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Siva Lingam

South Indian Siva temple Iconography ...

Symbolism behind the structure of a Shiva Temple

  1. The temple is so constructed as to resemble the human body with all its subtleties.
  2. The five walls encircling one another are the koshas (sheaths) of human existence:
    • The outermost is the Annamaya kosha, symbolizing the material body.
    • The second is Pranamaya kosha , symbolizing the sheath of vital force or prana.
    • The third is Manomaya kosha, symbolizing the sheath of the thoughts, the mana.
    • The fourth is the Vijnanamaya kosha, symbolizing, the sheath of the intellect.
    • The fifth and innermost is the Anandamaya kosha, symbolizing the sheath of bliss.
  3. The sanctum which is in the prakaram symbolizing the Anandamaya kosha sheath, houses the lord, seated as the jiva within us. It is to be noted that the sanctum is an unlit space, just as if within the heart closed on all sides.
  4. The entry gopuras are likened to the feet, as resembling a person who is lying on theback with the toe up.
  5. The flag post depicts the sushumna nadi which raises from the muladhara (base of the spine) to the sahasra (vertex in the head).
  6. Some temples will have three prakarams. There they represent the stoola, sukshmand karana shariras (bodies) of a human being. Some temples have only one and they represent all the five.


Composition and structure

The Annamalaiyar Temple in Thiruvannaamalai, India

Dravidian style temples consist almost invariably of the four following parts, arranged in differing manners, but differing in themselves only according to the age in which they were executed:[1]

  1. The principal part, the temple itself, is called the Vimanam. It is always square in plan and surmounted by a pyramidal roof of one or more stories; it contains the cell where the image of the god or his emblem is placed.
  2. The porches or Mantapams, which always cover and precede the door leading to the cell.
  3. Gate-pyramids, Gopurams, which are the principal features in the quadrangular enclosures that surround the more notable temples.
  4. Pillard halls (Chaultris or Chawadis) are used for many purposes and are the invariable accompaniments of these temples.

Besides these, a temple always contains tanks or wells for water – to be used for sacred purposes or the convenience of the priests – dwellings for all the grades of the priesthood are attached to it, and other buildings for state or convenience.[1]

Images in Siva Temple

Shiva is worshipped in 9 forms namely lingam, lingothbavar, Chandrasekarar, Somaskandar, Bhairavar, Veerabatrar, Nataraja, Dakshinamoorthy and Chandikeswarar[2].

Lingam

Image of structure of Lingam

The Lingam (also, Linga, Ling, Shiva linga, Shiv ling, Sanskrit लिङ्गं liṅgaṃ, meaning "mark" or "sign") is a representation of the Hindu deity Shiva used for worship in temples.[3]. The lingam is the principal deity in most Shiva temples in South India. The lingam is often represented with the Yoni, a symbol of the goddess or of Shakti, female creative energy.[4] The union of lingam and yoni represents the "indivisible two-in-oneness of male and female, the passive space and active time from which all life originates".[5] A complementary theory suggests that the Lingam represents the beginningless and endless Stambha pillar, symbolizing the infinite nature of Shiva.[6] [7] The propogation of linga worship is belived to be from Chola times (late 7th century A.D.), through Rig veda, the oldest literature details about worshipping Shiva in the form of linga[8]. Pallavas propogated Somaskanda as the pricipal form of worship, slightly deviating from the Saiva agamas; Cholas being strict Saivas, established lingams in all the temples[9].

Lingothbhavar

Lingothbhava or emergence of Linga

Lingothbhavar or emergence of linga, found in various puranas as a symbol of Siva, augments the synthesis of the old cults of pillar and phallic worship [10]. The idea emerged from deity residing in a pillar and later visualised as Siva emerging from the lingam[8] The lingothbhavar image can be found in the first precinct around the sanctum exactly behind the image of Siva. Appar, one of the early Saivite saint of the 7th century, gives evidence of this knowledge of puranic episodes relating to Lingothbhavar form of Shiva while Tirugnana Sambandar refers this form of Shiva as the nature of light that could not be comprehended by Brahma and Vishnu[11].

Dakshinamurthy

Dakshinamurthy

Dakshinamurthy or Jnana Dakshinamurti(Tamil: தட்சிணாமூர்த்தி, Sanskrit: दक्षिणामूर्ति ((Dakṣiṇāmūrti))[12] is an aspect of Shiva as a guru (teacher) of all type of knowledge, particularly the jnana. This aspect of Shiva is his personification as the supreme or the ultimate awareness, understanding and knowledge.[13] This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom, and giving exposition on the shastras.[14] He is worshipped as the god of wisdom, complete and rewarding meditation.[15]. This form of Shiva is popular in the Southern states of India especially Tamil Nadu. Dakshina indicates south and this deity is south facing usually present in the first precinct around the sanctum.

Somaskandar

Image of Somaskandar - Shiva accompanied by Skanda the child and Parvathi

Somaskanda is the form of Shiva where he is accompanied by Skanda the child and Paravati his consort[16] in sitting posture. Though it is a Sanskrit name, it is a Tamil concept and Somaskandas are not found in North Indian temples[17]. In the Tiruvarur Thygarajar Temple, the principal deity is Somaskanda under the name of Thyagaraja[16]. All temples in the Thygaraja cult have images of Somaskandar as Thyagarajar - though iconographically similar, they are iconologically different. Architecturally when there are separate shrines dedicated to the utsava(festival deity) of Somaskanda, they are called Thyagaraja shrines[18]. Unlike Nataraja, which is a Chola development, Somaskanda was prominent even during the Pallava period much earlier to Cholas[19]. References to the evolution of the Somaskanda concept are found from Pallava period from the 7th century A.D. in carved rear stone walls of Pallava temple sanctums[20]. There are 40 such images of Somaskanda found in different temples including the Kailasanthar temple at Kanchipuram. Most of the images are attributed to Rajasimha Pallava (700-728 A.D.),Mahendra Pallava (580-630 A.D.), Narasimha Pallava (630-668 A.D.) and Parameswara Pallava (670-700 A.D.)[20][21]. Somaskanda was the principal deity during Pallava period replacing lingam, including the temples at Mahabalipuram, a UNESCO world heritage site. But the cult was not popular and Somaskanda images were relagated to subshrines[22]. Sangam literature does not mention Somaskanda and references in literature are found in the 7th century Tevaram[20]. Somaskanda's continuing importance is highlighted by the fact that the deity takes prominence in all the prime festivals.

Dvajasthamba

The Dvajasthamba (temple tree) of a temple, pali peedam and vahanam

Near the main entrance of the temple are situated the Dvajasthamba, sacrifical altar called pali peedam and vehicle called vahanam facing the main deity[23]. Each main deity of the Shiva temple has a vehicle associated with them - Shiva has Nandi(sacred bull), Parvathi has lion, Muruga has peacock and Vinayagar has mice. Dvajasthamba is the flag tree of flag pole. It is a cylindrical structure usually located after the first gopuram behind the vahana in Agamic temples[24][23].

Notes

  1. ^ a b Fergusson, James (1997) [1910]. History of Indian and Eastern Architecture (3rd ed.). New Delhi: Low Price Publications. p. 309.
  2. ^ Cuppiramaṇiyan 1985, p. 224
  3. ^ Hinduism: Beliefs and Practices, by Jeanne Fowler, pgs. 42-43, at Books.Google.com
  4. ^ Heinrich Zimmer, Joseph Campbell, Myths and symbols in Indian art and civilization, 127 [1]
  5. ^ Jansen, Eva Rudy (2003) [1993]. The book of Hindu imagery: gods, manifestations and their meaning. Binkey Kok Publications. pp. 46, 119. ISBN 90-74597-07-6.
  6. ^ Harding, Elizabeth U. (1998). "God, the Father". Kali: The Black Goddess of Dakshineswar. Motilal Banarsidass. pp. 156–157. ISBN 9788120814509. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  7. ^ Vivekananda, Swami. "The Paris Congress of the History of Religions". The Complete Works of Swami Vivekananda. Vol. Vol.4. {{cite book}}: |volume= has extra text (help); External link in |chapterurl= (help); Unknown parameter |chapterurl= ignored (|chapter-url= suggested) (help)
  8. ^ a b Vasudevan 2003, p. 105
  9. ^ Vasudevan 2003, p. 106
  10. ^ Anand 2004, p. 132
  11. ^ Parmeshwaranand 2001, p. 820
  12. ^ For iconographic description of the Dakṣiṇāmūrti form, see: Sivaramamurti (1976), p. 47.
  13. ^ Dictionary of Hindu Lore and Legend (ISBN 0-500-51088-1) by Anna Dallapiccola
  14. ^ For description of the form as representing teaching functions, see: Kramrisch, p. 472.
  15. ^ Magick of the Gods and Goddesses: Invoking the Power of the Ancient Gods By D. J. Conway p.284
  16. ^ a b Smith 1996, p. 203
  17. ^ Ghose 1996, p. 3
  18. ^ Ghose 1996, p. 11
  19. ^ Smith 1996, p. 205
  20. ^ a b c Ghose 1996, p. 12
  21. ^ Williams 1981, p. 61
  22. ^ Vasudevan 2003, pp. 39-40
  23. ^ a b Rampal 2008, p. 60
  24. ^ Subramuniyaswami 2003, p. 233

References

  • Subramuniyaswami, Satguru Sivaya (2002), Dancing with Siva: Hinduism's Contemporary Catechism, India: Himalayan Academy, ISBN 0-945497-89-x {{citation}}: Check |isbn= value: invalid character (help); Cite has empty unknown parameter: |coauthors= (help)
  • Cuppiramaṇiyan, Ca. Vē (1985), Heritage of the Tamils: temple arts, India: International Institute of Tamil Studies {{citation}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Rampal, Krishna Gopal (2008), Sacred Structures: artistic renditions of Hindu temples in Malaysia, Singapore: National Library Board, ISBN 978-981-05-9585-2 {{citation}}: Cite has empty unknown parameter: |coauthors= (help)
  • Anand, Swami P. (2004), Encyclopaedia of the Śaivism, New Delhi: Sarup & Sons, ISBN 81-7625-427-4 {{citation}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Parmeshwaranand, Swami (2001), Encyclopaedic Dictionary of Puranas: Volume 3.(I-L), New Delhi: Sarup & Sons, ISBN 81-7625-226-3 {{citation}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Smith, David (1996), The Dance of Siva: Religion, Art and Poetry in South India, United Kingdom: Press Syndicate of the University of Cambridge, ISBN 0-521-48234-8 {{citation}}: Cite has empty unknown parameter: |coauthors= (help)
  • Ghose, Rajeshwari (1996), The Tyāgarāja cult in Tamilnāḍu: a study in conflict and accomodation, Delhi: Motilal Banarsidass Publishers Private Limited, ISBN 81-208-1391-X {{citation}}: Cite has empty unknown parameter: |coauthors= (help)
  • Williams, Joanna Gottfried (1981), Kalādarśana: American studies in the art of India, Delhi: American Studies in the Art of India, ISBN 90-04-06498-2 {{citation}}: Cite has empty unknown parameter: |coauthors= (help)
  • Vasudevan, Geetha (2003), The royal temple of Rajaraja: an instrument of imperial Cola power, New Delhi: Abhinav Publications, ISBN 81-7017-383-3 {{citation}}: Cite has empty unknown parameter: |coauthors= (help)
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