Imaging Our Gods

One of my friends recently sent me a message asking whether I knew that the Shiv Ling is made as per scientific principles. I asked him to explain the scientific principles. He replied saying he was told emphatically by his guru that it is written in the shastras that Ling is the ultimate expression of divinity and therefore it is the most scientific physical representation. I asked him to find out which ‘shastras’ and ‘what is scientific’. He replied that he felt offended by such agnostic questions coming from me.

I was taken back though it was nice to see someone so devoted to his guru. While I expressed my sincere apologies to him for offending his sensibilities, I thought I must also share what little bit that I do know.

There are two periods of Indian history when India can be said to have reached the pinnacles of intellectual acumen. First was from 2500 to 500 AD and the next is from 400 to 1500 BC. In the first period came the Vedas and Upanishads as the result of a peaceful pastoral Indian community searching for the purpose of life. The second period saw the birth of Vedanga (the six sciences), mathematics, astronomy, astrology and a host of other sciences. One of the Vedangas is the science of constructing divine images called SHILPA SHASTRA. In fact experts believe though Panini and Patanjali of 500 BC were familiar with images of gods, no evidence exists of constructing ‘pratima’ for worship. The art and science of constructing images for worship grew thereafter and in 1500 AD, the SHILPA SHASTRA was written.

There are very few experts who can be said to know the Shilpa Sashtra now. In the early 1930s, Dr AN Tagore, Dr A Coomaraswami, Mr OC Ganguly, etc were considered to be expert art-critics with deep insights into Shilpa Shastra.

It is Shilpa Shastra that defines what measurements are to be taken in constructing images of gods. Measurements in Shilpa Shastra are in ‘angula’. An ‘angula’ is 1/4th of a ‘musti’, meaning closed fist. Sukra Niti, Maya Sastra and Matsya Puran further give various measurements and criteria for constructing the images of gods with stone, metal or even painting them. Together with these measurement standards and the rites to be performed to install the stone/metal image of a god for worship is known as the AGAMA Shastra. 

The measurements are for three purposes – to give aesthetic beauty, to mark the purpose of that particular image and to physically symbolize the god as described in Purans. For example, gods with the thumb of the open palm of either hand touching the chest symbolize ‘protection’. That means the bhakt will seek to be protected by the deity. The image with the palm touching the abdomen symbolizes ‘vardhan’, that means the bhakt will seek boons. There may be deities with one palm near the chest and another near the abdomen. This deity is worshipped for both protection and boons.

Now let us see the construction of Shiv Ling. In the Shiv and other Purans, Shiv is the only god described as TRIMURTHI. Brahma, as we know is just Brahma. In so far as Visnu is concerned, we say ‘Sivaya Visnu rupaya, Siva Rupaya Visnave’ – meaning both are same. So, TRIMURTI is a god who has to be represented as the one carrying out all three functions in equal measure. Also, he cannot be represented in human form as the description of Brahma, Visnu and Siva is quite distinct from each other. Therefore, Trimurti is represented as an oval (all encompassing, the whole), mounted on a circular platform with a base. Each of these segments is to be of equal height to symbolize that He carries on the three acts of creation, protection and destruction equally.

This is the science behind Shiv Ling. Have a great day.

Tamil Architectural Traditions

A mention of Tamil Nadu automatically invokes a culture that, as one school of historians say, predates the Indus Valley Vedic culture. Whether that claim is supported by archaeological evidence is a question that we must consider separately. But, Tamil culture bequeathed to the world some of the finest achievements in the field of architecture, irrigation, sculpture, dance, drama and literary renderings that remain unparalleled.

One unique expression of the finesse of Tamil culture is the Brihadeeswara Temple at Tanjore. However, during a recent visit to that area, we came across two more temples which are mirror images of Brihadeeswara, Tanjore, that was built by Rajaraja Chola I in 1010 AD.

The first is another Brihadeeswara temple built by Rajaraja's son Rajendra, after his conquest of the regions of the Ganges up North at Gangaikonda Cholapuram. This was built in 1035 AD.

Rajendra's son, Rajaraja II also built a mirror image, the Airawatheswara temple at Dhravaram near Kumbakonam some time in 1155 AD or a little later. We were amazed at the similarity and realized that the son and grandson of Rajaraja I, in deference to their elder, made only the linga and the nandi (sacred bull of Shiva) smaller. In another post, a bit more of their history will be shared. For now, here are pics of Airawatheswara temple. 

History Shapes Society The Way We Say It

Yesterday, the proverbial curiosity caught the cat of my imagination. We were actually watching the Navrathri program on TV. Srimad Shankaracharya Swami (the young pontiff) of Sharada Peetam of Sringeri was holding darbar at the completion of days' pooja. As the events happened, my mind wandered off. The history of Sri Sharada Peetam commences in 8th century. It was established by Adi Shankara himself. The twelve hundred years of its existence saw tumultuous events unfolding in the subcontinent. 

To start with, between the 7th and 12th centuries, Chalukyas, Pallavas, Pandavas, Badami and Rashtrakutas dominated the southern peninsula, not to mention Kakatiyas, Kalachuris and Kadambas. Their empires rose and shrank with time till about the advent of Moghuls in India. Then came the Bhamani Sultans (Birar, Bidar, Golconda and Gulbarga) and the Vijaynagar empire. These were followed by Maratha, Nizam of Hyderabad, Nawab of Arcot, Tipu Sultan and the East India Company.

The question that rankled my mind was "Is it possible that Sri Mutt of Sringeri remained unaffected by these ebbs and flows that rocked the country?" It is then, I started looking first into the history of the Mutt as published in its own website  https://www.sringeri.net/jagadgurus

I can only invite with all humility any and all lovers of history to visit the website for it contains, though not in the strict historical pedagogy, the events of this country played at different times in curious and interesting narratives. We find equally compelling stories of great kings and sultans paying homage to the Sri Mutt as well as reprehensible acts of Pindaris of Maharashtra pillaging the sanctity of it. These instances give us the political-social-economic perspectives necessary to understand the parts of subcontinental history that remain hidden from academic texts.

As I read through this website, another thought preys at my mind. We appear to be content with knowing as little (if at all) of the history of our own race (if we consider Indians as one race?) and happily accept correct or controversial versions that mostly western scholars have constructed for us. When the rising tenor Right Wing historians' narratives (like for example the Aryan Invasion Theory) strikes at us, we take refuge in consolatory gestures. History has neither Right or Left Wing narratives. It is a narrative that is by itself. I do hope that readers of this blog will help me access sources that would shed "as it were" perspectives on the history of this subcontinent.      

Bhagwat Gita Chapter 2 2 8 2019 10 02

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