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The Supremacy of Lord Siva in Isanasivagurudeva-paddhati - A resume鈥擮n the strength of appropriate examples and by refusing and disapproving contrary views through cogent and rational argumentation, the author, Isanasivaguru, establishes beyond the shadow of a doubt, the unquestionable importance and supremacy of Saivagama philosophy and hence of Lord Siva in the most erudite and grandest manner possible. This is done through the first Patala of Kriyapada The Patala begins with the customary Mangalacarana to invoke and propitiate Sivasaktyadidevatas. The Slokas that follow immediately extol the supreme importance and power of Saivagamas and Lord Siva by emphasizing Sivasadbhava and Agamapramanyatattvamatrka. Numerous relevant and authentic philosophical works are quoted and 164

subjected to comparison, questioning their rationale where necessary, while accepting them; wherever he can, the author substantiates with clarity his own philosophic convictions. The chief Dharma of a Sadhaka is, and ought to be, the realization of the 'Citt' .The consciousness of Dharma (citt), earned by concrete as well as abstract means through Bhoga and Moksa, is Bodha, what is none other than Paramesvara (Supreme Power) 9 Vaisesikadisastras are, in fact, meant to be the media for the proper understanding of what this Dharma means. The benefit (not in a worldly sense) that the Dharma grants through Bhoga and Moksa is spiritual salvation which again is realization of Siva. Although the importance of Dharma is duly emphasized in innumerable Agamas, they do not constitute real and proper Dharma. The Dharma, handed down directly by Lord Siva and forming the essence of Saivagamas, alone are the important Dharma. 10 The highest and most sublime knowledge is, no doubt, the one that emanates from Siva, the one who transcends the state of Avidya (Avidyavikarahina), the most pure (Malarahita) cause and effect of everything. He is beyond the power of Maya. 'mayavikarahinena visuddhenamalatmana | sarvakarta sivenoktam sastram mukhyam hi sarvatha | | " 165

Subsequently it is stated that Siva is the Creator, preserver and destroyer. He presides over the Tattvadis, ranging from the abstract Mayatattva to Prthvitattva, which permeates the universe (Viswa). In the Kriyapada SI.8, the author further expands and explains the above idea. If the 'Jagat' (Universe) is constituted of material or concrete things present to the senses, a working and intelligent being must have caused its creation-a creation pre-supposes a creator-in exactly the same way as a pot (Ghata) is shaped or a cloth (Pata) is woven by a potter or a weaver. jagat savayavam hyetat buddhimatkartrkam smrtam | karyatvad yadyadevam syat tatha ghatapatadikam | | 12 The author proclaims that Siva, since He is the causative power of existence of everything, and holding supremacy over all Gods (Devas), is unquestionably the Vilaksanadeva-possessing all the special attributes and greatness of God. Siva endures as the Be-All (Adi) the End-All (Anadi) of everything while remaining ever pure and unique among the Devas, and hence his sobriquet 'Vilaksana'13 How does this Vilaksanata, that is beyond even the collective grasp of Yogis, Siddas and Agamas, possible? To explain it further, the author says that the Devatas other than Siva can give us protection from the Amangala only to a limited measure. But Siva in his unlimited greatness can remove every kind of 'Mala' ('Mala' to another form of 'Ajnana', and hence, in a sense the attachment to, or and the wrong 166

consumption of, anything is its basic feature) like the 'Kayika', the 'Anavika' and the 'Vacika' and remain glorious 'Nirmala'. For example, Kiranagama says that the comparative superiority of gold with copper is a fait accompli. tattadvilaksanam tebhyah svarnam tamradikadyatha | tatha coktam prasiddham syadatroktam kirane / pi ca | | 14 Siva is untouched and unaffected by Anadimala, He continues His enduring reign as the eternally pure-the Vilaksana. The author then refers to the famous Kashmiri Saivagama scholar, Ramakantacarya's words extolling the glory of Siva in support of his own Siddhanta. According to Ramakantacarya Siva is omniscient (Sarvajna), the pure and the ultimate cause of everything, while the soul (Jivatma) is ignorant (Ajna), not the cause of anything (Vikarta), and impure (Asuddha). Through the perfect and harmonious blending of Siva and Jivatma, the Ajna becomes the Jnani, the Vikarta becomes the Karta and the Asuddha becomes the Suddha the Atma thereby merging with the Sivasvaroopa. According to another Saivite acarya, Mallimbita, Siva is the one and only Supreme Vilaksana and all other souls, in one way or other, are affected by impurities. Since this Siva is Nirmala and Suddha He stands out as Vilaksana among other Gods and His power continues to pour forth. 167

If Siva remains Vilaksana, ought not the Avaranadevatas (Vidyesvaradis) seated around Him and imbued with Saivam'sa, naturally possess Vilaksanata and Nirmalata too? What is the point in saying that Siva is Vilaksana, if those who bear Saivamsa are considered impure? The author answers questions of this nature that are apt to crop up in logical minds. Prior to Nirvanadiksa, everyone is impure (Malina). Having undergone Mantradiksa, every Diksarthi, vested with a distinct Saivate identity, in course of time, having sought and got attainment of Jnanamarga with help from preceptors, and through the consistent practice of Anustanas, and above all with the benediction of Siva, attains Sivatva, through total communion with Siva, and himself becomes Vilaksana. Besides, since Siva is Anadisiddha and is free to bless anyone at His will, He continues His sway with added Vilaksanata. The idea is explained by the author in the following lines: diksottaram hyamalata sivatvavyaktireva ca | sivanugrahasvesam sivatvam hyadimat smrtam || sivastvanadisiddhena sivatvenaparananun | anugrhnan svatantrasca syat tebhyo /pi vilaksanah | | 15 Following the above, the author argumentatively questions the validity of the Advaita philosophy and himself provides the answers. The Advaitiks hold that Devas are Atmas (human souls) and that Atmas 168

are Devas, and that there is no difference between the two. The author raises the hypothetical argument that there ought to be something, a third factor, between the two that are one and the same which, therefore, cancels out the state of duality. The very duality is thus questioned. Logic warrants the existence of a third factor and when that is granted, the very concept of Advaita loses its foundation and neither I nor Siva has any claim to existence! There is, then, none to bless and none to receive blessing which, again, is beyond the realm of possibility. There can be no boundary for a village that just doesn't exist. The author finds answers to all these questions-'Karma'is 'Ksanika' (fleeting) and it is 'Acetana' (soulless). The karma of a 'Buddhiheena'and the 'karmaphala' emanating from it can never attain sublimity! For example, a buddhiheena among Brahmins virtually ceases to be a Brahmin and can never aspire to attain 'Mukti' or 'Moksa'. Brahmaprapti or realization of Brahman comes through the intelligent practice of 'Svadharma'. In other words, Svadharma inevitably consists in the pursuit of the Supreme with Buddhi armed with 'Nityanaimittika vastuviveka'. This is the one and only means for attaining Brahman. However deeply one studies and masters Srutvadisastras, it is nothing more than mere acquisition of knowledge and not sufficient enough to guarantee Brahmaprapti. Karma and Phalasiddhi are possible only through wisdom and not through knowledge which, at best, can be another term for a vast fund of information. 169

Moreover, the author underlines the fact that the way to attain wisdom is the of proper comprehension and conception of the Siva embodied in Pratyaksa, Anumana, and Agama methods-Sivasakti is the one and only Sakti (power). To further elucidate the point, the author quotes and compares all the Indian philosophies (Darsanas) including the Bouddhadarsanas. The author is highly critical of the atheistic argumentations of some of these Darsanas and exhorts scrupulous avoidance of their ideas and adherance to the theist pursuits which must be their strength in their quest for the realization of the Supreme Being (Siva). The author then goes on to establish the credibility and authenticity of Agamatattvas. The Agamas, classified into Para and Apara have sprung directly from the mouth of the Lord Himself. In order to substantiate the above, the author quotes from the relevant Agama excerpts of Svayambhuvatantra and Kiranagama as well as the words of Acarya Sadyojata and scholars. Bearing the title 'Sivajnanabheda' the'para'classification encompasses 28 Agamas. The first ten among them are called Kamikagamas and the rest 18 are Vijayagamas. Under second group called 'Apara', there are 14 Agamas. The Mantras of the first 10 among them are quote from Rgveda and the next 4 include Mimamsa Mantras. The 14-fold apara path is also known as 'Pasujnanabheda' 170

The Lord in His abstract state dons the role of Vidya and materializes into Mantravidya and brings forth Sabda directly from His mouth through the medium of Akasa which itself has all the attributes of Sabda. sa sivah svamukhodbhutairagamaistu paraparaih | anugrhnati hi jagat bhogamoksaprasiddhaye | | 18 It, therefore, becomes patent that Siva is undoubtedly the source of both Para and Apara. On the strength of the authority of Svayambhuva and quoting from it, the author explains Pasupata, Vatula and Somatantra. punah svecchavataresu tantram pasupatam tatha| vatulam somatantram ca jagad paramesvarah || 17 The second classification 'Apara'that incorporates Rg, Yajus and Samaveda Mantras, is then explained by the author. The abovesaid Vidyas are further subdivided to facilitate their explanation in exactly the same way as Vedas, Samhitas and Sastras fall into minute divisions. True to the character and as part of the process of the reasoning, the author again questions the authority of the Vedas. He is aware of the reluctance on the part of some scholars to wholeheartedly accept the direct origin of the Vedas from Lord Siva's Vaktra. At the same time, 171

logic demands that they must have originated from an intelligent and credible source. If not, they will remain beyond the domain of acceptability. It is precisely for this reason-to gain acceptability-that the Vedas and Samhitas are believed to have sprung from Lord Siva Himself. atra kecid vedanamudbhavam sivavaktratah | 18 For the above assertion, the author is indebted to the ideas expressed in Svayambhuvatantra as also the Smrtis and Puranas. As narrated in SP, the author explains in detail the 16 Svaras and their origins; 35 Vyanjanas, their origin; the Akara, Akara and Vyanjanadisvaras (Hal) that constitute the Bijamantra in that order under the head, Tattvamatrkadhikara. What follows is the elaboration by the author of the 36 renowned Saivagamatattvas, the meanings (explicit as well as implicit) of Tattvasabda which outlines Samaya and Kala, its many definitions and associated ideas. The first of these definitions is coined by the Acarya himself and the rest are quoted from Tattvasiddhi and Tattvaprakasika. In Tattvamatrkadhikara, the author explains how Mahadeva, in total communion and identification with Sakti, created Visva and Agamas, comparable to the waning of the moon and its waxing to fullness and 172

glory. The primary Unmesa (Tatparya) of the Lord in creation was itself to shower blessings on both the Sacit and the Acit and hence the Saktitattva of the Lord remained as Siva and Sakti merged and fused into one. 19 The Acarya then exemplifies his ideas quoting from such authentic works as Ratnatraya and Tattvaprakasa: when one does something very important that ought to be done, one is sometimes forced into doing something that ought not to be done along with it unwillingly. Undesirable as such a situation is, the way out is the concerted and concentrated application of Sakti without which all efforts will be rendered futile. Here it is Icchasakti that gets converted into Kriyasakti and evolves finally into Jnanasakti. Sakti is, thus, the ultimate attribute of Siva which also represents Srsti, Sthiti and Samhara. 20 While Himself remaining Aroopi, He embodies these powers as a shield for the protection of the universe (Brahmanda). As the unique possessor of the triple attributes of Iccha, Jnana and Kriya, Lord Siva reigns supreme as the singular authority for Nigraha and Anugraha of everything in the universe. Under the inherent persuasion (Unmesa) of Iccha, He does everything with Kriyasakti. Whenever the Samya (harmony) between Jnanasakti and Kriyasakti causes the activation or ignition of the latent Kundalini power (Prasarana) in a Sadhaka, and he realizes that power, 173

he is deemed to have attained the state of 'Sivam'. 21 jnanasaktisca vijneya tattatkaryapravartanat | icchaya prerito isah kriyaya kurute / khilam || jnanasaktya vijanati sa ca kundalini mata | samyajnanakriyasakteh prasare yah sivatmakah | | 22 Once the Vidyadeha receives this Sivatmakatattva, it attains a lower level Sadasivatattva. This idea gets explained in Pujavidhi (Tattvanyasa). It is Kriyasakti that dominates Tsvaratattva. It is specifically stated that Isvaratattva contains Kriyasakti in abundance and Jnanasakti to a much lesser measure. It is this very dominance of Kriyasakti which constitutes the Nimittakarana of Srsti in a manner that bears exact resemblance to the way a potter (Kusava) is the Nimittakarana to the creation of a pot (Ghata) . 'nimittakaranam srstherisvarakhyam kriyadhikam | yatha ghatighatadinam kulalah sampravartakah | | 23 Next, the author speaks about that Suddhavidyatattva. Here, Jnanasakti predominates and Kriyasakti plays by a subordinate role, the purpose of Suddhavidya being 'Jnanaprakasa' (revelation of knowledge) kriyasaktiryada svalpa jnanasaktistathadhika | suddhavidyakhyatatvam tajnanarupaprakasakam | | 24 Where Vidyatattva softens and purifies the Bindu and the 174

Nada, and seeks its abode in Siva, there dwell the Devatas like Srikanta, Ananta, and Vidyesvara; 25 as well as Vidyas and Mantras which shine and sparkle like the uncountable waves of the sea. 26 In this way, there originated from Him 8 Vidyesatattvas and Saptakotimahamantras (Mahamantras numbering seven crores) which He sanctifies with His blessing. After explaining the manifold aspects of Maya, the author, by way of exemplification, states that just as there can be no magic without a magician, there is no Maya without a 'Mayavi'. What follows is the enumeration and elucidation of the five related Tattvas of Maya, like, Kala, Raga, Vidya, Kala, and Niyati, which originates from Maya. Each of the five Tattvas is explained in detail. 1. 2. 3. 4. Kala- (time or determinant of when, limitation in regard to duration) Niyati - (limitation in regard to presence, the determinant of where) Raga (limitation in regard to attachment or interest, leading to necessity of attending to one at a time) Vidya - limited knowledge (Jnanam Bandha-Siva Sutra,12) 5. Kala- the power of limited creation or activity. 175

The above enumeration of subjective limitation 1 to 5, is after Utpala in his 'Isvara Pratybhijna Vritti'; others enumerate them in the following order such as- Kala, Vidya, Raga, Kala and Niyati. 6. Maya - the generally limiting, self-forgetting and differentiating power. Maya is also sometimes included in the Kancukas which are then connected as six.27 The next set of subjects the author delineates are Svaras and Vyanjanas and their related Abhyantara-Bahyaprayatnas and their points of origin. He also explains Mantras that embody these Svaraksaramatrkas. They originate from 'Sakti' and transform themselves through a series of stages like Bindu, Nada and Rava. Of these Bindu renders itself to four different states like Suksma, Pasyanti, Madhyama and Vaikhari, which trace their origin to the Kundalini power. The sixteen Svaras that emerge from Saktibijas are known as Kalas. The Vyanjanas that follow are limited to fifty and are described assigning them specific status in keeping with the roles they play in the composition of the Mantras. The Devatatattvas that each of these represens are also described in all their intricate details. The first Patala of Kriyapada comes to a close with a Sloka, reaffirming the importance of the Saivagamas on the one hand and with a stronger and more emphatic 176

assertion of the 'Astittva'of Lord Siva on the other. mukhye sreyasi bhogameksaphalado visvasya karta sudhih svasyodirnaparaparagamaparajnananusantaranah| yo /nadivimalo vilaksanatayanyesyah svatantro vibhu zardduinafafu: a fagai daza R&: R 19:112陋 The exalted and permanent pedestal on which Lord Siva has been installed as the Supreme among the Gods through the glorifying compositions of great poets like Kalidasa, Bana, Sriharsa and the like, coupled with the accumulated adulation of millions and millions of devotees constituting an inalienable part of the Indian psyche, has an age-old history, as old as Bharata Varsha itself. After having delved into the secrets, meanings and implications of Saivagama, the author goes on to describe the Lord and his multifarious aspects and attributes. It is precisely through the Dhyanavarnanas given in the Mantrapada and Kriyapada of Isanasivagurudeva-paddhati that one gets the fullest possible understanding of the conceptualization of the idols and their creation in different shapes and sizes reflecting their diversity and intricacies. Described here are the many aspects (Murtibhedas) of Siva like Mrtyunjaya, Tryambaka, Daksinamurti, Aghora, Pasupata, Rudra, Pancavaktra, Sadaksara, Sodasamurti, Sankaranarayana, Ardhanarisvara, and their ancilliary deities. Some of the Murtibhedas in their order of importance are dealt with hereunder. 177

The Patala 24 of Mantrapada portrays Mrtyunjaya, Tryambaka and Daksinamurti, in the form of Dhyanavarnanas. Mrtyunjaya Two different kinds of descriptions of Mrtyunjaya are provided here: One version presents Mrtyunjayamurti as a handsome eightyear-old boy clad in robes as white as the lotus, bearing the crescent moon on the head, seated on His pedestal holding garlands of beads, Aksamala(see appendix), Trident, Amrtakalasa (pot of nectar), Kapala (skull), and displaying Abhayamudra with his six hands. 29 The description of Mrtyunjayamurti in Kerala, however, while largely in conformity with the above, shows minor variations which can be discerned from a cursory observation of the mural and sculptural representations. Mrtyunjaya is the favourite deity of the Satvik devotees who overcome the fear of death. Another version of Mrtyunjaya as described in a Dhyana is the one robed in white, wearing garlands of beads and flowers and embellishments, having three eyes (Trinayana) and wearing crescent moon on his head and carrying Amrtakalasa in His hands. 30 Tryambakamurti In the Tryambakadhikara of the same Patala are two detailed 178

descriptions of Tryambakamurti (an aspect of Mrtyunjaya) the first of which runs thus: Seated on a white lotus, and in appearance resembling the full moon, Tryambaka reigns with the deer in one hand, the axe in another, the garland of beads in yet another, and the skull in the fourth, and performing Amrtabhiseka on His head with the main hands. 31 The other description of Tryambakamurti is as follows: Seated on a white lotus flower with the Amrtakalasa filled to the brim with nectar on His lap, the holy books and the garland of beads (Japamala) in His hands and the whole body in radiant white and pouring the Amrt on His head with His hands in an endless flow; the Jatamakuta (wearing the crown of His abundant hair plaited high over His head); having eight hands, ever smiling face that oozes benevolence, the Tryambakamurti provides protection in perpetuity to all. 32 Daksinamurti Daksinamurti is another important aspect of Siva. Here again are two Dhyana versions. In the first rendition, Daksinamurti is described as presiding resplendent, attired in white, regal in His Trinayanas, covered all over with the Holy Ash, wearing the leopard skin and displaying the Jnanamudra, and carrying the Damaru, deer and Kamandalu in His hands, and wearing the crescent moon atop His crown of hair, 33 179

In the second Dhyana version, the author bows before Daksinamurti who is conceived as clad in golden robes; showing the Jnanamudra; (see appendix) white in complexion; reigning splendid, concealing Ganga in His hair, the shiny crescent moon on top of His upturned hairy head gear, garland of Rudraksa and Utpalapuspa³4 All the above mentioned Murti Sankalpas of Siva are prominently worshipped in different parts of Kerala as the dominant deity besides being represented in murals and temple sculptures. The Pancaksaramurti is also seen installed in several temples in Kerala. In the Keralite work Silparatna of Srikumara, 'Saktipancaksari' Dhyana is prominently described. 35 Quite different from other states, Siva is worshipped in Kerala mostly in the form of Sivalinga. As the shape of Sivalinga is nearly the same in all temples, with the only variation restricted to its size, the varied aspects of the Lord can be understood only through the designated Dhyana Sankalpas and Mulamantras. Daksinamurti is another important aspect of Siva typical to Kerala. Daksinamurti is conceived as the presiding deity and Guru in a posture facing the south (Daksina), providing silent interpretations and permanent answers to the divine doubts of His disciples. We find descriptions of Daksinamurti in the renowned Tantric texts like 'Amsumadbhedagama'and 'Karanagama'36 180

It is apt to recall the famous 'Daksinamurtistava'of Srisankara in this context. Parallels can also be drawn between Buddhabhava (Buddha in meditative posture) and the concept of Daksinamurti. Virtually every sculptural representation of Daksinamurti is that of a youthful Guru presiding over and surrounded by His older disciples. It is the Dhyanasloka of Daksinamurti, provided in Silparatna that has gained popularity in Kerala. 37. The Silparatna conceptualization of Daksinamurti runs thus: Daksinamurti presides displaying Jnanamudra, carrying Parasu (Axe) and deer and using Vasuki as Uttariya (shawl). Aghoramurti Aghoramurti is the fierce aspect of Siva. There are two forms of this aspect- Aghorastrarupa and Aghorarupa. Of these, the former is meant for worship by Ksatriyas, who ventured into the field of battle and the latter for the Brahmin Sadhakas for their Vaidic rites. In both versions the idols are conceived as facing the west. The purpose of worship for either class is the propitiation of the Lord for ensuring the destruction of the enemies. The Aghoradhyanarupavarnana is given in a manner befitting the fierceness of the Lord in the most intense manner possible and runs thus; Fierce in form, looking like a black mountain, with four faces, 181

38 Kalas, 18 arms and Trinayanas in every face, robed with the hides of leopards and elephants, wearing the sky as shawls, armed with the club (Gada), skull - headed rod (Khatvanga), elephant's teeth, trident (Trisul), skull (Kapala), Amkusa, rope (Pasa), plough (Hala), barbed spear, arrows (Sara), shield (Asi), and flames of fire (Agni) ; and carrying lotus, Yogadand (staff of authority), Damaruka (drum), and Abhaya-varadamudras in the other arms, Faces made fierce with curved and protruding teeth, hair and beard hued in a mixture of yellow and red, having heavily twisted hair adorned with head-gear and crown; ear-rings, Nupuras and other embellishments, wearing with ease Adisesa as His upper garment and with garlands of spider and scorpion lending intensity to His fierce aspect, displaying ferocious fangs through the wide open mouth, wrinkled forehead, hideous twisted and horrid face, Lord Siva reigns in His grotesque and horrible best, all-powerful, seated on the lotus, positioned at the centre of a wheel with 16 cogs. The author enjoins that the Lord who holds sway accompanied by Rudra, Bhairava, and Saptamatrs should be represented in mural form on wall or on canvas or on any other medium and should be meditated upon for ensuring 'Satrusamhara' (destruction of enemies) 38 Another Dhyana version of Aghoramurti is the fierce Aghorastramurti which is delineated in minute detail in the following lines: 182

Radiating bright light resembling a black mountain, face showing fangs protruding from either side of twisted lips, decked with festoons of blood-red flowers and garlands of other hues, (see appendix) gripping with the four right arms the trident tip, the Vetala, the sword and the Damaru; the skull, the bell, the spear and the middle of the trident with the four left arms; with yellowish and round Trinayanas, reddish hair and eyebrows, strapped with hip chain (Katisutra),adorned with ear-rings (Karnakundalas), garbed with two serpent kings, hideously decorated with garlands of spider and scorpion in readiness for battle; setting the left foot on a lotus with eight petals, remaining unaffected and totally free from enemies like Bhuta, Badha, Bhaya and Ksudras; reigning resplendent with the radiance of a thousand suns; and above all, showering benediction on His devotees; the Aghoramurti has to be meditated upon through Puja, Homa and Japa.³ 39 In addition to the Avaranadevatas, the other Ganas serving the Lord referred to by the author include Saktidevatas, Aditya, Marut, (Wind), Sadhyas, Gandharvas, Pitrs, Rudra, Raksasas, Kusmandatis, Vasus, Yaksakinnaras, Vinayaka, Visvadevatas, Pisacas, Aswinidevatas, Ganadevas, Yoginis and Daginis and others.40 The detailed picturesque descriptions of Devatas in Dhyanaslokas have tremendously influenced mural paintings, sculptures, temple art and architecture in general in Kerala. The Dhyanas of the 183

above class may be deemed the most sublime, lofty and splendid epitomization of Raudra rasa. Aghoramurti, one of the prominent concepts in Isanasivagurudeva-paddhati, is deemed by many scholars as a variant of Bhairavamurti.41 In temples where Aghoramurti is the chief deity, the idols are installed facing the west. Another detailed description of Aghoramurti is also given in Kriyapada 42 Pasupatamurti Unlike other aspects of Siva, there are no Dhyanavarnanas pertaining to Pasupatamurti. What is given in the 31st Patala of Mantrapada is only the Pujavidhana of Pasupatamurti. In Kerala, however, the concept of the Pasupatawielding Siva is a variant of Kiratamurti and there is a fable associated with it of how Lord Siva was immensely pleased with Arjuna after testing his prowess in fight with him in the guise of Kirata and presented him with the most potent weapon 'Pasupatastra'. The above story and its influence get clearly manifested from time to time in the rites and rituals and audio and visual arts in Kerala. In this context, it would be interesting to note that there are beautiful idol installations of Kiratamurti in the Kaviyur temple in Pathanamthitta district and Vizhinjam cave 184

temple in Thiruvananthapuram district in Kerala. It is said that there once existed what was known as Pasusaivamata in some parts of Kerala, and temples devoted to the worship of Pasupatamurti (Kiratamurti) might have been the divine remnants of the above cult.43 In Patala 31 of Mantrapada are provided Saivite Mantras like Vyomavyapimantra and Pindamantra and their related riruals. In Vyomavyapimantra, a host of other names of Siva like isana, Talpurusa, Aghorahrdaya, Vamadeva, Sadyojata, etc, are given. It is specified by the author that for different purposes Siva has to be meditated upon and worshipped in different colours. For example, the Sadhaka performing Santikarma should worship Siva conceiving His image in white; the seeker of material prosperity (Pusti) in red; for Stambhana, Uccatana, and Maranasatrujayadikriyas, Dhumravarna and Krsnavarna images of the Lord are decreed as appropriate. In addition, for the granting of all wishes the Lord is conceived in the radiant colour of the sun, the colours of the conch, the jasmine, the moon, the lotus string (Bisatantu), and milk by the author as the most propitious.44 The Pinda concept and Cinmantra This Saiva concept of worship is meant for worship of weapons as also for the fulfilment of all other wishes. It may be noted that the above Pinda concept is no longer in practice in Kerala. The speciality of the Chandas of Pindamantra is that the Devata is referred to as 185

'Vajra' and shines in radiance resembling 'Kalagni'and resides in the midst of Candramandala.45 In Patala 28 of Mantrapada, Cinmantra, which forms an integral part of Saivite mode of worship, is briefly dealt with. 46 Scholars are of the opinion that the above Mantra bears close resemblance to the concept of Ardhanarisvara. Concept of Cintamoni The Adhisthanadevata of Cinmantra is Maharudra. The Dhyanavarnana runs thus. He who is seated on the red lotus in Sivasana burnished and radiant and crimson like the setting sun exquisitely wearing the trident, the Agni, the serpents, the axe, the sword, the skull, and the bow in His eight arms; with Trinetra; red complexioned, robed in elephant skin, with luxuriant hair decorated with the crescent moon, with fierce expression, blending harmoniously with his benign facial features-the very personification of beauty in body and limbs; the self- same Rudra is thus meditated upon. 47 Rudra Seated on Rsabha in Agnibimba, bearing the crescent moon on top of the hair, fair complexioned, having ten arms, Trinayanas Damaru, three Agnis, the deer, the serpents, Vajra, Aksamala, and Varadamudra, resides Rudra in all glory.48 186

In Patala 12 of Kriyapada, after Suryaradhana that forms part of Sivaradhana, Varnanas of several aspects of Siva like Pancavaktra, Ekavaktra, Sadyojata, Avaranamurtis, Lokapala, Pancatattvadevata, and others are provided. The most important among them are detailed hereunder: Pancavaktrasvarupa Seated in Badhapadmasana posture, in the halo of Suddhacandra, in the divine form of a sixteen-year-old penta-faced boy (the five faces of Mahadeva should be known as Sadyojata, Vamadeva, Aghora, Tatpurusa, and isana. Sadyojata represents Mahi (earth), Vamadeva (water), Aghora (light), Tatpurusa (Vayu), and Isana (sky). 49 Potent with five Netras-Kriyasakti, Jnanasakti, Agni, Candra, and Surya; armed with Abhayavaradamudras, trident, sword, serpent, garlands, beads, drum, Utpalapuspa, Dadimaphala, (see Appendix) in His hands; the countenance in its most pleasant aspect, adorned with precious and divine garlands and other embellishments, shining like gold and jewels; carrying the crescent moon on His hairy head-gear; presides Pancavaktra in His glorious best. 50 Two other Varnanas of Pancavaktrarupa and Ekavaktrarupa of Siva almost resembling the above description are provided by the author.51 187

Ekavaktra Fair complexioned, displaying Varamudra, armed with the trident, attired in divine apparels, carrying the crescent moon on His dense hair, vibrant and youthful in vitality, reigns Ekavaktra in His exuberant best. 52 Pancabrahmasvarupa This is yet another one among the myriad aspects of Siva, the description and Dhyanaslokas being nearly identical to that of Pancavaktrasvarupa. In one of the two versions found in Isanasivagurudeva-paddhati, Pancabrahmasvarupa is described as seated on a white lotus and clad in elephant skin. 53 Sankara-narayana and Ardhanarisvara concepts The concepts of Sankara-narayana, and Ardhanarisvara assume significance in India in general and have special importance to Kerala in particular. They are also seen emphasized in Saivagamas. In both the concepts, Siva is the dominant deity and a noteworthy feature of these concepts is that Siva is a common factor in these dual Devatas merged into one; and Ardhanarisvaratattva is unique to the Saiva cult. Nowhere else is the concept of the male god represented as forming the other and integral half of the Lord. 54 188

The Ardhanarisvara descriptions are also found in Amsumadbhedagama, Suprabhedagama, Karanagama, Matsya Purana. The Ardhanarisvara and Sankara-Narayana concepts may best be viewed as symbolic of the harmonious fusion of the Saiva-Sakteya and SaivaVaisnava faiths respectively. There are numerous temples in Kerala dedicated to Sankara-Narayana and Ardhanarisvara. Very detailed descriptions of Utsavabalikriyas and Mantras pertaining to SankaraNarayana or Haranarayana are provided in Isanasivagurudeva-paddhati. Sankara-Narayana Holding the Saiva-Vaisnava arms and symbols like Sula (trident), Danga (drum), Sankha-Cakras, Kapala, Lotus and Sudarsanacakra; and with the many-sided splendour of embellishments, half-Saiva in nature on the right side, wearing leopard skin, Nagabhusana, Rudraksamala, crescent moon and Bilvapatra, and blue lotus on the abundant hair, entwined serpents on the half- blue neck, and smeared with ashes on the body, with fierce expression on the face and accompanied by consort Parvati on His right, and on the left the Vaisnavite half with yellow attires, wearing Vanamala, garlands of Tulsi, lotus, gold and jewels; adorned with Cudamani, crowned with diamonds and other jewels, having bangles studded with precious jewels and stones, and fitted with waistband, and with face and body made beautiful and fragrant with turmeric powder and sandal paste, reigns Narayana in the company of His consort Laksmi 189

on His left. 55 The above composite picturisation of Sankara-Narayana is also known as Harihara and Haranarayana. Ardhanarisvara There are no specific references in Isanasivagurudeva-paddhati about the concepts, Dhyana or modes of worship of Ardhanarisvara. Scholars are of the opinion that the Cintamanidhyana in Patala 31 of Mantrapada bears close resemblance to the Ardhanarisvara concept, which is not explained here as it has already been covered elsewhere in this study. 56 Meanwhile, in the much more ancient Tantric text 'Saradatilaka', of Sri Laksmanadesikendra, this concept is explicitly described. 57 However, in Patala 43 of Kriyapada, while explaining the Bimbalaksana of Sodasamurti, the Vigrahalaksana of Ardhanarisvara is given briefly as follows: It is either with two hands or four hands, half in Sivalaksana and half in Parvatilaksana, Ardhanarisvara idols that have to be made. 58 Sodasamurtilaksanas In the 43rd Patala of Kriyapada is given the Sodasamurti concept. (16 aspects of Siva) and there are exhaustive details of Siva, Nandi and Trisul.59 The Sodasalaksanas are delineated as follows; 1. Candrasekharalaksana- Having braided, abundant hair forming itself into the shape of a crown on the head, on which rests the crescent moon. 60 190

2. 3. 4. 5. Umasametalaksana- Siva is pictured in the company of consort Parvati (Uma) and son Skanda 61 Somaskandalaksana- Siva in the company of son Skanda (Subrahmanya) 62 Bhujangatrasanrttalaksana (Natesvararupa) -Siva, the Lord of dance, in Natana posture, also called Natarajamurti.63 Gangadharalaksana-The form of Siva concealing Ganga on His hairy head. 64 6. Tripurantakalaksana-The fierce aspect of Siva along with Parvati on His left side in the context of the massive destruction of the Tripuras. 65 7. Kalyanasundaralaksana-the romantic posture of Siva 8. 9. holding the hand of His consort, Parvati.66 Ardhanarisvaralaksana-The half Siva, half Parvati blended form of Siva. 67 Pasupatalaksana-The fierce aspect of Siva with Trinayana, four arms, holding Aksamala, Trisula, Abhayavaradamudra, fully grown hair made into a head gear, and huge body 68 10. Kankalalaksana-The fierce aspect of Siva, holding Sula, human bones, Bhiksapatra (a bowl for alms) on His head, along with Munis and Bhutaganas.69 191

11. Hariharalaksana-The half Harilaksana (Visnu) on the left hand side, and half Haralaksana on the right.70 12. Bhiksatanalaksana-The image of Siva is seen as seeking alms, holding the skull as the beggar's bowl. This aspect of Siva also has notable resemblance to Kankalarupa.71 13. Candesanugrahalaksana-The aspect of Siva along with Parvati, blessing His Nirmalyadhari, Candesvara.72 14. Daksinamurtilaksana- The preceptor aspect of Siva seated under the Vatavrksa accompanied and served by His retinue of disciples- the Rsis 73 15. Kalakalalaksana-The image of the ferocious siva blue complexioned, rope-bearing and with frightening fangs protruding from both sides of the mouth, holding the Trisul with His right arm. Siva in this aspect as the God of death (Kala) is also known as Kalari-murti.74 16. Lingalaksana- The image of Siva in phallus shape. This portion also describes in concise form, the peculiarities and specifications of the features of Sivalinga. 75 The book, 'Hindu Gods and Goddesses' by Swami Harshananda provides vivid descriptions of the various aspects of Siva and the minor deities associated with Saivism.76 Virtually every one of these 16 Rupas of Siva are amply 192

represented in the temples, murals, literature and architecture of Kerala. The most important among them are Nrttamurti (Nataraja), Ardhanarisvara, Sankara-Narayana, Kalakala, Lingarupa, Parvatisameta, Gangadhara, and Tripurantaka. Of these, Nrttamurti falls further into three divisions, Pradosanrtta, Cidambaranrtta and Ugratandava. Pradosanrtta has been widely depicted in the mural paintings of Kerala. Although, in the architectural and mural paintings of temples in Kerala, the Daksinamurti concept is very widely depicted, very little importance is given to this concept in the rites and rituals in temples, the exception being the prominence given to Daksinamurti in the Balikriyas in temples. It may be noted that in comparison with the concepts of Candrasekhara, Umasameta, Ardhanarisvara, and Kalasamhari, there is much lesser importance given to the Daksinamurti concept of Siva in Kerala.77 In literary works of Sankaracarya (Daksinamurtistotra) Kannassa Panicker (Sivaratrimahatmya) and another worl 'Girijakalyana'also, Daksinamurti is extolled. The Bhakti literature of Kerala is replete with references to the Tripurantaka concept of Siva, which is one of the 16 aspects referred to earlier. There are also several temples in Kerala that follow the 193

Tripurantaka concept. It was Vasudeva Bhattathiri, one of the resident poets under the patronage of Mahodaya Perumal, Ramarajasekhara (C.E.820-844), who introduced the Tripurantaka concept to Sanskrit literature in Kerala, through his work 'Tripuradahana'.78 Kalasamhari (Kalakala) is one of the most popular in Kerala among the 16 Sivarupas mentioned earlier. Sivalingas belonging to this class are seen installed in several temples in Kerala. Kalasamhari, one of the most fierce aspects (Raudrarasa) of Siva, is also very widely represented in rural art forms of Kerala, especially the Theyyam tradition of Malabar. Bhiksatanamurti seems to be a very prevalent form of worship in Tamilnadu and is virtually non-existent in the temples of Kerala. There is practically no temple dedicated to Bhiksatanamurti in Kerala and literary tradition too remains unaffected by this concept with the possible, solitary exception being 'Cellurnathastava'. However, in Vaisnava temples like Sri Padmanabha Swamy Temple and Trivikramamangalam temple in Thiruvananthapuram, there are Alankaravigrahas and mural paintings of Bhiksatanamurti. Kamkalamurti, another version, with minor variations of Bhiksatanamurti, is also seen in Kerala, but is a rarity. There is hardly any reference to Saivite concepts like Bhiksatana, Bhairava and Aghora in the literary tradition of Kerala. Kalyanasundaramurti too, has had little significance in Kerala. 194

Prominent Avaranamurtis of Siva In the Avaranamurtyadhikara of Siva obtained in the 12th Patala of Kriyapada of Isanasivagurudeva-paddhati, are provided brief descriptions of 6 prominent Avaranamurtis like Pancabrahma. Astamurti (Rudra, Sarva, Pasupati, Ugra, Asani, Bhava, 79 Vamadisaktis and their varnanas among Mahadeva and isana) which Pancabrahma assumes great significance since they constitute the five faces of Siva. (Nyasadevatas are Tatpurusa, Aghora, Sadyojata, Vamadeva and Isana.) The Parivaradevatas of Siva, their designated positions, their Varnanas and especially the Pancatattvas are also explained in the above Patala. The positions of Balidevatas are common to almost all Devatas, the sole exception being that of Nirmalyadhari with each Devata. After providing Varnanas pertaining to Indradilokapalas and Saptamatrs (since the descriptions on the above have already been given elsewhere in this treatise under the head of 'Devisankalpa',repetition is avoided), the author, isanasivaguru describes the Devata of Nivrtti, Pratista, Vidya, Santi and Santyatita in line with the Pancatattvas of Siva. 195

1. Nivrtti - The Nivrttideva who is golden in complexion (resembling Nagapuspa), wearing the crown, having four arms, on which are Vajra, Aksamala, Lotus, and Abhayamudra, attired in white and residing in splendour on the lotus is devoutly supplicated.80 2. Pratista - Robed in red silk attire, as fair and pure as glass, bearing the rope, garland of beads, lotus and Abhayamudra in His arms, and carrying the crown studded with precious stones and jewels, presides in glory, Pratistatattvadevata is seated on the red lotus.81 crescent 3. Vidya - With a complexion comparable to the red hue of Gunjabija (Kunnikkuru),having dense, hairy crown that bears the moon, carrying Sakti, Aksamala, lotus and Abhayavaradamudras in His arms, and in divine robes, presides Vidyatattva seated on the lotus flower. 82 4. santi - With four faces, black in complexion and attire, having the crown of abundant hair; wearing the flagstaff, garlands of beads and Abhayavaradamudras in the arms reigns Santidevata.83 5. Santyatita - In complexion as white as the conch, milk, and mirror; with five faces; bearing the crescent moon on the crown of hair, holding the lotus and garlands of beads on the arms; displaying Varadabhayamudra, robed in white, reigns Santyatitadevata seated on the lotus flower.84 196

In the ensuing Slokas till the conclusion of Patala 12 isanasivaguru explains Atmatattva, Vidyatattva, Sivagama, etc. 85 A there are only minor and barely noticeable differences betweel Atmatattvavarnanas and Pancatattvavarnanas, they are not furnishe here, to avoid repetition. However, Atmatrayadis-Atman, Antaratman, and Paramatman Vidyatattvas-Vidya, Vidhatri, Bhoga, Vighnakhati, Nidhi, Pradipa Papakhni, Punyam, Sasi and the like are amply classified and explained by the author along with the Sivagamas and Saktidevatas that they emboby. The Patala concludes with a Sloka on the importance of Avaranamurtis in the rites of worship. ittham mulasanangani garbhadvareralokapaih | astranyavaranakhyani tesam yamurtayah smrtah | tah sarva mukhyaso hyatra kathitah pujanadisu | yatha yathavat smartavya nityadinviha karmasuh | | 80 鈥� The author, thus, provides the widest possible delineation of the manifold aspects of Siva, emphasizes the importance of Siva and various idols, and specific Dhyanavarnanas pertaining to each Murtibheda. It may be noted here that only the important aspects of Siva are dealt with by the author. 197