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Iconology of Tantra
Denition; Icon (ikon) is a word derived from the Greek and is dened as an image or representation of a religious gure. Iconology is the study of icons.

Everything connected with the icon has a symbolic meaning; the posture, gestures, ornaments, number of arms, weapons, vehicle, consorts and associate deities (parivara devata). These descriptions are given in the Srimad Bhagavatam (S.B.), Vishnu Purana (V.P.), Gopala-uttara-tapini Upanishad (G.U.T.Up), Krsna Upanishad (K.U.) gamas as well as in the Brahmanas and Aranyakas.

Iconology
Iconology is defined as the study of the symbolism behind sacred images. One of the most prominent tools of devotion in Hinduism & Buddhism is the use of images. These images or icons are made of wood, stone, metal or painted on cloth. The term generally used by non-Hindus and unfortunately by Hindus themselves when referring to these sacred images is IDOL. This term is actually pejorative a demeaning, insulting word first used by Christian missionaries who perceived Hinduism in an extremely negative way describing us as pagans, heathens and idolaters. The use of images is also predominant among Catholics and Eastern Orthodox Christians who refer to sacred images as ICONS to differentiate them from the idols of the heathens. An icon can be defined as a sacred symbol which embodies a spiritual truth and is worthy of veneration and contemplation. All Hindu icons are visual representatives of the transcendent Divine and the Spiritual Forces which support, sustain and direct the Cosmos. The art and symbology of Icons has been developed to an extremely sophisticated degree by the Hindu mind. Each and every feature of an icon has a profound truth behind it, and all the mystical teachings of the sages is presented to the spiritual seekers through the means of these icons and symbols.

The language of symbols develops when an attempt is made to represent something that is beyond the normal capacity of the human mind to comprehend or to express. A transcendent reality is expressed in terms of equivalents known as symbols. All of human interaction is carried out through the use of symbols. To represent a quantity of something we use symbols called numbers. To articulate and communicate ideas we use symbols known as words. To transmit words to others in a graphic manner we use the symbology of letters of the alphabet. A symbol can be natural or conventional. When we perceive a direct relationship between one order of things with another a natural symbol develops. In the Tantric cosmology, symbolism is the expression of reality. It is the expression of the particular points where two realms meet the transcendental (nikala) with the material (sakala). The Tantras affirm 2 core tenets; the material realm (lla-vibhti) is a reflection of the transcendental realm (parama-pada) and the inner world is cognate with the outer (yath brahma tath pia) and therefore Tantric symbolism arises from nature itself and is not the result of speculation. And through the contemplation of the outer symbols one reaches the innermost abstractions of those symbols. However far back we reach in Indian thought as a whole we find a coherent use of symbols to represent the abstract. The whole of Indian iconology is built up upon a code of symbols based on the assumption that there exists a natural affinity between ideas (nma) and forms (rpa). This code of symbols has been transmitted over millenia its origins are lost in the remote past. Symbols do not speak to the rational mind and cannot be fully understood by logic, they are the subject of contemplation, worship, assimilation, inner experience and ultimate spiritual realization. Symbols are the esoteric language of the unconscious mind.

The technique of Icons

The icons in which the Godhead manifests itself are thus not merely representations of the Godhead but are in fact a focus or locus of the Godhead. This means that God is actually present in the icons. How is this doctrine justified? Firstly God is omnipresent (all-pervading), omniscient (all-knowing) and omnipotent (all-powerful). The entire creation is pervaded by the Godhead, there is no place or thing in this universe which is devoid of the presence of God. So naturally it follows that the Godhead is also present in the icon. When the icon is properly consecrated according to the prescribed rites God is implored to be especially present in the icon out of compassion and love so that we in turn may love and adore Him/Her. Secondly God is the Inner-witness who knows our every thought and emotion, and Scripture tells us that God always responds to our devotion. So God with a small fraction of His limitless being takes up residence in the consecrated icon in a very special and specific way, and because by definition God is omnipotent all-powerful, this empowering of the icon is certainly no effort on his part!! Terminology; In Sanskrit there is a very rich terminology that is used when referring to icons;

the scriptures and consecrated accordingly. Such a descent (arca-avatra) takes place for receiving the devotional service of the devotees and for bestowing grace upon them in return.

The Purpose of Icons

If one does not have the vocabulary (nma) one cannot understand an experience (rpa) and if one cannot understand and define an experience to oneself, one cannot articulate it and share it with others. The purpose of the icon is to represent, through a combination of forms and proportions, some fundamental aspect of the cosmos and its presiding consciousness which is not directly perceptible by our senses. Although these cosmic realities cannot be perceived, they can be experienced, the icons are the vocabulary whereby we interpret the experience of the divine to ourselves and convey that understanding to others.

bera image mrti anything which has definite shape and physical limits, an embodiment or incarnation. bimba reflection or prototype the original or model after which a thing is copied (the Original Being of course is the Divine) vigraha extension, expansion, form. pratima resemblance, similitude, representation pratka symbol rpa form, aggregate, a sum total of form. arca object of adoration and worship According to the doctrines of the gamas, the Supreme Being is transcendent and Absolute and beyond the comprehension of the finite human mind. But because of His limitless compassion and love for His creation and by a ray of His divine potency, He takes up abode in the icon which is constructed strictly according to the dictates of

The Divine is all-pervading and intimately close. The entire universe is pervaded within and without by Divinity. The Divine cannot be confined to the icon because of omniscience but through the power of mantras (sacred formulae) and mudras (ritual gestures) the Divine Essence is invoked into the icon and It, through Its infinite mercy condescends to take residence in the gross object for the purpose of receiving the worship of devotees and bestowing Grace. In other words the divine Presence is particularized or focused in the icon. The energy that is already there is awakened, it does not enter from somewhere outside. The image of stone or brass is thus transformed into a living entity. Its actual shape and ornamentation are symbolic and convey meaning in every single aspect. Once the invocation ceremony (pra-pratiha) has been performed, the icon is no longer regarded as merely symbolic but as a mrti which means a materialization or embodiment of the Divine.

Theological and Scriptural support for the use of icons.

na ca rpam vin dhytum kenapi akyate | sarva rpa nivtt hi buddhi kutrasya tihati || nivtt glyate buddhir-nidray v paryate |

tasmd vidvn upsta buddhy skram eva tam || asti tasya paroka tad iti kicid anusmaret | sarvath akram udditam na parityajya paita || Vishnu samhita 29:55 57
Without a form how can God be meditated upon? If he is completely formless, where will the mind fix itself? When there is nothing for the mind to attach itself to it will slip away from meditation, or will glide into a state of slumber. Therefore the wise will meditate on some form, remembering however that it is an indirect method, a particularization or indication of that which is completely formless.

content upon which to meditate. This content itself must be meaningful, in order to bring about the required change of consciousness. In the Parama Samhita 3:7 it is stated: nirkre tu devee na arcana sabhave nm | na ca dhyna na ca stotra tasmt skram arcayet ||
It is impossible for the human being to worship, meditate or praise a deity without form. Therefore the Lord should be worship through an icon.

The theology of the Tantra affirms that the Supreme Being is a Personal God/Goddess but at the same time declares that His/Her form is undefinable (anirdeya), incomprehensible (acintya) and infinite ie. unconditioned by Time and Space (ananta). All manifested beings are definable and comprehensible because of the four common characteristics which can be pointed out and understood; 1. jti genus or species, race, caste etc 2. gua attributes such as black/white, tall/ short etc. 3. kriya activity such as walking, crawling, standing etc, 4. sambandha relationship to other things and beings such as father/son, master/servant, possession/owner etc. As far as the Supreme Being is concerned no genus (source) can be postulated as S/He is the source of the entire creation and pervades it with a fraction of His/Her potency.

The Sriprashna Samhita 18;1 affirms that the descent of the Divine into a permanent iconic abode is due to the Divine Initiative alone, for bestowing grace and blessing upon the devotees.

The Temple Structure and Icons

The human body is the temple for the Indwelling Spirit of the Divine (Antarymin). All the various parts of the temple structure correspond to various parts of the human body. The temple is the physical body which houses the presence of Divine. So the actual building of the temple itself is a symbol of the presence of the Divine in the world. The temple with all its intricate imagery represents the universe in all its variety and just as on the macrocosmic scale the universe is the body of the Divine so on a microcosmic scale when the icon represents the manifested Godhead; the temple is Its Body.

In the Vishnu Samhita 29; 49b 58. It is pointed out that it is beyond the capabilities of an average human being to adequately conceive of the Supreme Being for the purpose of contemplation. The human mind relies on concepts and forms and contrasts, in order to focus its thinking processes. Without a definitive content, the mind wanders and contemplation becomes impossible. So therefore the gamas have prescribed the use of symbols for focusing the mind and providing

Types of Icons.
Two types of icons are encountered in the temple. There is the main deity which is usually carved out of stone or sometimes in the case of very large icons such as in Srirangam temple they are molded out of plaster. This is known as the mla vigraha, and once installed can never be removed this icon receives all the daily services. The second type of icon is known as the proxy icon (utsava vigraha). It is smaller than the main icon and is usually constructed of an alloy of 5 metals (pacaloha) . During festivals the Spiritual Energy [akti] from the main icon is transferred temporarily into the proxy icon which is then taken out in procession and receives particular services. The icons for use in the home for daily worship are either pictures or metal images. Metal images, when used for worship should be about 14 cms high.

either stone, or if very large (like in the temple of Srirangam) they are molded out of plaster, and are classified by posture; sthnaka standing, sna sitting, ayana reclining

These mla-beras are further classified according to the purpose for which they are worshipped, different results being obtained from each type.

Classication of Icons
Agamic Icons fall into three broad groups they are; citra sculptured in the round. citrrdha base-relief citrbhsa painted

Those that are sculptured in the round can be classified according to movability as; cala movable, acala immovable, calcala both movable and immovable. classified according

2. bhoga-mrti; These icons depict the deity in a domestic situation. This is the best suited form for worship in temples constructed in towns and places of habitation. These icons are conducive of enjoyment and happiness and can be resorted to by all classes and by people of all temperaments. The images of Uma-Maheshvara, Radha-Krishna and Lakshmi-Narayana etc. are of this type. 3. vra-mrti; These icons depict the Deity in a heroic posture such as Rama defeating Ravana or Durga defeating mahishasura. This type of icon bestows power and victory over enemies (such as anger, greed, delusion etc.), it can be established either in the town or outside of it.

1. yoga mrti; These icons depict the Supreme Being in various meditational postures. They are worshipped by the aspirant desiring self-mastery or Yoga. These icons should be established and consecrated on the banks of rivers, in forests or on top of mountains, it should be quite far from human habitation, the reason being quite obviously in order to afford a peaceful and undisturbed environment in which the aspirant can practice yogic meditation.

They are also temperament;

to

The immovable icons are known as dhruva-bera or mla-vigraha and are the main deity of the temple, they are almost always sculptured out of

nta or saumya those of a peaceful demeanor raudra or ugra those of a terrifying or wrathfull nature.

4. ugra-mrti; This is the form which is used for protection against enemies (either real or spiritual in the form of anger, delusion, desire etc.). They are characterized by sharp teeth and a large number of arms carrying various weapons, wide eyes and a flaming halo around the head. This icon may only be set up in the North-eastern corner of the settlement or village. The setting up of an

5. abhicrika-mrti; used for the purpose of inflicting death and destruction on ones enemies or confounding his purposes. This form is only set up far from a town and never in a place of human habitation. (This form is purely theoretical as there are no temples of this type and no true spiritual aspirant would have anything to do with them).

Ugra-murti in the midst of a town or city is prohibited. If it is established then a santamurti must be placed directly in front of it, or a tank of water should be constructed in front of the temple. The Vishvarpa, Narasimha, Sudarsana and the Vata-patrasayin are of the Ugra type.

Narasimha usually the yoga form can always set up to the west of the main sanctorum, even in Siva temples.

Karma Bimbas
A karma bimba is a proxy image of the main Icon which is used for a variety of practical purposes. The life force (pra) from the main Icon is transferred into the karma bimba for a short duration for serving the particular purpose. Thereafter it is transferred back into the main Icon.

Orientation of Icons
The standing and seated icons are orientated either facing the east or the west. The ayana bera (reclining) can face any of the four cardinal points, if facing North then the head is to the East, if facing South-the head is to the West. If facing East or West then the head is to the South. Depending on the direction of the head of the Icon differing results are obtained; East West South North ntidam (peace) puidam (strength) jayadam (victory) abhicrikam (depredation)

In a temple consecrated according to the gamas there should be three, five or six such karmabimbas. Five are most common and are known as the Paca-bera. 1. dhruva- bera the main icon in the sanctum sanctorum which is of the immovable kind, constructed of stone and permanently fixed. It protects the town

2. kautuka-bera the movable image used for daily offerings .

3. snapana-bera the icon used for the daily bathing ceremony. 4. bali-bera icon used for the daily bali offerings in the courtyard of the temple. 5. utsava-bera the icon which is taken out in procession on festivals.

The ugra-rpa can only be established in the North-east of the settlement where it will give prosperity and happiness, the incorrect establishing of the ugra-rpa in a town or village leads to the following results; In In In In In In In the the the the the the the East destruction of village south-east destruction of the settlement South degradation of the womenfolk South-west dessimation through disease west depression, anxiety and stress north-west delinquency of the males north various types of afflictions.

6. ayana-bera the icon used for putting to rest at night Few temples are opulent enough to possess and to handle all these five beras so the general situation is to have two beras only; the mula-bera and the utsava-bera. The utsava-bera fulfills the function of all the other 4 types. These karma-bimbas have to correspond in certain iconical forms to the dhruvabera. If the dhruva-bera stands they stand, if the dhruva-bera sits they sit, but if the dhruva-bera reclines then the karma-bimbas either stand or sit. They also have to correspond in the number of arms and various other paraphernalia.

6 karmrc sarvath kry mla-bimba anusri | Vivaksena Samhita 17; 11. cloth. Those made in metal are usually sculptured in wax form and then cast in metal.

The karma-bimbas must correspond in every way to the mula-bimba.

Construction of Icons
In the gamas and ilpa stras (canons of architecture) there are dhyna lokas (visualizations) which are given; describing the exact features of the particular Deity and the paraphernalia in great detail for the purpose of meditation. It is according to these dhyna lokas that the icons are constructed. Certain proportions having symbolic significance, are essential features of icons as well as of temple architecture. The image is made in strict conformity to the original canonical texts and concentration and visualization is extremely important. Any omission, error or oversight is attributed to imperfect concentration and slacking of attention, in this case the image is discarded and the process is deferred. The gamas insist on the necessity of making the icon as beautiful as possible but actually even an ill-shaped image made strictly according to the Agamic directions serves the same purpose as a very artistic and beautifully executed one.

Iconometry Measurement of Icons Dhruva Bera

The height of the Dhruva-bera varies. It is either taken in proportion to the temple super structure or the temple measurements are taken from the dhruva-bera.

Example 1

The whole Icon consists of three parts; 2 parts are the Icon proper and 1 part is the pedestal. Multiply the whole length of the Icon by 4 and divide by 8. One 8th is the width of the doorway into the sanctum.

Example 2

The construction is always begun upon a date set according to astrology, being an auspicious day and in harmony with the nature of the deity. The Silpi or craftsman is expected to maintain his ritual purity during the process of construction and there are several disciplines which he has to undertake until the completion of the task.

The whole length of the Icon including pedestal should be 7/ 8ths of the height of the doorway. (i.e. height + 7 x 8 = doorway). If the Icon is made 2 meters in height then the following measurements are calculated; doorway = 2 .28 mtrs high x 1.14 mtrs in width. Sanctum = 4.57 mtrs square Vimana = 9.14 mtrs high Mandapa = 9.14 mtrs wide Plinth = 3 mtrs high

Proportional measurement of Karma Bimbas

The karma-bimbas should be either a quarter, a third or half of the height of the mla-bimba.

Materials of Construction
According to the gamas, icons can be constructed of stone, wood, metal, clay, kai-sarkara a kind of cement, precious stones or painted on

Position of the Deities in the Sanctum

The sanctum sanctorum of a temple is called the garbhlaya which means the womb-house and is divided into half. The half should again be subdivided into 10 parts. The deities are positioned as follows; Shakti in the 2nd place from the rear wall. Bhairava in the 3rd Ganesha in the 4th. Surya in the 5th.

Sarasvati in the 6th Skanda is placed in the 7th part Vishnu is placed in the 8th part. Brahma is placed in the 9th part. iva Ligam in the 10th part ie in the center.

Understanding Iconography

The Language of Symbols

There are certain features which are common to almost all Hindu deities and some Buddhist ones.

Lotus Throne
All the gods, buddhas and boddhisattvas are usually depicted standing or seated upon lotuses. The pure and unsullied lotus arising from the depth of the waters and far from the banks of the lake is associated with the idea of purity which arises from the law-ofconduct (dharma) and wisdom (jana). The Lotus is also symbolic of the enlightened mind. It rises in the mud of material existence gradually growing through the waters until it reaches the surface and then opens up to the sun in all its glory. Water splashed upon a lotus leaf never remains but immediately slips off. In the same way the dirt of worldliness never stains the enlightened being. The lotus base therefore establishes the idea that the god or buddha contemplated is nothing but a projection of the mind, and has no existence apart from the devotee.

The Postures.
The deities and buddhas are shown in various stereotyped postures, reclining, sitting with one foot raised, two feet raised or two feet down or standing. The reclining posture indicates absolute transcendence, a state of inscrutable otherness and is beyond all our powers of comprehension. Seated there are three stages of manifestation being depicted. Both legs crossed in padmasana (lotus posture) indicate a state of transcendence with a potential for manifestation. One leg lowered indicates a concern for sentient beings, a desire to be pro-active and an intention to engage in acts of compassion and salvation. Both legs down indicates a full intention to assist the devotee and an impending act of great compassion guiding others to enlightenment. Standing indicates full manifestation within our realm and capacity to comprehend it indicates Yoga Asana

9 immanence the closeness of our inner being. It is the Divine in full action within our minds.

The Four Arms.

Most Hindu deities are depicted with four arms, these represent: The cardinal directions; indicating that the god is all pervading and has perfect dominion over all the directions. The four divisions of society; intellectuals, administrators, entrepreneurs, and workers. The four stages of life; student, householder, retirement and renunciate. The four aspects of Hindu psychology the lower cogitative mind (manas) the intellect (buddhi), ego (ahamkara) and consciousness (cit). The four levels of consciousness; waking (jagrata), dream (svapna), sub-consciousness (sushupti) and transcendental consciousness (turiya). The four essential components of dharma; truth (satya), meditation (tapa), compassion (daya), and charity (Dana). The four aims of human endeavor (purusharthas); pleasure (kama), prosperity (artha), righteousness (dharma) and liberation (moksha). The four immeasurable qualities friendliness (maitri), compassion (karuna), empathetic joy (mudita) and nonattachment (upeksha). Sivas Crown Vishnus Crown

many arms
The more arms and heads a deity possesses the more rajasic or tamasic the personality of that being. Wrathfull deities allways have more than four arms.

The Crown
The crown is the quintessential symbol of sovereignty and is also said to be indicative of the Unknowable Reality which is trying to be presented through this deity. There are different types of crowns worn. Shivas crown appears like hair coiffed up.

Goddess Crown

Earring

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The earrings
The earrings shaped like mythical sea-monsters (makara) represent the two methods of pursuing knowledge intellectual knowledge (sankhya) and intuitive perception (yoga).

The face of Glory Kirti-mukha

Very often the deity is framed by a doorway like formation with a monsters head over the top. This is a common feature of many of doorways to the old houses, temples and palaces in India and South East Asia. This is called a kirti-mukha which literally means the face-of-glory and it represents the principle of all-consuming Time. Since Time is the great destroyer and takes from us all that is precious and separates us from our loved ones and objects it is shown as being wrathful and terrifying. It serves to remind the contemplator that everything is conditioned by time and space and all things in the universe including the deity depicted are all subjected to appearance and disappearance. Everything is impermanent and subject to constant change.

Kirti-mukha

The Gestures
The language of the hands known as mudra is very signicant in all forms of Indian art in dance as well as sculpture and ritual. There are some mudras which are common to many deities and buddhas. These are: Anjali Mudra the gesture of prayer and submission The two palms pressed together. Held at the chest to honour equals, held in front of the face to honour gurus and high personages and held above the head to honour the gods. Abhaya Mudra the gesture of fearlessness the palm displayed with the ngers pointing to the sky. Indicates the practice of harmlessness to all beings in word, deed and thought (ahimsa) and granting to all beings the gift of freedom from fear. Varada Mudra the gesture of generosity the palm displayed, ngers pointing downwards. This indicates the benevolence of the deity or buddha as well as the teaching of the principle of generosity to all beings. Chin [tarka] Mudra the gesture of teaching palm displayed, ngers upwards thumb and fore-nger joined at the tips. This indicates the imparting of knowledge, form the deity/buddha to the contemplator and having received the knowledge the aspirant is expected to pass it on to others. Varada Chin/tarka Anjali Abhaya

Dhyana - Mudra

11 Dhyana Mudra the gesture of meditation this takes two forms: palms placed one over the other in the lap or arms stretched out, hands on the knees with the palms outward displaying the chin mudra.. The former indicates meditation using an abstract or formless focus, and the later expresses the idea of meditation upon a more tangible object. Meditation is the quintessential Asian spiritual practice and this necessity is demonstrated through the deity or buddha assuming this posture. Tarjani Mudra the gesture of vigilance st closed with the index nger raised. This mudra is usually found in images of protective or guardian deities and indicative of the need to be extremely mindful when approaching the spiritual path. The index nger is also representative of the ego which is the major obstacle to spiritual advancement. It also represents the principle of aggression and harm aspects of personality which need to be overcome in the preparatory stages of spiritual life.

tarjani

z
Chatra

Miscellaneous Symbols
Chatra [The Parasol] In Indian culture only high dignitaries were allowed the use of a parasol the largest ones usually white were reserved for the king and for the gods. The larger the number of smaller parasols heaped above the main one, the higher the personage represented. Thus in Indian culture the parasol is a symbol of spiritual power. Purna-kumbha [The Full Vase] symbolises fullness, and spiritual perfection which overows to serve all beings. Gorocana medicine made from the bile of cattle symbolises spiritual detoxication. Durva [lawn grass] symbol of indestructibility and regeneration offered for the prolonging of life. Sarshapa [mustard seeds] are a wrathful substance which is used to overcome hindrances to development and practice. Rambha taru [Banana Tree] represents the Dharma. The banana tree produces fruit for the sake of others but itself doesnt have any need for it as it grows from the roots. Every single part of the banana tree is usefull. The fruit can be eaten green or ripe, the trunk produces string, the core can be eaten as well as the fruit. The trunk also produces drinking water and the leaves can be used for thatching. Durva

N
Purna-kumbha

Iconic Symbols
Noose Pasha
The triple noose represents what binds us, limits us and constrains us to take repeated rebirth in Samsara avidya, karma, vasana. (ignorance, actions based upon ignorance and habitual pattern formations as a consequence of action.] It also has three other meanings attracting oneself to the Dharma, tying oneself by the constraints of Dharma and destroying all obstacles to ones spiritual evolution. The triple noose also represents the conditioning of body, speech and mind. Pasha (B)

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Pasha (A)

Elephant Goad Ankusha

This hooked instrument is used by elephant trainers and mahouts to drive the elephant. This Goad symbolises the incentive to continue in spiritual practice and the application of the teachings. It represents discipline which can either be applied from within or from someone to whom we have surrendered a guru who then uses skilfull means to drive us and coach us in the spiritual path.

Dagger churi
Churi Ankusha Represents the spiritual path which is described as the razors edge. It is a precarious path full of inherent danger which needs to be treaded with great care and vigilance.

Lute vina
The vina has 7 strings representing the 7 basic sounds as well as the 7 colours of the rainbow sound and colour being related. The vina thus symbolises the inner sound of spiritual harmony; the vibration of the atoms in motion, creation, the sound of the spheres, the harmony of all the diffuse elements of the cosmos.

Water pot kamandalu

The kamandalu is a special type of water pot that is carried by renunciates and with which they perform their daily rituals which consist in the offering of water libations. The kamandalu is thus a symbol of renunciation and of dedication of oneself to the well-being of others. The symbol of fullness and of giving.

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Drum

Damaru

The hour-glass shaped drum is a combination of two triangles symbolising the union of the masculine and feminine principles and the creation of the universe. When these two principles separate themselves then the universe dissolves. In the hand of Lord Shiva it is said to have emanated the principle sound forms of the Sanskrit alphabet known as the Maheshvara Sutras.

Trident Trishula
The three-pronged trident is carried by most wrathful deities and is primarily a symbol of Lord Shiva. It represents control over action, speech and thought and the destruction of the three Gunas or primary constituents of Nature. It also represents the re element agni and its 3 forms. It also represents the 3 paths to liberation love (bhaktiyoga), wisdom (jnana-yoga) and skilful action (karma-yoga).

Sword

Khadga

The sword is primarily the symbol of wisdom which destroys all ignorance sharp and two edged, hidden within all of us like a scabbard. The sword can only be wielded by a hero (vira) who needs to acquire the necessary skill to use it through study and practice under a competent master. It also symbolises the force of non-attachment whereby the bonds of attachment are severed; liberating one from conditioning.

Conch-shell Shankha
In ancient India the conch was used much as a bugle was used in the European armies. In battle it conveys the instruction of the commander to the troops. Each warrior commander had his own personal conch with its distinctive sound. The conch thus represents the diffusion of the Dharma teachings and the proclamation of war upon the negative forces of the mind. The conch shell also arises out of water which symbolises the ocean of undifferentiated unity; and so depending on the context it can also represent sonic creation because of the sound OM that it generates. It is primarily a symbol of Vishnu.

The Wheel Chakra

The wheel is the symbol of the Dharma which rotates and spins its benecial inuence in all directions. It also symbolises the cycle of Samsara of repeated birth and death which turns endlessly and from which we desire to be liberated. It is also used as a weapon and its speed is faster than the speed of the mind thus representing the cosmic mind which destroys our enemies in the form of the afictive emotions.

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Lotus Padma
The lotus in one of the quintessential symbols of India. By reproducing from its own matrix rather than the soil the lotus is a symbol of spontaneous generation (svayambhu). It grows in mud but rises in immaculate purity to the surface of the lake and then opens to the sun thus symbolising the enlightened mind. The spiritual evolution begins in the mire of samsara but through the muck one gradually rises to full enlightenment and perfect purity the perfect and original state of being. There are 3 types of lotuses red, blue and white thus symbolising the 3 Gunas rajas, sattva and tamas.

Open Lotus

Closed Lotus

Bow & Arrow Chapa/shara

The bow and arrow symbolises concentration and practice, focussing of the mind upon the goal of enlightenment and Liberation. A martial art which requires study under a competent teacher and years of dedicated practice. In order to ne tune ones mind for concentration the same dedication practice and study is required. In the hands of Kama the god of love, the arrows represents the attachment of the ve senses to their objects. Blue Lotus

Bowl Patra
In the hands of the buddha it symbolizes the begging bowl and the idea of renunciation and relying on the generosity of others. Alos indicates that we too should transform ourselves from being recipients to becoming donors. In the hands of the wrathful deities it is a skull bowl lled with blood which symbolizes the achievement of higher states of consciousness through the elimination of the lower mind and notion of self.

Patra

Thunderbolt Vajra
This adamantine thunderbolt is the traditional weapon of Indra the king of the gods, and is carried by a number of the other gods. It is the weapon of choice against the demons notably Vrtra (the enveloper) who represents ignorance which covers and veils our consciousness. It represents the diamond like wisdom which cuts through all forms of ignorance represented by lesser gems but itself cannot be cut by anything except another diamond. It has 3 prongs pointing upwards and three downwards.

Shield khetaka
The shield represents security, defence, protection provided by the practice of Dharma. It also signies deection of negative inuences and forces.

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Club with skull Khatvanga

This is an unusual weapon consisting of either a club or a human thigh bone with a human skull mounted on top. It is usually associated with wrathful aspects of Lord Shiva. In the hands of wrathful deities it symbolises impermanence, but in the hands of yoga deities it represents the 8 mystical powers obtained through yoga meditation known as siddhis.

Mace Gada
Gada Khatvanga Primarily a symbol of Vishnu but also shared among many of the deities. The mace is a symbol of sovereignty and the Cosmic Order. It also symbolises Karma the law of cause and effect.

Axe Parashu
The battle axe is symbolic of the force of non-attachment the severing of our ties and bonds to the material world.

Bell Ghanta
The bell is rung during pujas to summon the gods and to drive away the negative forces. It signies the phenomenal world which is impermanent and evanescent like the sound of a bell. Being also a musical instrument it signies the creation of the transient universe through sound. The sound of the bell can be perceived by the ears but not held and kept. It also signies nada-brahman the pure clear sound heard in deep yogic meditation.

Sugarcane Ikshu
The sugarcane represents the emotional aspect of the mind (iccha) which becomes more sweet with age and maturity. The leaves of the sugarcane are extremely sharp and can easily cut one who does not handle it with care. Love can bring great pleasure but can also be a source of great suffering if not channeled correctly.

Flag Dhvaja
The ag of victory indicates the triumph of the Dharma teachings. Also informs others of the availability of water and nourishment thus teaching us that we should become donors for the welfare of all beings.

Rosary Mala
The japa-mala consists of 108 beads made of different substances depending on the desired outcome. It is thus the symbol of intense and structured spiritual practice. It is always used as an adjunct to editation and the recitation of mantras.

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Book Pustaka
In the form of a palm leaf manuscript the book indicates formal learning from the Sacred Texts or Shastras.

Parrot shuka
The parrot repeats exactly what it hears without clarication, modication or contortion it thus represents the principle of truth and perfect transmission of the teachings from the guru to the disciple.

Fly-whisk Chamara
The ceremonial y-whisk made from a yaks tail is held by people of great authority and inuence. It signies the obedience to the law and in particular to the highest principle of Dharma - ahimsa. It also represents the following of the teacher.

Deer Mrga
The deer symbolises gentleness as well as attentiveness whatever its doing the deer is always mindful of predators. This is indicative of the way we should live in the world practicing ahimsa and being mindful of the impermanence and transitory nature of all created phenomena.

Snakes Sarpa
Snakes have a dual symbolism they symbolise anger which is the most destructive emotion and its control which is essential to all spiritual advancement. They also represent kundalini shakti sexual energy latent within the lowest chakra the muladhara at the base of the spine.

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The Gods
Ganesha
Ganesha is one of the most popular and well-known of all the Hindu gods. He is the god of Wisdom and the patron of learning. Everything that we perceive in the universe must be grasped and expressed by the mind through the means of categories, therefore category is a fundamental principle of existence. The principle by which all classications, and the relationship of one thing to another in the universe can be understood is called Gana-esha The-Lordof-Categories. we are taught that exerting control over the ve senses is an essential pre-requisite to achieving knowledge and wisdom. The Weapons. The noose [pasha] represents the three things which are the cause of our bondage to the material world which necessitate continued rebirth: Ignorance of our true nature [avidya] as eternal modes of consciousness and an erroneous identication with the material body and mind., Our actions done in conformity with the false identication with the material vehicle and their inevitable reactions [karma]. The habitual pattern formations which we create [vasana]. Many of these are useful such as performing acts of daily living, and also special skills needed for our convenience such as driving, working computers and other forms of machinery and mechanical tasks needed for earning a living. But there are more subtle and invidious pattern formation which cause suffering to ourselves and to others. These need to be uprooted deconditioned in order to progress towards enlightenment. In the hands of a free and enlightened being these three become a mere ornament! The axe [parasu] represents non-attachment. In order to progress on the spiritual path the essential virtue to cultivate is that of non-attachment to the sense-object and their means of gratication the noose held in the one hand needs to be cut with the axe of non-attachment in the other. The Elephant Goad [ankusha] represents perseverance on the path of spiritual practice. The

Ub O

Ganesha the Lord-of-categories has two wives Siddhi Success, and Buddhi Intelligence sometime his second wife is said to be Riddhi Prosperity. Ganesha represents one of the basic concepts of Hindu Philosophy the identity between the macrocosm and the microcosm. In religious terms this is the identity between the individual and the universe (mankind made in the image of God). This idea of the potential divinity of the person and the immanence of God should be presented before the mind before beginning any undertaking. This is the reason that Ganesha is worshiped at the beginning of every enterprise. Not only this but his icon is seen at the entrance to almost every Hindu home and on every altar. In iconography Ganesha is represented as an Elephantheaded man. The man part of Ganesha represents the manifest Principle which is subordinate to the unmanifest Principle which is represented by the elephants head. The elephant head also represents certain qualities to which a sincere spiritual seeker is encouraged to aspire strength, intelligence, endurance and gracefulness. Th elephant is the only animal which has all its 5 organs in the head. Thus

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spiritual path is very arduous and difcult but if we are committed then Ganesha when propitiated will prod us by means of the Goad, and guide us to our supreme destination union with the Divine. The sweet [modaka] represents the basic needs for food, clothing and shelter. One should never neglect ones physical well-being while one is practicing spiritual discipline. The spiritual life is to be followed in harmony with a material life not in opposition to it. The Mouse Vehicle [mushika] The mouse is the master of the inner part of every building, and as such it represents the Atman or the Self. The Self lives in the innermost recesses of the intellect, within the heart of every being. The mouse is called mushika in Sanskrit. It is derived the word mush which means to steal. The Inner Ruler (atman ) steals everything that we enjoy, hidden from our view it enjoys all the pleasures and remains unaffected by virtue or vice. The inner ruler is the real enjoyer of everything yet the ego in ignorance thinks that it is the enjoyer! The mouse also represents the uncontrolled and negative mind that lives in the dark hidden places and destroys for the sake of destroying. Ganesha, representing wisdom can control the mind by riding on it but the mind can never be completely crushed. One Tusk. Ganapati acted as the scribe for the Mahabharata, on the condition that he would on no account interrupt the recitation by Vyasa who was dictating the Mahabharat for the welfare of the world. When the pen broke Ganapati broke off his own tusk in order not to interrupt the work. Thus out of great compassion for beings the Lord was prepared to mutilate himself! This is the symbolism contained in the iconographical representation. Ganapati is always depicted as being obese because all the universe is contained in his belly, yet he himself is not contained in anyone.

Vallabha Ganapati

Vijaya Ganapati

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The Trinity
The Hindu trinity consists of Brahma the Creator, Vishnu the Preserver; and Shiva the Transformer. Images of Brahma are quite rare in India but more common in South East Asia. He is usually depicted in association with others and seldom on his own.

Brahma
Brahma as the Creator God is always shown with four heads which represent the four volumes of the Sacred Scriptures the Vedas by the power of which Brahma effects the work of creation. In Hindu mythology Creation occurs by Brahma projecting created beings from his own body into the four directions. Brahma is the Space-Time or Revolving Principle of the Cosmos. The possibility of manifestation requires a space in which to appear or expand a space which is the rsult of an equilibrium between the two forces of concentration (Vishnu) and dispersion (Siva). Brahma thus represents the possibility of existence resulting from a union of pairs of opposites. He is the immense being a personication of the great vastness the rst personal stage of existence. In terms of consciousness and states of mind, Brahma represents the waking state of externalised awareness (jagrata) awareness and interaction with the world around us. Science deals almost exclusively with Brahma The receptacle of water held in the left upper hand represents the all-pervading principle of life and consciousness. The heart of the devotee should be ready like the jar to contain and hold the life-giving waters of truth and universal wellbeing. The rosary held in the lower right hand indicates spiritual practice and meditation which are necessary for personal upliftment from the world of transmigration. The book held in the lower left hand symbolises intellectual pursuit of knowledge and the study of the Dharma. Brahmas vehicle is the Swan a creature, according to Hindu mythology, which can separate milk from water. It thus represents the virtue of Discrimination pure white symbolises purity and the ability to remain unaffected by the water in which it glides about Detachment.

The Accoutrements
The offering spoon held in his right upper hands symbolises the principle of sacrice upon which the world is based. For something to be created or achieved something needs to be sacriced whether it be resources, energy, time effort etc. All our happiness projects are like res which need to be fed with the appropriate fuel. For example friendship is cultivated through offering gifts, invitations to bonding functions, supportive actions and edifying conversations, without these friendship dies out.

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Vishnu
Vishnu is the name given to the cohesive or centripetal tendency of the universe the Sattva Guna. The Vishnu force manifests as a ow towards the centre, towards greater cohesion, existence, reality, truth. light and sustenance. It is this centripetal tendency that holds the cosmos together and ensures its continued existence. It pervades all existence and is therefore known as vishnu. The name can be derived from the roots vish vishnati to spread. vish vishati to enter into or from vishli viveshti to surround = all these are expressions of pervasion. Vishnu is the inner cause the unseen power by which all things exist. Brahma is concenred with the out material manifestation of all things, but Vishnu is their inner essence. Vishnu is the principle of duration and the power that holds the cosmos together. He is therefore the goal of all spiritual and religious paths. In fact all religion deals with Vishnu only. Every religion is comprised of theology (Brahma-vidya) and a moral code (Dharma). Theology denes the principles which rule all existence the nature of the absolute reality and our individuality. Morals codes (Dharma) prescribe the means for attaining the highest goal both are encompassed by Vishnu. Vishnu is the only high god who is regularly depicted in a reclining posture. He rests upon the great serpent of time (ananta-sesha) oating upon the Milk Ocean.

thousand heads upon which Vishnu reclines. The serpent in non-different from Vishnu Himself. The word ananta means the endless or innite, and sesha means the remnant or residue. When creation is withdrawn it cannot entirely cease to be, there must remain a germ in subtle form of all that has been and will be so that the world can be re-projected when the time comes. It is this remainder of the universe that is embodied by Ananta shesha oating upon the limitless ocean of the causal waters and forming the couch upon which Vishnu rests.

Ocean of Milk.
This symbolizes the state of undifferentiated unity of prakriti (primordial matter) prior to creation of the universe. It stands for the pure unadulterated state when the three cosmic forces; (rajas) centrifugal force expansion, (tamas) centripetal force contraction and (sattva) centralizing or harmonizing force] exist in perfect harmony and balance. It also represents the consciousness, in the myth dealing with the churning of the ocean of milk we have the symbol of churning the mind through devotion in order to produce the essence (butter) in the form of God Consciousness. During this process the 14 jewels are extracted. The ocean is also symbolic of the space or ether or innity, and Vishnu is identied with the sun whose function of creation, preservation and destruction in our solar system is identical to that of the Supreme Lord in the entire universe.

Ananta Sesha.
Ananta sesha is the name of the serpent with a

The Accoutrements The Conch (akha)

The conch represents the rst manifestation of articulate language AUM nada brahman. This monosyllable contains within itself all language and meaning in a potential state. It is the seed from which speech developed the nutshell containing the whole of wisdom. All the forms of the universe are effects of the primeval sonic vibration. Thus the conch is the symbol of the origin of existence. Its shape is a spiral, starting at one point and evolving into ever increasing spheres. It comes from water, the rst compact element. When blown it produces the sound AUM.

21 During war in ancient India the conch was blown to signal the commencement of the battle, it was also blown by the victorious parties to announce their victory. The gods blowing of the conch therefore indicates that he is always ready to do battle with the forces of evil and for the protection of his devotees.

The Discus (cakra)

The Discus is called sudarshana which means pleasing-to-see, it is usually shown in iconography with a hexagon in the center. The six points of the two triangles represent the six seasons in a yearly time cycle, in the center nave is the seed sound (bija) hrim, which represents the changeless, motionless center, the Supreme Cause. The Cosmic Mind has the unlimited power which creates and destroys all spheres of existence (lokas) and forms of the universe, the nature of which is to revolve. The Discus represents the will-tomultiply. There is only one center to the wheel but it is said to have a thousand spokes.

The Lotus (Padma)

The lotus represents the manifested universe, the ower that unfolds in all its glory from the formless and innite waters of causality.

The Mace (gada)

The mace is the form of strength or power and the intellect is the highest power, by the power of mind one person can control thousands. The mace is thus the symbol of the intellect (buddhi) or the power of knowledge

22 It is called kaumodaki which means the-stupier-ofthe-mind. The power of knowledge is the essenceof-life from which all physical and mental powers come. Nothing else can conquer time and itself become the power of time.

Vishnus Vehicle.
Vishnu rides upon a creature half-human-half eagle known as Garuda or Garutman which means wings-of-apeech. He is the manifestation of the triple Vedas. As the embodiment of the principle of sacrice he is carried by the rhythms, (Rik) sounds (Sama) and the methodology (Yajus) which are the instruments of the ritual. Garuda is depicted as the mortal enemy of snakes he thus represents courage. His wifes name is Unnati or progress also called queen-of-knowledge

Ashta-bhuja Svami A Rajasic form of Vishnu with 8 arms.

Venu-gopala Vishnu in his 8th Incarnation as the cow-herder Krishna

Rudra-Siva
Rudra means the Howler or the one-who-causesweeping and Siva means the auspicious or benevolent one as the destroyer or transformer of the trinity Siva has a dual and indeed complex character. He is the power of destruction in the universe as well as the force of regeneration which follows destruction. Siva is the embodiment of Tamas, the centrifugal inertia, the tendency towards disintegration, dispersal, annihilation, non-existence, darkness, the Void. The dispersion is the nal outcome of all differentiation, all time and space. In terms of consciousness Siva is experienced in the emptiness of dreamless sleep the state of sushupti. Knowledge of outward forms is obtained in the state of awareness or wakefulness (jagrata = brahma). Knowledge of inner principles is achieved in the state of inner reection and contemplation, in the dream world (svapna = vishnu). Perception of the formless transcendental Reality is achieved only in the state of deep silence, in the emptiness of the mind. (sushupti = Siva). The name Siva can also be derived from the root sin which means to sleep. He is thus the Lord of sleep Lord Siva is the teacher of the four great sciences which lead directly to an understanding of the higher reality of existence. Yoga the direct means to achieving suprasensorial perception. Vedanta the theory of metaphysics or the comprehension of the supra-sensorial perception. Language the relation of words to ideas and the expression of the Ultimate Reality Music. the perception of the relation of numbers to ideas and forms. All of these can be derived from the mystery of the Maheshavara Sutras which arose from the drum of Lord Siva at the time of the cosmic dance and are the forces through which the universe was shaped. From a purely material point of view destruction happens in 2 phases, the rst is death and the second

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is dissolution of individuality. The rst phase is the end of the body and physical existence the second is liberation from the subtle bonds which bind one to the cycle of reincarnation. These are represented by the 2 aspects of Siva the rst is undesirable and controlled by Rudra, the second is desirable and is controlled by Siva. Thus lord Siva is ultimately the death of death itself Yamantaka. The deer and the crescent moon seen on the left side of the Lords crown both indicate the mind in its two aspects intellect and emotion. The moon on Lord Sivas crown indicates that as the Supreme Yogi he has complete control over his mind, and as the World Teacher (Jagat-guru) he teaches that we too should try to control the intellect. The leaping deer in the hand indicates the teaching that we should also try to control the emotional mind which is as eeting and unstable as the deer bounding through the forest at the slightest perceived disturbance. The deer is never still but constantly aware and attentive to every sound in the environment. According to Yoga Shastras (and conrmed by medical science) sound is the last sense to go when we fall unconscious and is the rst sense we regain when being aroused. Thus in the Yogic texts sound is indicative of all the other senses which follow it. The deer thus symbolises us in the material world where every sound and sense pleasure captivates our attention. We are unable to remain without sense stimulation for even a short while. In order to progress along the spiritual path it is essential for us to attempt to control and direct the emotional part of our being into constructive and universally benecial work, while avoiding self-absorption and selshness. The axe represents non-attachment. In order to attain abiding peace and joy it is essential to develop nonattachment to ego, ideas, emotions, family, friends, possessions etc. It is attachment and craving which are the twin causes of sorrow in the world making a supreme effort, the seeker of supreme joy should sever these bonds. This does not mean renouncing the world, but renouncing attachment to things. Possessing them, enjoying them, caring for them but remaining emotionally unattached is the secret of true happiness.

The rosary (japa mala) is representative of spiritual practice. In this age of Kali the recommended spiritual practice for all people is simply the chanting of the holy name. For the devotees of Lord Siva this means the chanting of the sacred mantra of ve letters om nama shivaya. This mantra is repeated constantly and if full concentration is not possible then a rosary is used as an aid to concentration. The teaching pose is indicative that Lord Siva is the world teacher and a devotee should not only worship him but also follow the teachings of the Scriptures. The Bull Nandi represents virility or libido. Nandi in Sanskrit means delight and the greatest form of delight on the material plane is sexual. Sex is perhaps one of the greatest drives and also the hardest to control and sublimate. The bull is usually quite placid but when aroused can become a terrible force capable of destruction. In the same way if the sex-drive remains un-controlled it is capable of great damage to oneself and ones relationships. Therefore the bull of our libido should be tamed, mounted and guided, it should not be left to wander at will, but directed at some universally benecent goal. These are some of the lesson that we can learn from contemplating this particular Icon.

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The Hermaphrodite
The neutral, uncreative substratum rst divides itself into substance and energy, into a male and a female principle. When these again unite, a spark appears which is lust, the source of the ow of life. It is this lust which is the apparent origin of manifestation. The division into a male and a female constituent represents an attempt to explain the appearance of the spark of lust out of the neutral substratum. The union of Siva and Sakti is their basic reality. This is symbolised in the Hermaphrodite (Ardhanarisvara), half male, half female, whose nature is pure lust.
When existence and consciousness unite, their union is pleasure and in this pleasure lies their purpose. Their separate existence is but an appearance. (Karapatri, Lingopanisad-rahasya, Siddhanta, 11, 1941-42, 153.)

The symbolism of the Hermaphrodite is equivalent to that of the linga and the yoni. From the point of view of cosmology, the power of deliberation (vimarsha) and the power of expression (prakasha) rst manifest themselves respectively in the determinant of space, the pointlimit (bindu) from which manifestation begins, and the determinant of time, the primordial-vibration (nada). Space is represented as female, time as male. Their union in the Hermaphrodite is known as Lust (Kama). (Karapatri, Sri Siva tattva, Siddhanta, 11, 1941-42,
The male principle is also represented as Fire, the devourer, while the female principle is Soma, the devoured offering. The Hermaphrodite is then the embodiment of the cosmic sacrice, the image of the universe. (Vijayananda Tripathi, Devata tattva, Sanmarga, 111, 1942.)

Siva can unite only with himself, for perfect beauty can see only itself reected in itself. No other mirror would reect perfection. Hence divinity is by its own

beauty bewildered. [3761 The spark of lust appears which is born when Siva and his power, Sakti, become one, and from the emotion of love springs forth the universe. (Karapatri, Lingopasana-rahasya, p. 15,t.)
He divided his body into halves, one was male, the other female. The male in that female procreates the universe. (Manu Smrti 1.32. [377])

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Stotra 28. [378])

1. The Archer (Sharva)

Sharva represents the element earth, the nourisher, the support of life, the hunter who brings food. He is also an equivalent of the god of love whose arrows are the ve senses.
The support of all beings, animate or inanimate, the deity whose substance is earth is called Sharva by all the knowers of the Scripture. Earth is his nature; he is the ruler of all. His wife, the Disheveled (Vikesi), is the earth goddess and his son is [the planet] Mars (Angaraka). (Linga Purana 2.13.3-4. [3791)

The Forms of Rudra-Siva The Elemental Forms of Rudra

THE POWER OF DESTRUCTION, the power of Rudra, manifests itself through all the elements, the forces of nature. Rudra is the re that burns, the water that drowns, the wind that destroys, the man that murders. As the power behind the elements Rudra is represented under eight forms, mentioned in the Satapatha Brahmana (6.3.1 ) as the forms of the multi-colored-re (citra-agni) or the ery-breath (agneya-prana), which are the ery forms of Siva. Like all the aspects of Siva, the elemental forms of Rudra have a dual aspect, the one fearful, the other benevolent. Some of them happen to be more usually envisaged in their benevolent than in their fearful aspect. (Satapatha Brahmana 63.1.9-17.) Existence (Bhava), the Archer (Sarva), the lord-oftears (Rudra), the Herdsman (Pasupati), the Fearful (Ugra) and Great (Mahan, i.e., Mahadeva), the Tremendous (Bhima), the Ruler (Isana), these are the eight names. In each of these divine wisdom spreads. They are the dwelling place of him who is all that is to be desired and before whom I bow. (Siva-mahimna

2. Existence (Bhava)
Bhava, always associated with Sharva, is the element water. He is sometimes shown as an attendant of Siva and is then equated with Parjanya, the god of rain.
Bhava, the knowers of the Veda say, is the all-powerful god. He is the nature of the life of the worlds. His consort is called Peace-of-the-Night (Uma) by the sages; his son is the planet Venus. He is the reservoir of the seed of the seven worlds; he is the one protector of the seven worlds. (Linga Purana 2.13.5-6. [3801)

3. The Herdsman (Pashupati)

The Aitareya Brahmana (3.33) calls Rudra the Herdsman (Pashupati), the feeder of sacrices. Pashupati here represents the element re, the embodiment of the ritual sacrice, the giver of life.
The Lord-Herdsman (Pashupati) is known to the sages as the embodiment of re. The beloved wife of the Herdsman is the Invocation-at-Offering (Svaha). His son is said to be Sanmukha, the six-faced [lordof-war] (Skanda). (Linga Purana 2.13.7. [3811)

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4. The Ruler (Isana)

Isana is the embodiment of air, the purier, the regent of the north-eastern direction.
All-pervading, nourisher of all that has a body, the spirit of air is called the Ruler (1sana) by the sages. The consort of this divine Isana, creator of the worlds, whose nature is wind, is said to be the Auspicious-Goddess (Siva). His son is Swiftness-of-Mind (Manojava). (Linga Purana 2.13.8-9.)

source of pleasure. from which ows the seed of life whose storehouse is the Moon, the cup of ambrosia. The linga is worshiped alone or combined with the yoni, or female organ, representing Sivas consort, Energy (Sakti).
Known as the embodiment of all that is gentle (i.e., the Moon), the Great-God (Maha-deva) is mentioned by the wise as made of the sacricial elixir (soma). The gods say that the wife of this great god made of ambrosia is the Red-One (Rohini). His son is the planet Mercury (Budha). (Linga Purana 2.13.14-15. [385])

5. The Tremendous (Bhima)

Bhima is the embodiment of ether, the source of all that is.
Fulller of the desires of all living or lifeless beings, the embodiment of ether is called the Tremendous (Bhima) by the sages. The ten-directions-of-space (akasha) are the wife of this divine Bhima of great fame. His son is Creation (Sarga). (Linga Purana, 2.13.10-11. [383])

8. The Fearful (Ugra), or the Thunderbolt (Asani)

The thunderbolt, Asani, is a spark of the re-ofthe-universal-destruction (vaisvanara-agni). The thunderbolt is also the name given to the sacricer, the Yajamana, who kills the sacricial victim.
Support of offerings to gods and Ancestors, ever the devourer of offerings, self of the sacricer, the great and fearful god Ugra is known to the wise. Others call him the Ruler (Isana). His wife is Initiation (Diksa). His son is the Libation (Santana). (Linga Purana 2.13.16-18. [386])

6. The Lord-of-Tears (Rudra)

Rudra is the embodiment of the sun, the celestial form of re, which brings forth and dries up life.
The solar deity, source of all splendour, giver of liberation and enjoyment. is called Rudra, the lord of tears, by the gods. The wife of this solar Rudra inspirer of devotion, is the Shining-Goddess (Suvarcala). His son is Saturn (Sani), the slow mover. (Linga Purana 2.13.12-13. [384])

The Five Components (kala) of Siva and the Manifestation of Speech

THE PROCESS of the manifestation of thought into speech is equated with the process of cosmic manifestation through which the lord-of-sleep (Siva) gives birth to the universe. This process takes place in ve stages, which are called joy (ananda), knowledge (vijana), thought (manas), life-breath (prana), and physical-life (bhuta), the last itself divided into speech (vac) and food (anna).

7. The Great-God (Maha-deva)

Siva is the reproductive power, perpetually creating again that which he destroys. He is the Supreme Lord, the Great-God (Maha-deva) symbolised by the phallus (linga), the instrument of reproduction and the

From food springs the life breath of all beings. From breath thought, from thought knowledge, and from knowledge joy, the matrix of all. The Cosmic Person is thus vefold, and all that exists has a vefold nature. . . . Having realized this in mind and in heart, the wise cross beyond death. (Narayana Upanisad 79. [3871)

27 The faculty which perceives the idea arising is known as intellect (buddhi). It is the instrument of knowledge. Knowledge is the power of the intellect. Its total cosmic form is represented by the solar-sphere (surya-mandala) from which arise all the planets and their contents: the living beings and the totality of forms and ideas contained in the solar system. Since nothing exists on the earth which has not issued forth from the sun, the sun must contain the potentiality of all that is to be known. The sun is the sum total of all knowledge. The sun stands in the center of the solar system. In ritual orientation the center is called the north. From the north to the south, from the centre to the periphery, knowledge comes down like the rays of light. The north is also the direction of the Rishis the ancient seers who birthed the Vedas. The aim, the end, of knowledge is represented as a ow from the north toward the south the Southern-Image (Daksina-murti). This ow toward the south, toward disintegration, is also the way of death. The Southern Image is therefore considered the presiding deity of death (yama). The Southern Image is shown standing on the rhythm-of-the-letters (varna-matrka). To take form, knowledge will depend upon the device of language. The word is the manifested form of knowledge. The Conqueror-of-Death and the Southern-Image are predominantly enlightenment (prakasha-pradhana). They are consequently shown as white in colour.

These ve elements of the manifestation of thought are impersonated in ve deities which are called the ve components (kala) of Siva.2

1. The Conqueror-of-Death (Mrtyun-Jaya)

The Conqueror-of-Death (Mrtyun-jaya) represents the principle of being-of-pure-joy (ananda-mayamurti). The state of the perfectly still mind is represented as perfect peace, unconditioned enjoyment. Enjoyment is the source and the end of all activities. The urge for pleasure, which is the relative, manifest form of enjoyment, is the impeller of action. Life is meant for enjoyment, is sustained by enjoyment. If there was only the prospect of pain, no being would remain alive. It is only in the hope of heavenly joy that beings seek anything but pleasure.
The yogi who, through introspection, has reached within himself the silent region beyond thought, beyond knowledge, has attained the experience of pure enjoyment, and reaching that essence of enjoyment, he becomes all blissful. (Taittiriya Upanisad 2.7. [3881)

3. The Lord-of-Lust

(Kameshvara)

2. The Southern-Image (Daksina-murti)

The Southern-Image (Daksina-murti) represents the being-of-knowledge or -intellect (vijana-mayamurti). In the unmanifest substratum of the intellect, the motionless ocean of pure bliss, appears the rst movement which disturbs its waters. This is the beginning of an idea, the inner vision which the mind tries to express in words.

The lord-of-lust, Kameshvara, represents the mentalbeing (mano-maya-murti) The idea that was visualized by the intellect is now seized by the mind (manas), which tries to reduce it to words, to put it in code, so that it may become articulate and transmissible. In its universal form the mental-being is known as the lord-of-lust, for the mind is predominantly characterised by desire. Mind is made of desire, of ambition.

Lust appeared rst, wandering over all. It appeared before and is the seed of thought. (Narasimha-Purva-tapini Upanisahd 1.1. [3891)

28 Everything in the universe is made of three parts: an inner spark, which is the life principle or Self (jiva), a substance or body (sharira), and a linking element made of the life energies and rhythms (prana). These are called, respectively, the Herdsman (Pashupati), the animal (pashu), and the reins or noose (pasha). None can exist independently of the rhythms of life, and these rhythms are the link of the body with the inner Self. Thus the Herdsman, the noose, and the beast are inseparable from one another.
All beings from the Creator to lifeless matter are known as the animals (pashu), the herd of the wise God of gods who causes the world to move. Being their lord, the all-powerful Rudra is known as the Herdsman. (Linga Purana 2.9.12-13. [3901)

The colour of the lord of lust is red, the colour of desire. The Tantras explain that the lord of lust should be worshiped seated with his consort on a bed made of the ve hungry ghosts (preta) which are the ve forms of [insatiable] sensorial perception that furnish him with their vain images.

4. The Herdsman

(Pashupati)

The Herdsman (Pashupati) , represents the being-oflife (prana-maya-murti). The words which have been shaped by the mind are now brought forth by the vital breath (prana). They become perceptible, alive. This power which brings forth into manifestation, into life, the subtle vibration of thought is the life breath (prana) identied with the being-of-life and represented as the ve-faced herdsman, Pashupati, lord of the earth, who, through the instruments of rule that are the ve vital energies (prana), guides the immense herd of creatures, the changing forms of manifestation. The Herdsman represents both the life energy or inner re and the ritual re, these being the two forms of combustion through which humans live and gods are sustained. All life is characterised by change. It is through the sacricial re that the offering is transformed and enters into a divine world. The Herdsman is a typical gure of ancient Saivism. He appears as the Ruler of the Earth, the friend of life, the guide of each species in its development. There is a form of Pashupati for each world. Already the Vedas picture Rudra as living in the forests and mountains, ruling over animals tamed and wild. The Saiva mythology shows him as the divinity of life, the guardian of the earth, who wanders naked through the rich forest, virile and strong. He teaches the highest and most secret knowledge to the most humble. He brought to the earth the arts of music and dancing and the dramatic art through which wisdom can be imparted to the masses. The Herdsman is often equated with Prajapati, the lord of progeny, the projector of the natural world.

Thus the body or external form of the universe, like that of the individual being, is part of the herd or the evolving-aspect (vikara) of creation. This includes its physical and mental characteristics. The Herdsman procreates all the species from his own substance and binds them with the laws of Nature (prakrti) through which he keeps them in his control. Thus the twentyfour life-energies (tattva) are the reins (Linga Purana 2.9.13 [391]). All the laws that guide the movements of the stars of the seasons or the behavior of living species are part of the reins (pasha). These laws also regulate the rhythms of life (prana), the evolution of Nature, the growth of all things.

5. The Lord- of- the- Elements (Bhutesha)

The lord of the elements, Bhutesha, represents the physical-being or body-of-food (anna-maya-murti), who is the being-of-speech (vang-maya-murti). The connection of the body with the life energies is dual. These energies express themselves through the body and are sustained by the body. This double relation is represented by speech (vak) and food (anna). Speech is the outward projection of the mind, and food is the substance of life breath and thought. All physical matter used in the making of physical

bodies is spoken of as food. The body is entirely made of food, and is food for other bodies. The spoken word is also the materialised, the transmissible, form of thought moving from body to body as the food of the mind.

29

of all the forms of learning, Isana is the master of all knowledge. Isana is connected with the element air, the sense of touch, and the hand, the organ of touch. As a solar aspect of Siva, Isana is sometimes shown as copper-coloured.
I bow to Siva as Isana, the Ruler, who has ve faces. Followed by the She-Goat (the power of Nature, Prakrti), he holds in his hands the Vedas, an elephant hook, a noose, a hatchet, a skull, a drum, a rosary, a trident, and he shows the gestures of removing fear and granting boons. (Sivatosini, 1.1.16.[394])

The Ruler of Space, the Five-faced one

AS THE ruler of the ve directions of space, of the ve elements, of the ve human races, of the ve senses and all that is ruled by the number 5, Siva is shown as ve-faced (panchanana).
His ve faces are pearly, yellow, cloudlike (dark-blue), white, and red in colour. He has three eyes and, on his brow, the crescent moon; he holds a spear, a sword, a hatchet, a thunderbolt, and a ame, a king serpent, a bell, an elephant-goad, and a noose. One of his hands shows the gesture of removing fear. He is timeless, limitless. His resplendent limbs shine like a thousand moons. (Tantra-sara. [3921)

One of the ve faces looks upward; the others face the four directions. Sometimes it is the linga of Siva which is represented with ve faces as the progenitor of the ve orders of creation. According to the Mahabharata ( 13.6384-90), the three faces that look east, north, and west seem mild like the moon, but that which turns to the south is fearful. The eastern face rules the world, the face that looks toward the north enjoys the company of Peaceof-Night (Uma). The western face is gentle and brings happiness to all living creatures, but that which looks toward the south is terrible and destroys all. The ve aspects represented by the ve faces of Siva are sometimes made into separate deities.

Isana

2. The Supreme-Man (Tat-purusha)

The eastern face of Siva is yellow. This face corresponds to that which is enjoyed, that is, Nature (prakrti). It is called the Supreme-Man (Tat-purusha). It is connected with the earth, the sense of smell, and the anus as organ of action.
the Supreme Man is the colour of the blazing thunderbolt, or he is like gold. He has four faces and three

1. The Ruler (Isana)

The face of Siva that looks upward represents the enjoyer-of-nature (Ksetra-ja). Transparent like crystal, it is called the Ruler (Isana). The embodiment

30 Tat-purusha

eyes. He wears a yellow garment and yellow ornaments. He dwells forever in gladness with his consort, the solar-hymn (Gayatri).

3. The Nonfearful (Aghora)

The southern face of Siva is blue or blue-black. It represents the principle-of-intellect (buddhi tattva) or the eternal-law (dharma). It is called Aghora, the nonfearful, and is connected with the element ether, the sense of hearing, and the organ of speech.
holding axe, shield, elephant hook, noose, spear, skull, drum, and rosary. He is fourfaced. I contemplate in my heart the nonfearful divinity of shining darkness.

4. The Left-hand-Deity (Vama-deva)

The western face of Siva is red. It represents the notion of I-ness (ahamkara) and is called Vama-deva, the lefthand deity. It corresponds to the element re, the sense of sight, and the feet as organs of action.
we worship in our hearts the left-hand deity dressed in red and adorned with red ornaments. His colour is that of the lotuss heart. Two of his hands show the gestures of granting boons and removing fear. The others hold a rosary and a hatchet. (Sivatosini 1.1.12. [397])

Aghora

5. The Suddenly-born (Sadyojata)

The northern face of Siva is white. This face represents the mind. It is called the Suddenly-born (Sadyojata) and corresponds to the sacricial elixir (soma), to the water element, the sense of taste, and the sex organ.
May we be protected by the Suddenly-born, the leader of Delight (Nanda), Enjoyment (Sunanda), and other [attendants of Siva]. His colour is that of the jasmine or the full moon or mother-of-pearl or crystal. He holds the Vedas and a rosary and shows the gestures of granting boons and removing fear.

31
Isana Upwards crystal Purusha air touch hands Tat-purusha East yellow Prakrti earth smell anus Aghora South blue Buddhi ether hearing speech Vama-deva West red Ahamkara re sight feet Sadyojaya North white Manas water /soma taste generative organs

The Dance takes place within a ring of ames which symbolises the cycle of births and deaths, the cycle of universal creation and destruction projection and withdrawal. The Lord dances upon the back of the Dwarf of Ignorance known as Mulayaka. It is ignorance of our true nature that binds us to cycle of reincarnation and it is wisdom/ enlightenment that releases us. The drum (damaru) held in the right upper hand symbolises the act of creation. According to Vedic teachings the act of creation takes place through sonic vibration. This primary sound is symbolised by the drum, from which all the sounds of the Sanskrit alphabet originated at the beginning of time. The universe of our empirical experience is composed of Name (nama) and Form (rupa). We see the universe and then participate in it through the process of naming everything. By naming something we are able to understand it and obtain a sense of control over it. So this process of creating, perceiving and naming are all symbolised by the drum.

Sadyojata

Nataraja.
The well-known bronze sculpture of Nataraja (the King of Dancer) is considered to be one of the most beautiful pieces of art produced by Indian craftsmen. Lord Siva is generally worshipped through the medium of the Lingam which is a symbol of the unmanifest Progenitor of the universe, but every Saiva temple has a shrine dedicated to Siva in his form of Nataraja performing the Ananda Tandava the Dance of Bliss. In this icon we are instructed in the ve functions of the Supreme Lord; creation, sustenance, transformation, revealing and concealing.

32 The ame held in the upper left hand of Lord Siva represents the ame of destruction and transformation. An object when consumed by the re is destroyed in one sense but transformed into energy and thus continues in another more subtle form. In the same way our physical bodies and the universe are destroyed but the Self (jivatman) continues to exist in a subtle form as does the universe. Nothing is destroyed absolutely it only undergoes changes and change is the only thing constant in our world. The left hand is held up in the Gesture of Fearlessness (abhaya mudra). Our greatest fear is that of death and personal annihilation. The upheld hand is Sivas assurance of protection and preservation. The right lower hand is indicating concealment or drawing of the veil of Cosmic Illusion (maya). There is a very subtle veil that clouds our understanding even though we see death all around us we each think that we are immortal. We know what is good for us but still we pursue that which is transient and ephemeral. We cling to the ephemeral universe thinking that we can gain ultimate pleasure and satisfaction through it, but even though we fail we still go on trying this is Maya or Cosmic Illusion. And nally the left leg projecting outside of the circle of inuence indicates the way of release and liberation. By surrendering to the Divine Will and making an offering of ourselves we can, through the Grace of Lord Siva obtain release from the cycle of births and deaths and attain eternal beatitude (Brahma Nirvana).

Gaja-samhara Murti

33

The Consorts of the Trinity

ccording to the principles of Sankhya cosmology the Divine Feminine (Prakrti) is comprised of the three qualities or tendencies (guna) of nature. The 3 Goddesses are the personications of the dynamic power of manifestation in its three aspects of existence Reality (sat = Brahma), Consciousness (cit = Shiva) and Experience (ananda = Vishnu). The projection of the universe arises from the inteaction of this triple form of Energy Shakti. According to the plan formed in the divine mind, Energy (Shakti) arose from the radiance of RealityConsciousness-Experience. From Energy sprang forth the principal vibration, the point-limit from which the manifest world begins. (Quoted in Karapatris Sri Bhagavati tattva, Siddhanta, V, 1944-45. [4851) As Reality Sat she manifests as the powerof-co-ordination (sandhini), that is, the power of the centripetal tendency visible in the Sun. She is the Left-handed-One (Vama), who is the power-ofaction (kriya), that is, of causation. She is the power of multiplicity, Lakshmi (the goddess of hundreds of thousands), that consort of Vishnu. As Consciousness Cit she is the power-ofunderstanding (samvit), the power of the revolving tendency, visible in the Moon and often pictured as the Elder (Jyestha). She is the power of volition, the power of the ow of knowledge, Sarasvati, goddess of learning and consort of Brahma. As Experience or Joy Ananda she is the power-of-delight (ahladini-sakti), of enjoyment, the power of the centrifugal, disintegrating tendency, visible in Fire, the destroyer. She is pictured as the Fierce (Raudri). She is the power of cognition, of realization, of transcendent knowledge, the destroyer of the world of illusion, the consort of Siva. She is also called Beyond-Reach (Durga).

The manifest forms of ExistenceConsciousness-Experience, which are action [kriya-shakti], knowledge [jana shakti], and desire [iccha-shakti], are the beginning of creation. They are the Cosmic Law (dharma) that governs divinity, a law which is nondifferent from divinity itself. It is the nature of the Immensity. The Scripture describes this nature of divinity as spontaneous knowledge, strength, and action.(svabhavikijnana-bala-kriya). The law that rules the nature of divinity is identical with the Divine Energy. Because of its uncontrollable intensity, it is spoken of as the Wrathful (Chandi). This Energy takes the form of the Transcendent-power-of-Time (Maha-Kali), of the Transcendent-power-of-Multiplicity (Maha-Laksmi), of the Transcendent-powerof-Knowledge (Maha-Sarasvati), according to the task to be performed. To see in this Supreme Wrath a male or a female merely depends on the inclination of the worshipper. In male terms she is known as the transcendent lord of tears, Maha-Rudra, in female terms as Wrath (Candi) or Beyond-Reach (Durga). (Karapatri, Sri Bhagavati tattva)

Sarasvati
The Flowing-One Goddess of Knowledge

he Shakti of Brahma, represented as both his daughter and his consort, is the goddess of speech, the Flowing-One (Saras-vati). She represents the union of power and intelligence from which organized creation arises. Speech is the power through which knowledge expresses itself in action. Sarasvati is the source of

Sonic-creation. Creation or rather Projection of the universe occurs in two parallel processes creation through sound (nama) and the projection of forms (rupa). She is the goddess of eloquence, of all forms of knowledge, the patroness of the arts and of music. She is the source of all communication through language and writting. She is the power that resides within all poetry and writing. The name Sarasvati is that of a sacred river, mentioned in the Rig Veda as: She who goes pure from the mountains as far as the sea. This river dried up many centuries ago and the course of this river can now be seen from space. According to the Mahabharata, the river was dried up by the curse of the sage Utathya. Saras, which means uid, refers to anything that ows and as such applies to speech and thought as well as water. Other names of Sarasvati are Eloquence (Bharati), Transcendent Knowledge (Maha-vidya), Speech (Vac), Transcendent-Word (Maha-vani). She is the Noble-One (Arya), the Power-of-the-Immense-Being (Brahmi), the WishCow (Kama-dhenu), the Womb-of-the-Seed or Womb-of-the-Elements-of-Speech (Bija-garbha), Divinity-of-Wealth (Dhaneshvari), etc. In iconography Sarasvati is depicted as a graceful woman, fair in colour, dressed in white, sitting on a white lotus (pundarika) with a slender crescent on her brow. She is shown with either two or eight arms. In the latter case her attributes are a lute (vina), a book (pustaka), a rosary (japa-mala), and an elephant goad (ankusha), but she is also shown with an arrow (bana), a mace (gada), a spear (kunta), a discus (chakra), a conch (shankha), a bell (ghanta), a plow (hala), and a bow (dhanush). She (Vac is feminine) enters into the seers. She gives power and intelligence to those she loves. She is the mother of the Vedas, the consort of the lord-ofheaven (Indra), containing all the worlds within herself. Hence Vac is everything. (Aitareya Aranyaka 3.1.6.) The Padma Purana describes Speech (Vac) as the daughter of Ritual-Skill (Daksa) and as ever present in all rituals. She is the wife of Vision (Kasyapa) and the mother of the emotions, pictured as the Fragrances or celestial-musicians

34

(gandharva). She also gives birth to the uncreated potentialities, represented as celestial dancers, the water-nymphs (apsaras). One of the main aspects of Sarasvati as Vac is the Triple Hymn (Gayatri). This name applies particularly to a Vedic meter of twenty-four (three times eight) syllables and to a sacred verse in this meter considered to be the essence of the Vedas and pictured as their mother. Gayatri is the patroness of the Noble Ones, the Aryas; they alone are permitted to utter her name. In addition, she is the wife of Brahma. She is also called the Hymn-to-the-Sun (Savitri). This hymn to the Sun is called Gayatri at dawn, Savitri at midday, and Sarasvati at sunset. On the festival days dedicated to Sarasvati no one reads books or plays on musical instruments. These are cleaned, placed on an altar and worshiped as the abodes of the goddess.

35

every one of his descents (avatara) or incarnations. She appeared as the Lotus-Lady (Padma or Kamala) when the Remover-of-Sorrow (Hari) was born as a dwarf. She was the Earth (Dharani) when he was Rama of the Ax (Parashu Rama).- (Vishnu Purana 1.9.143. [4871) When Vishnu appeared as Krishna, Lakshmi became Rukmini. She will appear as the goddess of destruction when he comes as Kalki at the end of the ages. She is the goddess Beyond-Reach (Durga). Other names of Lakshmi are the Jewel (Hira), the Powerful-One (Indira), the Ocean-born (jaladhi-ja), the Fickle-One (Cancala or Lola), the Mother-ofthe-World (Loka-mata). Lakshmi is sometimes represented with four arms, but more usually with two. She holds two lotuses. She has a few temples of her own but is worshiped in every home on all important occasions. Lakshmis elder sister and opposite is Misfortune (A-laksmi), fearful and ugly, also known as the Elder-Sister (Jyestha).

Sarasvati

Lakshmi
She-of-the-Hundred-Thousands Goddess of Fortune

he Shakti of the all-pervading Preserver, Vishnu, is represented as the power of multiplicity or goddess of fortune, She-of-the-Hundred-Thousands (Laksmi). When she is associated with the universal principle of beauty she is known as Sri. Both Lakshmi and Sri are mentioned in the Vedas in the context of fortune. But Lakshmi as the Goddess of Fortune is depicted as a major goddess only in the epics. The Taittiriya Samhita declares that Sri Fortune and Hri Beauty are the two wives of the solar-principle (Aditya). The Satapatha Brahmana describes Hri Beauty as born from the lord-of-progeny (Prajapati). Beauty is also the mother of Lust (Kama). When the ocean was churned by the gods and the anti-gods, Lakshmi arose from the waves, a lotus in her hand. She is also represented seated on a lotus oating on the ocean of milk. The Vishnu Purana says that Sri Fortune was rst born as a daughter of the Crack-of-the-Ritual-Fire (Bhrgu) united to the Hymns-of-Praise (Khyati). Fortune is thus the fruit of the ritual-sacrice (yaja). As the consort of Vishnu Lakshmi appears with him in

36

Maha-Lakshmi Fortune.

as

Transcendent

Envisaged in a cosmic form as the TranscendentFortune (Maha-Laksmi) the power of progress, accumulation and advancement she embodies the characters of all the gods together. She who springs forth from the body of all the gods has a thousand, indeed countless, arms, although her image is shown with but eighteen. Her face is white, made from the light streaming from the lord-of-sleep (Siva). Her arms made of the substance of Vishnu are deep blue; her round breasts made of soma, the sacricial ambrosia, are white. Her waist is Indra, the king of heaven, and is therefore red. Her feet, sprung from the Creator Brahma, are also red, while her calves and thighs, sprung from Varuna, the lord of the waters, are blue. She wears a gaily colored lower garment, brilliant garlands, and a veil. Starting from the lower left, she holds in her hands a rosary, a lotus, an arrow, a sword, a hatchet, a club, a discus, an ax, a trident, a conch, a bell, a noose, a spear, a stick, a hide, a bow, a chalice, and a waterpot. He who worships the Transcendent Divinity of Fortune becomes the lord of all the worlds. (Karapatri, Sri Bhagavati tattva)

Vira Lakshmi A rarer form of Lakshmi is known as Vira-Lakshmi or Heroic-Lakshmi in which she displays all the qualities necessary for a pro-active social and spiritual involvement. She is seated on the Lion-Throne of universal dominance, in her upper hands she holds the symbols of Vishnu her consort the conch and the discuss symbols of creation and transformation respectively. The next two hands down hold the bow and moon-shaped arrow symbolic of the mind and its application single-mindedly to the objective being contemplated. The two hands below these hold the trident and the razor. Symbolising control of mind, speech and action through the trident and the dangerous nature of the spiritual path the razors edge. The lowest 2 hands are held in the gestures of fearlessness and generosity.

Lakshmi as the Goddess of Compassion

Lakshmi esoterically represents the principle of compassion and its dynamic form as correct utilisation of resources for the good of all beings. She is usually depicted seated upon a lotus representing the enlightened and pure mind. She has four arms in the upper 2 she holds opened lotus owers again symbolising the pursuit of enlightenment and stressing the enlightened use of resources. Her two lower hands are held in the gesture of fearlessness (abhaya) granting freedom for fear and suffering to all beings, and the gesture of generosity (varada).

Radha-Krishna

37 and recumbent while his Shakti sits astride him. The agency of Sivas procreation is the Power-of-Lust (Rati). Without sexual desire no copulation takes place. She appears to be the very opposite of the power of destruction Kali, the Power-of-Time. When Shakti, which is also the power-to-think (vimarsa), unites with the lord-of-sleep, a state of agitation, or unrest (unmana) arises, from which projection of the universe springs forth. When Shakti separates herself and remains aloof from him, a state of perfect quiescence or harmonization occurs (samana), in which the world dissolves. The Goddess Rati is the libido ubiquitous force of lust, of enjoyment, but strangely enough also the power of liberation for liberation from the bonds of material nature is not a passive or a neutral state but indeed an very pro- active struggle. According to Hindu mythology Sati, (the Faithful) fell in love with Siva and married him against the wishes of her father Daksha Ritual-skill. When her father insulted lord Siva by not inviting him to participate in yajna being held, Sati was incensed and threw herself into the ritual re so that the cosmic sacrice might be completed. She is therefore represented as Dakshina, the daughter of Daksha which is the gratuity offered to the priests during the sacricial celebrations in order to complete the sacrice.

Standing Lakshmi

Parvati, Sakti, and Kali

The Powers of Procreation, Development, and Destruction,

ike Shiva, his Shakti is also extremely complex. the Shakti of Siva is depicted under three main aspects: a creative, active aspect called Energy (Shakti), an abiding, peaceful, spatial aspect named Parvati, the Daughter-of-the-Mountain (i.e., Ether personied), and a destructive time aspect known as the Power-of-Time (Kali). The lord-of-sleep (Siva), is primarily worshiped through the abstract symbol of the lingam the phallus which is depicted standing in a base which encircles and holds it the yoni or the womb. The lingam ejaculates the seed of spatial universe into the yoni which is the matrix of all manifestation. When conceived in a personal form, Shiva appears inactive

Parvati is a gentle benevolent goddess, daughter of the axial mountain the Himalaya, from which the earth energy radiates into space. The mountain (parvata) or the Snow-capped-One (Himavat) is a symbol of ether Akasha. The peaks of the mountains are regarded as the places from which the earth energy ows into the ether. No dwellings are built on top of mountains and hills and only places of worship may be built there. The mother of Parvati is Menaka, who represents intellect (buddhi). Born of Ether and Intellect, Parvati is the omnipresent conscious substance of the universe. Parvati is also the matron of all the elemental spirits the bhutas and ganas (categories) that wander about the earth.

The Power-of-Enjoyment Sakti)

(Ahladini-

Ahladini-shakti is the Power-of-enjoyment variously conceived of as either one of the consorts

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Parvati of Shiva or Vishnu. As the consort of Vishnu she is known as either Radha in the North Indian tradition or as Nila-devi in the Southern tradition. Pleasure is the state which arises with the union of opposing forces. This lack of tension is the state which obtains prior to the manifestion of all the categories of reality. The state in which the Gunas are perfect harmony and rest. This state of permanent quiescence is considered to be a state of perpetual bliss. For the living being it is only in the union of pairs of opposites that joy is experienced. Only during the brief moment when two beings become one, when desire is satised, is a fragment of joy experienced. This state is the closest reection of the state of Moksha or Nirvana. When the presiding deity of the life-force (Prana) and that of intellect (Buddhi), are fully united, no longer in coition, not in the state of enjoying one another, when they are not in the state of balance, then the living being is liberated. The supreme aim of existence, which is complete liberation from the triple form of pain, spiritual, mental, physical, cannot be realized otherwise.

The vulva, the arrow, and the number 5 are considered equivalent symbols. The word arrow (bana) is a symbolic expression for the number 5. It is also representative of the God-of-Love Kama, because he carries ve ower-tipped arrows (the ve senses). It also stands for Siva because of his ve faces, and for the Lady of the Mountain because of the ve principles of the elements or which ether is the basis. Since Parvati as ether represents all the ve elements the phallus of light enters her. When the mass of static energy falls into her womb, that is., into earth or water, it becomes stabilized. Otherwise it reduces everything to ashes. Thus arises the myth of the Lady of the Mountain becoming a vulva to catch hold of the phallus of re that was burning the world. This is also the meaning of the dry tree embraced by the leaess creeper (aparna); the leaess creeper is an equivalent of the vulva that is Parvati, while the Changeless Being is the dry tree or phallus.

The Names of the Goddess

As the gentle companion of Sivas pleasure games the Goddess is mainly known as the Daughterof-the-Mountain (Parvati) or the Mountain-born (Adri-ja or Giri-ja), the Daughter-of-the-Snowcapped-One (Haima-vati). She is also the Earth-born (Ku-ja), the Fair-One (Gauri), the Worlds-MostFair (Jagad-Gauri), the Peace-of-the-Night (Uma). Auspicious (Siva), she is the Mother (Ambika), the Mother-of-the-World (Jagan-mata), the Giver-ofExistence (Bhavani). She is the Youngest (Avara), the Virgin (Kanya), the Virgin-Girl (Kanya-kumari). She is the Sustainer-of-the-World (jagad-dhatri), the Auspicious-Power-of-Time (Bhadra-Kali), the Giver-of-Food-and- Plenty (Annapurna), the Shining-One (Devi), the Consort-of-the-GreatLord (Maha-devi). As the embodiment of lust she is Wanton-eyed (Kamaksi), Her-very-Name-is-Lust (Kamakhya). She is the Rubbing- or Squeezing-One (Mrda, Mrdani), Noble (Arya), Rich (Rddhi), Pearleared (Karna-moti), Recognizable-from-her-Lotus (Padma-lancana); she is Always-Auspicious (Sarvamangala). Like-a-Bee (Bhramari), she is SivasMessenger (Siva-duti).

39 She is the Goddess Beyond-Reach (Durga), the Endless (Ananta), the Everlasting (Nitya). Fearful, she is Tawny-Dark (Pingala), Spotted (Karburi), Naked (Kotari), Violent (Candi), Dark (Syama), Terrible (Bhairavi). She is the Fearful-Goddess (Bhimadevi), the Power-of-the-Antigods (Mahasuri), the Fierce (Rajasi), Red-toothed (Rakta-danti); she is the Mother-of-the-God-of-War (Skanda-mata), the Victorious (Vijaya). The Candi Mahatmya, one of the hymns of praise dedicated to her, depicts her as Ten-armed (Dasabhuja), Riding-on-a-Lion (Simha-vahani or Simharathi). She is the Destroyer of the BuffaloDemon (Mahisha-mardini), the Disheveled (Muktakesini). Being addicted to austerities, she is the Leaess (Aparna), the Widow (Katyayani), Grass-robed (Sakambhari). From Siva she obtains names which are the feminine form of his, such as the Tawny-One (Babhravi), the All-Powerful (Bhagavati), the Ruler (Isani), Divinity (Isvari), Dwelling-in-the-Kalinjar-Mountain (Kalanjari), Adorned-with-Skulls (Kapalini). She is the Sentiment-of-Love (Kaushiki), the SavageGirl (Kirati), the Great-Goddess (Mahesvari), the Goddess-of-Tears (Rudrani), Universal (Sarvani), Auspicious (Siva), Three-eyed (Tryambaki).

Parvati as Maheshvari

Durga Devi

Mahakali

40