5 Forms of Shiva: These five faces are:Na = Sadyojata faces West. Ma = Vamadeva faces North.

Shi = Aghora faces South. Va = Tat urusha faces the !ast. "a = #sa$a faces North-east. 5 %uties of Shiva: The &ord is said to have five duties :Na = creatio$ 'Sadyojata( Ma = rotectio$ 'Vaam-deva( Shi = destructio$ 'Aghora( Va = )ri$gi$g o$ the de*uge 'Tat- urusha( "a = sho+eri$g us +ith mercy '#shaa$( 5 ,haracteristics of Shiva: Na = Adi-%eva 'First &ord( of A** &o-as 'Wor*ds( Ma = .rovider of Su reme /$o+*edge Shi = Si*e$t a$d 0e$evo*e$t1 0e$efic Va = Vrish Vaha$ 'Vehic*e of 0u**(1 Vasu-i ',o)ra S$a-e o$ Throat(1 Vaama$gi '&eft 2a$d .ath( "a = Su reme 0*iss Form 5 .hysica* Attri)utes of Shiva: 'from Natraja Form( Na = 2a$d +ith Fire Ma = Feet s3uashi$g the %emo$s Shi = 2a$d 2o*di$g %amru Va = For+ard .a*m "a = A)hay-hast 'Fear %is e**i$g .a*m( 5 ,osmic !*eme$ts 4e rese$ted: '.a$ch-Maha)hoot( Na = !arth 'Sadyojata( Ma = Water 'Vaamdeva( Shi = Fire 'Aghora( Va= Air 'Tat- urusha( "a = S-y '!ther = Vacuum( '!esha$(

5 ,ha-ras Activated: Na = Moo*adhar '4oot ,ha-ra( Ma = S+adhishthaa$ 'Sacra* ,ha-ra( Shi = Ma$i ur 'Nave* ,ha-ra( Va= A$ahat ,ha-ra '2eart ,ha-ra( "a = Vishuddhi ,ha-ra 'Throat ,ha-ra( 55 6m Activates Agya 'Third !ye ,ha-ra( a$d Shastrar ',ro+$(1 as these t+o cha-ras do$t )e*o$g to Tatvas1 rather1 they are cause of Tatvas 'a** e*eme$ts(.

5 0odies : '.a$ch-/osha( Na = A$$a-may /osha '.hysica* 0ody( Ma = .ra$-may /osha '!$ergy 0ody( Shi = Ma$o-may /osha 'Astra*7!motio$a* 0ody( Va= Vigya$-may '#$te**ectua* 0ody( "a = A$a$da-may '.ure ,o$scious$ess 0ody( 5 ,o*ors of Shiva: Na = 8o*de$ hued Ma = White Shi = 4ed1

Va= 0*ac"a = 8rey i$ co*our

The Faces Of Shiva

Shiva is having Five Faces the faces are as Follows. Isana: This faces South East and represent the eshwara aspect known as Sada Shiva. Tatpurusha: This faces east, which represent the ego aspect OF Shiva Aghora: This faces south, which represents the destructive and regeneration aspect of Shiva. Vamadeva: This faces north, which represents the preserving and healing nature of Shiva. He is a doctor, thats why we call him aidyanatheshwara Sadyo ata: This Faces west, which represent the creativity of Shiva.

A simple prayer to !ord Shiva is " Om #amah Shivaya $. Some prayers on the mighty !ord have %een given here. Om Jai Shiva Omkaaraa, Prabhu Jai Shiva Omkaaraa &ramha Vishnu Sada Shiva A'(()AA#*II O+ )A'A )A'A +A)AA(,VAA...$ ()AA'AA

+eaning *lory to you- O Shiva. *lory to you- O Om/aaraa. +ay &rahma- Vishnu and the assem%ly of other gods- including the great !ord Shiva- relieve me of my ignorance. Om namastestu Bhagavan Visvesvarya Mahadevaya Triyambakaya Trikagni Kalaya Kalagni Rudra Ya ilakanthaya Mrityun!ayaya Sarvesh"araya Sada Shiva Sriman Mahadevaya namah +eaning Om- I %ow down to lord Shiva- who is the creator and protector of the universe - who is greatest among gods- who has three eyes- lord of all the three worlds- one who throat is %lue - who is con0ueror of death- who is the lord of all- and possessing the mar/s of greatness among. To such *reat +ahadeva my salutations.

Vandhe Sam%umumapathimh suragurum Vandhe 1agath/aaranam Vandhe 2anaga&hooshanam mrugadharam Vandhe 2asoonaam pathim

Vandhe Soorya Shasaan/avahninayanam Vandhe +u/undhapriyam Vandhe &a/tha 1anasrayamsvratham Vandhe Shivam San/aram There are five Sadyo ata ,arth came from sadyo ata face of lord. From this ,arth there came a *rey colured cow called nanda. Vi%huthi came from the dung of that cow. 3ater came from this face of lord. From this there came a &lac/ colur cow called &hadra. From this &hasita came. Aghora coloured Tatpurusha Fire came from this face of lord. From this there came copper cow called sura%hi which gives &hasma. Air came from this face of lord. From this there come white coloured cow called Sushela came which gives Shanti and 4sheram 5 mil/6. Ishana Space 7omes from this face. From this there comes multi colured cow called Sumana which gives 'a/sha. ,arth- water- air- Space are /nown as 2ancha &huthas. These 2ancha &huthas are associated with the five faces of lord shiva.In association with ,ach face lord shiva is 7alled as 2ancha &hutha !inga which are situated at the following places. 2rthvi lingam is situated at 4anchi puram- Ekam!reeshwarar Temple.Sri ,/am%areswara is worshipped in the form of 2rithvi linga 5,arth6. )ence 4anchipuram is considered as one of the 2ancha &utha Sthalas. According to a legend- 2arvati- once in 4ailasplayfully closed the eyes of !ord Shiva- plunging the entire world in dar/ness. An angry Shiva cursed the (evi to turn dar/ li/e 4ali. The *oddess descended on this place and did penance under a mango tree- ma/ing a !ingam out of earth. )encemuch significance is attached to this shrine and the mango tree- situated within the temple. 4anchipuram is situated 89 /ms from 7hennai- Tamil #adu. 1ala !ingam is situated at Thiruvanai//aval- Trichy This is one of the most revered temples to Shiva: it is one of the 2ancha%hoota Stalams signifying the ; elements of wind 54alahasti6- water Vamadeva

faces of Shiva.

5Tiruvanai//a6- fire 5Tiruvannamalai6- earth 54anchipuram6 and space 57hidam%aram6. The primordial element water- is represented %y an undying natural spring in the sanctum. There is said to have %een a forest of 1am%u trees near the 7handrateertha tan/ 5filled with the water of the 4averi6 here and Shiva is said to have appeared under one of the trees as a Shiva !ingam. !egend has it that two devotees of Shiva were %orn under the influence of a curse as a white elephant and a spider. The elephant worshipped Shiva with flowers and water %rought in its trun/ 5hence the name Tiru Aanai//a6. The spider worshipped the "ingam !y spinning a we! on top, to protect it from falling leaves. The elephants worship would destroy the spiders we!, and the spiders we! amounted to desecration in the eyes of the elephant leading to animosity !etween the two, of such proportion that a fight !etween them resulted in the death of !oth. The spider was !orn again in the royal #hola family $in %raiyur & during the Sangam period'. (n interesting tale is associated with his !irth. His parents Su!hadeva and )amalavati prayed to *atara+a of #hidam!aram for a male successor. The royal astrologer is said to have predicted an auspicious time for the !irth of a successor who would !e a ruler of great fame. The hour of !irth approached sooner though and the royal ,ueen !ade her attendants to tie her legs and hang her upside down, with the aim of delaying the !irth of the child. She achieved her o!+ective although the royal offspring was !orn with reddened eyes, earning for himself the name -#henkannan- & the red eyed one. .n his life time )o #henkannan is said to have !een !uilt several elevated temples & out of reach of elephants, keeping with the legend of his animosity with an elephant in his previous !irth. The stala vriksham is said to have grown out of a munivar, who offered his worship to Shiva.(khilandeswari $/arvati' is said to have meditated upon Shiva here, and her shrine here, is considered to !e of great significance. .t is !elieved that (khilandeswari was originally an %gra 0evata of great fury, and (di Sankaracharyar is said to have converted the fiery energy of the deity into a manifestation of peace. Shrines to inayaka and Su!ramanya face (khilandeswari. This temple has records of patronage from the #hola /andya, Hoysala and the 1adurai *aik kings. The temple is said to have !een !uilt !y the #hola )ing )o #henkannan and it was of special significance to the #hola kings. )o #henkannan is praised !y tamil literature for having !uilt more than seventy temples & and he is historically placed in the Sangam period $the very early years of the #hristian era'. .nscriptions from the tenth century (0 testify to later #hola patronage. The Hoysalas who had a !ase near Samayapuram $near Tiruchi' !uilt four temples in *orthern Tiruvanaikkaval $ allaleeswaram, /admaleswaram, *arasimheswaram and Somaleswaram'. The /andyas and the Hoysalas contri!uted to the Eastern tower. (di Sankara is said to have visited the (khilandeswari shrine. He is said to have adorned her with ear&rings !earing the sym!ol of the chakram. There is a shrine to (di Sankara in this temple. This is a vast temple $23 acres' with lofty gopurams, 4 prakarams and ornate mandapams. The second and third prakarams date !ack to the 25th century. The dwa+asthampa mandapam has grand sculptural work. There is an image of Ekapada Trimurthy representing the unity of 6hrama ishnu and Shiva in this temple. The (khilandeswari shrine is located in the fourth prakaram. The Eastern tower with seven levels has fine sculptural specimen of musical scenes, while the 7estern tower has nine levels. The first prakaram has !een renovated in this century.

Festivals8 (nnual festivals here include the /ankuni 6hrammotsavam, asanta %tsavam, the float festival in Thai $#apricorn' , (adi /ooram $#ancer' and the /ancha /rakara festival. For more information please see the Templenet Special Feature on Tiruvanaikka Agni ligam is situated at Tiruvannamalai , 4artigai day in (ecem%er or 1anuary- a huge fire is lift up- visi%le for /ilometers around. Sri 'amana +aharishi- a great saint of our times- spent the days of his ministry in the town. Two legends are associated with this historic temple- those of !ingod%hava and Ardhanarisvara. In the first !ord Siva appeared as a cosmic flame of light %efore !ord Vishnu and !ord &rahma- who each considered )imself supreme and said that the matter could %e tested if the two could search for )is 5!ord Siva<s6 top and %ottom. !ord Vishnu too/ the form of a %oar and delved deep into the earth- !ord &rahma that of a swan and flew into the empyrean: !ord Vishnu failed in )is o% ective and returned. &ut !ord &rahma- chancing upon a piece of "tha=ham%u$- a floral fi%re- learnt from it that it had %een floating down for forty thousand years from !ord Siva<s head. )e sei=ed upon this and claimed to !ord Siva that he had seen the other<s top. !ord Siva reali=ed the falsehood and pronounced that there would never %e a temple for !ord &rahma in this world. )e also interdicted the use of the floral fi%re in )is worship. 3hen !ord Vishnu and !ord &rahma repented- !ord Siva too/ the form the !inga. Sculptures of the !ingod%hava- as this is called- with a swan on top and a diving %oar at the %ottom- are found in every Saiva temple- often in niches on the walls of the sancta.

.n the second legend, 9oddess %ma once playfully covered "ord Sivas eyes with Her hands. (ll creation !ecame dark, and the people suffered. To e:piate the sin 9oddess %ma went to )anchipuram. "ord Siva then told Her that She should go to Tiruvannamalai and perform penance and that She would then take Her place in His own left side. (ccordingly, She came to Tiruvannamalai and setting up a hermitage on the top of a hill there, performed severe penance. She killed a king of demons, 1ahishasura. She then organi;ed a !ig festival on )artigai day. She saw the #osmic Flame on the summit and then took Her place in the "ords left side. Some cele!rated !ron;es em!ody the concept of (rdhanarisvara,
Vayu !igam is situated at sri4ala)asthi. 7hitham%ara !ingam this is situated at 7hidam%aram. 7hitam%aram also called ponnam%alam 5*olden hall6- is the famous temple for Shiva devotees in Tamil #adu. &efore and at the end of recitation of hymns its name is referred as >thiruchchi''am%alam> even today. Once the great serpent Adhi s,sha felt that mahA vish#u was heavy that time. )e as/ed mahA vish#u the reason. )e told him that he remem%ered the dance- that !ord did once

in the presence of all dh,vAs. (ue to the pleasure of reminiscence mahA vish#u was heavy. Inspired %y this Adhi s,sha wanted to see the dance of the !ord. )e came to chitam%aram and worshipped the !ord as pathanychali. vyAghra pAdar- a sage- was also worshipping the !ord to see )is dance. vyAghra pAdar got as a %oon the legs and eyes of the tiger to claim the trees and see in the dar/- so that he can get flowers- fresh- untouched %y even %ees- %efore the dawn for the worship. They worshipped the !ord for a long time. To fulfill their desire the !ord appeared on the thiruvAdhirai and danced in the golden hall. /A!i competed against the !ord - %ut lost. /ing chimmavarman put golden roof over the am%alam 5naTarA ar Sanctum6 in fifth century A7,5A(6. This place represents the tha/arA/Asham - the s/y inside us. In this temple !ord Shiva is worshipped in all the three forms- namely- ar?pa - which is called chitam%ara rahasyam- ar?par?pa - shiva li.ngam and r?pa - naTarA a. There is a Sanctum Sactorum for vish#u ne@t to naTarA a- in the lying posture- and called gOvindha ra a swamy.

V,#,'A&!,#,SS OF SA(AO1AAT The sages as/ed Sut i as to how was lord &rahma a%le to have a divine glimpse of Sadyo aat. Sut i replied-(uring the 4alpa named Shwetalohit- once lord &rahma witnessed the manifestation of a divine child who was of mi@ed 5red B white6 comple@ion. The child had a Shi/ha 5top/not6 on his head. 7onsidering him to %e an em%odiment of almighty *od- !ord &rahma eulogi=ed that child. Suddenly four children appeared and formed a protective ring around Sadyo aat. The names of these children were-Sunand- #andan- Vishwanand- and ?panand. All of them were of fair comple@ion and very handsome.Any%ody who is desirous of attaining to 'udralo/a must ta/e refuge in Sadyo aat. !O'( VAA+(,V Once- during thirtieth /alpa named 'a/ta- !ord &rahma was meditating on 2arameshthi Shiva. Suddenly a divine child appeared %efore him who was of red comple@ion and who had put on red apparels. )e was none other than !ord Vaamdev. !ord &rahma immediately reali=ed the divinity of that child and was convinced that he was the em%odiment of Almighty *od. !ord &rahma eulogi=ed Vaamdev who was pleased %y his devotions. Four divine entitiesViri a- Vivahu- Visho/a and Vishwa%havana manifested from the %ody of Vaamdev. All of them had great resem%lance to !ord Vaamdev. Vaamdev preached them on the finer points of religiousness so that man/ind could %e %enefited %y this /nowledge. !O'( TAT2?'?S) The thirty-first /alpa was /nown as 2eet 4alpa. The term C2eetC means yellow and this 4alpa was named 2eet %ecause !ord &rahma had put on yellow apparels during this 4alpa. Once- while he was meditating on the form of !ord Shiva- a divine child manifested %efore him. The child had a halo of light all around him and had put on yellow coloured clothes. ,ven his tur%an- sacred-thread and garland were yellow in colour. )is arms were a%normally long. !ord &rahma immediately reali=ed that the child was none other than !ord +aheshwar himself. Suddenly a divine cow appeared from the mouth of +aheshwar- who had four faces and possessed all the thirty-two 0ualities. The divine cow was none other than

*oddess *ayatri herself.!ord &rahma eulogi=ed her and +aheshwar was very pleased %y his deep devotion. +aheshwar also %lessed him with divine /nowledge and unrevealed the secret of yoga to him. 'ight then- many divine children appeared from the %ody of lord +aheshwar. ,ach of them had put on yellow apparels and had great resem%lance to lord +aheshwar. They were e@tremely virtuous and served the man/ind %y giving sermons. After having completed their mission of spreading the message of virtuosity to the man/ind- all of them got united with !ord +aheshwar ultimately. A person- who is desirous of getting li%erated from all his sin- must see/ the %lessings of !ord +aheshwar who is also /nown as Tatpurush. !O'( A*)O',S) 2eet /alpa was followed %y 2radhritta /alpa. &lac/ was the predominant colour of this /alpa. Initially- the whole earth was su%merged in the water and !ord &rahma desirous of commencing his creations wished for a son. As a result- a divine child manifested whose comple@ion was dar/. #ot only that he had put on %lac/ apparels and a %lac/ crown on his head. A %lac/ sacred thread was hanging across his shoulder. !ord &rahma immediately recogni=ed Aghoresh and eulogi=ed him. !ord Aghoresh %ecame pleased %y his devotion and %lessed him. 1ust li/e the preceding 4alpas- four divine children manifested from lord AghoreshCs %ody. All of them had great resem%lance with Aghoresh in every respect. In course of time- they did tremendous tapas and preached the virtue of religiousness to the man/ind. A person who worships !ord Aghoresh and has deep devotion in him %ecomes li%erated from gravest of sins li/e &rahmhatya 5sin ac0uired due to /illing a &rahmin6 etc. !O'( IS)AA# In the %eginning of Vishwaroopa /alpa- lord &rahma- desirous of commencing creation was engrossed in deep meditation. This resulted into the manifestation of a divine cowwhich pu==led lord &rahma very much. Actually- this divine cow was none other then Vishwaroopa Saraswati- %ut lord &rahma failed to recogni=e her. !ord &rahma decided to ta/e the help of !ord Ishaan and started meditating on him. 3hen !ord Ishaan appeared %efore him- he was re0uested %y !ord &rahma to shed light on the identity of that divine cow. !ord Ishaan replied %y saying->The present /alpa is called Vishwaroopa /alpa. It has originated from the left side of my %ody and is the thirty-third /alpa. This divine cow has also originated from me. She is goddess *auri-the source of all creation. After saying li/e this- !ord Ishaan created four divine entities from the %ody of the cow-1ati- +undi- Shi/handi and Ardhamund. All of them were very luminous and virtuous. After preaching the world for thousands of divine year. They got reunited with lord 'udra

Five Powers of Siva: Sadasiva in the Agama Scriptures

A Rarely Explored Form of Siva Reveals the Saivite Hindu Understanding of Divinity and Cosmology

The Vedas decree that god created the +or*d1 a$d it is true1 he did9 )ut that is a sim *istic re$deri$g of a mi$d)ogg*i$g*y com *e: eve$t. #t +ou*d )e *i-e sayi$g a chi*d gro+s from t+o microsco ic ce**s. #t is true. 0ut *oo-i$g dee er1 )oth rocesses are e:3uisite*y magica* a$d com *e: )eyo$d )e*ief. The gro+th of t+o ce**s i$to a huma$ )ei$g of ;<< tri**io$ ce**s is a rocess ca a)*e of )ri$gi$g te$s of thousa$ds of scie$tists to their -$ees. #magi$e1 the$1 com rehe$di$g the evo*utio$ of the e$tire u$iverse1 from 8od a$d of 8od1 fi**ed +ith ;<< tri**io$ ga*a:ies. 0ut u$dersta$di$g 8od=s acts of creatio$1 reservatio$1 disso*utio$1 co$cea*me$t a$d reve*atio$ is e:act*y +hat the a$cie$t 2i$du seers u$dertoo-1 aided1 they +ou*d say1 )y the Agamas1 sacred te:ts com osed )y 8od 2imse*f. With more tha$ a *itt*e tre idatio$1 +e u$derta-e to )ri$g forth a summary of +hat they teach of 8od a$d 2is o+ers. We +ere ta:ed to do this1 a$d +e have $o dou)t the reader +i** )e simi*ar*y cha**e$ged to com rehe$d it a**1 though +e ho e our severa* charts +i** rovide a$ overvie+ of some te:tua* com *e:ities. Sti**1 this ce$tra* a$d rofou$d art of a$cie$t #$dia=s u$dersta$di$g of our cosmos a$d our i$$ermost )ei$g is +e** +orth the effort. #t +i** give the 2i$du riest e$ha$ced i$sight i$to the dee er mea$i$gs of the tem *e uja. #t +i** give the adva$ced meditator $e+ +ays to e: *ore the su)t*e dime$sio$s1 the su erco$scious mi$d of 8od +ithi$. #t +i** give theo*ogia$s grist for their hi*oso hica* a$d cosmo*ogica* mi**s. #t +i** *i-e*y give everyo$e e*se a headache.

Introduction

The Five Powers of Siva 0y Satguru 0odhi$atha Vey*a$s+ami &ord Siva is commo$*y thought of as the god of destructio$1 o$e %ivi$ity amo$g a divi$e tri$ity1 a*o$g +ith 0rahma1 &ord of ,reatio$1 a$d Vish$u1 &ord of .reservatio$. This theo*ogica* ers ective1 es ecia**y es oused i$ Smarta 2i$duism1 is )ased i$ the .ura$as1 2i$du fo*- $arratives co$tai$i$g ethica* a$d cosmo*ogica* teachi$gs a)out 8ods1 ma$ a$d the +or*d. 0ut other de$omi$atio$s1 i$c*udi$g Saiva 2i$duism1 +hich is )ased o$ the Saiva Agamas1 ho*d a differe$t vie+. #$ these revea*ed scri tures the three great cosmic actio$s are a** erformed )y 8od Siva. #$ additio$ to creatio$1 reservatio$ a$d destructio$1 Siva erforms t+o more actio$s +hich re*ate s ecifica**y to the sou*. With the fourth1 ca**ed o)scuratio$1 2e vei*s 2imse*f from us1 the em)odied sou*s1 ur osefu**y *imiti$g our a+are$ess1 -ee i$g us e$sco$ced i$ the +or*d--o)*ivious to our true $ature1 our ast a$d future *ives a$d -armas--thus a**o+i$g us to evo*ve. This )egui*i$g force is ca**ed vei*i$g or co$cea*i$g grace1 tirodha$a sha-ti. With 2is fifth actio$ or o+er1 ca**ed reve*atio$1 a$ugraha sha-ti1 &ord Siva frees us from the i**usio$ of se arate$ess from 2im1 gra$ti$g us rea*i>atio$ of our true ide$tity. The 4aurava Agama roc*aims:

?The )irth of the +or*d1 its mai$te$a$ce1 its destructio$1 the sou*=s o)scuratio$ a$d *i)eratio$ are the five acts of 2is da$ce.? Siva Nataraja1 &ord of %a$ce1 a +e**--$o+$ murti '+orshi fu* ico$(1 c*ear*y de icts these five actio$s. ,reatio$1 or ema$atio$ 'srishti(1 is re rese$ted )y 2is u er right ha$d ho*di$g the drum u o$ +hich 2e )eats .ara$ada1 the

.rima* Sou$d1 from +hich issue forth the rhythms a$d cyc*es of creatio$. .reservatio$ 'sthiti( is re rese$ted )y 2is *o+er right ha$d1 he*d i$ the gesture of )*essi$g1 a)haya mudra1 i$dicati$g ?fear $ot.? %estructio$ 'samhara(1 disso*utio$ or a)sor tio$1 is sym)o*i>ed )y the fire i$ 2is u er *eft ha$d1 he*d i$ ardha-cha$dra mudra1 ?ha*f-

moo$ gesture.? 6)scuri$g grace 'tirodha$a(1 the o+er +hich hides the truth from sou*s1 there)y ermitti$g e: erie$ce1 gro+th a$d eve$tua* fu*fi**me$t of desti$y1 is re rese$ted )y 2is right foot u o$ the rostrate erso$1 a asmara urusha1 +ho sym)o*i>es the ri$ci *e of ig$ora$ce1 or a$ava. 4evea*i$g grace 'a$ugraha(1 +hich gra$ts -$o+*edge a$d severs the sou*=s )o$ds1 is sym)o*i>ed )y Siva=s raised *eft foot1 a$d )y 2is *o+er *eft ha$d1 he*d i$ gajahasta or ?e*e ha$t tru$-? mudra1 i$viti$g a roach.

&itt*e -$o+$ to the ge$era* u)*ic1 )ut 3uite +e** -$o+$ to the Saivite riesthood1 is a$other form of 8od Siva erformi$g these five actio$s. This form of Siva has five faces a$d is ca**ed Sadasiva. #$ Sa$s-rit the five faces are referred to as .a$cha)rahma1 mea$i$g ?five great &ords.? The term 0rahma i$ this co$te:t does $ot refer to the four-faced creator 8od '0rahma(. A descri tio$ of .a$cha)rahma is give$ i$ the Ajita Agama '@<1 ;5A-;BCa( i$ the form of i$structio$s to tem *e riests: ?After thus co$structi$g me$ta**y the thro$e of Siva1 ho*di$g a ha$dfu* of f*o+ers1 +ith steady mi$d a$d co$tro**ed se$ses1 o$e shou*d meditate o$ Siva=s )ody sitti$g i$ the *otus osture1 shi$i$g +ith the co*or of ure crysta*1 e$do+ed +ith five heads1 sere$e1 +ith smi*i$g faces1 havi$g the )ri**ia$ce of te$ mi**io$ su$s1 of $e+ fu**-)*o+$ youth1 +ith te$ arms1 )righte$ed )y a crest of ta+$y tresses ro**ed u +ards1 each face havi$g three radia$t eyes1 or sha-tis1 +ith the cresce$t moo$ of +isdom i$ 2is hair1 the cause of a** causes1 2is right ha$ds ho*di$g the $ofear osture1 a tride$t1 a$ a:e1 a s+ord a$d a thu$der)o*t1 2is *eft ha$ds ho*di$g a $oose1 a ser e$t1 a$ e*e ha$t goad1 fire a$d a )e**1 a** fit for a su reme sovereig$1 e$do+ed +ith every aus icious mar-1 ador$ed +ith am *e or$ame$ts1 i$ radia$t raime$ts1 attractive1 havi$g )eautifu* gar*a$ds a$d a$ oi$tme$t of sa$da*+ood aste.? #$ his comme$tary o$ Mrige$dra Agama1 Aghorasivacharya ';@th ce$tury( is carefu* to oi$t out that +hi*e +e s ea- of Siva +ith five faces a$d ma$y *im)s1 2e does $ot actua**y ossess these features. This visua*i>atio$ i$ o$*y for the sa-e of meditatio$ a$d adoratio$. #$ Saiva Siddha$ta hi*oso hy1 &ord Siva1 8od1 is A** a$d i$ a**1 a$d is u$derstood i$ three modes: form*ess '$ish-a*a(1 formed-form*ess 'sa-a*a-$ish-a*a(1 a$d formed 'sa-a*a(. #$ the form*ess mode1 Siva is A)so*ute 4ea*ity1 .arasiva9 i$ the formed-form*ess mode1 Siva is .ure ,o$scious$ess1 .arasha-ti9 i$ the formed mode1 Siva is .erso$a* &ord1 .arameshvara. Siva is re rese$ted i$ the mai$ shri$e of $ear*y a** Siva tem *es as the Siva*i$ga. This a$ico$ic murti re rese$ts the formed-form*ess as ect of 8od. Meta hysica**y1 the A)so*ute 4ea*ity1 .arasiva1 +hich is form*ess1 comes to )e -$o+$ as Sadasiva +he$ 2e rese$ts 2imse*f i$ the Siva*i$ga.

Sadasiva mea$s eter$a**y ure a$d aus icious. #$ tem *e ceremo$ies ' uja( )ased o$ the Saiva Agamas1 it is this five-fo*d form of Siva that is )ei$g +orshi ed i$ the Siva*i$ga. To sho+ this1 some tem *es i$c*ude i$ their decoratio$s a meta* coveri$g over the &i$ga +ith four faces e$graved i$ it. The fifth face1 #sha$a1 may )e sho+$ o$ the to 1 )ut is most commo$*y omitted. Some Siva*i$gas have the faces carved i$to the &i$ga itse*f. The #sha$a face *oo-s u +ard a$d is of ure crysta* co*or. Tat urusha faces east a$d is go*d i$ co*or. Aghora faces south a$d is )*ue-)*ac- i$ co*or. Vamadeva is tur$ed $orth+ard a$d is saffro$ i$ co*or. Sadyojata *oo-s +est a$d is +hite i$ co*or. #$ some tem *es1 .a$cha)rahma is a*so re rese$ted )y five disti$ct murtis dis *ayed i$ a romi$e$t *ace1 such as o$ the outside of the mai$ to+er a)ove the sa$ctum. #$ the Ajita Agama1 Sadasiva is said to )e formed-form*ess )ecause 2is )ody is made u of five ma$tras. #$ Sa$s-rit1 this etheric vesse* is termed vidyadeha or ?-$o+*edge )ody.? The five ma$tras1 -$o+$ co**ective*y as the .a$cha)rahma Samhita Ma$tra1 are: #sha$a Murdha1 Tat urusha Va-tra1 Aghora 2ridaya1 Vamadeva 8uhya a$d Sadyojata Murta. At the su)t*e *eve* at +hich Sadasiva e:ists1 there is sti** $ot a defi$ite )ody i$ form1 o$*y the seeds or ote$tia*ities of sou$d1 co*or a$d -$o+*edge. #$ his i$troductio$ to the Ajita Agama1 .ierre-Sy*vai$ Fi**io>at1 offers i$sight i$to Sadasiva i$ Saiva Siddha$ta: ?Saivism is a re*igio$ of o$e 8od1 the su reme Siva '.arasiva(. Numerous e$tities are arou$d 2im. They are 2is creatio$s a$d co$se3ue$t*y 2is su)jects +ith defi$ite fu$ctio$s. They artici ate of 2is o+$ esse$ce i$ differe$t degrees. The major o$es amo$g them are said to )e e$ge$dered )y 2im or to )e out+ard ma$ifestatio$s of 2imse*f. We use the +ord hy ostasis1 or ?su)-state1? to refer to the co$ce t of ema$atio$ of a su)sidiary e$tity from the Su reme1 as it e: resses i$ the most ge$era* +ay the idea of e:iste$ce se arated from the esse$ce +ithout a*teri$g the u$ity of the *atter.... The reaso$ give$ for the fact of hy ostasis of the Su reme 8od is the $ecessity of commu$icatio$. The Su reme is characteri>ed as i$accessi)*e to se$ses1 s eech a$d mi$d. That +ou*d re$der +orshi im ossi)*e. The Su reme ma-es 2imse*f accessi)*e through accessi)*e hy ostases. #$ the Saiva re*igio$1 the mai$ hy ostasis is Sadasiva9 a$d Saiva +orshi is recise*y the +orshi of Sadasiva. The commu$icatio$ +ith the e$tity comes through five 0rahma ma$tras1 +hich are formu*as of homage to five e$tities: #sha$a1 Tat urusha1 Aghorasiva1 Vamadeva a$d Sadyojata. ,ommu$io$ is rea*i>ed through the me$ta* image of five heads1 )eari$g the same $ames a$d *aced1 res ective*y1 at the >e$ith1 i$ the east1 south1 $orth a$d +est. The )asic actio$ of the +orshi er is meditatio$ 'dhya$a( o$ these five heads. Meditatio$ a$d )odi*y actio$s $eed a oi$t of fi:atio$ 'dhara$a(1 a materia* su Ajita Agama o$*y i$ its se$se of =sig$.=? !ditor=s Note: The term .arasiva1 used )y 0odhi$atha a)ove to mea$ A)so*ute 4ea*ity1 carries the additio$a* mea$i$g of Siva as Mahadeva i$ the mai$ te:t. ort a$d target. This is the &i$ga1 a $ame give$ i$ the

he Story of Creation

The process of gradual manifestation of the Primal and Uncaused Light 0y Sa)harath$am Sivacharyar

From the Saiva Agama scri tures1 +e gai$ a rofou$d*y detai*ed e: *a$atio$ of the rocess )y +hich the u$iverse u$fo*ds. The fo**o+i$g is a *ucid summary of such discussio$s i$ the /ami-a Agama1 Vatu*a Agama1 4aurava Agama a$d /a*ottara Agama. Siva1 i$ 2is fu**$ess1 is su reme co$scious$ess +ith the effu*ge$ce of tri**io$s a$d tri**io$s of su$s. Shou*d that i$te$sity )e direct*y ma$ifested1 the +or*ds +ou*d )e i$ci$erated1 a$d thus there e:ists a gradua* desce$t of 2is rese$ce1 *eadi$g i$direct*y to /arma Sada-hya1 the form +orshi ed as the Siva*i$ga. Siva assumes i$$umera)*e forms i$ order to regu*ate the moveme$t of the +or*ds a$d to *i)erate em)odied sou*s. Some of these divi$e forms are mome$tary1 such as those see$ i$ visio$s )y devotees1 sai$ts a$d sages9 a$d others are eter$a*1 such as %a-shi$amurti a$d Siva as va$3uisher of demo$s. Tem orary a$d eter$a* forms of Siva a** arise from the Siva*i$ga e$shri$ed i$ Siva tem *es. Thus1 the Shi* a Shastras categorica**y ca** the Siva*i$ga the rima* image 'mu*a )im)a(. The great$ess a$d sig$ifica$ce of Siva*i$ga ca$ )e u$derstood o$*y )y u$dersta$di$g the order i$ +hich these tra$sce$de$ta* ma$ifestatio$s are ta-i$g *ace.

Cosmic Creation &ord Siva1 e:isti$g i$ 2is )*i$di$g se*f-effu*ge$ce a$d *ove1 creates cou$t*ess sou*s1 a$ act that is *i-e$ed to s ar-s issui$g from a )*a>i$g fire. #$itia**y sou*s are i$cor orea* a$d e$shrouded i$ the dar-$ess of ig$ora$ce. That this vei*i$g dar-$ess may )e u$derstood a$d disso*ved1 sou*s $eed to )e em)odied i$ various +or*ds +here they ca$ e: erie$ce )oth merits a$d demerits. %iffere$t forms of the Su reme 8od are $ecessary for them for the ur ose of co$tem *atio$ a$d +orshi . The Agamas s ea- of a mother*y com assio$ s o$ta$eous*y arisi$g +ithi$ &ord Siva to redeem a$d u *ift the shrouded sou*s1 a divi$e desire 'iccha( resu*ti$g i$ a mi$ute im u*se or moveme$t '-sho)ha( +ithi$ 2im. #t is from this vi)ratio$1 this divi$e *ove1 that ma$ifestatio$ i$ its myriad forms a ears.

That im u*se of creativity )ri$gs forth a u*se1 or Sha-ti1 ca**ed .arasha-ti1 +hich is o$e thousa$dth of .arasiva=s )ri**ia$t radia$ce. Ne:t1 a$other Sha-ti1 ca**ed Adisha-ti1 arises as a thousa$dth of .arasha-ti. Ne:t1 #cchasha-ti ma$ifests as o$e o$e-thousa$dth of Adisha-ti. The$ D$a$asha-ti arises as o$e te$th of a hu$dredth of #cchasha-ti. Fi$a**y1 /riyasha-ti arises as a thousa$dth of D$a$asha-ti. !ach Sha-ti is *ess su)t*e tha$ the Sha-ti from +hich it arises. These five Sha-tis are a** tra$sce$de$ta* a$d form*ess1 $ever de icted as images1 o$*y co$tem *ated u o$. .arasha-ti1 rofou$d*y su)t*e1 a**- ervasive a$d immeasura)*y effu*ge$t1 co$ceives the rocess of five-fo*d cosmic fu$ctio$. Adisha-ti1 e:ceedi$g*y )ri**ia$t1 ervades em)odied sou*s1 as +e** as *i)erated sou*s. #cchasha-ti1 great*y *umi$ous1 )egi$s the rocess of creati$g the +or*ds a$d various )odies for the sou*s. D$a$asha-ti i**umi$ates the %eities rotecti$g the +or*ds a$d sou*s *ivi$g i$ various *a$es of e:iste$ce. /riyasha-ti i$sti**s o+er a$d a)i*ity i$ the cosmic authorities that erform the five-fo*d cosmic fu$ctio$.

#$ this same tra$sce$de$ta* s ace1 five Sivas ma$ifest1 each re*ated to o$e of the five Sha-tis a$d co**ective*y ca**ed the .a$chasivas: A$ashrita1 A$atha1 A$a$ta1 Vyomaru a a$d Vya a-a. A$ashrita a ears as o$e art out

of a thousa$d arts of .arasiva. #$ the same +ay1 A$atha arises out of A$ashrita1 A$a$ta out of A$atha1 Vyomaru a out of A$a$ta1 a$d Vya a-a out of Vyomaru a.

Emergence of the Five Sadakh as Ne:t1 each of the five Sha-tis merges +ith its corres o$di$g Siva. E o$ the u$io$ of .arasha-ti a$d A$ashrita1 a form ca**ed Siva Sada-hya a ears1 f*ashi$g forth i$cessa$t*y +ith the radia$ce of thousa$ds of *ight$i$g )o*ts. #t

emerges as o$e of te$ arts of .arasha-ti. This is the first a$d fu$dame$ta* tattva1 +hich serves as the causa* source for the evo*utio$ of a** other tattvas. Sada-hya mea$s that +hich is a*+ays ure a$d aus icious1 u$defi*ed )y e:ter$a* or i$ter$a* im urities a$d dis ositio$s. From the u$io$ of Adisha-ti a$d A$atha arises Amurti Sada-hya1 as o$e te$th of Adisha-ti. #t is *i-e$ed to a fiery i**ar +ith the )ri**ia$ce of mi**io$s of su$s. #$ the midd*e of that i**ar is the vi)ra$t rese$ce of a *umi$ous &i$ga ca**ed %ivya*i$ga. Amurti Sada-hya1 a*so ca**ed the rima* i**ar 'mu*a stam)ha(1 serves as the source form for the occurre$ce of evo*utio$ a$d disso*utio$. The u$io$ of #cchasha-ti a$d A$a$ta resu*ts i$ the emerge$ce of Murti Sada-hya1 com risi$g o$e-te$th of #cchasha-ti. #t shi$es forth i$ the form of a fiery &i$ga1 a )*a>i$g co$f*agratio$ '-a*ag$i(1 at the time of fi$a* disso*utio$ 'maha ra*aya(. #$ the u er art of that *umi$ous &i$ga is a form +ith o$e face a$d three eyes1 four

ha$ds1 ho*di$g a deer1 a hatchet a$d dis *ayi$g the com assio$ate varada mudra a$d the fear-$ot a)haya mudra. This Sada-hya form1 too1 is $ot de icted as a visi)*e image. #t is to )e co$tem *ated o$*y. The u$io$ of D$a$asha-ti a$d Vyomaru a gives rise to /artru Sada-hya as o$e-te$th of D$a$asha-ti. /artru Sada-hya has the form of a crysta* 's hati-a( &i$ga1 i$ the midd*e of +hich a ears a )eautifu*1 *umi$ous form

+ith four faces1 t+e*ve eyes1 four co*ors1 eight ha$ds a$d t+o feet. The four ha$ds o$ the right side dis *ay a tride$t1 a:e1 s+ord a$d a)haya mudra9 the four ha$ds o$ the *eft side dis *ay a $oose1 s$a-e1 )e** a$d varada mudra. The u$io$ of /riyasha-ti a$d Vya a-a gives rise to /arma Sada-hya as o$e-te$th of /riyasha-ti. This is the most im orta$t Sada-hya form. #t is i$ this form that the &i$ga a$d the edesta* ' itha( of the Siva*i$ga a ear for the

first time. The &i$ga de$otes the vi)ra$t state of sou$d1 or $ada. The edesta* de$otes the vi)ra$t state of )i$du1 the ote$cy +hich actuates sou$d. Without )i$du1 sou$d is i$effectua*. The &i$ga de$otes Siva1 a$d the edesta* de$otes Sha-ti. /arma Sada-hya is the u$ited form of Siva a$d Sha-ti '&i$ga a$d itha( for the systematic erforma$ce of the five cosmic fu$ctio$s. #$ the same ma$$er that the first five sha-tis are ma$ifested1 there a ear various other sets of Sha-tis1 each

successive*y *ess su)t*e tha$ the *ast. These i$c*ude the five .ara$ada /a*as a$d the A ara$ada /a*as. A*o$g +ith the .ara$ada /a*as1 there a ear five .ara)i$du /a*as +ith the same effu*ge$ce. ,orres o$di$g to the five

A ara$ada /a*as1 there a

ear five A ara)i$du /a*as i$ the same ma$$er a$d +ith the same effu*ge$ce. A** of

these ma$ifestatio$s e: *ai$ed so far e:ist i$ the tra$sce$de$ta* rea*m -$o+$ as ure creatio$ 'shuddha shrishti(1 far )eyo$d the hysica* +or*d.

The !reatness of "arma Sadakh a #t has a*ready )ee$ said that /arma Sada-hya a ears i$ the form of Siva*i$ga1 the com)i$ed form of &i$ga a$d

edesta*. No+ it is to )e $oted that the edesta* is co$stituted of five A ara)i$du /a*as--Sha$tyatita a$d others. The &i$ga ortio$ is co$stituted of five A ara$ada /a*as--Erdhvagami$i a$d others. .arasiva is vi)ra$t*y rese$t i$ the Siva Sada-hya. The rese$ce of .arasiva a$d Siva Sada-hya is i$ the Amurti Sada-hya. #$ the Murti Sada-hya1 there is the vi)ra$t rese$ce of .arasiva1 Siva Sada-hya a$d Amurti Sada-hya. The rese$ce of these four is i$ the /artru Sada-hya. The vi)ra$t rese$ce of a** five--.arasiva1 Siva Sada-hya1 Amurti Sada-hya1 Murti Sada-hya a$d /artru Sada-hya--is i$ the /arma Sada-hya1 the fi$a* hase i$ the order of ure creatio$1 ma$ifesti$g i$ the form of the Siva*i$ga. /arma Sada-hya is a*so the )egi$$i$g hase i$ the order of $o$-tra$sce$de$ta* creatio$. #t is the re ository for the grou of tra$sce$de$ta* tattvas1 such as .ara$ada1 .ara)i$du1 A ara$ada a$d A ara)i$du. At the same time1 it is the source for the evo*utio$ of FB tattvas *eadi$g to this hysica* *eve*. #t is i$ /arma Sada-hya that the ma$ifestatio$ of .a$cha)rahma is ta-i$g *ace. The order of such ma$ifestatio$ is e: *ai$ed $o+.

Tattva# $urti# Pra%hava 0efore i$troduci$g the rocess of ma$ifestatio$ of five great &ords '#sha$a a$d others(1 it is esse$tia* to -$o+ a)out three categories: tattva1 murti a$d ra)hava. The five Sada-hyas come u$der the category of tattva. Tattva mea$s that +hich is e:isti$g from the time of creatio$1 o erati$g i$ a$ order*y +ay1 a$d +hich is a)sor)ed i$to its source at the time of fi$a* disso*utio$. #$ the category of murti1 there are five--Sivatara1 #sha1 0rahmisha1 #shvara a$d Vyomesha. Who are these murtisG Where do they come fromG HNote: #$ the Agamas1 Sivatara is more ofte$ ca**ed Sadasiva1 a$d Vyomesha is -$o+$ as #sha$a.I These five murtis ma$ifest a*o$g +ith the five Sada-hyas from the same source1 )ut they remai$ *ate$t +ithi$ the Sada-hyas. Sivatara *ies *ate$t +ithi$ Siva Sada-hya. '.arasha-ti is domi$a$t i$ Siva Sada-hya1 a$d A$ashrita HSiva as ectI is domi$a$t i$ Sadasiva.( &i-e+ise1 #sha *ies *ate$t +ithi$ Amurti Sada-hya. 'Adisha-ti is domi$a$t i$ Amurti Sada-hya1 a$d A$atha is domi$a$t i$ #sha.( 0rahmisha *ies *ate$t +ithi$ Murti Sada-hya. '#cchasha-ti is domi$a$t i$ Murti Sada-hya1 a$d A$a$ta is domi$a$t i$ 0rahmisha.( #shvara *ies hidde$ +ithi$ /artru Sada-hya. 'D$a$asha-ti is domi$a$t i$ /artru Sada-hya1 a$d Vyomaru a is domi$a$t i$ #shvara.( Vyomesha *ies hidde$ +ithi$ /arma Sada-hya. '/riyasha-ti is domi$a$t i$ /arma Sada-hya1 a$d Vya a-a is domi$a$t i$ Vyomesha.(

6$ the u

er ortio$ of the Siva*i$ga1 Sivatara is rese$t. #sha is o$ the +est1 0rahmisha o$ the $orth1 #shvara

o$ the south a$d Vyomesha o$ the +est. .ra)hava is the category of .a$cha)rahma 'five-fo*d 8od(1 or Sadasiva1 +hich comes i$to e:iste$ce u o$ the u$io$ of tattva 'Sha-ti as ect( a$d murti 'Siva as ect(.

Pancha%rahma The u$io$ of Siva Sada-hya a$d Sivatara resu*ts i$ the a eara$ce of #sha$a. The u$io$ of Amurti Sada-hya

a$d #sha gives rise to Sadyojata. The u$io$ of Murti Sada-hya a$d 0rahmisha resu*ts i$ the ma$ifestatio$ of Vamadeva. The u$io$ of /artru Sada-hya a$d #shvara gives rise to Aghora. The u$io$ of /arma Sada-hya a$d Vyomesha resu*ts i$ the ma$ifestatio$ of Tat urusha. A** these ma$ifestatio$s are ta-i$g *ace i$ the /arma Sada-hya1 +hich co$tai$s a** rior *eve*s of devo*utio$. #sha$a is the source of s o$ta$eous grace directed to a** )ei$gs a$d to a** +or*ds. #t is )eyo$d a** systems a$d disci *i$es1 u$e:ce**a)*e a$d u$sur assa)*e1 +ithout *imit or )ou$dary. Tat urusha is the a**- ervasive o+er that sustai$s the )odies of huma$ )ei$gs1 ce*estia* )ei$gs1 asuras1 a$ima*s1 )irds a$d so forth1 that +hich fi**s u a$d regu*ates the e$tire ra$ge of +or*ds1 s readi$g out every+here through $ada arisi$g from )i$du. Aghora is ure co$scious$ess 'Sivaj$a$a(1 a*+ays ca*m a$d tra$3ui*. #t is the force that o he$ome$o$ of re eated )irth a$d death1 remai$i$g ever a+are i$ co$scious$ess. Vamadeva is the a)so*ute o+er of -$o+i$g a** a$d doi$g a**1 the force +hich -ee s em)odied sou*s e$gaged i$ activities to +or- out their -armas. #t is the su)t*e a$d secret o+er1 the *umi$osity of Siva1 that e$a)*es em)odied sou*s to e: erie$ce dharma1 artha a$d -ama. Sadyojata is the o+er that1 )y its mere +i**1 assumes i$$umera)*e forms 3uic-*y a$d i$sta$ta$eous*y creates re*eva$t )odies for sou*s a$d re*eva$t ma$tra-forms for com ete$t yogis. oses the dreaded

Sadasiva Linga&&The Formless and the Formed State The Siva*i$ga e$shri$ed i$ the sa$ctum sa$ctorum is actua**y the form of /arma Sada-hya. The form*ess a$d tra$sce$de$ta* .arasiva occu ies this Siva*i$ga i$ the form of Sadasiva1 or the .a$cha)rahma. The Agamas rovide this descri tio$: ?Sadasiva a ears +ith five faces: #sha$a1 Tat urusha1 Aghora1 Vamadeva a$d

Sadyojata. The #sha$a face1 crysta* i$ co*or1 is at the to 1 *oo-i$g u +ard. Tat urusha1 +hitish-ye**o+1 is tur$ed east+ard. Aghora1 )*ue-)*ac- i$ co*or1 is tur$ed south. Vamadeva1 of saffro$ hue1 *oo-s $orth. Sadyojata1 co*ored *i-e the moo$=s rays1 *oo-s +est. The overa** form of Sadasiva is the co*or of crysta*. !ach face has three eyes. The five heads are ador$ed +ith a cresce$t moo$ a$d *oc-s of matted hair )ou$d together +ith ser e$ts.?

Five $antras that Constitute the Form of Sadasiva #$ additio$ to the five faces1 the .a$cha)rahmas a*so assume the form of five ma$tras to co$stitute a** other arts of Sadasiva=s )ody--heads1 chest1 shou*ders1 *egs a$d so o$. !ach ma$tra is associated +ith vi)ra$t sha-tis -$o+$ as -a*as ' ro$ou$ced -a*Js(. At this stage1 #sha$a )ecomes the ma$tra #sha$a Murdha. #sha$a mar-s the u*timate *imit or )ou$dary9 he$ce #sha$a Ma$tra is co$sidered to co$stitute the heads of Sadasiva1 the u head. Tat urusha )ecomes the ma$tra Tat urusha Va-tra1 co$stituti$g the five faces of the &ord. The term va-tra mea$s to rotect a$d to drive a+ay. This ma$tra rotects the )odies of a** )ei$gs )y )esto+i$g -$o+*edge a$d +ardi$g off the fear of future )irth a$d death. Aghora )ecomes the ma$tra Aghora 2ridaya. #t co$stitutes the heart1 chest a$d re*ated arts of the form. #$ this co$te:t1 hridaya mea$s su reme co$scious$ess. This ma$tra metes out a$ a$tidote to the dreadfu* 'ghora( he$ome$o$ of re eated )irth a$d death9 thus it is -$o+$ as aghora1 mea$i$g $o$-dreadfu*1 tra$3ui* a$d ca*m. Vamadeva )ecomes the ma$tra Vamadeva 8uhya. 0y $ature1 Vama is secret a$d u$see$ 'guhya(1 the o+er of -$o+i$g a$d doi$g. #t mai$tai$s roge$y a$d re*ated activities. Vama1 mea$i$g )eautifu*1 a*so mea$s )ase or i$ferior. The e: erie$ces of dharma1 artha a$d -ama are i$ferior to *i)eratio$. Vamadeva ma$tra e$a)*es sou*s to u$dergo *esser e: erie$ces i$ order to $u**ify their -armic merits a$d demerits. This ma$tra is co$sidered to co$stitute the rivate arts 'guhya( of the )ody--the hi s a$d other *o+er regio$s. Sadyojata )ecomes the ma$tra Sadyojata Murta 'murta mea$i$g form(. Sadyojata is ca a)*e of assumi$g i$$umera)*e forms 3uic-*y1 ervadi$g a$d s readi$g. For this1 feet are $ecessary. Not o$*y feet1 )ut the +ho*e form is re3uired to move. Thus Sadyojata ma$tra co$stitutes the *im)s of the )ody. er *imit of the form. Murdha mea$s

Pancha%rahma and the Five 'eputed Lords: (rahma# )ishnu# *udra# $aheshvara and Sadasiva For the Su reme &ord .arasiva1 the mai$ ur ose of desce$di$g to the *eve* of /arma Sada-hya is to erform the cosmic activities +ithi$ the rea*m of ure maya. 2e does this through 2is form of &ord Sadasiva 'or .a$cha)rahma(. The five cosmic activities are: creatio$1 mai$te$a$ce1 disso*utio$1 co$cea*me$t a$d )esto+a* of grace. Siva=s o+er of creatio$ is Sadyojata. The o+er of disso*utio$ is Aghora. Tat urusha is Siva=s o+er to vei* the sou*=s i$here$t $ature 'of .ure ,o$scious$ess a$d its i$fi$ite o+er of -$o+*edge a$d actio$(. Siva=s o+er of revea*i$g grace is #sha$a. The Vedas a$d the Agamas are revea*ed through the five faces of Sadasiva. Sadasiva e:ists at the e:treme*y rarefied stratum of ure maya 'the causa* *a$e( a$d therefore ca$$ot )e direct*y i$vo*ved +ith im ure maya 'the astra* a$d hysica* rea*ms(. So1 2e erforms the five actio$s i$ these rea*ms through five %e uted &ords 'Adhishtita1 a*so -$o+$ as /ara$eshvara(: 0rahma1 Vish$u1 4udra1

Maheshvara a$d Sadasiva. HNote: The %e uted &ord Sadasiva is set i$ ita*ics to disti$guish it from Sadasiva1 the sy$o$ym for .a$cha)rahma.I So1 the cosmic rocess of hy ostasis ta-es *ace a$d direct*y from /arma Sada-hya arises Sadasiva1 the first de uted &ord1 a$d the$ Maheshvara 'as o$e thousa$dth art(. From Maheshvara arise 4udra 'o$e thousa$dth art(1 Vish$u 'o$e ;< mi**io$th art( a$d 0rahma 'o$e ;< mi**io$th art(. 0rahma is de uted for the activity of creatio$ u$der the directio$ of Sadyojata1 its ,o$tro**i$g &ord 'Adhishtatru(9 Vish$u rotects as directed )y Vamadeva9 4udra rea)sor)s as directed )y Aghora9 Maheshvara co$cea*s as directed )y Tat urusha9 Sadasiva )esto+s grace as directed )y #sha$a.

Adho $ukha# the Si+th Face #$ additio$ to the five faces of Sadasiva1 there is a si:th face $amed Adho Mu-ha1 +hich ma$ifests out of a si:th Sada-hya1 Maha Sada-hya1 a$d *oo-s do+$+ard. A *easa$t )*ue co*or a$d *ocated at the $ec- of the &ord1 it is associated +ith Sri Ni*a-a$tha1 the )*ue-throated &ord. Most of the esoteric mea$i$gs of Aum1 the .ra$ava1 are co$$ected to Adho Mu-ha. #t is ide$tica* +ith the s ace of su reme co$scious$ess 'chida-asha( a$d ge$erates five *eve*s of a-asha. Adho Mu-ha has its ro*e a$d rese$ce i$ the form of &ord S-a$da.

Sadasiva in Temple ,orship *ites %uri$g the uja1 the riest visua*i>es the form a$d *im)s of the %eity +hi*e cha$ti$g the res ective five .a$cha)rahma Ma$tras three times. .erha s the most sig$ifica$t i$sta$ce is the i$vocatio$ of the %ivi$e rese$ce i$to the Siva*i$ga: #sha$a corres o$di$g to the head9 Tat urusha1 the face9 Aghora the heart a$d chest9 Vamadeva1 the hi s a$d other *o+er regio$s9 a$d Sadyojata1 the *im)s. Whi*e cha$ti$g each ma$tra1 the riest touches the corres o$di$g *ace o$ the Siva*i$ga1 from the to do+$ to the )ase of the edesta*. Fo**o+i$g that1 the riest visua*i>es the corres o$di$g five -a*as +hi*e cha$ti$g a$d i$vo-i$g them i$to the arts of the Siva*i$ga. Thus1 duri$g uja1 the Siva*i$ga serves as a microcosm i$to +hich is oured the macrocosm i$ a** of its dime$sio$s of e:iste$ce. Ne:t the riest agai$ cha$ts the five ma$tras +hi*e offeri$g f*o+ers i$ +orshi of the various arts of the )ody of Sadasiva a$d the$ to the five as ects1 or faces1 of Sadasiva i$ associatio$ +ith the five -rityas1 cosmic actio$s or o+ers. The five -rityas a$d corres o$di$g .a$cha)rahmas are ;( srishti1 creatio$1 Sadyojata @( stithi1 reservatio$1 Vamadeva9 F( samhara1 disso*utio$1 Aghora9 C( tiro)hava1 co$cea*i$g grace1 Tat urusha9 5( a$ugraha1 revea*i$g grace1 #sha$a. For the fi$a* arati1 a rofou$d ma$tra from the Taittiriya Ara$ya-a1 -$o+$ as the .a$cha)rahma Veda Ma$tra 'see )e*o+(1 is cha$ted to i$vo-e the five as ects of Sadasiva i$to each of the five f*ames +hi*e offeri$g the arati *am )efore the Siva*i$ga.

Conclusion ,o$gratu*atio$sK The Agamas themse*ves co$tai$ a disc*aimer for this arca$e discussio$: ?This is the u*timate su)ject. There is $o su)ject su erior to this. Si$ce it is u*timate1 it ca$$ot )e u$derstood )y the u$i$itiated. !ve$ for the i$itiated1 there is $o sadha$a su erior to u$dersta$di$g this u*timate su)ject. #t is actua**y a great ta as 'austerity( to meditate o$ this u*timate su)ject.? Vatu*a Agama1 Tattvasara .ata*a1 @5@-@5C ;. Sadyojata '?3uic-*y )irthi$g?(1 the co$tro**i$g &ord of 0rahma1 is the as ect of Siva that +ie*ds the o+er of creatio$. 2is directio$ is +est1 2e is re*ated to the s here of earth ' rithivi ma$da*a( a$d 2is .a$cha-shara Ma$tra sy**a)*e is Na. The Agamas descri)e 2im as +hite i$ co*or1 i$ the *i-e$ess of a )oy +ith a charmi$g face1 )esmeared +ith sa$da*+ood aste1 ador$ed +ith +hite f*o+ers. 6$e ha$d dis *ays the )oo$-gra$ti$g varada mudra a$d a$other the fear-$ot a)haya mudra. 2e is Siva ma$ifest i$ a** of $ature9 the causer of )irth. Vamadeva '?*ove*y1 *easi$g?(1 the co$tro**i$g &ord of Vish$u1 is the as ect of Siva that +ie*ds the o+er of reservatio$. 2is directio$ is $orth1 2e is re*ated to the s here of +ater 'ja*a ma$da*a(1 a$d 2is .a$cha-shara Ma$tra sy**a)*e is Ma. The Agamas descri)e 2im as red i$ co*or1 +ith a ha$dsome face a$d aristocratic )eari$g1 +eari$g rich a are*1 a tur)a$ a$d gar*a$ds of f*o+ers. 2e ho*ds a s+ord a$d a shie*d. Aghora '?$o$terrifyi$g?(1 the co$tro**i$g &ord of 4udra1 is the as ect of Siva that +ie*ds the o+er of disso*utio$. 2is directio$ is south1 2e is re*ated to the s here of fire 'ag$i ma$da*a(1 a$d 2is .a$cha-shara Ma$tra sy**a)*e is Si. The Agamas state that Aghora %eva is the co*or of dar- c*oud a$d is ador$ed +ith cresce$t studded cro+$ a$d )eautifu* earri$g. Though 2is e: ressio$ is *easa$t1 2is a eara$ce is dreadfu*1 +ith *o$g1 rojecti$g teeth1 a$d a ta+$y co*ored )eard1 moustache a$d matted hair. 2e is ador$ed +ith s$a-es a$d scor io$s a$d a gar*a$d of s-u**s. The four ha$ds o$ the *eft side ho*d a fire1 -hatva$ga 'a staff +ith a s-u** at its to (1 shie*d a$d $oose. The four ha$ds i$ the right side ho*d a tride$t1 hatchet1 s+ord a$d staff. Tat urusha '?su reme sou*?(1 the co$tro**i$g &ord of Maheshvara1 is the as ect of Siva that +ie*ds the o+er of o)scuratio$. 2is directio$ is east1 2e is re*ated to the s here of air 'vayu ma$da*a(1 a$d 2is .a$cha-shara Ma$tra sy**a)*e is Va. The Agamas descri)e Tat urusha %eva as go*d i$ co*or1 dressed i$ ye**o+ si*-e$ c*oth1 head ador$ed +ith a cro+$ a$d cresce$t moo$. #$ o$e ha$d he ho*ds a stri$g of )eads a$d i$ a$other 2is tride$t staff. #sha$a '?ru*er?(1 the co$tro**i$g &ord of Sadasiva1 is the as ect of Siva that +ie*ds the o+er of revea*me$t. 2is directio$ is u +ard1 2e is re*ated to the s here of ether 'a-asha ma$da*a(1 a$d 2is .a$cha-shara Ma$tra sy**a)*e is "a. The Agamas descri)e #sha$a %eva as ure crysta* i$ co*or1 +ith three eyes. #$ o$e ha$d 2e ho*ds a tride$t a$d i$ a$other a stri$g of )eads. 2is t+o other ha$ds rese$t the a)haya '?fear $ot?( a$d dhya$a 'meditatio$ mudras. 0eari$g a cresce$t o$ 2is cro+$1 2is form is charged +ith )e$evo*e$ce.

@.

F.

C.

5.

!auri "ata #andala

The mea$i$g of the term ma$da*a1 as give$ i$ the Agamas1 is ?the s3uare1 the i$terior of +hich is e$riched +ith various geometrica* desig$s a$d )eautified +ith co*ors.? Accordi$g to the Agamas1 s3uare is the )asic form from +hich a** other forms a ear a$d i$to +hich they merge. #$ the yag$asha*a of a tem *e1 a ma$da*a is +orshi ed

to cha$$e* the effects of the fire-ritua* 'o)*atio$s( a$d to e$ha$ce the aus icious$ess of the surrou$di$gs. #t is to )e *aced )et+ee$ the fire it a$d the mai$ a*tar 'vedi-a(. Though ma$da*as are $ot mea$t for meditatio$1 the dis *ay of a erfect*y desig$ed ma$da*a i$ a ha** or shri$e +i** e$sure the divi$ity of the *ace a$d +ard off a$y $egative forces. Ma$da*as are of t+o -i$ds--those mea$t for use i$ tem *e ritua*s a$d those to )e dis *ayed i$ *aces of *ear$i$g1 hos ita*s1 *i)raries a$d such. Ma$da*as co$sist of various im orta$t arts +hich corres o$d to various arts of a sta$di$g )ody1 such as face1 torso1 ha$ds1 *egs a$d so o$. A ma$da*a is actua**y a three-

dime$sio$a* image re$dered i$ t+o-dime$sio$a* form. The most im orta$t as ect of a ma$da*a is its co*ori$g. !ach *etter1 each +ord of a ma$tra1 each tattva1 each -a*a1 each form of a %eity1 each of the vita* airs of our )ody1 each $adi 'cha$$e* of the )ody(1 each e*eme$t of the u$iverse has its o+$ sig$ifica$t co*or. 0ased o$ this co$ce t1 the guru +ho has a erfect -$o+*edge of these ri$ci *es a$d co*ors desig$s a articu*ar ma$da*a. The desig$ of a ma$da*a is )ased o$ the $ature of a articu*ar %eity to +hich that ma$da*a )e*o$gs. &ord Sadasiva1 five Sada-hya Sa-tis1 Ashta Murtis1 Ashta Vidyesvaras1 Ashta %evatas 'Na$di a$d others( a$d a** the FB tattvas are re rese$ted i$ the 8auri &ata Ma$da*a. Sabharathnam Sivacharyar

$ancha%rahma in Sha&tism ' (aishnavism

The five .a$cha)rahma murtis are fou$d $ot o$*y i$ Saivism1 )ut a*so i$ Sha-tism a$d Vaish$avism. They are ortrayed i$ various forms de e$di$g o$ the traditio$ o$e fo**o+s. The Saiva Agamas de ict them as: ;( Sadyojata1 @( Vamadeva1 F( Aghora1 C( Tat urusha a$d 5( #sha$a. #$ the Sha-ta traditio$ they are: ;( 0rahma1 @( Vish$u1 F( 4udra1 C( #shvara a$d 5( SadaSiva. #$ the Vaish$ava Agamas1 they are $amed: ;( Vasudeva1 @( Sam-arsha$a1 F( .radyum$a1 C( A$iruddha a$d 5( Naraya$a. The co$ce t of .a$cha)rahma i$ the Sha-ta schoo* of thought cou*d )e )est summari>ed )y the most revered te:t of the Sri Vidya traditio$1 Sri &a*itha 4ahasya Sahasra$amam1 the thousa$d $ames of &a*ita Mahatri urasu$dari. Names @CL a$d @5< are .a$cha retasa$ase$a a$d .a$cha)ramas+aru i$i. The mea$i$g is that Sri &a*itha1 seated o$ 2er thro$e co$sisti$g of the .a$cha retas1 or five *ife*ess )odies 'the five e*eme$ts(1 is res o$si)*e for )ri$gi$g e:iste$ce to these .a$cha)rahmas through the i$fusio$ of 2erse*f1 the Sha-ti ' ure e$ergy(. Scie$tifica**y1 it is u$derstood that everythi$g i$ the u$iverse is made u of t+o thi$gs: matter a$d e$ergy. Matter re rese$ts Siva a$d e$ergy re rese$ts Sha-ti1 a$d it is through this merge$ce that the ma$ifestatio$ of this u$iverse e:ists. #$ Sha-tism1 the .a$cha)rahmas are res o$si)*e for the e:ecutio$ of the a$cha-rityas1 or fivefo*d acts: ;( srishti1 creatio$ of the u$iverse9 @( sthithi1 suste$a$ce of the u$iverse9 F( samhara1 destructio$ of the u$iverse9 C( tirodha$a1 co$cea*me$t9 a$d 5( a$ugraha1 a)sor)i$g the sou* i$to i$fi$ite )*iss. E$dersta$di$g this1 the as ira$t must ac-$o+*edge that i$ order for *ife to co$ti$ue1 Siva ca$ $ever )e se arated from Sha-ti9 so +e rea*i>e a$d revere 2er as .a$cha)ramas+aru i$i. Janahan Balasingham

he $ancha%rahma (eda #antra

6$e of the greatest a$d most sacred of a** ma$tras1 the .aMcha)rahma Ma$trJ<N1 is fou$d i$ the /=sh<a "ajurveda1 TaittirNya Ora<ya-a ;<.;P-@;. 2ere its five verses are cited i$ reverse order '@; to ;P(1 just as they are cha$ted duri$g uja. This is a *ucid tra$s*atio$ )y Sa)harath$am Sivacharyar1 )ased o$ the ;@th-ce$tury

tra$s*atio$ )y Egrajyoti Sivacharyar i$ his riest*y ma$ua* Vedartha Nir$aya Ma$jari1 givi$g the e$ha$ced mea$i$g of the ma$tras i$ the co$te:t of the Saiva Agamas.

NQJ$assarva vidyJ$Jm NQvaras sarva )hRtJ$Jm )rahmJdhi atir )rahma <oSdhi atir )rahmJ Qivo me astu sadJQivom
&ord #sha$aTthe Su reme &ord a$d 4evea*er of a** -$o+*edge a$d s iritua* disci *i$es1 the $ourisher a$d co$tro**er of a** *ivi$g )ei$gs1 the %irecti$g &ord of Sadasiva1 2e +ho is the guidi$g a$d directi$g authority for the eight Vidyeshvaras1 +ho directs 0rahma1 Vish$u a$d othersTmay 2e rese$t 2imse*f i$ this Siva*i$ga. 0y such )e$ig$ rese$ce1 *et there occur a)so*ute urity a$d aus icious$ess i$ me. 6m.

!"#$ %& &$ '& ( ")* +,$

tat urushJya vidmahe mahJdevJya dhNmahi ta$$o rudra > rachodayJt
As guided )y my guru1 # rea*i>e the form of Siva -$o+$ as Tat urusha. # meditate +ith ure mi$d a$d refi$ed i$te**ect o$ the 8reat #**umi$ator. &et Tat urushaT+ho cuts asu$der the *imiti$g )o$ds of the sou*s a$d )y this act comes to )e -$o+$ as 4udraTguide1 e$*ighte$ a$d stre$gthe$ my orga$s of -$o+*edge a$d actio$ a$d my i$ter$a* facu*ties.

-.$/-.$ --.$* 0.$ 0.$ ")1.$*

aghore)hyotha ghore)hyo ghora ghoretare)hyas sarve)hyas sarvasarve)hyo $amaste astu rudrarR e)hya>
Sa*utatio$s to &ord Siva +ho ma$ifests 2imse*f i$ cou$t*ess )e$ig$ forms1 i$ frightfu* a$d terrifyi$g forms1 a$d to a** those cou$t*ess forms of 4udra 'eu*ogi>ed i$ the Sri 4udram hym$(. Sa*utatio$s to a** such ma$ifestatio$s of &ord Siva.

$ 2$3$ * 43$ ")$ * 56$* 565$ 765$ 76$ 76+/$ $ 8$ *

vJmadevJya $amo jyesh?hJya $ama> Qresh?hJya $amo rudrJya $ama > -J*Jya $ama> -a*avi-ara<Jya $amo )a*avi-ara<Jya $amo )a*Jya $amo )a*a ramatha$Jya $amas sarva)hRta dama$Jya $amo ma$o$ma$Jya $ama >
Sa*utatio$s to the *umi$ous &ord +ho s ortive*y creates everythi$g. Sa*utatio$s to the 6$e +ho is eter$a**y the !*dest1 tra$sce$di$g the great cyc*es of time. Sa*utatio$s to the 6$e +hose *ordshi e:ce*s a** other 8ods.

Sa*utatio$s to the 6$e +ho +ards off the sufferi$gs of a** *ivi$g )ei$gs. Sa*utatio$s to the 6$e +ho is !ter$a* Time. Sa*utatio$s to the 6$e +ho sets i$to o eratio$ the divisio$s of time a$d mai$tai$s the +or*ds i$ a$ order*y +ay. Sa*utatio$s to the 6$e +ho1 )ei$g the source of stre$gth1 stre$gthe$s the aus icious forces. Sa*utatio$s to the 6$e +ho1 )ei$g the +ie*der of stre$gth1 +ithdra+s the stre$gth of i$aus icious forces a$d e:tir ates them. Sa*utatio$s to the 6$e +ho guides a** sou*s to u*timate*y reach 2im.

9 + 9$ : * ;$*
sadyojJta@ ra adyJmi sadyojJtJya vai $amo $ama > )have )have$Jti)have )havasva mJ@ )havod)havJya $ama>
# su)mit my mi$d1 s eech a$d )ody tota**y a$d re eated*y to &ord Sadyojata1 +ho ma$ifests 2imse*f a$d i$sta$ta$eous*y creates )odies a$d +or*ds1 +ho a ears to devotees i$ the forms co$tem *ated )y them a$d yet

tra$sce$ds such forms assumed )y 2im a$d +ho has a reti$ue of %eities formed of mi**io$s of ma$tras. May 2e ma-e my form as of 2is o+$ form.