla*, *paraśu*, *vajra* and *khaḍga*; and the remaining left ones the *khēṭaka*, *aṅkuśa*, *pāśa* and *ghaṇṭa*. The complexion of this aspect of Śiva should be crystal clear, having the lustre of the sun, but cool as the dew or the moon; Mahēśa must be clothed in white garments and should wear a white *yajñōpavīta* and should be adorned with all ornaments.

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By his side should be the figure of Śakti also. It should have three eyes, and four arms. On the head there should be a *karaṇḍa-makuṭa* and on the person all ornaments appropriate to women. The waist of the figure should be slender, and the pelvis broad; similarly there should be two well-developed high breasts on the chest. Two of the hands should each hold a *nīlōtpala* and an *akshamālā*, while the other two should be kept in the *varada* and *abhaya* poses. The figure must be clothed in silk garments and must be standing on the same seat and under the same *prabhāvaḷi* as Mahēśa on his left side.

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Four photographs are reproduced in illustration of the Mahēśa aspect of Śiva: the first, Pl. CXVI, is a beautiful figure of stone lying in a field opposite a ruined Śiva temple at Mēlchēri near Kāvēripākkam in the N. Arcot District. It has suffered damage at the hands of the Mussalmans during the troublous days of the contest for the succession to the Nabobship of the Karnatic. It has, as required, four faces, three of which are visible in the photograph. On the crown of the left face could be distinctly seen a big human skull and just below it is the hood of a cobra, whereas the middle head has a beautifully tied up *jāṭāmakuṭa* ornamented with jewelled discs, flower garlands and the inevitable crescent moon; at the base of this *makuṭa* may be noticed a row of five or six spherical objects which appear to be the skulls composing a garland. The third eye is very clearly marked on the forehead of the central face. There are as usual hāras, udarabandha and yajñōpavīta. Close to the neck is also a hāra composed of a snake. In the unbroken right hand is visible the ḍamaru; one other hand seems to have held a long sword whose upper part is visible on the crown, near the human skull; this latter itself appears to be the head of the khaṭvāṅga held by the image in one of its right hands; for, it might be noticed that there is a base attached to the skull; and this base is the capital of the handle of the khaṭvāṅga. (See fig. 10, Pl. II, Vol. I.) Perhaps one hand was held in the abhaya pose; it is impossible to say what the remaining two other hands might have held: in the unbroken left hands are to be seen the pāśa, the kheṭaka, a kapāla and something which resembles a fruit. One of the left hands should also have carried a long handled object—perhaps a triśūla or paraśu (?). There are also two legs as described in our authority. The image is seated in a comparatively rare posture. The right and the left faces are pacific, while the middle face is terrific. Its circular eyes, surmounted with a pair of knitted eye-brows, its wide mouth having side tusks—all these indicate, according to the rules of the āgamas, the terrific (ugra) aspect, which, in this instance, is that of the Aghōra face of the Mahēśa. This fine piece of sculpture belongs to the later Pallava period, perhaps to the reign of Nandivarman, son of Dantivarman (about A. D. eighth century).

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Mahēśamūrti: Stone: Kāvērīpākkam.

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The figure of Mahēśamūrti whose photograph is shown on Pl. CXIV as fig. 1 is found near the Gokak Falls in the Belgaum district. It is seated in the yōgāsana posture and has four faces (of which three are visible) and six arms. The front face is of the terrific aspect and the two side ones are pacific. The hands carry the śūla, akshamālā, ḍamaru, a fruit and some other objects not clear from the photograph.

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The next illustration is the celebrated “Trimūrti” of the famous Elephanta Cave. (See Pl. CXVII.) I am of opinion that it is unmistakably the representation of Mahēśamūrti and not of Trimūrti. My reasons therefor are:—

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(1) There are no texts to be found in the whole of the Āgamic or the Paurāṇic literature which agree with this piece of sculpture.

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(2) The three heads bear only jaṭāmakuṭas which are the characteristic head-gears of Śiva and Brahmā only. Viṣṇu should, under no circumstances, wear a jaṭāmakuṭa, his appropriate head dress being a *kiriṭa-makuṭa*. Hence, even if it is supposed that two out of the three faces are those of Brahmā and Śiva, because they wear the *jaṭāmakuṭas*, the third cannot be identified with that of Viṣṇu for the very reason that its head bears a *jaṭāmakuṭa*.

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Fig. 1. Mahēśamūrti: Stone: Gokak Falls (Belgaum Dt.).

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Fig. 2. Mahāsadāśivamūrti: Brick in Mortar: Vaithīśvarankōyil (Tanjore Dt.).

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Mahēśamūrti (wrongly called Trimūrti) : Stone : Elephanta.

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(3) Brahmā is nowhere as he is under no circumstances represented in sculpture or even in literature as possessing only one head. His figure should always be sculptured with four heads. So, the supposition that one of the heads is that of Brahmā is also clearly untenable.

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(4) The descriptions of Trimūrti as found are very clearly different from these sculptured representations and have a number of material illustrations in corroboration of the description given of them in the *āgamas*. (See under Trimūrti or Ekapādamurti below.)

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(5) The central position occupied by this sculpture in the cave-temple with reference to the other manifestations of Śiva (the *līlāmūrtis*), such as those of Arddhanārīśvara, Kalyāṇasundara, Rāvaṇānugraha, Gaṅgādhara and other *mūrtis*, found surrounding him, bear incontrovertible evidence to the conclusion that the sculpture represents only the Mahēśa or the most important aspect of Śiva.

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Now, the face on the left side has a severe look on its countenance, with cruel eyes, curling moustaches and a beard and a jaṭāmakuṭa serving as an abode for several snakes, which are seen wriggling through the jaṭās. The human skull ornament is also seen on the jaṭāmakuṭa; the ear belonging to this face has a sarpa-kuṇḍala, the hood of a cobra constituting it being visible. This is certainly the face that represents Aghōramūrti. The central face is calm and dignified. In the ears belonging to this face are to be seen makara-kuṇḍalas. This is perhaps the face representing Sadyōjāta. The face on the right side is also a calm and pacific one. In its ear there appears to have been a śankha-patra which is broken, but a sufficient portion of it still remains for it to be recognized. The three different kinds of ear-ornaments are sufficient proof against the sculpture being that of Trimūrti. There are only six arms represented in the sculpture, that is, as many pairs as there are faces visible. One of the right hands carries a cobra which has its hood widened out, the hand holding it being also kept in the sarpa-mudrā pose; another hand appears to have been held in the abhaya pose or to have kept an akṣamālā, but it is badly broken; the front left hand is seen keeping a mātuḷunga. It is not possible to say what other objects are held in the other hands. Copies of this piece of sculpture are to be seen in one or two other caves at Ellora and other places. A personal study of more than one such sculpture will settle once for all the question of the identity of this image.

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Mahēśamūrti: Stone: Chitorgarh (Udaipur, Marwar).

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The next illustration comes from Chitorgarh, in the Udaipur State, Marwar (Pl. CXVIII). Though it is not a good specimen of art, it is very valuable in settling definitely the question of the nature of the image in favour of my hypothesis. In this also there are three faces, the one on the left and the central one being of a pacific and that on the right of a terrific type. The third eye is clearly visible in the centre of the forehead of all the three faces, a fact that gives the direct contradiction to the hypothesis that such figures are representations of the Trimūrtis, Brahmā, Viṣṇu and Śiva. All three heads bear on them jaṭāmakuṭas, but that of the right head is composed of a large number of ringlets in which are seen snakes and a skull. The eyes of this face are oblique and staring and its mouth is gaping. This is surely the face of Aghōra. In this sculpture, one of the right hands is held in the sarpa-mudrā pose, another keeps something resembling a book (?) and the third an akṣamālā; whereas the left hands carry a mātuḷuṅga, a kapāla and a sarpa.

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A comparison of this piece of sculpture with the magnificent carving at Elephanta gives the clue to the objects that should have been held by the now broken hands of the latter sculpture.

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(iv) EKĀDAŚA RUDRAS.

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We have already seen how Rudra was produced from the frown of Brahmā (or Viṣṇu), and how he divided into eleven minor Rudras, who went by the collective name of the Ekādaśa-Rudras. The names of these eleven emanations of Rudra, according to the *Aṃśumadbhēdāgama*, are

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1. Mahādēva,
2. Śiva,
3. Śaṅkara,
4. Nīlalōhita,
5. Īśāna,
6. Vijaya,
7. Bhīma,
8. Dēvadēva,
9. Bhavōdbhava,
10. Rudra, and
11. Kapālīśa.

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The general characteristics of the images of these deities are first given in the authority quoted above and in the *Śilparatna*. It is stated in these works that the images of all these aspects of Śiva should have three eyes, four arms, *jaṭāmakuṭas* and be of white colour; they should be draped also in white clothes and be standing erect (*samabhaṅga*) on a *padmapīṭha*. They should be adorned with all ornaments and with garlands composed of all flowers and they should keep their front right hand in the *abhaya* and the front left hand in the *varada* poses, while they should carry in the back right hand the *paraśu* and in the back left hand the *mṛga*.

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The enumeration of the names of the Rudras are quite different in the *Viśvakarma-śilpa* and the *Rūpamaṇḍana*. In the former the names are given as

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1. Aja,
2. Ekapāda,
3. Ahirbudhnya,
4. Virūpāksha,
5. Rēvata,
6. Hara,
7. Bahurūpa,
8. Tryambaka,
9. Surēśvara,
10. Jayanta, and
11. Aparājita.

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Whereas, the latter gives the following as the list of the names of these deities :—

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1. Tatpurusha,
2. Aghōra, 3. Īśāna,
4. Vāmadēva,
5. Sadyōjāta,
6. Mrityunjaya.
7. Kiraṇāksha,
8. Śrikaṇṭha,
9. Ahirbudhnya,
10. Virūpāksha,
11. Bahurūpa, and
12. Tryambaka.

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The two works give the descriptions of the images of each of these eleven deities. According to the Viśvakarma-śilpa, Aja has sixteen arms. In the right hands he keeps the śūla, aṅkuśa, kapāla, ḍamaru, sarpa, mudgara, akshamālā and sudarśana (chakra); of the left hands, one is held in the tarjanī pose, while the others carry the gadā, khaṭvāṅga, paṭṭiśa (a sharp edged iron rod), ghaṇṭa, śakti, paraśu and kamaṇḍalu.

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Ēkapāda keeps in his left hand the khaṭvāṅga, bāṇa, chakra, ḍamaru, mudgara, varada, akshamālā, and śūla; while the right hands keep the dhanus, ghaṇṭa, kapāla, kaumudi (ardha-chandra?), tarjanī, ghaṭa, paraśu and chakra (śakti?). It is stated that the worship of this deity secures to the votary all material enjoyments.

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Ahirbudhnya keeps in his right hands the gadā, chakra, khaḍga, ḍamaru, mudgara, śūla, aṅkuśa and akṣamālā; and in the left hands the tōmara (an iron club), paṭṭiśa, kavacha (shield), kapāla, tarjanī, ghaṭa, śakti and paraśu; or, there may be in one of the left hands a sword as in the right hand.

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Virūpākṣa holds in his right hands the khaḍga, śūla, ḍamaru, aṅkuśa, sarpa, chakra, gadā and akṣamālā; and in the left hands, the khēṭaka, khaṭvāṅga, śakti, paraśu, tarjanī, ghaṭa, ghaṇṭa, and kapāla.

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Rēvata carries in the right hands the dhanus, khaḍga, śūla, gadā, sarpa, chakra, aṅkuśa and akṣamālā; and in the left hands the dhanus (?), khēṭaka, khaṭvāṅga, ghaṇṭa, tarjanī, paraśu, paṭṭiśa and pātra. This aspect of Rudra grants, like Sūrya, all the goods of the world to his worshippers.

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Hara bears in his right hands the mudgara, ḍamaru, śūla, aṅkuśa, gadā, sarpa and akṣamālā, (the object in the remaining hand is not mentioned); and in the left hands, paṭṭiśa, tōmara, śakti, paraśu, tarjanī, ghaṭa, khaṭvāṅga and paṭṭikā (?).

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Bahurūpa keeps in the right hands the ḍamaru, chakra, sarpa, śūla, aṅkuśa, kaumudi and akṣamālā (the eighth object is not mentioned);

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and in the left hands the ghaṇṭa, kapāla, khaṭvāṅga, tarjanī, kamaṇḍalu, dhanus, paraśu and paṭṭiśa.

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Tryambaka carries in his right hands the chakra, ḍamaru, mudgara, bāṇa, śūla, aṅkuśa, sarpa and akshamālā; and in the left ones, the gadā, khaṭvāṅga, pātra, dhanus, tarjanī, ghaṭa, paraśu and paṭṭiśa.

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Surēśvara holds in his right hands the ḍamaru, chakra, śūla, aṅkuśa, bāṇa, mudgara and dhanus (the object in the eighth hand is not mentioned) and in the left hands the padma, paraśu, ghaṇṭa, paṭṭiśa, tarjanī, dhanus, khaṭvāṅga and pātra.

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Jayanta keeps in his right hands the aṅkuśa, chakra, mudgara, śūla, sarpa, ḍamaru, bāṇa and akshamālā; and in the left ones the gadā, khaṭvāṅga, paraśu, kapāla, śakti, tarjanī, dhanus and kamaṇḍalu.

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And Aparājita carries in his right hands the tōmara, khaḍga, aṅkuśa, śūla, sarpa, chakra, ḍamaru and akshamālā; and in the left hands the śakti, khēṭaka, gadā, pātra, tarjanī, paṭṭiśa, padma and ghaṇṭa.

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The objects mentioned as being held in the hands of the various deities are required to be held in the order in which they are mentioned, beginning from the topmost hand to the lowest.

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Five of the eleven Rudras enumerated in the Rūpamaṇḍana have already been described under the head Pañchabrahmās. Descriptions of the sixth, seventh and the eighth are also given in this work, but not of the remaining three others.

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Mṛtyuñjaya, the sixth Rudra, should wear a garland of skulls on his head, be of white complexion, clad in garments made of tiger's skin, and carrying in two out of three of his right hands the triśūla and the akṣamālā, and of the left hands two should hold the kapāla and the kamaṇḍalu while the remaining right hand and the left hand should be kept in the yoga-mudrā pose.

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Kiraṇākṣa, the seventh Rudra, has four arms and three eyes. One of his hands is held in the abhaya pose, and the others carry the śuklapāda (white light-rays ?), an akṣamālā and a book.

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Śrikaṇṭha should be clad in embroidered clothes (chitravastra), and ornamented with all ornaments including an yajñopavīta of superior workmanship (chitra-yajñopavīta) and must be very good looking. He has four arms and only one face. In his hands he should be carrying the khaḍga, the dhanus, the bāṇa and the kheṭaka.

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As has already been stated above, the three remaining Rudras are not described.

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(v) VIDYĒSVARAS.

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Just as the weaver is the efficient cause (nimittakāraṇa), the Nishkalā-Śiva is the efficient cause of the universe composed of the moveable and immoveable objects. The immoveable objects consist of such things as the mountains, and the moveable, of things like paśu (here used in the technical sense of animals endowed with souls; man covered with ignorance). Souls have sūkshma-śarīras (subtle bodies) and bhuvana śarīras (material regional bodies). The bhuvanas or regions are of two kinds, namely, the suddha (pure) and the asuddha (impure) bhuvanas. These bhuvanas and kalās and their residents are appended below in the foot note (1). The bhuvanas or the regions have been created by Paramaśiva for the enjoyment of the paśus or embodied souls. The souls that live in the pure regions are pure in their nature and those that live in the impure regions are impure. The paśus are divided into three classes: viz., the vijñānakalas, the pralayākalas and the sakalas. Those that are enveloped

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¹ An abstract of the kalā, tatva, bhuvana, varṇa, pada and mantra of the Śaiva-śāstras which are interdependent upon each other are tabulated below for the information of those who are curious about this system of philosophy which has not yet obtained that amount of publicity which it deserves :—

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| Kalās. | Tatvas. | No. of Bhuvanas. | Names of the Bhuvanas. |
| | i. Śuddha-tatvas. | | |
| | 1. Śivatatva ... | 10 | Anāśrita, Anātha, Ananta, Vyōmarūpiṇī, Vyāpinī, Ūrdhvagāmanī, Mōchikā, Rōchikā, Dīpikā and Indhikā. (Five of these are Sākta-bhuvanas and the remaining five Nādōrdhva-bhuvanas. |
| (a) Śāntyātītakalā. | | | |
| | 2. Śakti-tatva ... | 5 | Śāntyātītā, Śānti, Vidyā, Pratiṣṭhā, and Nivṛtti. (These are called the Baindavapuras). |
| | Total ... | 15 | |
| | 3. Sadāśivatatva ... | 1 | Sadāśivabhuvana. |
| (b) Śāntikalā. | 4. Īśvaratatva ... | 8 | Śikhaṇḍi, Śrīkaṇṭha, Trimūrti, Ēkanētra, Śivōttama, Sūkṣma and Ananta. |
| | 5. Śuddhavidyā-tatva. | 9 | Manōnmanī, Sarvabhūtadamanī, Balapramathani, Balavikaraṇī, Kalavikaraṇī, Kālī, Raudrī, Jyēṣṭhā and Vāmā. |
| | Total ... | 18 | |
| | ii. Śuddhāśuddha-tatvas. | | |
| (c) Vidyā-kalā. | 6. Māyā ... | 8 | Anguṣṭhamātra, Īśāna, Ēkēkṣaṇa, Ēkapiṅgala, Udbhava, Bhava, Vāmadēva and Mahādyuti. |
| | 7. Kāla ... | 2 | Śikhēśa and Ēkavīra. |
| | 8. Kalā ... | 2 | Pañchāntaka and Śūra. |
| | 9. Vidyā ... | 2 | Piṅga and Jyōti. |

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by that kind of ignorance known as *mala* only are called the *vijñānakalas*; those with *mala* and *māyā*

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| Kalās. | Tatvas. | No. of Bhuvanas. | Names of the Bhuvanas. |
| (c) Vidyā-kalā. | 10. Niyati 11. Rāga 12. Purusha Total ... | ... ... ... | 2 5 6 27 | Saṃvarta and Krōdha. Ēkaśiva, Ananta, Aja, Umāpati and Prachaṇḍa. Ēkavīra, Īśāna, Bhava Īśa, Ugra, Bhīma and Vāma. |
| (d) Pratiṣṭhākalā. | iii. Aśuddhatatvas. 13. Prakṛiti 14. Buddhi 15. Ahaṅkāra 16. Manas 17. Śrōtra 18. Tvak 19. Chakshus 20. Jihvā 21. Nāsi 22. Vāk 23. Pāṇi 24. Pāda 25. Pāyu 26. Upastha 27. Śabda 28. Sparśa 29. Rūpa 30. Rasa 31. Gandha | ... ... ... | 8 8 1 1 1 5 | Śrīkaṇṭha, Auma, Kaumāra, Vaiṣṇava, Brāhma, Bhairava, Kṛita and Akṛita. Brāhma, Prajēśa, Saumya, Aindra, Gandharva, Yaksha, Rākshasa and Piśācha. Sthalēśvara. Sthūlēśvara. Śaṅkukarṇa. Kālañjara, Maṇḍalēśvara, Mākōṭa, Drāviṇḍa and Chhakalāṇḍa. |

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are called the *pralayākalas* and those with all three kinds of ignorance, *mala*, *māyā* and *karma* are called

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| Kalās. | Tatvas. | No. of Bhuvanas. | Names of the Bhuvanas. |
| (d) Pratiṣṭhākālā. | 32. Ākāśa | ... | 8 | Sthānu, Svarṇākṣa, Bhadrakarṇa, Gōkarṇa, Mahālaya, Avimukta, Rudrakōṭi and Vastra-Olpāda. |
| | 33. Vāyu | ... | 8 | Bhīmēśvara, Mahēndra, Aṭṭahāsa, Vimalēśa, Nala, Nākala, Kuruk-shētra and Gayā. |
| | 34. Tējas | ... | 8 | Bhairava, Kēdāra, Mahākāla, Madhyamēśa, Āmrātaka, Jalpēśa, Śrīśaila and Harīś-chandra. |
| | 35. Jala | ... | 8 | Lakulīśa, Pārabhūti |
| | Total | ... | 56 | Diṇḍi, Muṇḍi, Vidhi, Puṣhkara, Naimiśa, Prabhāsa and Amarēśa. |
| (e) Niv-rittikālā. | 36. Pṛthvī | ... | 108 | From Bhadrakālī to Kālāgni.(1) |
| | Grand Total | ... | 224 | |

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(1) In the *Uttara-Kāmikāgama* the *bhuvanas* are enumerated as follows:—

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कपालीशादयः प्राच्यामग्निरुद्रायोऽनले । यामयाद्या दक्षिणे भागे निर्ऋत्यायाश्च नैर्ऋते ॥ बलाद्या वारुणे भागे शीघ्राया वायुगोचरे । उत्तरे तु निधीशाया ईशे विद्याधिपादयः ॥ वृषाद्यस्त्वधोभागे शम्भुमुख्या नभोगताः । भुवनानां शतं चाष्टाधिकमेवं तु विन्यसेत् ॥ the sakalas. The mala envelope, if in the stage of leaving the person, is said to have undergone *paripakva*. The *vijñānakala* souls that have their mala in a high state of *paripakva* are those of the eight *Vidyeśvaras* and next to them come the *Mantreśvaras*. Having been given pure body, deeds, *bhuvanas* and enjoyments (*śuddha tanu, karaṇa, bhuvana, bhōga*), these slowly get rid of their mala, by the destructive action of Śiva. These *Vidyeśvaras* are the beings through whom the lower order of beings should attain higher evolutionary stages. They are eight in number and

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Besides *Kalā*, *Tatva* and *Bhuvana*, there are three more entities, namely, *Varṇa*, *Pada* and *Mantra*. All these six are dependent on one another; thus, *tatva* depends upon *kalā*, *bhuvana* on *tatva* and so on. It is said in the *Siddhāntasārāvaḷi* that the *tatvas* from *Pṛthvī* (No. 36) to *Māyā* (No. 6) are called *Ātma-tatvas*; those from *Śuddhavidyā* (No. 5) to *Sadāśivatatva* (No. 3) are *Vidyātatvas* and the remaining, *Śakti* and *Śiva* *tatvas* are *Śiva-tatvas*. Analysing the above we get,

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| Mantras are in number | | 11 |
| Padas | ,, | ,, | 81 |
| Varṇas | ,, | ,, | 51 |
| Bhuvanas | ,, | ,, | 224 |
| Tatvas | ,, | ,, | 36 and |
| Kalās | ,, | ,, | 5 |

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have different colours. Their names and colours are given below in a tabular form.

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| No. | Name. | Colour. |
| 1 | Anantēśa | Blood-red. |
| 2 | Sūkshma | White. |
| 3 | Śivōttama | Blue. |
| 4 | Ēkanētra | Yellow. |
| 5 | Ēkarudra | Black. |
| 6 | Trimūrti | Crimson. |
| 7 | Śrīkaṇṭha | Another kind of red, and |
| 8 | Śikhaṇḍi. | Dark-brown. |

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Their figures should have each one face set with three eyes, adorned with a *jaṭāmakuṭa*, *yajñōpavīta* and all other ornaments. According to the *Pūrva-Kāraṇāgama* they should carry in their back hands the *śūla* and the *ṭaṅka* and keep their front ones in the *varada* and *abhaya* poses. But the *Vishṇudharmōttara* states that their front hands should be kept in the *añjali* pose, and the back ones should carry the *bāṇa* and the *triśūla*. Detailed descriptions of each of these Vidyēśvaras are found in the *Aṁśumadbhēdāgama*.

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According to this authority, Ananta has a handsome, pacific appearance; a single face with three eyes in it; four arms; has the red colour of the shoe-flower; is adorned with a karaṇḍa-makuṭa and all other ornaments; he is to be standing upon a padmapīṭha and clothed in white garments. Two of his hands are held in the varada and abhaya poses and the other two keep in them the śūla and ṭaṅka.

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Trimūrti (Ekapāda), Ekanētra and Ekarudra are, (according to the Amśumadbhēdāgama), alike and their description is given under Ekanētra below. A more elaborate description of Ekapāda-Trimūrti and other forms of Trimūrtis is found in the Uttara-Kāraṇāgama. According to this Ekapāda-Trimūrti should be standing erect (samabhaṅga) with only one leg upon a padmapīṭha. This member of the class of Vidyēśvaras is also pacific. The colour of the deity is clear as the crystal and he has three eyes and four arms; the two front hands are held in the varada and the abhaya poses, while the two back hands keep the ṭaṅka and śūla or mṛiga. His ears may be adorned with either ordinary kuṇḍalas or those set with pearls and his head with a jaṭā-makuṭa and there should be all other ornaments in their appropriate places on the person of this deity.

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From the right and left of this erect figure of Śiva should be seen emerging those of Brahmā and Viṣṇu respectively. In sculpture they ought to be shown above the waist and must have each a leg kept bent and held up above the ground level. Brahmā, as usual, should have four faces and four arms. The two front hands should be shown as held in the añjali pose and the other two as carrying the sruk and the kamaṇḍalu. Similarly, Viṣṇu should have four arms of which the front two are folded and held in the añjali pose and the back hands should hold the śaṅkha and the chakra. The head of Viṣṇu should be adorned with the kirīṭamakuṭa. The whole of this composite piece of sculpture should be surrounded by a single prabhāmaṇḍala. It is stated in another Āgama (Uttara-Kāmikāgama) that the figures of Brahmā and Viṣṇu should be sculptured according to the tālamāna (proportions) prescribed for female deities.

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Another way in which Trimūrti may be represented is this: Brahmā and Viṣṇu may be sculptured as issuing from either side of a large liṅga. Thirdly, they may be represented each one separately with all their characteristics and as standing side by side on three separate padma-pīṭhas.

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Fourthly, there may be three shrines in a temple each separated from the other and in these there may be set up in the middle shrine a *liṅga* and in the right and left the shrines for Brahmā and Viṣṇu respectively. Fifthly, in a temple consisting of three contiguous shrines (triforium) they may be set up as in the previous case. The central figure may be also Nṛitta or other forms of Śiva.

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Illustrations are not wanting of the Ekapāda-Trimūrti. In all important Śiva temples of S. India, we meet with this image in some place or other, at least carved upon pillars. An excellent specimen of it is found in the temple at Tiruvorriyūr, whose photograph has been reproduced in the Introduction to Vol. I of this work. (See Pl. F, fig. 1.) Fig. 1, Pl. XCIX, is another piece of sculpture which is found in the Śiva temple at Jambukēśvaram; this is almost identical with that of Tiruvorriyūr. In addition to the three mūrtis, Brahmā, Viṣṇu and Śiva, we have in this instance the figures of a *haṃsa*, a bull and a Garuḍa, the vehicles respectively of Brahmā, Śiva and Viṣṇu. There is also the figure of a *yōgi* standing on the right with a *jaṭābandha* on his head carrying in his left hand a *daṇḍa* and keeping his right hand in the attitude of praising the Trimūrti. For the third mode of representation of the Trimūrtis see Pls. LXII, fig. 1 and LXXIV of Vol. I. Temples containing separate shrines for Brahmā, Viṣṇu and Śiva are found in many parts of the Travancore State; for example there is the Valiyakālai temple at Trivandram and the temple at Tiruvallam. The triforium temples are common features of the Chālukya-Hoysaḷa style of architecture. As examples of this I may quote the splendid temple of Dakṣiṇakēdārēśvara at Baḷigāmi, the temple at Sōmanāthapura and the Kēdārēśvara temple at Haḷebiḍu. All these temples have their ground plan resembling roughly the ace of the "clubs" of the playing cards, the three circular portions representing the three shrines and the tail the front maṇḍapa, which is common to all the three shrines. In these temples we generally see two liṅgas in two shrines and a figure of Viṣṇu in the remaining third shrine. One of the liṅgas represents Brahmā and the other Śiva. (See Epigraphia Carnatika, Vol. V, of Hassan District, for the photograph of the Kēdārēśvara temple):

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Sūkshma has a pacific appearance, is of blue complexion and has three eyes and four arms. He is clothed in garments embroidered with gold lace and adorned with all ornaments. The front hands of Sūkshma are held in the *varada* and *abhaya* poses, while the back hands carry the *ṭaṅka* and the *śūla*.

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Śrikaṇṭha has also four arms in two of which he carries the *śūla* and the *ṭaṅka* and holds the others in the *varada* and *abhaya* poses: he is standing upon a *padmapīṭha* and is draped in red garments.

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Śivōttama is of white complexion, has four arms and two eyes, is adorned with a *karaṇḍa-makuṭa* and with other appropriate ornaments and is clothed in white garments. He bears on his chest a white *yajñōpavīta*. Keeping his front hands in the *varada* and *abhaya* poses, and carrying in his back hands the *śūla* and the *pāśa*, he stands erect (*samabhaṅga*) on a *padma-pīṭha*.

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Śikhaṇḍi of dark complexion is a pacific deity having four arms; he is adorned with a *karaṇḍa-makuṭa* and all other ornaments and is draped in red clothes. His front hands are held in the *varada* and the *abhaya* poses, while the back ones keep in them the *khaḍga* and the *khēṭaka*.

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Ēkanētra has three eyes and a pacific look and bears on his head a *jaṭāmakuṭa*. He is clothed in white silk garments and is adorned with all ornaments. Two of his hands are in the varada and the abhaya poses, while the two remaining ones are carrying the śula and the ṭaṅka.

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Ēkarudra resembles in all respects Ēkanētra described above.

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In conjunction with the Śaktis, Vāmā, Jyēṣṭhā Raudrī, Kālī, Kalavikaraṇī, Balavikaraṇī, Balapramathanī and Sarvabhūtadamanī, the Vidyēśvaras are made by Paramaśiva to create the universe. It may be noted that all these eight aspects of Śiva pacific in their nature and are residents of the pure regions (Śuddhabhuvanas).

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(vi). MŪRTYAṢṬAKA.

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The eight forms of Śiva which go by the names of Bhava, Śarva, Īśāna, Paśupati, Ugra, Rudra, Bhīma and Mahādēva are grouped under the collective name of the Mūrtyaṣṭaka. We have already seen how these names were received in succession by Śiva when he was first produced by Prajāpati and how the eight aspects represented by the names given above became the lords of the various tatvas such as fire, air, earth, etc. (See also Vol. I, pp. 398-400.)

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We learn from the Liṅga-purāṇa that Śiva is to the universe what clay and the potter are to the pot, namely the upādāna kāraṇa (material cause) and the nimitta kāraṇa (instrumental or generative cause). Such a Being manifests himself in five different forms.

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