User:Ssriram mt/South Indian Siva temple Iconography

Agama (Sanskrit आगम) means, in the Hindu context, "a traditional doctrine, or system which commands faith".. The Shaiva Agamas revere the ultimate reality as Shiva (Shaivism). Temple worship according to Āgamic rules can be said to have started during the Pallava times, but they were fully under estbalishment during the Chola period. The temple complex was expanding with niches for various deities on the stipulated sides of the sanctum. Lingas were universalised and prakarams(precincts) with subsequent deities came up. The temple parivara(consorts) expanded considerably during the Chola period.

Symbolism behind the structure of a Shiva Temple

The temple is so constructed as to resemble the human body with all its subtleties.

1. The five walls encircling one another are the koshas (sheaths) of human existence:
   • The outermost is the Annamaya kosha, symbolizing the material body.
   • The second is Pranamaya kosha , symbolizing the sheath of vital force or prana.
   • The third is Manomaya kosha, symbolizing the sheath of the thoughts, the mana.
   • The fourth is the Vijnanamaya kosha, symbolizing, the sheath of the intellect.
   • The fifth and innermost is the Anandamaya kosha, symbolizing the sheath of bliss.
2. The sanctum which is in the prakaram symbolizing the Anandamaya kosha sheath, houses the lord, seated as the jiva within us. It is to be noted that the sanctum is an unlit space, just as if within the heart closed on all sides.
3. The entry gopuras are likened to the feet, as resembling a person who is lying on theback with the toe up.
4. The flag post depicts the sushumna nadi which raises from the muladhara (base of the spine) to the Sahasrara (vertex in the head).
5. Some temples will have three prakarams. There they represent the stoola, sukshmand karana shariras (bodies) of a human being. Some temples have only one and they represent all the five.

Composition and structure

The Annamalaiyar Temple in Thiruvannaamalai, India

Dravidian style temples consist almost invariably of the four following parts, arranged in differing manners, but differing in themselves only according to the age in which they were executed:

1. The principal part, the temple itself, is called the Vimanam. It is always square in plan and surmounted by a pyramidal roof of one or more stories; it contains the cell where the image of the god or his emblem is placed.
2. The porches or Mantapams, which always cover and precede the door leading to the cell.
3. Gate-pyramids, Gopurams, which are the principal features in the quadrangular enclosures that surround the more notable temples.
4. Pillard halls (Chaultris or Chawadis) are used for many purposes and are the invariable accompaniments of these temples.

Besides these, a temple always contains tanks or wells for water – to be used for sacred purposes or the convenience of the priests – dwellings for all the grades of the priesthood are attached to it, and other buildings for state or convenience.

Common Terminologies

These terminologies are not specific to Shiva temples in Tamil Nadu, but common across all temples built in Dravidian architecture.

Sannidhi or Garbha graha

Garbhagriha or garbha gṛha (Devanagari: गर्भगॄह) is a Sanskrit word meaning the interior of the sanctum sanctorum, the innermost sanctum of a Hindu temple where resides the murti (idol or icon) of the primary deity of the temple. Literally the word means "womb chamber", from the Sanskrit words garbha for womb and griha for house. Only 'priests' (pujari) are allowed to enter the temple.

Gopuram

Annamalaiyar Temple gopurams

A Gopuram or Gopura, is a monumental tower, usually ornate, at the entrance of any temple, especially in Southern India. This forms a prominent feature of Koils, Hindu temples of the Dravidian style. They are topped by the kalasam, a bulbous stone finial. They function as gateways through the walls that surround the temple complex.

The gopuram's origins can be traced back to early structures of the Tamil kings Pallavas and by the twelfth century under the Pandya rulers these gateways became a dominant feature of a temple's outer appearance, eventually overshadowing the inner sanctuary which became obscured from view by the gopuram's colossal size. It also dominated the inner sanctum in amount of ornamentation. Often a shrine has more than one gopuram.. A temple may have multiple gopurams, typically constructed into multiple walls in tiers around the main shrine.

Vimanam

Golden vimana of Madurai Meenakshi Temple

Vimana (Tamil:விமானம்) is a term for the tower above the Garbhagriha or Sanctum sanctorum in a Hindu temple.. A typical Hindu temple in Dravidian style may have multiple gopurams, typically constructed into multiple walls in tiers around the main shrine. The sanctum sanctorum and its towering roof (the central deity's shrine) are also called the Vimana. These do not assume as much significance as the outer gopurams, with the exception of a few temples where the sanctum sanctorum's roofs are as famous as the temple complex itself like the kanka-sabai (Golden stage)at Thillai Nataraja Temple, Chidambaram covered with golden plates and the Ananda Nilayam gopuram-vimanam of the Tirumala Venkateswara Temple.

Prakaram

Ramanathaswamy Temple prakaram

A Prakaram(பிரகாரம் in Tamil, प्राकारम in Sanskrit), also spelled Pragaram or Pragaaram) in Indian architecture is an outer parth around the Hindu temple sanctum. These may be enclosed or open and are typically enclosed for the inner most prakaram. The prakaram is the temple compound around the sanctum. Typically a Hindu Temple prayer hall is generally built in front of the temple's sanctum sanctorum (garbhagriha).

Main Deities

Parvathi

Parvathi Shrine within a Shiva temple

Parvati (Sanskrit: पार्वती, Kannada: ಪಾರ್ವತಿ IAST: Pārvatī) is a Hindu goddess. Parvati is Shakti, the wife of Shiva and the gentle aspect of Mahadevi, the Great Goddess. Parvati is nominally the second consort of Shiva, the Hindu god of destruction and rejuvenation. However, she is not different from Satī, being the reincarnation of Shiva's wife. Parvati is the mother of the gods and goddess, Ganesha and Skanda (Kartikeya). Some communities also believe her to be the sister of Vishnu. Parvati, when depicted alongside Shiva, generally appears with two arms, but when alone, she is shown having four or eight arms, and astride a tiger or lion. Generally considered a benevolent goddess, Parvati also has wrathful incarnations, such as Durga, Kali, Shitala Devi, Tara, Chandi, and the Mahavidyas as well as benevolent forms like Kathyayini, Mahagauri, Kamalatmika, Bhuvaneshwari, and Lalita.

Ganesha

The shrine of Ganesa inside a temple

Ganesha (Sanskrit: गणेश; IAST: Gaṇeśa; listen^ⓘ), also spelled Ganesa or Ganesh, also known as Ganapati (Sanskrit: गणपति, IAST: gaṇapati), Vinayaka (Sanskrit: विनायक; IAST: Vināyaka), and Pillaiyar (Tamil: பிள்ளையார்), is one of the deities best-known and most widely worshipped in the Hindu pantheon.. Ganesa is the first son of Shiva and is given the primary importance in all Shiva temples with all worship starting from him. The local legend states the Tamil reference as Pillai yaar meaning who is this son, but scholars believe it is a derivation of Sankrit word pulisara, which means elephant. K. A. Nilakanta Sastri (1963:57-58) thinks that Pallavas adopted the Ganesa motif from Chalukyas. In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Sirutondar(General of Pallavas) who defeated Chalukyas.

Skanda

Image of Skanda, the six faced God

Murugan (Tamil: முருகன், Sanskrit:सुब्रह्मण्य, Sanskrit: कार्तिकेय, Kannada: ಸುಬ್ರಹ್ಮಣ್ಯ,Telugu: సుబ్రహ్మణ్యేశ్వర స్వామి, Malayalam: ശ്രീ സുബ്രഹ്മണ്യസ്വാമി) also called Kartikeya, Skanda and Subrahmanya, is more popular in South India especially among Tamil people famously referred as Thamizh Kadavul (God of Tamils) compared to other parts of India. He is the patron deity of the Tamil land (Tamil Nadu). Like most Hindu deities, He is known by many other names, including Senthil (Smart), Saravaṇa, Kārtikeya (meaning 'son of Krittika' ), Arumugam, Sanmuga(from Sanskrit Ṣaṇmukha), Shadanana (meaning 'one with six faces'), Kumāra (meaning 'child or son'), Guhan or Guruhuha (meaning 'cave-dweller'), Skanda (meaning 'that which is spilled or oozed, namely seed' in Sanskrit), Subrahmaṇya, Vēlaṇ and Swaminatha.. Tolkappiyam, possibly the most ancient of the extant Sangam works, dated between the 3rd century BCE and 5th century CE glorified Murugan, " the red god seated on the blue peacock, who is ever young and resplendent," as " the favoured god of the Tamils.". The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai( circa 400-450 A.D.) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam). The cult of Skanda disappeared during the 7th century and was predominantly expanded during Pallava period. The Somaskanda sculptured panels of the Pallava period stand as a testament.

Lingam

Image of structure of Lingam

Decorated form of Siva Lingam

The Lingam (also, Linga, Ling, Shiva linga, Shiv ling, Sanskrit लिङ्गं liṅgaṃ, meaning "mark" or "sign") is a representation of the Hindu deity Shiva used for worship in temples.. The lingam is the principal deity in most Shiva temples in South India. The lingam is often represented with the Yoni, a symbol of the goddess or of Shakti, female creative energy. The union of lingam and yoni represents the "indivisible two-in-oneness of male and female, the passive space and active time from which all life originates". A complementary theory suggests that the Lingam represents the beginningless and endless Stambha pillar, symbolizing the infinite nature of Shiva. The propogation of linga worship on a large scale in South India is believed to be from Chola times (late 7th century A.D.), through Rig veda, the oldest literature details about worshipping Shiva in the form of linga. Pallavas propogated Somaskanda as the principal form of worship, slightly deviating from the Saiva agamas; Cholas being strict Saivas, established lingams in all the temples. The relation between Shiva and the lingam extends to the Indus Valley civilization, where several remains, such as the round stone caps at Harappa and the well-known seal of polycelphalic yogi, have led scholars to attribute the primordial native origin.

The temple structures is divided into five lingams with the main one at the sanctum supplying power to the rest. The others are dhvaja lingam or flag lingam (signifying flag pole), bhadra lingam or prosperous lingam (signifying the balipeetha), stupa lingam (signifying vimana tower) that raises over sanctum and the sacrificer or officiating priest.

Other Images of Shiva

Shiva is worshipped in 9 forms namely lingam, lingothbavar, Chandrasekarar, Somaskandar, Bhairavar, Veerabatrar, Nataraja, Dakshinamoorthy and Chandikeswarar.

Lingothbhavar

Lingothbhava or emergence of Linga

Lingothbhavar or emergence of linga, found in various puranas as a symbol of Siva, augments the synthesis of the old cults of pillar and phallic worship . The idea emerged from deity residing in a pillar and later visualised as Siva emerging from the lingam The lingothbhavar image can be found in the first precinct around the sanctum exactly behind the image of Siva. Appar, one of the early Saivite saint of the 7th century, gives evidence of this knowledge of puranic episodes relating to Lingothbhavar form of Shiva while Tirugnana Sambandar refers this form of Shiva as the nature of light that could not be comprehended by Brahma and Vishnu.

Nataraja

Shiva Nataraja, the Lord of the Dance

Nataraja or Nataraj (Hindustani: [nət̪əˈraːdʒ], The Lord (or King) of Dance; Tamil: கூத்தன் (Kooththan);Telugu:నటరాజ) is a depiction of the Hindu god Shiva as the cosmic dancer Koothan who performs his divine dance to destroy a weary universe and make preparations for god Brahma to start the process of creation. A Tamil concept, Shiva was first depicted as Nataraja in the famous Chola bronzes and sculptures of Chidambaram. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as "Sabesan" which splits as "Sabayil aadum eesan" in Tamil which means "The Lord who dances on the dais". The form is present in most Shiva temples in South India, and is the main deity in the famous temple at Chidambaram. The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (or in rare cases, the right leg) and balancing over a demon or dwarf (Apasmara) who symbolizes ignorance.

Dakshinamurthy

Dakshinamurthy

Dakshinamurthy or Jnana Dakshinamurti(Tamil: தட்சிணாமூர்த்தி, Sanskrit: दक्षिणामूर्ति ((Dakṣiṇāmūrti)) is an aspect of Shiva as a guru (teacher) of all type of knowledge. This aspect of Shiva is his personification as the supreme or the ultimate awareness, understanding and knowledge. This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom, and giving exposition on the shastras. He is worshipped as the god of wisdom, complete and rewarding meditation.. This form of Shiva is popular in the Southern states of India especially Tamil Nadu. Dakshina indicates south and this deity is south facing usually present in the first precinct around the sanctum.

Somaskandar

Image of Somaskandar - Shiva accompanied by Skanda the child and Parvathi

Somaskanda derives from Sa (Siva) with Uma (Parvathi) and Skanda (child Murugan). It is the form of Shiva where he is accompanied by Skanda the child and Paravati his consort in sitting posture. Though it is a Sanskrit name, it is a Tamil concept and Somaskandas are not found in North Indian temples. In the Tiruvarur Thygarajar Temple, the principal deity is Somaskanda under the name of Thyagaraja. All temples in the Thygaraja cult have images of Somaskandar as Thyagarajar - though iconographically similar, they are iconologically different. Architecturally when there are separate shrines dedicated to the utsava(festival deity) of Somaskanda, they are called Thyagaraja shrines. Unlike Nataraja, which is a Chola development, Somaskanda was prominent even during the Pallava period much earlier to Cholas. References to the evolution of the Somaskanda concept are found from Pallava period from the 7th century A.D. in carved rear stone walls of Pallava temple sanctums. There are 40 such images of Somaskanda found in different temples including the Kailasanthar temple at Kanchipuram. Most of the images are attributed to Rajasimha Pallava (700-728 A.D.),Mahendra Pallava (580-630 A.D.), Narasimha Pallava (630-668 A.D.) and Parameswara Pallava (670-700 A.D.). Somaskanda was the principal deity during Pallava period replacing lingam, including the temples at Mahabalipuram, a UNESCO world heritage site. But the cult was not popular and Somaskanda images were relagated to subshrines. Sangam literature does not mention Somaskanda and references in literature are found in the 7th century Tevaram. Somaskanda's continuing importance is highlighted by the fact that the deity takes prominence in all the prime festivals.

Chandikeswarar

Image of Chandikeswarar with axe under the feet of Shiva

Chandikeswarar is one of the 64 nayanars, saiva saints of the 7th-10th century. According to legend, there once lived a young boy Chandesa who offered the mil for ablution of lingam he made of sand. His father kicked the lingam in anger, whereupon the boy cut off his father's leg with an axe. Shiva appeared and appointed him as the chief of ganas(dwarf attendants), and decreed that devotee must also be worshipped daily in the Shiva temple. The image of Chandikeswarar with an axe in his hand is present in the first precint around the sanctum in all Shiva temple in Tamil Nadu.

Bhairavar

Bhairava (Sanskrit: भैरव, "Terrible" or "Frightful" ,), sometimes known as Bhairo or Bhairon or Bhairadya or Bheruji (In Rajasthan), is the fierce manifestation of Shiva associated with annihilation.. He is depicted ornamented with a range of twisted serpents, which serve as earrings, bracelets, anklets, and sacred thread (yajnopavita). He wears a tiger skin and a ritual apron composed of human bones. Bhairava has a dog (Shvan) as his divine vahana (vehicle). Bhairava is known as Vairavar in Tamil where he is often presented as a Grama Devata or folk deity who safeguards the devotee on all eight directions. In Chola times Bhairava is referred as Bikshadanar, a mendicant, and the image can be found in most Chola temples.

Navagraha

The traditional arrangement of the Navagraha

Graha (from Sanskrit ग्रह gráha—seizing, laying hold of, holding) is a 'cosmic influencer' on the living beings of mother Bhumidevi (Earth). In Hindu astrology, the Navagraha (Sanskrit: नवग्रह, nine seizers or nine influencers) are some of these major influencers. All the navagraha have relative movement with respect to the background of fixed stars in the zodiac. This includes the planets: Mars, Mercury, Jupiter, Venus, and Saturn, the Sun, the Moon, as well as positions in the sky, Rahu (north or ascending lunar node) and Ketu (south or descending lunar node).

As per Hindu customs, the Navagraha are typically placed in a single square with the Sun (Surya) in the center and the other deities surrounding Surya; no two of them are made to face each other. In South India, their images are generally found in all important Saiva temples. They are invariably placed in a separate hall, on a pedestal of about three feet in height, usually to the north-east of the sanctum sanctorum.

There are 2 kinds of installation of the planets when arranged in this fashion, known as Agama Pradishta and Vaidika Pradishta. In Agama Pradishta, Surya occupies the central place, Chandra on Surya's east, Budha on his south, Brihaspati on his west, Shukra on his north, Mangala on his south-east, Shani on his south-west, Rahu on north-west and Ketu in the north-east. Temples such as Suryanar temple, Tiruvidadaimarudur, Tiruvaiyaru and Tirucchirappalli follow this system. In Vaidika Pradishta, Surya is still in the centre, but Shukra is in the east, Mangala in the south, Shani in the west, Brihaspati in the north, Chandra in the south-east, Rahu in the south-west, Ketu in the north-west and Budha in the north-east.

Other Structurals

Dvajasthamba and Pali Peedam

Image of Pali peedam with lotus pedals

The Dvajasthamba (kodi maram or flag staff) of a temple

. Near the main entrance of the temple are situated the Dvajasthamba, sacrifical altar called pali peedam and vehicle called vahanam facing the main deity. Pali Peedam or altar is for offering - Siva temples being vegetarian, the offering is usually flowers and cooked rice. Most Siva temples in South India have one in each direction and some have as many as 8 for the 8 directions. The usual shape of the altar is a stone of masanory on a platform topped by lotifarm altar, called the lotus altar. The lotifarm altar has a base, a cup shaped upside down over it and lotus like petals from the frills that widen towards the base. The lotifram shape is considered a symbole of prosperity and hence this is considered bhadra linga or the prosperour lingam.

Dvajasthamba is the flag tree of flag pole. It is a cylindrical structure usually located after the first gopuram behind the vahana in Agamic temples. The flag staff can have a three-part division with the top representing Shiva, middle Vishnu and lower half Brahma.

Nandi

Image of Nandi

Each main deity of the Shiva temple has a vehicle associated with them - Shiva has Nandi(sacred bull), Parvathi has lion, Muruga has peacock and Vinayagar has mice. Nandi or Nandin (Tamil: நந்தி Sanskrit: नंदी), is now universally supposed to be the name for the bull which serves as the mount (Sanskrit: vāhana) of Shiva and as the gate keeper of Shiva and Parvati in Hindu mythology. Temples venerating Shiva and Parvati display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.

But the application of the name Nandin to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha"

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External links

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