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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, Shiva’sprimary 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 withoutShakti 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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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 greatriver 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 â"œdeathâ" 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 snakelooking in the right direction of Lord Shiva signifies that the Lord!s

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.

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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 tomaintain 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 heardduring 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 Shiva!s 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 beingendowed 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 allforms 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 allgraciousness, 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 Ardha-

Nariswara 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, removesignorance, 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.Thehalf-

openeyesconveytheideathatcreationisgoingthroughcyclicprocess,withnobeginning 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 garlandof 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(K$ma)toashes,[103] called"Tryambakam"(Sanskrit: य  

 बकम)्,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 Ambik$s.[108] Other related translationshave 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 Shivaloses his temper, his third eye opens which can reduce most things to

ashes.

!  Crescentmoon:(Theepithets"Chandrasekhara/ 

Chandramouli")-Shivabearsonhisheadthecrescentmoon.[110]

The epithet Candra%ekhara (Sanskrit: च   रशख े र  "Having the11

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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 iconographicfeature 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: %ma%$nav$sin, 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 Ja&in, "the

one with matted hair",[120]

and Kapardin, "endowed withmatted 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 N ' laka(tha (Sanskrit नीलक   ठ ; n ' la

= "blue", ka(tha = "throat").[124][125] Since Shiva drankthe 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 hisneck 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 Ga)g$ (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 Hinduascetics, 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)

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

drum.[136] This drum is particularly used as

an emblem by members of the K$p$lika 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 asNandin, is the name of the bull that serves as Shiva's

mount (Sanskrit: v$hana).[138][139] Shiva's association withcattle is reflected in his name Pa%upati, orPashupati

(Sanskrit: पशप     ुि त ),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

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righteousness.

!  Ga(a: The Ga(as (Devanagari: गण ) are attendants of Shivaand 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 ga(a- '%a or ga(a-pati, "lord of the ga(as".[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 Kail$sa: Mount Kailash in the Himalayas is his

traditional abode.[116] In Hindu mythology, Mount Kail$sa isconceivedasresemblingaLinga,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

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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 asNataraja. 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 inthe shape of a malignant dwarf. Upon him the god pressed the

tip of his foot, and broke the creature’s 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

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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 askull 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 Shiva’s 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),

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the sound of the drum encapsulated the whole of Sanskrit grammar. The

first verse of Panini’s 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 theinstrument 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 theoutstretched trunk of an elephant. In Sanskrit this is known as the ’gaja-

hasta-mudra’ (the posture of the elephant trunk), and is symbolic of

Ganesha, Shiva’s 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 consciousnessof 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 Master’s heels. But the face

remains, meanwhile in sovereign calm.

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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 ofgod’s 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.

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Also central to understanding the symbolism behind Nataraja’s 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 andfollowing 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

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and dissolve, and all tensions are at rest. But on the other hand he is total

activity- life’s 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 remunerativecandidate."

1) Rudra (Sanskrit: रः) is a Rigvedic god of the storm, the wind, and thehunt. 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 YajurVeda (3-60) and also from The Krishna Yajur Veda (Taittiriya Samhita)

1.8.6.i.

" ◌यय   बक◌ं  यजामह  सग     ु न   ध ं पन     ु टवधयनम  

 उवाय   कममवब   धनानम   योमय  ◌   ु  ◌ीयमा   ◌ा◌"

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'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"brilliantshaftswhichrunabouttheheavenandtheearth"(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)

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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 athousand 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 (vay$h) of that divine attainable Vishnu, the showerer of

benefits. Rudra, bestow upon us the magnificence of his nature. The

A%vins 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)

 भव     ु न   यिपपरं गीमभयराभी   रं दवावधयया   रम   ◌ौ | बहय   ◌◌ं रटवमजरं सष     ु◌   ु   नं रधगघव     ु◌   ेमकपवने िपषासः||

bhuvanasya pitaram gh ' rbhir$bh '  rudram div$ vardhay$ rudramaktau |

brhantam rshvamajaram sushmnam rdhagh ghuvema kavineshit$s

'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 '

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Rig Veda 2.33.9: 

The RV 2.33.9 calls Rudra as "The Lord or Sovereign of the

Universe" ( '%$

n$

dasya bhuvanasya)

sthirebhiranghaih purur+pa ughro babhruh %ukrebhih pipi%ehiranyaih |

 '%$n$dasya bhuvanasya bh+rerna v$ u yoshad rudr$dasuryam ||

'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 stanzaspraising Rudra: (Maitr$yan ' -Samhit$ 2.9.2, K$thaka-Samhit$ 17.11,

Taittir ' ya-Samhit$ 4.5.1, and V$ jasaneyi-Samhit$ 16.1–14). 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 standardelement in Rudra liturgy.

5) Atharva Veda:

A selection of these stanzas, augmented with others, is included in the

Paippal$da-Samhit$ (PS)of the Atharva Veda (PS 14.3—4). This selection,

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

N ' larudram (or N ' larudra Upanishad).

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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 Godwho 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 Godwho 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 Godsplendid 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 

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12 Om Khatvangine Namaha  Obeisances to the God

who carries a knurled club 

13 Om Vishnuvallabhaya Namaha 

Obeisances toShiva, 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 whosethroat 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 

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25 Om Kamaraye Namaha  Obeisances to Shiva who

conquers all passions 

26 Om Andhakasura Sudanaya Namaha 

Obeisancesto 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 isthe 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 theGod 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 

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38 Om Tripurantakaya Namaha  Obeisances to the Lord

who destroyed the three demonic cities 

39 Om Vrishankaya Namaha 

Obeisances to the Godwhose 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 Godexceedingly 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 theundisputed 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 

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51 Om Somaya Namaha  Obeisances to the Moon-glow of

the mystic's vision 

52 Om Panchavaktraya Namaha 

Obeisances to the God ofthe five activities

 

53 Om Sadashivaya Namaha  Obeisances to the

eternally auspicious benevolent Shiva 

54 Om Vishveshvaraya Namaha  Obeisances to the all-

pervading ruler of the cosmos 

55 Om Virabhadraya Namaha 

Obeisances to Shiva theforemost 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 

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64 Om Bhargaya Namaha  Obeisances to the

foremost of rishis 

65 Om Giridhanvane Namaha 

Obeisances to the Godwhose 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 Lordwho 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 theconqueror 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 

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77 Om Charuvikramaya Namaha 

Obeisances to Shiva, the

guardian of wandering pilgrims 

78 Om Rudraya Namaha 

Obeisances to the Lord who is fitto 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 Lordwho 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 Godwho 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 

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90 Om Papavimochakaya Namaha  Obeisances to the

Lord who releases all fetters 

91 Om Mridaya Namaha 

Obeisances to the Lord who showsonly 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 greatestof 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 theone 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 

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103 Om Sahasrakshaya Namaha  Obeisances to the Lord of

limitless forms

104 Om Sahasrapade Namaha 

Obeisances to the Godwho 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 greatliberator of mankind 

108 Om Parameshvaraya Namaha  Obeisances to the

great God