About Lord Shiva

Shiva (Sanskrit: Auspicious One) is one of the main deities of Hinduism

that is worshipped as the paramount lord by the Shaivaite sects of India.
In Hinduism, Lord Shiva is regarded as the representation of the
Supreme Being. He is known as the third element in the Hindu Trinity
(Trimurti), the other two members being Lord Brahma - the creator and
Lord Vishnu - the protector. Shiva is the destructive form of the Almighty.
As the cycle of destruction and recreation is always in a circle, Shivas
primary responsibility is maintaining the life cycle. Scholars say, as the
Mahakaal, Shiva destroys and dissolves everything into nothingness but
as Shankara, he also reproduces that which has been destroyed and
dissolved. His symbol of Lingam or the phallus represents this
reproductive power.
Lord Shiva is also considered to be the most unique of all Hindu gods
and also the God of all. A great ascetic, Shiva is the only godhead who is
forever in deep meditation, totally absorbed in contemplation in His
abode, Kailaasa Mountain in
the great Himalaya. Lord Shiva is also said to be inseparable from Shakti Parvati the daughter of Himavaan - Haimavati. There is no Shiva without
Shakti and no Shakti without Shiva, the two are one - or the absolute state
of being.
Shiva is often shown with many faces, as creator, destroyer and preserver
in total command of the cosmos. He contains both good and evil. He is
moody, free of inhibitions, easy to please, protector of the down trodden,
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and has the power to alter the laws of destiny. Thus, it is Lord Shiva is
known as the God of mercy and kindness. He protects his devotees from
all evil that are always around us. He blesses his followers with grace,
knowledge and peace.
Shiva as Ardhanareeswara
Lord Shiva is said to be half man and half woman. In the full figure of
Siva the male and female principles are united. Shiva Linga - the symbol
of Lord Shiva which consists of both Lingam (phallus) and yoni (the
female organ) represent the totality of his nature and the totality of all
created existence.
Appearance and Attributes of Lord Shiva
Lord Shiva is shown either in meditating or in the form of a Dancing God
Nataraj where his dance is to the beat and rhythm of creation. He is also
shown in sculptures with many hands. One pair of hands, for exa mple,
represents the balance between life and death. Shiva is tri netra or
three eyed, and is neela kantha - blue-necked (having consumed
poison to save the world from destruction). Besides, there are a lot many
attributes associated with Lord Shiva. H ere is a brief description of some
of the important symbols that depict Lord Shiva. Each of his depiction
signifies a different aspect of his Supreme Being.
Unclad body covered with ashes: This form of Lord Shiva depicts that Lord
Shivas presence is much higher than this physical phenomenon.
According to some scholars, Shivas body smeared with cemetery ash

points to the philosophy of the life and death and the fact that death is
the ultimate reality of the life.
Jata (Matted Hair): The flow of his matted hair represents Shiva as the
Lord of Wind or Vayu, who is the subtle form of breath present in all
living beings. Thus it is Shiva which is the lifeline for all living being. He
is Pashupatinath.
Sacred Ganga: The holiest of the holy rivers, Ganga flows from the matted
hair of Shiva. According to a legend, Shiva allowed an outlet to the great
river to traverse the earth and bring purifying water to human being.
Ganga also denotes fertility - one of the creative aspects of the Rudra.
The Third Eye: Lord Shiva is known as the three eyed Lord or Tryambaka
Deva. The sun is his right eye, the moon left while the third eye of Shiva
on his forehead is the eye of wisdom. It is the eye that looks beyond the
obvious. The third eye can search evil from anywhere and destroys it
completely.
Half-Open Eyes: The half-open eyes show that the universes cycle in
process. When the eyes are completely closed it signifies the dissolvent
of the universe and when it is completely open a new cycle of creation
begins.
Crescent: Shiva bears on his head the crescent of the panchami (fifth day)
moon. This is placed near the fiery third eye and this shows the power of
Soma, the sacrificial offering, which is the representative of moon. It
means that Shiva possesses the power of procreation along with the
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power of destruction. The moon is also a measure of time, thus Crescent

also represent his control over time.
The Cobra Necklace: This suggests that Shiva is beyond the powers of
death and is often the sole support in case of distress. He swallowed the
poison kalketu for the wellbeing of the Universe. The deadly cobra
represents that death aspect that Shiva has thoroughly conquered.
The cobras around his neck also represent the dormant energy, called
Kundalini, the serpent power. The snake curled three times around the
neck of Lord Shiva depicts the past, present and future time. The snake
looking in the right direction of Lord Shiva signifies that the Lords
perpetual laws of reason and justice preserve natural order in the
universe.
The Vibhuti: Vibhuti is a three line of ashes drawn on the forehead that
signifies the Immortality of the soul and manifested glory of the Lord.
Tiger Skin: Lord Shiva is shown sitting on or wearing a tiger skin. The tiger
is the vehicle of Shakti, the Godd ess of power and force. Shiva is beyond
and above any kind of force. He is the master of Shakti. The tiger skin that
he wears symbolizes victory over every force. Tiger also represent lust.
Thus sitting on Tiger skin, Shiva indicates that he has conquered lust.
The Elephant & Deer Skin: Shiva also wears elephant skins. Elephants
represent pride. Wearing elephant skin, Shiva indicates that he has
conquered pride. Similarly deer represent the flickering mind. Shiva
wears deer skin which indicates that he has controlled the mind perfectly.

Rudraksha Necklace: Rudra is the other name of Shiva. It also means

strict or uncompromising and aksha means eye. Rudraksha, the necklace
worn by Lord Shiva shows that he is firm about his cosmic laws and to
maintain law and order in the universe. The necklace has 108 beads,
which symbolize the elements used in the creation of the world.
Damaru (Drum): A small drum with two sides alienated from each other
by a thin neck-like structure represents the two utterly different states of
existence, unclear and clear. When a damaru is shaken, the sound
formed denotes Nada, the cosmic sound of AUM, which can be heard
during deep meditation.
Trishul (Trident): A three-branched trident shown adjoining to Lord Shiva
symbolizes His three fundamental powers will, action and knowledge. As
a weapon the trident represents the instrument of punishment to the evil
doer on all the three planes - spiritual, subtle and physical.
Nandi, the Bull: Nandi is said to be the vehicle of Lord Shiva. The bull
represents both power and ignorance. Lord Shivas use of the bull as his
vehicle expresses the idea that He removes ignorance and bequeaths
power of wisdom on His followers.
The terms Siva or Sankara mean Auspicious. Sam means Chitaananda
(Blissful Awareness). Kara means the one who causes it. Sankara means
the One who causes blissful awareness. Sankara is the One who confers
Chitaananda on those who take refuge in Him or adore Him.
The secret of Creation is evident from the description of the form of Siva.
The crescent moon on Sivas head symbolizes the consciousness in
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human beings, the Ganga symbolizes the Life Force and the snakes on
Sivas body represent the myriad of living beings. He resides on a silver
mountain. His dearest friend is Kubera, the Lord of Wealth. Despite being
endowed with all these, why was He obliged to carry the begging bowl?
To demonstrate to the world that every kind of wealth is a hindrance to
spiritual advancement, Siva renounced everything. It is through
renunciation Siva became the eternal embodiment of supreme bliss.
Iswara is also symbolized in the Linga Form, Lings is derived from the
Sanskrit root, Li, means Leeyathe, 'merges'; it is the form in which all
forms merge. Siva is the goal who blesses beings with the most desirable
gift of meaning in the universe. That is the end, the death, which one
should strive for, the end which Siva can vouch -safe.
Siva means, graciousness; auspiciousness; Mangalam. He is all
graciousness, ever auspicious, Sarva Mangalam. That is the reason why
the epithet, Sri, which indicates these qualities, is not added to the name
Siva, Sankara, lsvara etc. It is added to the number ofAvatars, for they
have taken on perishable bodies for a specific purpose. They have to be
distinguished from other humans, by the epithet, Siva is eternally
gracious, auspicious, mangala and so the epithet is superfluous. Siva is
adored as the teacher of teachers, Dakshinamurti. The form of Siva is
itself a great lesson in tolerance and forbearance.
The Lord has another name. It is only when the love principle underlying
this name is rightly understood, the real form of the Cosmos can be
recognized. That name is Saambasiva. Saa means divinity. Amba refers to
the cosmos. Siva means the Supreme person (Purusha).
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Easwara has yet another name: Yogasikha. The sky is His blue form. The
directions (Dik) are His garment. Hence He is known as Digambara. He is
also known as Panchaanana - the Five-headed One. The five are: Earth,
water, fire and
aakaasa(space).Hisfiveheadsrepresentthefivebasicelements(panchabhut
has).Sivaisalsodescribedas Bhuthanaatha - the Lord of all created beings.
Bhutha refers to creation. Easwara is the Lord of every creature in the
universe. Hence, the entire cosmos is reflected as an image in the Lord.
Siva is known as Subhankara- the one who is ever good (Subham).
The three eyes of Siva represent the three worlds ( lokas). Siva's trident is
symbolic of the Past, the Present, and the
Future,thethreeaspectsofTime.Thethreegunas(Satwa,Rajas,Thamas)areim
agesoftheTrinity-Brahma,Vishnu, and Siva. The three worlds, the triune
aspect of Time, the three gunas (qualities) are the manifestation s of the
Easwara Principle.
It is for the well-being of the world that Siva swallowed the Halahala
poison. Again, it is for the sake of the worlds good that Siva contained the
Ganga in His matted locks. Siva bears the moon on His head to confer
peace of mi nd on mankind. When man moulds himself on the pattern of
Easwara, he will get rid of all his evil tendencies and offer to the world
what is good in him. That is the meaning of the worship of Siva. It is only
when man gives up utterly his bad thoughts, evil desires and wicked
deeds, he will be able to transform himself into divinity.
Cremation ground:
Shiva sitting in the cremation ground signifies that He is the controller of
death in the physical world.
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Tiger skin:
A tiger skin symbolizes potential energy.
Matted locks:
The three matted locks on the head of the Lord convey the idea that
integration of the physical, mental and spiritual
energies is the ideal of yoga.
Three eyes:
Lord Shiva, also called Tryambaka Deva, is depicted as having three eyes:
the sun is His right eye, the moon the left eye and fire the third eye.
The crescent moon:
The crescent moon is only one of His ornaments.
Kundalas (two ear rings):
Two Kundalas, Alakshya and Niranjan in the ears of the Lord symbolize
the Shiva and Shak ti (male and female) or ArdhaNariswara principle of creation.
Kamandalu:
A water pot (Kamandalu) made from a dry pumpkin contains nectar and
is shown on the ground next to Shiva signifies
that, an individual must break away from attachment to the physical
world and clean his inner self of egoistic desires in order to experience
the bliss of the Self.
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Nandi:
The bull is associated with Shiva and said to be His vehicle.
A snake (Vasuki Naga):
The snake is shown curled three times around the neck of the Lord and is
looking towards His right side. The three coils
of the snake symbolize the past, present and future - time in cycles.
Snake around the neck:
The snakes to symbolize the yogic power of Lord Shiva with which He
dissolves and recreates the un iverse.
Rudraksha necklace:
Rudra is another name of Shiva. Rudraksha necklace worn by the Lord
illustrates that He uses His cosmic laws firmly - without compromise - to
maintain law and order in the universe.
Trident (Trisula):
A three-pronged trident shown adjacent to the Lord symbolizes His three
fundamental powers (shakti) of will (iccha),
action (kriya) and knowledge (jnana).
Damaru (drum): Damaru symbolizes the two utterly dissimilar states of
existence, unmanifest and ma nifest.
Ganga:
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Ganga, symbolically represented on the head of the Lord by a female

(Mother Ganga) with a jet of water emanating from her mouth and
falling on the ground, signifies that the Lord destroys sin, removes
ignorance, and bestows knowledge, purity and peace on the devotees.
Varda Mudra:
Lord Shiva's right hand is shown in a boon- bestowing and blessing pose,
which annihilates evil, grants boons, bestows
grace, destroys ignorance, and awakens wisdom in His devotees.
Half-open eyes:
When the Lord opens His eyes, a new cycle of creation emerges and
when He closes them, the universe dissolves for
creationofthenextcycle.Thehalfopeneyesconveytheideathatcreationisgoingthroughcyclicprocess,withno
beginning no end.
Iconography and properties[edit] Attributes[edit]
Shiva's form: Shiva has a trident in the right lower arm, and
a crescent moon on his head. He is said to be fair like camphor or
like an ice clad mountain. He wears five serpents and a garland
of skulls as ornaments. Shiva is usually depicted facing the
south. His trident, like almost all other forms in Hinduism, can
be understood as the symbolism of the unity of three worlds that
a human faces - his inside world, his immediate world, and the
broader overall world. At the base of the trident, all three forks
unite. It is often not shown but Shiva has 6 heads, of which only
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five (Isana, Tatpurusha, Vamana, Aghora, Sadyojata) are visible

while the 6th (Adhomukh) can only be seen by the enlightened.
Thirdeye:
(Trilochana)Shivaisoftendepictedwithathirdeye,withwhichheburn
edDesire(Kma)toashes,[103] called"Tryambakam"(Sanskrit:
),whichoccursinmanyscripturalsources.[104]
InclassicalSanskrit,the
word ambaka denotes "an eye", and in the Mahabharata, Shiva
is depicted as three-eyed, so this name is sometimes translated
as "having three eyes".[105] However, in Vedic Sanskrit, the
word amb or ambik means

"mother", and this early meaning of the word is the basis for the
translation "three mothers".[106][107] These three mother-goddesses

who are collectively called the Ambiks.[108] Other related translations

have been based on the idea that the name actually refers to the
oblations given to Rudra, which according to some traditions were shared
with the goddess Ambik.[109] It has been mentioned that when Shiva
loses his temper, his third eye opens which can reduce most things to
ashes.
Crescentmoon:(Theepithets"Chandrasekhara/

Chandramouli")-Shivabearsonhisheadthecrescentmoon.[110]
The epithet Candraekhara (Sanskrit: "Having the
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moon as his crest" - candra = "moon"; ekhara =

"crest, crown")[111][112][113] refers to this feature. The

placement of the moon on his head as a standard iconographic

feature dates to the period when Rudra rose to prominence and
became the major deity Rudra - Shiva.[114]The origin of this

linkage may be due to the identification of the moon with Soma,

and there is a hymn in the Rig Veda where Soma and Rudra are
jointly implored, and in later literature, Soma and Rudra came to
be identifiedwithoneanother,aswereSomaandthemoon.[115]
Thecrescentmoonisshownonthe sideofthe Lord's head as an
ornament. The waxing and waning phenomenon of the moon
symbolizes the time cycle through which creation evolves from
the beginning to the end.

Ashes:(Theepithet"BhasmaangaRaaga")Shivasmearshisbodywithashes(bhasma).Theashesaresaidto
represent the end of all material existence.[116] Some forms of

Shiva, such as Bhairava, are associated with a very old Indian

tradition of cremation-ground asceticism that was practiced by
some groups who were outside the fold of brahmanic orthodoxy.
[117] These practices associated with cremation grounds are also
mentioned in the Pali canon of Theravada Buddhism.[118] One
epithet for Shiva is "inhabitant of the cremation
ground" (Sanskri t: manavsin, also spelled
Shmashanavasin), referring to this connection.[119]

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Matted hair: (The epithet "Jataajoota Dhari/Kapardina") Shiva's distinctive hair style is noted in the epithets Jain, "the
one with matted hair",[120] and Kapardin, "endowed with

matted hair"[121] or "wearing his hair wound in a braid in a

shell-like (kaparda) fashion".[122] A kaparda is a cowrie shell, or

a braid of hair in the form of a shell, or, more generally, hair that
is shaggy or curly.[123] His hair is said to be like molten gold in
color or being yellowish-white.

Blue throat: The epithet Nlakatha (Sanskrit ; nla

= "blue", katha = "throat").[124][125] Since Shiva drank

the Halahala poison churned up from the Samudra Manthan to

eliminate its destructive capacity. Shocked by his act, Goddess
Parvati strangled his neck and hence managed to stop it in his
neck itself and prevent it from spreading all over the universe,
supposed to be in Shiva's stomach. However the poison was so
potent that it changed the color of his neck to blue.[126][127]
(See Maha Shivaratri.)

Sacred Ganges: (The epithet "Gangadhara") Bearer of

Ganga. Ganges river flows from the matted hair of Shiva.[128]

[129] The Gag (Ganges), one of the major rivers of the country,
is said to have made her abode in Shiva's hair.[130] The flow of
the Ganges also represents the nectar of immortality.

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Tigerskin:
(Theepithet"Krittivasana").Heisoftenshownseateduponatigerskin
,[116] anhonourreservedfor the most accomplished of Hindu
ascetics, the Brahmarishis.[131]

Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva

is often shown garlanded with a snake.[132]
Deer: His holding deer on one hand indicates that He has
removed the Chanchalata of the mind (i.e., attained
maturity and firmness in thought process). A deer jumps from
one place to another swiftly, similar to the mind
moving from one thought to another.
Trident: (Trishula): Shiva's particular weapon is the trident.
[116] His Trisul that is held in His right hand represents

the three Gunas Sattva, Rajas and Tamas. That is the emblem of
sovereignty. He rules the world through these three Gunas. The
Damaru in His left hand represents the Sabda Brahman. It
represents OMfrom which all languages are formed. It is He who
formed the Sanskrit language out of the Damaru sound.
Drum: A small drum shaped like an hourglass is known as a
damaru (amaru).[133][134] This is one of the attributes of
Shiva in his famous dancing representation[135] known as

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Nataraja. A specific hand gesture (mudra)

calledamaru-hasta (Sanskrit for "amaru-hand") is used to hold the

drum.[136] This drum is particularly used as
an emblem by members of the Kplika sect.[137]
Axe: (Parashu):The parashu is the weapon of Lord Shiva who
gave it to Parashurama, sixth Avatar of Vishnu,
whose name means "Rama with the axe" and also taught him its
mastery.
Nand: (The epithet "Nandi Vaahana").Nand, also known as
Nandin, is the name of the bull that serves as Shiva's
mount (Sanskrit: vhana).[138][139] Shiva's association with
cattle is reflected in his name Paupati, orPashupati
(Sanskrit:

),translatedbySharmaas"lordofcattle"[140]andbyKramrischas"
lordofanimals",whonotes
that it is particularly used as an epithet of Rudra.[141] Rishabha
or the bull represents Dharma Devata. Lord Siva rides on the
bull. Bull is his vehicle. This denotes that Lord Siva is the
protector of Dharma, is an embodiment of Dharma or

15

righteousness.
Gaa: The Gaas (Devanagari: ) are attendants of Shiva
and live in Kailash. They are often referred to as the
bhutaganas, or ghostly hosts, on account of their nature.
Generally benign, except when their lord is transgressed against,
they are often invoked to intercede with the lord on behalf of the
devotee. Ganesha was chosen as their leader by Shiva, hence
Ganesha's title gaa-a or gaa-pati, "lord of the gaas".[142]
5 heads: Shiva is known as panchavactra means 5 heads
which indicates 5 elements.
Arms: Shiva has 4 arms which resembles 4 vedas
Mount Kailsa: Mount Kailash in the Himalayas is his
traditional abode.[116] In Hindu mythology, Mount Kailsa is

conceivedasresemblingaLinga,representingthecenteroftheunive
rse.[143]
Varanasi: Varanasi (Benares) is considered to be the city
specially loved by Shiva, and is one of the holiest places
of pilgrimage in India. It is referred to, in religious contexts,as
Kashi.[144] Shiva as Nataraja: The Cosmic Dancer
16

Note: This section was written by Nitin Kumar of Exotic India.

Reprinted here by permission.
Shiva the Hindu god of destruction is also known as Nataraja,
the Lord of Dancers (In Sanskrit, Nata means dance and raja
means Lord). The visual image of Nataraja achieved canonical
form in the bronzes cast under the Chola dynasty in the 10th
century AD, and then continued to be reproduced in metal, stone
and other substances right up to the present times. The Chola
Nataraja is often said to be the supreme statement of Hindu art.
There is an interesting legend behind the conception of Shiva as
Nataraja. In a dense forest in South India, there dwelt multitudes
of heretical sages. Thither proceeded Shiva to confute them,
accompanied by Vishnu disguised as a beautiful woman. The
sages were at first led to violent dispute amongst themselves,
but their anger was soon directed against Shiva, and they
endeavored to destroy him by means of incantations. A fierce
tiger was created in sacrificial fires, and rushed upon him; but
smiling gently, he seized it and, with the nail of his little finger,
stripped off its skin, and wrapped it about himself like a silken
cloth. Undiscouraged by failure, the sages renewed their
offerings, and produced a monstrous serpent, which however
Shiva seized and wreathed about his neck like a garland. Then he
began to dance; but there rushed upon him a last monster in
the shape of a malignant dwarf. Upon him the god pressed the
tip of his foot, and broke the creatures back, so that it writhed
upon the ground; and so, his last foe prostrate, Shiva resumed
the dance.
To understand the concept of Nataraja we have to understand
the idea of dance itself. Like yoga, dance induces trance, ecstasy
and the experience of the divine. In India consequently, dance
17

has flourished side by side with the terrific austerities of the

meditation grove (fasting, absolute introversion etc.). Shiva,
therefore, the arch-yogi of the gods, is necessarily also the
master of the dance.
Shiva Nataraja was first represented thus in a beautiful series of
South Indian bronzes dating from the tenth and twelfth
centuries A.D. In these images, Nataraja dances with his right
foot supported by a crouching figure and his left foot elegantly
raised. A cobra uncoils from his lower right forearm, and the
crescent moon and a
skull are on his crest. He dances within an arch of flames. This
dance is called the Dance of Bliss (anandatandava).

These iconographic details of Nataraja are to be read, according to the

Hindu tradition, in terms of a complex pictorial allegory. The most
common figures depict a four-armed Shiva. These multiple arms
represent the four cardinal directions. Each hand either holds an object or
makes a specific mudra (gesture).
The upper right hand holds a hour-glass drum which is a symbol of
creation. It is beating the pulse of the universe. The drum also provides
the music that accompanies Shivas dance. It represents sound as the first
element in an unfolding universe, for sound is the first and most
pervasive of the elements. The story goes that when Shiva granted the
boon of wisdom to the ignorant Panini (the great Sanskrit grammarian),
18

the sound of the drum encapsulated the whole of Sanskrit grammar. The
first verse of Paninis grammar is in fact called Shiva sutra.
The hour-glass drum also represents the male and female vital principles;
two triangles penetrate each other to form a hexagon. When they part,
the universe also dissolves.
The opposite hand, the upper left, bears on its palm a tongue of flames.
Fire is the element of destruction of the world. According to Hindu
mythology at the end of the world, it will be fire that will be the
instrument of annihilation. Thus in the balance of these two hands is
illustrated a counterpoise of creation and destruction. Sound against
flames, ceaselessness of production against an insatiate appetite of
extermination.
The second right hand is held in the abhaya (literally "without fear") pose
and so a gesture of protection, as an open palm is most likely to be
interpreted. It depicts the god as a protector.
The left leg is raised towards the right leg and reaches across it; the lower
left hand is stretched across the body and points to the upraised left foot
which represents release from the cycle of birth and death. Interestingly,
the hand pointing to the uplifted foot is held in a pose imitative of the
outstretched trunk of an elephant. In Sanskrit this is known as the gajahasta-mudra (the posture of the elephant trunk), and is symbolic of
Ganesha, Shivas son, the Remover of obstacles.
Shiva dances on the body of a dwarf apasmara-purusha (the man of
forgetfulness) who embodies indifference, ignorance and laziness.
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Creation, indeed all creative energy is possible only when the weight of
inertia (the
tamasic darkness of the universe) is overcome and suppressed. The
Nataraja image thus addresses each individual to overcome complacency
and get his or her own act together.
The ring of fire and light, which circumscribes the entire image, identifies
the field of the dance with the entire universe. The lotus pedestal on
which the image rests locates this universe in the heart or consciousness
of each person.
The Nataraja image is also eloquent of the paradox of Eternity and Time.
It shows us that the reposeful ocean and the racing stream are not finally
distinct. This wonderful lesson can be read in the significant contrast of
the incessant, triumphant motion of the swaying limbs to the balance of
the and the immobility of the mask-like countenance. Shiva is Kala,
meaning time, but he is also Maha Kala, meaning Great Time or
eternity. As Nataraja, King of dancers, his gestures, wild and full of grace,
precipitate the cosmic illusion; his flying arms and legs and the swaying
of his torso produce the continuous creation-destruction of the universe,
death exactly balancing birth. The choreography is the whirligig of time.
History and its ruins, the explosion of suns, are flashes from the tireless
swinging sequence of the gestures. In the beautiful cast metal figurines,
not merely a single phase or movement, but the entirety of this cosmic
dance is miraculously rendered. The cyclic rhythm, flowing on and on in
the unstayable, irreversible round of the Mahayugas, or Great Eons, is
marked by the beating and stamping of the Masters heels. But the face
remains, meanwhile in sovereign calm.
20

Steeped in quietude, the enigmatic mask resides above the whirl of the
four resilient arms and cares nothing forthe superb legs as they beat out
the tempo of the world ages. Aloof, in sovereign silence, the mask of
gods eternal essence remains unaffected by the tremendous display of
his own energy, the world and its progress, the flow and the changes of
time. This head, this face, this mask, abides in transcendental isolation, as
a spectator unconcerned. Its smile, bent inward, filled with the bliss of
self-absorption, subtly refutes, with a scarcely hidden irony, the
meaningful gestures of the feet and hands. A tension exists between the
marvel of the dance and the serene tranquillity of this expressively
inexpressive countenance, the tension, that is to say,
of Eternity and Time. The two, invisible and visible, are quintessentially
the same. Man with all the fibers of his native personality clings to the
duality; nevertheless, actually and finally, there is no duality.
Another aspect of Nataraja rich in a similar symbolism is his lengthy and
sensuous hair. The long tresses of his matted hair, usually piled up in a
kind of pyramid, loosen during the triumphant, violent frenzy of his
untiring dance. Expanding, they form two wings, to the right and left, a
kind of halo, broadcasting, as it were, on their magic waves, the
exuberance and sanctity of vegetative, sensuous life.
Supra-normal life-energy, amounting to the power of magic, resides in
such a wildness of hair untouched by the scissors. The conceptualization
here is similar to the legend of Samson who with naked hands tore
asunder the jaws of a lion. His strength was said to reside in his hair.

21

Also central to understanding the symbolism behind Natarajas hair is the

realization that much of womanly charm, the sensual appeal of the
Eternal Feminine, is in the fragrance, the flow and luster of beautiful hair.
On the other hand, anyone renouncing the generative forces of the
vegetable-animal realm, revolting against the procreative principle of
life, sex, earth, and nature, and entering upon the spiritual path of
absolute asceticism, has first to be shaved. He must simulate the sterility
of an old man whose hairs have fallen and who no longer constitutes a
link in the chain of generation. He must coldly sacrifice the foliage of the
head.
The tonsure of the Christian priest and monk is a sign of this renunciation
of the flesh. (Clergymen of denominations in which marriage is not
considered incompatible with the saintly office do not wear a tonsure.)
These Worthy Ones, representing the victory of yoga-spirituality, have
overcome all seduction by their taking of the monastic vows and
following of the ascetic formula. With their voluntary baldness they have
broken through to the peace beyond the seasons of growth and change.
Thus by donning long, luxurious hair, Shiva dispels the notion of the
conventional ascetic and reiterates that the image of Nataraja assimilates
and harmonizes within itself apparently contradictory and conflicting
aspects.
Shiva is thus two opposite things: archetypal ascetic and archetypal
dancer. On the one hand he is total tranquillity-inward calm absorbed in
itself, absorbed in the void of the Absolute, where all distinctions merge

22

and dissolve, and all tensions are at rest. But on the other hand he is total
activity- lifes energy, frantic, aimless and playful.
The Nataraja image represents not simply some event in the mythic life
of a local deity but a universal view in which the forces of nature and the
aspirations and limitation of man confront each other and are blended
together. The curator of the Indian collection of the Metropolitan
Museum of Art has rightly written that: "If one had to select a single icon
to represent the extraordinarily rich and complex cultural heritage of
India, the Shiva Nataraja might well be the most remunerative
candidate."
1) Rudra (Sanskrit: ) is a Rigvedic god of the storm, the wind, and the
hunt. The name has been translated as "Roarer", "Howler", "Wild One",
and "Terrible".
Rudra is thought to be an early form of Shiva. By the time that the
Ramayana was written, the name Rudra is taken as a synonym for Shiva
and the two names are used interchangeably.
2) Mahamritunjaya Mantra:
This Mahamritunjaya mantra is from Rig Veda (7-59-12), from Sukla Yajur
Veda (3-60) and also from The Krishna Yajur Veda (Taittiriya Samhita)
1.8.6.i.
"
"
23

'OM. Tryambakam yajamahe Sugandhim pushti-vardhanam

Urvarukamiva bandhanan Mrityor mukshiya mamritat'
'OM. We worship and adore you, O three-eyed one, O Shiva. You are
sweet gladness, the fragrance of life, who nourishes us, restores our
health, and causes us to thrive. As, in due time, the stem of the cucumber
weakens, and the gourd if freed from the vine, so free us from attachment
and death, and do not withhold immortality.'
3) Rig Veda:
The earliest mentions of Rudra occur in the Rig Veda, where three entire
hymns are devoted to him. There are about seventy-five references to
Rudra in the Rig Veda overall. In the Rig Veda Rudra's role as a
frightening god is apparent in references to him as ghora ("terrible"), or
simply as asau devam ("that god"). He is "fierce like a formidable wild
beast" (RV 2.33.11).
RV 1.114 is an appeal to Rudra for mercy, where he is referred to as
"mighty Rudra, the god with braided hair." In Rig Veda 7.46, Rudra is
described as armed with a bow and fast-flying arrows.
ThehymnsaysRudradischarges"brilliant
shaftswhichrunabouttheheavenandtheearth"(RV7.46.3),whichmaybea
reference to the destructive power of lightning.
Rudra was believed to cause disease, and when people recovered from
them or were free of them, that too was attributed to the agency of Rudra.
He is asked not to afflict children with disease (RV 7.46.2)
24

To keep villages free of illness is at RV 1.114.1.

He is said to have healing remedies (RV 1.43.4),
As the best physician of physicians is at RV 2.33.4, As possessed of a
thousand medicines is at RV 7.46.3. Rig Veda 7.40.5:
Rudra is mentioned along with a litany of other deities in Rig Veda
7.40.5. Here is the reference to Rudra, whose name appears as one of
many gods who are called upon:
This Varuna, the leader of the rite, and the royal Mitra and Aryaman,
uphold my acts, and the divine unopposed Aditi, earnestly invoked: may
they convey us safe beyond evil. I propitiate with oblations the
ramifications (vayh) of that divine attainable Vishnu, the showerer of
benefits. Rudra, bestow upon us the magnificence of his nature. The
Avins have come down to our dwelling abounding with (sacrificial) food.
Rig Veda 6.49.10:
The RV 6.49.10 calls Rudra as " The Father of the Universe". (bhuvanasya
pitarah)
|
||
bhuvanasya pitaram ghrbhirbh rudram div vardhay rudramaktau |
brhantam rshvamajaram sushmnam rdhagh ghuvema kavineshits
'Rudra by day, Rudra at night we honour with these our songs, the
Universe's Father. Him great and lofty, blissful, undecaying let us call
specially as the Sage impels us '
25

Rig Veda 2.33.9:

The RV 2.33.9 calls Rudra as "The Lord or Sovereign of the
Universe" (ndasya bhuvanasya)

sthirebhiranghaih pururpa ughro babhruh ukrebhih pipiehiranyaih |

ndasya bhuvanasya bhrerna v u yoshad rudrdasuryam ||
'With firm limbs, multiform, the strong, the tawny adorns himself with
bright gold decorations:
The strength of Godhead never departs from Rudra, him who is
Sovereign of this world, the mighty.'
4) Yajur Veda:
In the various recensions of the Yajur Veda is included a litany of stanzas
praising Rudra: (Maitryan-Samhit 2.9.2, Kthaka-Samhit 17.11,
Taittirya-Samhit 4.5.1, and Vjasaneyi-Samhit 16.114). This litany is
subsequently referred to variously as the atarudriyam, the Namakam
(because many of the verses c ommence with the word namah
[`homage`]), or simply the Rudram. This litany was recited during the
agnicayana ritual ("the piling of Agni"), and it later became a standard
element in Rudra liturgy.
5) Atharva Veda:
A selection of these stanzas, augmented with others, is included in the
Paippalda-Samhit (PS)of the Atharva Veda (PS 14.34). This selection,
26

with further additions PS at the end, circulated more widely as the

Nlarudram (or Nlarudra Upanishad).

27

shiva-ashtottarashata-namavali
1
Om Shivaya Namaha Obeisances to the Auspicious One
2
Om Maheshvaraya Namaha Obeisances to the Great
God Shiva
3
Om Shambhave Namaha
Obeisances to the God
who exists for our happiness alone
4
Om Pinakine Namaha
Obeisances to Shiva, who
guards the path of dharma
5
Om Shashishekharaya Namaha
Obeisances to the
God who wears the crescent moon in his hair
6
Om Vamadevaya Namaha Obeisances to the God
who is pleasing and auspicious in every way
7
Om Virupakshaya Namaha Obeisances to the God of
spotless form
8
Om Kapardine Namaha
Obeisances to the Lord
with thickly matted hair
9
Om Nilalohitaya Namaha Obeisances to the God
splendid as the red sun at daybreak
10
Om Shankaraya Namaha
Obeisances to the source
of all prosperity
11
Om Shulapanaye Namaha Obeisances to the God
who carries a spear
28

12
Om Khatvangine Namaha Obeisances to the God
who carries a knurled club
13
Om Vishnuvallabhaya Namaha
Obeisances to
Shiva, who is dear to Lord Vishnu
14
Om Shipivishtaya Namaha Obeisances to the Lord
whose form emits great rays of light
15
Om Ambikanathaya Namaha Obeisances to Ambika's
Lord
16
Om Shrikantaya Namaha
Obeisances to he whose
throat is shining blue
17
Om Bhaktavatsalaya Namaha
Obeisances to the
Lord who loves His devotees like new born calves
18
Om Bhavaya Namaha Obeisances to the God who is
existence itself
19
Om Sarvaya Namaha Obeisances to Shiva who is all
20
Om Trilokeshaya Namaha Obeisances to Shiva who is
the Lord of all the three worlds
21
Om Shitakanthaya Namaha Obeisances to the primal
soul whose throat is deep blue
22
Om Shivapriyaya Namaha Obeisances to the god who
is dear to Shakti
23
Om Ugraya Namaha Obeisances to Shiva whose
presence is awesome and overwhelming
24
Om Kapaline Namaha
Obeisances to the God
whose begging bowl is a human skull

29

25
Om Kamaraye Namaha
Obeisances to Shiva who
conquers all passions
26
Om Andhakasura Sudanaya Namaha
Obeisances
to the Lord who killed the asura Andhaka
27
Om Gangadharaya Namaha Obeisances to the God
who holds the Ganges River in his hair
28
Om Lalatakshaya Namaha Obeisances to the Lord
whose sport is creation
29
Om Kalakalaya Namaha
Obeisances to Shiva who is
the death of death
30
Om Kripanidhaye Namaha Obeisances to the God
who is the treasure of compassion
31
Om Bhimaya Namaha
Obeisances to Shiva whose
strength is awesome
32
Om Parashu Hastaya Namaha
Obeisances to the
God who wields an axe in his hands
33
Om Mrigapanayae Namaha Obeisances to the Lord
who looks after the soul in the wilderness
34
Om Jatadharaya Namaha Obeisances to Shiva who
bears a mass of matted hair
35
Om Kailasavasine Namaha Obeisances to the God
who abides on Mount Kailas
36
Om Kavachine Namaha
Obeisances to the Lord
who is wrapped in armor
37
Om Kathoraya Namaha
Obeisances to Shiva who
causes all growth
30

38
Om Tripurantakaya Namaha Obeisances to the Lord
who destroyed the three demonic cities
39
Om Vrishankaya Namaha Obeisances to the God
whose emblem is a bull (Nandi)
40
Om Vrishabharudhaya Namaha
Obeisances to
Shiva who rides a bull
41
Om Bhasmoddhulita Vigrahaya Namaha Obeisances
to the Lord covered with holy ash
42
Om Samapriyaya Namaha Obeisances to the God
exceedingly fond of hymns from the Sama Veda
43
Om Svaramayaya Namaha Obeisances to Shiva who
creates through sound
44
Om Trayimurtaye Namaha Obeisances to the Lord
who is worshiped in three forms
45
Om Anishvaraya Namaha Obeisances to the
undisputed Lord
46
Om Sarvagyaya Namaha
Obeisances to the God
who knows all things
47
Om Paramatmane Namaha Obeisances to the
Supreme Self
48
Om Somasuragni Lochanaya Namaha
Obeisances
to the light of the eyes of Soma, Surya and Agni
49
Om Havishe Namaha Obeisances to Shiva who receives
oblations of ghee
50
Om Yagyamayaya Namaha Obeisances to the architect
of all sacrificial rites
31

51
Om Somaya Namaha Obeisances to the Moon-glow of
the mystic's vision
52
Om Panchavaktraya Namaha Obeisances to the God of
the five activities
53
Om Sadashivaya Namaha Obeisances to the
eternally auspicious benevolent Shiva
54
Om Vishveshvaraya Namaha Obeisances to the allpervading ruler of the cosmos
55
Om Virabhadraya Namaha Obeisances to Shiva the
foremost of heroes
56
Om Gananathaya Namaha Obeisances to the God of
the Ganas
57
Om Prajapataye Namaha
Obeisances to the Creator
58
Om Hiranyaretase Namaha Obeisances to the God
who emanates golden souls
59
Om Durdharshaya Namaha Obeisances to the
unconquerable being
60
Om Girishaya Namaha
Obeisances to the
monarch of the holy mountain Kailas
61
Om Girishaya Namaha
Obeisances to the Lord of
the Himalayas
62
Om Anaghaya Namaha
Obeisances to Shiva who
can inspire no fear
63
Om Bujangabhushanaya Namaha Obeisances to the
Lord adorned with golden snakes

32

64
Om Bhargaya Namaha
Obeisances to the
foremost of rishis
65
Om Giridhanvane Namaha Obeisances to the God
whose weapon is a mountain
66
Om Giripriyaya Namaha
Obeisances to the Lord
who is fond of mountains
67
Om Krittivasase Namaha
Obeisances to the God
who wears clothes of hide
68
Om Purarataye Namaha
Obeisances to the Lord
who is thoroughly at home in the wilderness
69
Om Bhagavate Namaha
Obeisances to the Lord of
prosperity
70
Om Pramathadhipaya Namaha
Obeisances to the
God who is served by goblins
71
Om Mritunjayaya Namaha Obeisances to the
conqueror of death
72
Om Sukshmatanave Namaha
Obeisances to the
subtlest of the subtle
73
Om Jagadvyapine Namaha Obeisances to Shiva who
fills the whole world
74
Om Jagadgurave Namaha Obeisances to the guru of
all the worlds
75
Om Vyomakeshaya Namaha Obeisances to the God
whose hair is the spreading sky above
76
Om Mahasenajanakaya Namaha
Obeisances to the
origin of Mahasena
33

77
Om Charuvikramaya Namaha Obeisances to Shiva, the
guardian of wandering pilgrims
78
Om Rudraya Namaha Obeisances to the Lord who is fit
to be praised
79
Om Bhutapataye Namaha Obeisances to the source
of living creatures, including the Bhutas, or ghostly creatures
80
Om Sthanave Namaha
Obeisances to the firm and
immovable deity
81
Om Ahirbudhnyaya Namaha Obeisances to the Lord
who waits for the sleeping kundalini
82
Om Digambaraya Namaha Obeisances to Shiva whose
robes is the cosmos
83
Om Ashtamurtaye Namaha Obeisances to the Lord
who has eight forms
84
Om Anekatmane Namaha Obeisances to the God
who is the one soul
85
Om Satvikaya Namaha
Obeisances to the Lord of
boundless energy
86
Om Shuddha Vigrahaya Namaha Obeisances to him
who is free of all doubt and dissension
87
Om Shashvataya Namaha Obeisances to Shiva,
endless and eternal
88
Om Khandaparashave Namaha
Obeisances to the
God who cuts through the mind's despair
89
Om Ajaya Namaha Obeisances to the instigator of all
that occurs
34

90
Om Papavimochakaya Namaha
Obeisances to the
Lord who releases all fetters
91
Om Mridaya Namaha Obeisances to the Lord who shows
only mercy
92
Om Pashupataye Namaha Obeisances to the ruler of
all evolving souls, the animals
93
Om Devaya Namaha Obeisances to the foremost of
devas, demigods
94
Om Mahadevaya Namaha Obeisances to the greatest
of the gods
95
Om Avyayaya Namaha
Obeisances to the one
never subject to change
96
Om Haraye Namaha Obeisances to Shiva who dissolves
all bondage
97
Om Pashudantabhide Namaha
Obeisances to the
one who punished Pushan
98
Om Avyagraya Namaha
Obeisances to the Lord
who is steady and unwavering
99
Om Dakshadhvaraharaya Namaha Obeisances to the
destroyer of Daksha's conceited sacrifice
100 Om Haraya Namaha Obeisances to the Lord who
withdraws the cosmos
101 Om Bhaganetrabhide Namaha
Obeisances to
Shiva who taught Bhaga to see more clearly
102 Om Avyaktaya Namaha
Obeisances to Shiva who is
subtle and unseen
35

103 Om Sahasrakshaya Namaha Obeisances to the Lord of

limitless forms
104 Om Sahasrapade Namaha Obeisances to the God
who is standing and walking everywhere
105 Om Apavargapradaya Namaha
Obeisances to the
Lord who gives and takes all things
106 Om Anantaya Namaha
Obeisances to the God
who is unending
107 Om Tarakaya Namaha
Obeisances to the great
liberator of mankind
108 Om Parameshvaraya Namaha
Obeisances to the
great God

36