Elements of Hindu Iconography v4.c25.s3: (iii) Mahēśamūrti

Elements of Hindu Iconography v4.c25.s3

Language: English

(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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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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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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He who is the soul of the universe is called Īśāna. The illusory (māyā) material world is Tatpurusha; Buddhi with its eight components beginning from dharma is Aghōra; Vāmadēva pervades the whole of the universe in the form of ahaṅkara and the manas-tatva (mind) is Sadyōjāta.

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The Sūta-saṃhitā also conveys the same notion about the nature of the five aspects of Śiva known as the Pañcha-brahmās; it states that the universe is pervaded by the Pañcha-brahmās and the man who is able to realise this attains liberation from bondage (saṃsara). Īśāna is the ākāśa, Tatpurusha air, Aghōra fire, Vāmadēva water, and Sadyōjāta earth. But Śrikaṇṭhaśivāchārya views them somewhat differently; in his Brahma-mīmāṃsa-bhāshya he tells us that Sadāśiva is sound (śabda), Īśvara touch (sparśa), Rudra form (rūpa), Viṣṇu taste (rasa) and Brahmā smell (gandha).

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According to the Liṅga-purāṇa, jñana, ichchhā and kriyā are the three eyes of Paramēśvara. The desire to create that first arose in the mind of Paramēśvara is called the Śiva-tatva, which is also known as the ichchhā-śakti-tatva. When there are both the jñāna-śakti and the kriyāśakti blended in Paramēśvara he goes by the name of Sadāśiva when the former śakti is predominant and Mahēśvara when the latter śakti is predominant and Śuddha-vidyā when they are both equally balanced. When Īśvara absorbs in himself the universe he is known as the Purusha and Samsāri when he has manifested himself in the form of the gross material universe.

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Thus, it is seen that the exact idea involved in viewing Mahēśvara as of five aspects is explained by each authority in its own way; however, the majority of them agree in taking the aspects as the manifestations of the Supreme deity in the elements of nature such as fire, air, earth, etc.

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These eight deities are required to be represented in sculpture and set up in Śiva temples. The general description of these images is found in the Viṣṇudharmōttara and the Pūrva-Kāraṇāgama: the Amśumadbhēdāgama gives the separate descriptions of a few of the aṣṭa-mūrtis. In the first authority the eight mūrtis are said to resemble Śiva, wearing on their head jaṭāmakuṭas embellished with the crescent moon, adorned with appropriate ornaments and carrying in two of their hands the *khaṭvāṅga* and the *triśūla* and keeping the other hands in the *varada* and the *abhaya* poses. This description is amplified by the addition of a few more details by the *Pūrva-Kāraṇāgama*. It states that they should all have three eyes and be draped in red silk garments and that their colours are respectively white, black, red, *kṛṣṇa* (a kind of blue, or slate colour), pale pink, dark-brown (as the colour of musk or *kastūri*), coral red and deep blue.

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According to the *Aṃśumadbhēdāgama*, Śarva should have the white colour of the *śaṅkha* or of the moon and be of a pacific appearance. On his head there should be the *jaṭāmakuṭa* in which is tied a crescent moon; the other parts of his body should be adorned with all the ornaments appropriate to them. In the back hands he should be carrying the *khaḍga* and the *khēṭaka* and his front hands should be in the *varada* and *abhaya* poses and he should be standing upon a *padmapīṭha*. Bhīma is the terrific aspect among the eight *mūrtis* of Śiva. His complexion is deep red; his appearance must be frightful and there should also be side tusks. He should be clothed in white garments, adorned with a *jaṭā-makuṭa*, and all other ornaments. His two hands must be carrying the *śūla* and the *pāśa* and the remaining two should be held in the *varada* and the *abhaya* poses. It is stated that Mahādēva should be shaped like Paśupati; Paśupati should be sculptured like Śarva and set up in a temple. And Bhava’s description is exactly similar to that of Bhīma, excepting that Bhava is a pacific aspect, and consequently has a calm, peaceful look and is without the side tusks, the criterion and concomitant of the *ugra* or terrific aspects; the descriptions of the other deities belonging to this group are not found in my copy of the *Amśumadbhēdāgama*.

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As far as it is known, there do not exist any sculptured representations of the groups, the Ēkādaśa-Rudras, the Vidyēśvaras or the Mūrtyashṭaka, at least in any one of the South Indian temples and I do not know if in Northern India these are found anywhere, either receiving *pūjā* or not.

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(vii). LOCAL LEGENDS AND IMAGES BASED UPON STHALAMĀHĀTMYAS.

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Besides the various aspects of Śiva described in this and the previous chapters, which are common to the whole of India and are recognized by the Purāṇas, Itihāsas, etc., there are very many images which are met with in different temples and which are associated with certain legends peculiar to each of these temples. For instance, at Jambukēśvara near Śrīraṅgam, an elephant and a spider are said to have worshipped Śiva in a grove of white jambu tree; we meet with sculptured representations of an elephant pouring with its trunk the water which it had brought from the river Kāvērī on the head of a linga and a spider weaving its web in a corner to protect the linga from the rays of the sun. The legend in connection with Ēkāmranāthasvāmin of Kāñchi is that the goddess Parvatī made a penance to Śiva standing on one leg, with hands uplifted on the head in the añjali pose; Śiva being pleased with her devotions appeared to her under an āmra (mango) tree. These pieces of sculpture peculiar to each place are the outcome of the sthala-māhātmya written generally at some later period of the history of the temple and is usually based upon some imaginary event that had occurred in it. The one māhātmya that has contributed very largely to the multiplication of images of Śiva is the Hālāsya-māhātmya or the one pertaining to the god Śiva at Madura, the capital of the Pāṇḍyas. The god Sundarēśvara (the name of the God Śiva enshrined in Madura) is said to have indulged in sixty-four līlās or sports, which are also narrated in later works such as Śivalīlārṇava. In all these līlās, Śiva assumed human and other forms for the purpose of succouring help to some one in need of

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Fig. 2. Pārvatī embracing the liṅga.

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Fig. 1. Pārvatī doing penance : Stone : Paṭṭīśvaram.

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it. For example, reference may be made to legends according to which he was once pleased to grant heaven to a pious crane; he taught the Mṛtyuñjaya-mantra to a black-bird to protect itself and its species from the aggressions of stronger species; he once took pity upon a litter of motherless pigs and acted the part of their mother and eventually caused them to be re-born as the sons of a human being and bestowed upon them the office of the ministers of the Pāṇḍya king and so on. All these sports of Śiva at Madura are materialised into stone sculptures which are to be seen everywhere in the extensive temple not only of Madura but also in temples situated in many places adjoining Madura. Since the local legends are so many and the sculptures representing these are numberless, it is practically impossible to deal with them in a work dealing with images which are of universal acceptance.

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Two illustrations are however added to give the reader a notion about the nature of such representations. The first, figs. 1 and 2, Pl. CXX, is one symbolising the legend connected with the Ekāmranāthasvāmin temple at Conjeevaram. Pārvatī, according to this legend, was doing penance on the bed of the river Vēgavati; she had set up a *liṅga* and was offering worship to it daily with intense piety. To disturb her penance with a view to test her mental firmness, god Śiva suddenly sent freshes in the river Vēgavatī so as to sweep away the *liṅga* and the other objects of worship set up by Pārvatī. When thus suddenly beset with difficulties, Pārvatī, not knowing how to avert them, hugged the *liṅga* to her bosom, so that if it was swept out, she might also perish with it. Śiva, pleased with the firmness of devotion of Pārvatī, appeared to her in person under a mango tree (which stood singly, *ēkāmmra*) and was joined with his consort. In fig. 1, Pl. CXX, Pārvatī is seen doing penance and fig. 2 on the same plate shows her hugging passionately the *liṅga* symbol when it was threatened to be washed away in the flood.

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The second illustration, fig. 2, Pl. CXIX, is of Śiva who took the form of a sow to suckle a number of the young ones of a pig which was killed in a hunt and which were dying for want of succour. Here, Śiva is represented with the usual four arms in two of which he is seen carrying the *paraśu* and the *mriga*, while with two others he is seen hugging a number of little pigs, which are drinking lustily the milk from the teats of their foster-mother, while some are squeaking and rolling down on the earth

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Liṅgapurāṇa — Vyāsa, Sanskrit
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Kāśyapaśilpa — Sanskrit
Kāraṇāgama — Sanskrit
Viṣṇudharmottarapurāṇa — Sanskrit
Ṛgvedasaṃhitā — Sanskrit
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