HIndu Blog Posts, About Hindu Gods, goddesses

Kala Samahara – Shiva, Destroyer of Death

The vast corpus of Vedic literature refers to various sportive forms, or leela murtis, of Lord Shiva. One of the most important of these forms is that of Shiva as the destroyer of death. Kalasamhara Murti or Kalantaka Murti is the form of Shiva in the act of vanquishing the god of death and righteousness, Yama-Dharma Raja.

The Puranas tell the story of Saint Mrikandu and his virtuous wife Niyati who yearned for a child. They performed austere penances to Lord Shiva to bless them with the issue. Pleased with their devotion, Shiva appeared to the couple and asked them whether they wanted a wicked son who would live till old age or a pious son who would live until 16 years of age. They requested the latter, and thus Markandeya was born.

On the eve of his 16^th birthday, Markandeya embarked on a vigil to Lord Shiva. Yama – endeavoring to take Markandeya’s life away – entered the altar, as he was deep in meditation to Lord Shiva. Yama took his noose and threw it around Markandeya’s neck. Aghast, Markandeya grabbed the Shiva Lingam and began singing to his protector.

“Oh Shiva, adorning the moon as your crown, protect me! Save me!”

With the noose tight around his neck, Markandeya hugged the Shiva Lingam. Consequently, Yama’s noose touched the Lingam and enraged Parvathi. Immediately the Lingam split and Shiva emerged. Parvathi, who resides in the left side of Shiva, kicked Yama to the ground to protect her devotee. Shiva lifted his trident and pierced Yama’s chest, leaving the God of death for dead.

Afterward, Shiva picked Markandeya up and placed him in his lap. He asked Markandeya to request a boon. Markandeya, from the kindness of his heart, asked Shiva to resuscitate Yama.

Sculpture of Kala Samhara Shiva from Tanjore Temple, resembling the bronze icon at Thirukkadaiyur

After being revived, Yama – the king of righteousness – innocently asked what he had done wrong to warrant such a gruesome death. Shiva responded that Yama’s only fault was misunderstanding Shiva’s boon to Saint Mrikandu. Markandeya was to live only till age 16, and thereafter remain immortal and ever-youthful as a 16-year-old.

This event is said to have occurred in Thirukkadaiyur, Tamil Nadu, where the entire story is captured magnificently in bronze. The statue of Kalasamhara Murti in Thirukkadaiyur is the reference for South Indian bronze artists who wish to capture this beautiful form of Shiva.

Since the depiction of death is deemed inauspicious within the Vedic temple, in Thirukkadaiyur the body of Yama is covered with a silk cloth and removed only occasionally. Thus most idols meant for home worship do not actually depict Yama’s death, but rather the moments leading up to it. As is the case with any powerful form of Shiva, a statue of Parvathi is often kept to the left of it to bring peace to his power.

~Svasti~

Surya – The Solar Deity

Surya – The Solar Deity is one of the primary Rig Vedic deities, and his following is widespread. As the central Graha in the Navagraha Mandala, or group of nine planets, Surya is present in most Hindu temples. Surya is also the main deity of the Souram sect, which is one of six main denominations of Hinduism.

In the Navagraha Stotram of Vyasa, Surya is described as follows:

Japaa Kusuma Sankaasham Kaasya Peyam Mahaa Dyuthim |
Tamorim Sarva Paapagnam Pranatosmi Divaakaram ||

I pray to the creator of days, the destroyer of all sins, the enemy of darkness, the greatly lustered, the descendant of Kashyapa, and the one who shines like a red hibiscus.

Surya is also known as Aditya, as he is the son of Aditi and Kashyapa. When Surya married one of his consorts, Samjna, she could not bear his extraordinary radiance. Thus her father, Tvashtr, who was the artisan of the Gods, divided Surya into 12 parts of which Samjna spent one month of the year with each. Thus the 12 Adityas were born and represent a month each.

Surya’s chariot is balanced on a singular wheel, which represents time. Each revolution of the wheel marks the passing of one year. The chariot is driven by Aruna, the red one, and is drawn by seven horses. Each of these horses represents a day of the week as well as a Vedic meter and is restrained by a rein that represents a season.

Surya with his chariot and charioteer Aruna

Iconographically, Surya is red in complexion, youthful, and golden-haired. He faces east with two, four, or eight arms and one or three heads respectively. His three faces represent the three Sandhyas – dawn, noon, and dusk. When Surya is depicted with two hands, he holds two fully blossomed, red lotuses.

There is a close connection between Surya and lotuses. The Lotus is one flower that blooms upon the morning’s first rays of sunlight. Similarly, the Hindu concept expounded through the symbolism of Surya is that God is the sun that triggers man, a lotus, to blossom.

~Svasti~

Hari-Hara, The Unity of Shiva and Vishnu

In the early centuries of the Common Era, sectarian strife was a major issue between the followers of Shiva and the followers of Vishnu. With the advent of Advaita or non-dualistic philosophy, the differences between these two sects and many others have been partially reconciled. The unity of the major god’s Shiva and Vishnu has become increasingly popular, and many temples now house the image of Hari-Hara.

South Indian Bronze Hari-Hara Statue

The iconographical depiction of Hari-Hara or Shankara-Narayana combines the two deities, Shiva and Vishnu, into a single body. The icon itself is aesthetically pleasing; however, the underlying philosophy is even more beautiful.

The Hindu trinity is comprised of Brahma, the creator, Vishnu the preserver, and Shiva the dissolver. Brahma represents the creation of the universe, this world, and everything within it. There is no way to refuse that the creation of all that surrounds us, as well as ourselves, is astonishing. Therefore Brahma does not find himself to be the subject of sectarian division. The argument instead revolves around the relative greatness of Vishnu, the guardian of Brahma’s creation versus Shiva, the one capable of destroying the entire creation and providing a blank canvas for Brahma to begin again.

Vishnu reclining on Adi Sesha

When looking at the descriptions of Shiva and Vishnu according to various texts, it is interesting to see the juxtaposition between them. Vishnu, who represents the Sattvic Guna is depicted as cloudy black in color, while Shiva who represents the Tamasic Guna is depicted as crystalline white. If that is not confusing enough, Vishnu who is responsible for the protection of the world is depicted as lounging on the back of a snake in the depths of the ocean while Shiva who is responsible for various culminations, one of which being sleep, is depicted as ever-awake and deep in contemplation.

Shiva in deep meditation

While perplexing at first, the hidden symbolism is very significant. Vishnu is described to be the color of a dark rain cloud. In this context, he is associated with water, which is appropriate because water is the basic necessity of survival. Only with water can plants grow to be later used for food, lumber, and clothing. Shiva is described to be the color of ash. From his third-eye emanates a ferocious fire. Fire is the basic element that causes destruction and stimulates renewal. After burning anything, the result is white ash, which represents the transient nature of life. The cycle of life can also be understood in the context of this symbolism. Vishnu resides in the bottom of the ocean while Shiva resides at the top of the Himalayas. This shows how man starts at the very bottom and is nurtured by Vishnu, then as he gains knowledge, prosperity, and energy (think Saraswathi, Lakshmi, and Parvathi!) he soars to the heights of this world and will eventually receive Moksha, another culmination granted by Shiva.

While this is only a drop in the vast ocean of symbolism and philosophy regarding these two major deities, it is an introduction to understanding the profound beauty behind the sculpture of Hari Hara. On the right stands Shiva, clad in tiger skins and yielding the ax that cuts our ties to this universe. On the left stands Vishnu clad in silk garments and yielding the conch that signals the victory of good and the mace that represents the power of the mind and body. Together on a single pedestal they stand and reassure us that our good qualities will be preserved and our bad qualities destroyed.

śivasya hridayam viṣṇur viṣṇoscha hridayam śivaḥ
Vishnu is the heart of Shiva; Shiva is the heart of Vishnu

~Svasti~

Hindu Goddess Ganga – Birth & Descent to Earth

Ganges (Ganga) is the most revered and sacred river in the Hindu Mythology. None of the rivers in the world has been able to win so much love and attention from people as Ganga. She is worshipped by the name Ganga Maiya (Mother Ganga) and the Gangajal (Ganga = Ganges; Jal = water) is believed to wash away all sins and grant the devotee salvation. No other river has been mentioned in the Puranas as much as the holy Ganges.

Here is how Lord Vishnu has narrated the importance of river Ganges to Garuda.

“DARSHANATSPARSHANATPANATTATHA GANGETI
KEERTANAT PUNATYAPUNYANPURUSHANA SHATASHOTHA SAHASRASHAH”

Meaning: Thousands of man’s sins are destroyed by the holy sight of the Ganges, and he becomes pure, by the touch of Ganges water, by having it, or by just pronouncing ‘Ganga-Ganga’.

River Ganga

River Ganga originates from the Gangotri glacier at Gaumukh in the Indian Himalayas. She flows 2,525 km across northern India before emptying to the Bay of Bengal in eastern India and Bangladesh.

Bronze Shiva statue descending to the earth with Ganga — Shiva bringing the Hindu Goddess Ganga to the earth

Birth of Ganga

As per Hindu Mythology, Ganga is the daughter of Brahma, born from his kamandala (a spout shaped vessel), when he was washing the feet of Vamana (The dwarf Brahmin incarnation of Lord Vishnu).

In Valmiki Ramayana, Ganga is depicted as the daughter of King Himavat and Queen Menaka. She is the sister of Parvati, Lord Shiva’s consort.

According to the Vishnu Purana, Ganga was created from the sweat of Lord Vishnu’s feet.

Among the various interesting stories of Ganga, the most popular story is from Bramha Rishi Vishwamitra’s Ramayana Bal Kand, where he narrates about Bhagirath and the descent of Ganga to Earth.

King Sagar – the ruler of Ayodhya and an ancestor of Lord Rama decided to perform the Ashwamedha (great horse sacrifice) to become more powerful. Indra, the king of Gods, became jealous and stole the horse for yaga. Indira tied the horse near Sage Kapila’s ashram, where the sage was meditating in the deep forest. The king along with his 60000 sons began to search for the horse in the nether world and at last found it near Sage Kapila.

Assuming that the sage had stolen the horse, the princes began to insult the sage and tried to free the horse. The princes continued to disturb the meditation of the sage and made him angry. The furious sage with the yogic fire of his eyes burnt all the princes into ashes. King Sagar was disturbed and asked his grandson, Anshuman to search for the princes.

Ashuman’s search ended in the front of the yaga horse and a heap of ash. He also saw the Sage Kapila near to it. He bowed and inquired what happened to the princes. The sage narrated the whole incident and Anusham broke down in grief. He pleaded for forgiveness and for the salvation of the princes. Sage Kapila was pleased and instructed Anushman to bring the holy Ganga to earth as she can only help them to wash away the sin and attain salvation.

In order to attain salvation to his relatives, Anshuman started doing penance on the Himalaya, but it was in vain. His son Dilip also tried to please Lord Brahma and bring Ganga. However, he also failed in his mission. Bhagiratha, the son of Dileep, took penance after his father. Bhagiratha was so dedicated that Lord Brahma was pleased and granted them permission to bring Ganga to earth.

Goddess Ganga was asked to descent to earth, but she felt it as an insult and decided to sweep away everything that came her way. Bhagiratha felt the fierce power in the flow of her current and understood that he needed to do something in order to stop the mighty river from destroying the world. In order to avoid this catastrophe, Bhagiratha prayed to Shiva and requested him to hold Ganga in his matted hair (jata).

At the request of Bhagiratha, Shiva agreed to hold Ganga in his hair locks. At first, Ganga thought that no one would be able to withstand her power and descended to the Earth with all her power. Shiva decided to teach her a lesson and held her in his matted locks. Ganga tried to get free but failed to escape from the Great Shiva. After one year of rigorous penance of Bhagiratha, Shiva was pleased and released Ganga. Ganga understood the greatness of Lord Shiva and asked for his forgiveness. Shiva is known as Gangaadhara as Lord Shiva absorbed the flow of Ganga and saved the earth from flooding, by receiving Ganga on his matted locks.

OLYMPUS DIGITAL CAMERA — The Hindu Goddess Ganga in Shiva’s hair

Shiva was pleased and released Ganga as seven streams – Bhagirathi, Alaknanda, Janhvi, Saraswati, Bhilangana, , Rishiganga, and Mandakini. Ganga followed Bhagiratha, but with her tremendous speed destroyed almost all the nearby villages and forests. Sage Jahnu became angry as his hermitage was drowned by Ganga. By using his yogic power, Sage Jahnu drank the whole Ganga. Bhagiratha pleaded for Sage’s forgiveness and he released Ganga from his thigh by cutting it and for this reason, Ganga is also called ‘Jahnavi’ or ‘Jahnusta’.

Maharishi Agastyaas has emptied all the oceans on Earth by drinking all the water, so Ganga first filled the oceans and quenched the taste to Earth. Ganga touched the ashes of the sixty thousand ancestors of Bhagiratha and blessed them to attain eternal rest in heaven.

16 Step Puja Worship in Hinduism

There are numerous forms of worship among Hindus, of which Puja is one of the more popular. The most widely accepted and followed system of Puja is the Shodasa – Upachara Puja, or 16 – Service worship.

The main purpose of this type of Puja is two-fold. Primarily it is to uplift the five senses of the worshiper and by doing so elevate him to a higher level of consciousness that will promote good thoughts and actions. Secondarily it draws upon the Indian traditions of honoring a guest, wherein each upachara is a service to the deity who takes presence in the sculpture for the duration of the Puja.

Dhyaana – Meditating on the deity that is being invoked.
Aavaahana – Inviting the deity into the altar.
Aasana – Giving the deity a seat.
Paadya – Washing the deity’s feet with clean water.
Arghya – Offering the deity water to rinse hands and mouth.
Aachamana – Offering the deity water to drink.
Snaana – Bathing the deity with various auspicious items.
Vasthra – Dressing the deity in clean clothes.
Yagnopaveetha – Offering the deity a clean sacred thread.
Gandha – Spreading fresh sandalwood paste on the deity.
Pushpa – Offering fresh flowers while chanting the deity’s names.
Dhoopa – Spreading incense smoke throughout the altar.
Deepa – Waving a lamp to illuminate the freshly decorated deity.
Naivedya – Offering the deity food.
Taambula – Offering the deity a refreshing mix of betel nut and leaves.
Pradakshina & Namaskara – Circumambulating the altar and bidding farewell to the deity.

Among these sixteen services, five hold more importance than the rest. Together these five services are referred to as the pancha – upacharas, and include gandha, pushpa, dhoopa, deepa, and naivedya. Collectively, these five services engage the five senses.

Gandha – Touch
Sandalwood paste cools the skin and is a natural insect repellant.
Pushpa – Hearing
The recitation of the deity’s names that accompanies each flower engages the ears.
Dhoopa – Smell
Incense envelops the entire temple with a refreshing fragrance for the nose.
Deepa – Sight
The lamp illuminates the deity and brings out the beauty of the icon to the eyes.
Naivedya – Taste
Food that has been offered to the deity is eaten and entices the taste buds.

ganesh, puja ceremony — Bronze Ganesh in opening eye ceremony at the Cleveland Museum of Art

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