Elements of Hindu Iconography v4.c28: Chandesvara

Elements of Hindu Iconography v4.c28

Language: English

Chandesvara

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THE story of Chaṇḍēśvara, how he worshipped Śiva and attained to the position of the leader of the *bhūtagaṇas* of Śiva, has been given already under Chaṇḍēśānugrahamūrti. The image of Chaṇḍēśvara is essential in a Śiva temple and should be set up in the north-east corner with reference to the central shrine of the temple.

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The image of Chaṇḍēśvara may be set up in a shrine unattached to any temple, or as one of the *parivāra-dēvatas* or attendant deities in a Śiva temple. In the first instance, the shrine of Chaṇḍēśvara is said to be *svatantra* and in the second *paratantra*. The *svatantra* temple of Chaṇḍēśvara may be situated in any of the eight directions (north, north-east, etc.) or in the centre of towns and villages. The temple of Chaṇḍēśvara may range in size from a mere shrine of one cubit cube to a magnificent temple with a base of thirty cubits square, surmounted by a *vimāna* of one to seven *talas* or storeys in height, ornamented with the figures of Caṇḍēśvara or any other deity on the corners of each *tala* (storey); or, there might be in these corners figures of Nandi, the bull couchant. In the case of the temple of *svatantra* Caṇḍēśvara, it is required to face any one of the directions except the north; this temple should have *prākāras*, *maṇḍapas*, etc., in proportion to the dimensions of the central shrine.

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Surrounding the central shrine there should be eight *parivara-mūrtis*, named Rudrabhakta, Rudra-Caṇḍa, Caṇḍama, Mahābala, Vīrya, Ṭaṅkapāṇi, Īśasēvaka and Rudrakōpaja. They should all be of white complexion, big-bodied and with the pair of front hands held in the *añjali* pose and the back pair carrying in them *ṭaṅkas*. They may be represented either as standing or seated in the *vīrāsana* attitude and draped in elephant skins; they should have terrific countenances. Instead of Rudrabhakta and others, Indra and the other Dikpālakas may be made the *parivāras* of the temple of Caṇḍēśvara. They may be represented as actual anthropomorphic figures or with simple *pīṭhas* (as in the case of the Sapta-Mātṛkās, see Vol. I, Pl. CXX). In front of the temple of Caṇḍēśvara there should be, as in Śiva’s temples, a Nandi or couchant bull, and at the main entrance of the temple there should be two gate-keepers

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named Chaṇḍānuga and Chaṇḍabhṛtya. These two should be sculptured with two arms and carrying clubs in their hands; sometimes they may be dispensed with also.

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The figure of Chaṇḍēśvara should be fashioned according to the *madhyama* or *adhama-daśa-tāla vidhi* as is given in *Pratimālakshaṇa* or instructions given for the making of images; different descriptions are found in the *āgamas* for making the image of Chaṇḍēśvara. In the first instance, we see it stated that it might be sculptured as seated upon a *padmāsana*; its look should be terrific, as if fire would burst out of its face; the colour of Chaṇḍēśvara should be jet black and there must be a *sarpayajñōpavīta* on its body. The head should be adorned with a *jaṭā-makuṭa*, in which there should be the crescent of the moon, as in the case of Śiva. Chaṇḍēśvara, according to this description, should have four faces, four arms and twelve eyes. In the right hands there should be the *akshamālā* and the *triśūla* and in the left hands the *ṭaṅka* and the *kamaṇḍalu*.

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A second description of the image of Chaṇḍēśvara is as follows. The complexion of this deity should be conch-white; there should be three eyes and four arms and in the *jaṭā-makuṭa* the crescent moon. The figure of the deity should be seated in the *vīrāsana* posture and should carry in its back hands the *dhanus* called the *Pināka* and the *bāṇa* called the *Amōgha*, while the front hands should be kept in the *varada* and *abhaya* poses.

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According to the third description, Chaṇḍēśvara may be represented as either standing or sitting, with only a pair of arms but with three eyes. The colour of the body is here also required to be inky-black. As in the other cases there should be the *jaṭā-makuṭa* on the head. If the figure is made a seated one, the right leg should be hanging below the seat and the left leg should be bent and rested upon the seat. The left hand may either be placed on the left thigh or held in the *varada* pose. In the right hand there may be a *ṭaṅka*; or both hands may carry *ṭaṅkas*; or both hands may be folded on the chest in the *añjali* pose. Or, the figure may be sculptured as seated in the *utkuṭikāsana* posture with the head slightly bowed down as in deep sorrow, but with a face full of peace.

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In the fourth mode of representing Chaṇḍēśvara, he must be sculptured as having four arms three of which should be carrying the *ṭaṅka*, the *pāśa* and the *śūla* and the remaining one held in the *abhaya* pose.

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"In the descriptions found in the works of the Siṁhalaḍēśa (Ceylon) * it is stated", so says the Kāmikāgama, "that Chaṇḍēśvara should be represented in the Kṛitayuga with eight arms, in the Trētāyuga with six, in the Dvāparayuga with four and in the Kaliyuga with two only. But", the same authority adds, "no such thing is mentioned in the works of the other countries".

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Again, Chaṇḍēśvara may be shown singly or with his consort Dharmanīti. If his Dēvī is also sculptured, she should be adorned with all ornaments and should carry a nīlōtpala in her hands. Her colour is also to be black.

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The Kāraṇāgama states that Prachaṇḍachaṇḍa, Vikrāntachaṇḍa, Vibhuchaṇḍa, Virachaṇḍa and another whose name is not given came from the Pañchabrahmās. The stewardship of the house of Śiva was bestowed in the Kṛitayuga upon Prachaṇḍachaṇḍa, in the Trētāyuga upon Vikrāntachaṇḍa, in the Dvāparayuga upon Vibhuchaṇḍa and in the Kaliyuga upon Virachaṇḍa.

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∗ This is clear evidence that there existed in Ceylon the worship not only of Buddha but of the various deities of the Hindu cults and that there existed text-books in that country also containing descriptions of images, which sometimes differed from the readings of those on the continent of India. Evidently some of those Buddha āgamas quoted by Dr. Ananda-kumārasami in his "Simhalese Art" belong to the category of works referred to in the Kāmikāgama.

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In the case of *paratantra* Chaṇḍēśvara his shrine should be facing the south and, as has been already mentioned, be situated on the north-east corner of the first *prākāra* of the Śiva temple. According to the *Kāraṇāgama* the *paratantra* Chaṇḍēśvara may have three eyes and four arms or only two eyes and two arms, be terrific in appearance, and have a *jaṭā-makuṭa* on the head. Of the four hands two are to be kept in the *abhaya* and *varada* poses and the remaining two should carry the *pāśa* and the *paraśu*. If however there are only two hands, one of them should be in the *varada* pose and the other should carry a *ṭaṅka*. There should be a white *yajñōpavīta* on the body which should be adorned with all ornaments also. The figure of Chaṇḍēśvara may be either standing or sitting.

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Two illustrations are given on Pl. CXXXIII. The very well-executed original stone sculpture is placed in a very dark corner of the *maṇḍapa* in front of the central shrine of the Śiva temple at Tiruvorriyūr. It is seated in the *vīrāsana* posture and it carries a *paraśu* in its right hand, the left one resting upon the left lap. There is a figure of Chaṇḍēśvara carved on the north of the central

Linked texts (2)

Kāmikāgama — Sanskrit
Kāraṇāgama — Sanskrit