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Do not fill this in! === Iconographic forms === [[File:Shiva as the Lord of Dance LACMA edit.jpg|thumb|250px|[[Chola dynasty]] statue depicting Shiva dancing as [[Nataraja]] ([[Los Angeles County Museum of Art]])]] The depiction of Shiva as [[Nataraja]] ([[Sanskrit]] नटराज; ''Naṭarāja'') is a form (''{{transliteration|sa|ISO|mūrti}}'') of Shiva (literally, "Lord of Dance").<ref>For description of the nataraja form see: {{harvnb|Jansen|1993|pp=110–111}}.</ref><ref>For interpretation of the ''{{transliteration|sa|ISO|naṭarāja}}'' form see: {{harvnb|Zimmer|1972|pp=151–157}}.</ref> The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama.<ref>For names Nartaka (''Sanskrit'' नर्तक) and Nityanarta (Sanskrit नित्यनर्त) as names of Shiva, see: {{Harvnb|Sharma|1996|p=289}}.</ref> His association with dance and also with music is prominent in the [[Puranas|Puranic]] period.<ref>For prominence of these associations in puranic times, see: {{harvnb|Chakravarti|1986|p=62}}.</ref> In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: ''{{transliteration|sa|ISO|nṛtyamūrti}}'') are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular.<ref>For popularity of the ''{{transliteration|sa|ISO|nṛtyamūrti}}'' and prevalence in South India, see: {{harvnb|Chakravarti|1986|p=63}}.</ref> The two most common forms of the dance are the [[Tandava]], which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Shiva does it by the Tandava,{{sfnm|Kramrisch|1994a|1p=439|Klostermaier|1984|2p=151|2loc=''Shiva the Dancer''}} and [[Lasya]], which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati.<ref>{{cite book|last=Massey|first=Reginald |title=India's Kathak Dance, Past Present, Future|publisher=Abhinav Publications|page=8|chapter=India's Kathak Dance}}</ref><ref name="VMoorthy">{{cite book|last=Moorthy|first=Vijaya |title=Romance of the Raga|publisher=Abhinav Publications|year=2001|page=96}}</ref> ''Lasya'' is regarded as the female counterpart of ''Tandava''.<ref name="VMoorthy" /> The ''Tandava''-''Lasya'' dances are associated with the destruction-creation of the world.<ref>{{cite book|last=Leeming|first=David Adams |title=A Dictionary of Asian Mythology|publisher=[[Oxford University Press]]|year=2001|page=45}}</ref><ref>{{cite book|last=Radha|first=Sivananda |title=Kuṇḍalinī Yoga|publisher=[[Motilal Banarsidass]]|year=1992|page=304|chapter=Mantra of Muladhara Chakra}}</ref><ref>{{cite web|url=http://vedabase.net/sb/1/2/23/en|archive-url=https://web.archive.org/web/20101123213949/http://vedabase.net/sb/1/2/23/en|url-status=dead|archive-date=23 November 2010|title=Srimad Bhagavatam Canto 1 Chapter 2 Verse 23|date=23 November 2010}}</ref> '''Kameshvara''' ([[Sanskrit]]: कामेश्वर, [[IAST]]: kāmeśvara) is a form (''{{transliteration|sa|ISO|mūrti}}'') of Shiva. Kameshvara is one of the supreme forms of Shiva. Kameshvara is depicted with four arms upper pair holding Pasha (noose), Ankusha (elephant goad), and the lower pair wielding arrows and bow similar to Goddess Kameshvari.<ref>{{Cite book |last=Ravi |first=V |title=Understanding worshipping Sri Chakra |publisher=CreateSpace Independent Publishing Platform |year=2013 |isbn=9781493713639 |pages=89}}</ref> [[Dakshinamurthy|Dakshinamurti]] ([[Sanskrit]] दक्षिणामूर्ति; ''{{transliteration|sa|ISO|Dakṣiṇāmūrti}})''<ref>For iconographic description of the {{transliteration|sa|ISO|Dakṣiṇāmūrti}} form, see: {{harvnb|Sivaramamurti|1976|p=47}}.</ref> is a form (''{{transliteration|sa|ISO|mūrti}}'') of Shiva (literally, "[facing] south form"). Dakshinamurti is depicted as a figure seated upon a deer-throne surrounded by sages receiving instruction.<ref>For the deer-throne and the audience of sages as {{transliteration|sa|ISO|Dakṣiṇāmūrti}}, see: {{harvnb|Chakravarti|1986|p=155}}.</ref> This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the ''shastras''.<ref>For description of the form as representing teaching functions, see: {{harvnb|Kramrisch|1981|p=472}}.</ref> This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu.<ref>For characterization of {{transliteration|sa|ISO|Dakṣiṇāmūrti}} as a mostly south Indian form, see: {{harvnb|Chakravarti|1986|p=62}}.</ref> [[Bhikshatana]] ([[Sanskrit]] भिक्षाटन; ''Bhikṣāṭana'') is a form (''{{transliteration|sa|ISO|mūrti}}'') of Shiva (literally "wandering about for alms, mendicancy" <ref>{{cite book |last=Monier-Williams |first=Monier |title=Sanskrit-English Dictionary |publisher=Universität zu Köln |year=2008 |orig-year=1899 |page=756}}</ref>). Bhikshatana is depicted as a nude four-armed man adorned with ornaments who holds a begging bowl in his hand and is followed by demonic attendants. The nudity and begging bowl are associated with the [[Kapalika|kapali]] tradition. This form of Shiva is associated with his penance for committing brahmicide, and with his encounters with the sages and their wives in the Deodar forest. [[Tripurantaka]] ([[Sanskrit language|Sanskrit]] त्रिपुरांतक; ''{{transliteration|sa|ISO|Tripurāntaka}}'') is a form (''{{transliteration|sa|ISO|mūrti}}'') of Shiva (literally "ender of Tripura"{{sfn|Sivaramamurti|1976|pp=34, 49}}). Tripurantaka is depicted with four arms, the upper pair holding an axe and a deer, and the lower pair wielding a bow and arrow. This form of Shiva is associated with his destruction of the three cities ([[Tripura (mythology)|Tripura]]) of the [[Asura]]s.<ref>For evolution of this story from early sources to the epic period, when it was used to enhance Shiva's increasing influence, see: Chakravarti, p. 46.</ref> [[Ardhanarishvara]] ([[Sanskrit language|Sanskrit]]: अर्धनारीश्वर; ''Ardhanārīśvara'') is a form (''{{transliteration|sa|ISO|mūrti}}'') of Shiva (literally "the lord who is half woman"<ref>Goldberg specifically rejects the translation by Frederique Marglin (1989) as "half-man, half-woman", and instead adopts the translation by Marglin as "the lord who is half woman" as given in Marglin (1989, 216). Goldberg, p. 1.</ref>). Adhanarishvara is depicted with one half of the body as male and the other half as female. [[Ardhanarishvara]] represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how [[Shakti]], the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God, and vice versa.<ref name="britannica">{{cite encyclopedia |year=2011 |title=Ardhanārīśvara |encyclopedia=Encyclopædia Britannica Online |url=http://www.britannica.com/EBchecked/topic/33339/Ardhanarisvara |access-date=26 January 2011 |archive-date=8 March 2011 |archive-url=https://web.archive.org/web/20110308210926/http://www.britannica.com/EBchecked/topic/33339/Ardhanarisvara |url-status=live }}</ref> [[Kalyanasundara]]-murti (Sanskrit कल्याणसुन्दर-मूर्ति, literally "icon of beautiful marriage") is the depiction of Shiva's marriage to [[Parvati]]. The divine couple are often depicted performing the ''[[Hindu wedding#Panigrahana|panigrahana]]'' (Sanskrit "accepting the hand") ritual from traditional Hindu wedding ceremonies. [[Āgama (Hinduism)|Agamic]] texts like the ''Amsumadbhedagama'', the ''Uttara-kamaikagama'' and the ''Purva-Karanagama'' prescribe the iconography of the Kalyanasunadara icon.<ref>{{Cite book |last=Rao, (1916). Elements of Hindu Iconography. Vol. 2: Part I. Madras: Law Printing House |first=T.A. Gopinatha |title=Elements of Hindu Iconography. Vol. 2: Part I |publisher=Law Printing House |year=1916 |location=Madras |pages=338–343}}</ref> The most basic form of this ''murti'' consists of only Shiva and Parvati together, but in more elaborate forms they are accompanied by other persons, sometimes including Parvati's parents, as well as deities (often with Vishnu and Lakshmi standing as Parvati's parents, Brahma as the officiating priest, and various other deities as attendants or guests). [[Somaskanda]] is the depiction of Shiva, Parvati, and their son Skanda ([[Kartikeya]]), popular during the [[Pallava dynasty|Pallava]] Dynasty in southern India. [[Pañcānana]] ([[Sanskrit language|Sanskrit]]: पञ्चानन), also called the ''pañcabrahma'', is a form of Shiva depicting him as having five faces which correspond to his five divine activities (''pañcakṛtya''): creation (''sṛṣṭi''), preservation (''sthithi''), destruction (''saṃhāra''), concealing grace (''tirobhāva''), and revealing grace (''anugraha''). Five is a sacred number for Shiva.<ref>For five as a sacred number, see: {{harvnb|Kramrisch|1981|p=182}}.</ref> One of his most important mantras has five syllables ({{transliteration|sa|ISO|namaḥ śivāya}}).<ref>It is first encountered in an almost identical form in the Rudram. For the five syllable mantra see: {{harvnb|Kramrisch|1981|p=182}}.</ref> [[File:10th century five headed Shiva Sadashiva Cambodia Metmuseum.jpg|thumb|The 10th century five headed Shiva, Sadashiva, Cambodia]] {| border="0pt" || * [[Sadyojata|{{transliteration|sa|ISO|Sadyojāta}}]] * [[Vamadeva|{{transliteration|sa|ISO|Vāmadeva}}]] * [[Bhairava|Aghora]] * [[Tatpuruṣa|{{transliteration|sa|ISO|Tatpuruṣa}}]] * [[Ishana|{{transliteration|sa|ISO|Īsāna}}]] |} Shiva's body is said to consist of five mantras, called the {{transliteration|sa|ISO|[[pañcabrahman]]}}.<ref>For discussion of these five forms and a table summarizing the associations of these five mantras see: {{harvnb|Kramrisch|1981|pp=182–189}}.</ref> As forms of God, each of these have their own names and distinct iconography:<ref>For distinct iconography, see {{harvnb|Kramrisch|1981|p=185}}.</ref> These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action.<ref>For association with the five faces and other groups of five, see: {{harvnb|Kramrisch|1981|p=182}}.</ref><ref>For the epithets ''{{transliteration|sa|ISO|[[pañcamukha]]}}'' and ''{{transliteration|sa|ISO|[[pañcavaktra]]}}'', both of which mean "five faces", as epithets of {{transliteration|sa|ISO|Śiva}}, see: {{harvnb|Apte|1965|p=578}}, middle column.</ref> Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes.<ref>For variation in attributions among texts, see: {{harvnb|Kramrisch|1981|p=187}}.</ref> The overall meaning of these associations is summarized by Stella Kramrisch, {{blockquote|Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.{{sfn|Kramrisch|1994a|p=184}}}} According to the ''[[Pañcabrahma Upanishad]]'': {{blockquote|One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of {{transliteration|sa|ISO|Śiva}} is of the character of the fivefold Brahman. (''Pañcabrahma Upanishad'' 31)<ref>Quotation from ''Pañcabrahma Upanishad'' 31 is from: {{harvnb|Kramrisch|1981|p=182}}.</ref>}} In the hymn of [[Manikkavacakar]]'s [[Thiruvasagam]], he testifies that at [[Nataraja Temple, Chidambaram]] had, by the pre-[[Chola]] period, an abstract or 'cosmic' symbolism linked to [[Pancha Bhoota|five elements (Pancha Bhoota)]] including ether.{{sfn|Srinivasan|2004|p=446}} Nataraja is a significant visual interpretation of [[Brahman]] and a dance posture of Shiva.<ref>{{cite book |author=James C. Harle |title=The Art and Architecture of the Indian Subcontinent |url=https://archive.org/details/artarchitectureo00harl |url-access=registration |year=1994 |publisher=Yale University Press |isbn=978-0300062175 |pages=[https://archive.org/details/artarchitectureo00harl/page/309 309]–310}}</ref> [[Sharada Srinivasan]] notes that, [[Nataraja]] is described as [[Satcitananda]] or "Being, Consciousness and Bliss" in the [[Shaiva Siddhanta]] text ''Kunchitangrim Bhaje'', resembling the [[Advaita Vedanta|Advaita doctrine]], or "abstract monism," of [[Adi Shankara]], "which holds the individual Self ([[Jiva|Jīvātman]]) and supream Self ([[Paramatman|Paramātmā]]) to be one," while "an earlier hymn to Nataraja by Manikkavachakar identifies him with the unitary supreme consciousness, by using Tamil word '''Or Unarve''', rather than [[Sanskrit]] '''Chit'''." This may point to an "osmosis" of ideas in [[medieval India]], states Srinivasan.{{sfn|Srinivasan|2004|pp=447}}<!-- Major other forms list needed: Other forms include [[Virabhadra]] and [[Sharabha]]. --> [[File:Shiv lingam Tripundra.jpg|thumb|232x232px|[[Lingam|Shiva Lingam]] with [[tripundra]]]] Summary: Please note that all contributions to Christianpedia may be edited, altered, or removed by other contributors. If you do not want your writing to be edited mercilessly, then do not submit it here. You are also promising us that you wrote this yourself, or copied it from a public domain or similar free resource (see Christianpedia:Copyrights for details). Do not submit copyrighted work without permission! Cancel Editing help (opens in new window) Discuss this page