Sri Dakshinamurthy Iconography And Some Other Questions: Part One

Sreenivasarao S/Blog/4 yrs ago/31AA+A++Sri Dakshinamurthy iconography and some other questions: Part One[Note Dated 16 Nov 2009 received from SD:Hello Sir..! I am doing a doctorate on Sri Dakshinamurthy.I am asking some questions concerning my thesis. It will be helpful if you can answer the following questions:Why Dakshinamurthi facing South direction?Are there any specialties in south direction suggested in Agamas and in Shilpa Sastras?Can you tell me the types of ' CHADAMUDI '(Hair Types?)Why there are such different types of Dakshinamurthi in South Indian temples?In North India, we cant see the Dakshinamurthi idol... Why it is so?In your sixth chapter, I saw a Dakshinamurthi photo. It is very different. Can you tell me from where it is?Please also say abbot iconography.Thanks]

Dear SD, Thank you for asking specific questions. I notice, all your questions pertain to the depiction of the Sri Dakshinamurthy image. Lets therefore, for the present, confine our discussion to the various iconographic forms and representations of Sri Dakshinamurthy. I am not sure I know the right answers to all your questions. Let me try.Before attempting to answer your questions lets briefly talk about the general features and characteristics of the various forms of Sri Dakshinamurthy image. This might help the discussion to follow.1. The Principle1.1. Sri Dakshinamurthy is regarded an aspect of Shiva as the universal teacher. He is the young and radiant Adi-Guru imparting knowledge that liberates. He is the very personification of spiritual wisdom and eminence; and one who is immersed in Self. His teaching is through the subtlest form of speech-para vak beyond the range of the physical ear, abiding in silence; the sort of silence that envelops within itself all other forms of expressions. It is the silence that underlines the limitations of rational knowledge, futilities of the blind alleys of metaphysical queries and the frailty hollowness of words. His teaching transcends speech and thought; it is experience. His listeners are learned and wise, ripe in intuitional understanding. The Gurus language of silence dispels the doubts, the confusion and uncertainties in the minds of those around sitting in silence.1.2. Thevata vrukshaunder which the Guru sits symbolizes creation as also the expanding universe which regenerates itself. The tree known asakshya vrukshawith its unique growth pattern also represents the eternal principle, the Dharma. (Vataderived fromvatmeans: to expand, to surround and to encompass). It is meant to suggest that Sri Dakshinamurthy who sits under thevatatree presides over the cyclic processes ofsrishti(creation),sthiti(preservation),samhara(absorption or gathering up),tirobhava(suppression) andanugraha(revealing true knowledge).2. Iconography2.1. The iconographic descriptions of Sri Dakshinamurthy are not uniform. Each of the major texts Amsumadbheda,Karanagama,Kamikagama,Shilparatnaand others carries varying descriptions of the features, postures andayudhasof Sri Dakshinamurthy. In addition, there are several versions of his aspects and attributes. The following, in brief, is a summary position of Sri Dakshinamurthy- iconography.2.2. Sri Dakshinamurthy is depicted as a young person with serene, tranquil and pleasing countenance seated in a secluded spot in the Himalayas, under a banyan tree (vata vrksha), upon a throne or a rock or an elevated platform (adhastad vata-vrkshasya sailad urdhvam) covered with tiger-skin (vyagara charmoparish that tu) or deer-skin (kurangasana). Sri Dakshinamurthy who iskevala murti(single or not accompanied by another deity or a consort) is always depicted singly.He is usually depicted with four arms.In his upper right hand he holds a rosary (aksha-maala) inkapittha-mudra, as if counting beads ofjapa-mala, or a snake (sarpa: symbol of tantric knowledge) or both. Sometimes he is also shown holding a drum (damaru)with a snake coiling around it. Thedamaruthesrishti(creation) aspect of Shiva represents the primeval sound and rhythm from which the universe emerges and into which it dissolves before re-emerging. In his upper-left-hand he holds a flaming torch (Agni) symbolizing enlightenment or illumination, removing the darkness of ignorance. It also stands for hissamhara(absorption or gathering back the created existence) aspect. His lower-left-hand resting on his left knee (the back of the hand touching the knee) gesturesvarada-mudrabestowing a boon (varadam vamahastam); and, it also holds a bunch ofkushagrass or a palm-leaf manuscript symbolizing scriptural knowledge. The lower-right-hand gestures grace (hisanugraha aspect) or assurance (abhaya-mudra) orjnana mudra(thumb and middle/index finger meet each other and touch the heart (jnana mudram hrdi sthane); the hand faces inwards (abhyantara mukham karma) as in the temple at Ilambyankottur (conveying that knowledge comes from within) or inchin-mudra(The index finger of his right hand is bent and touching the tip of his thumb. The other three fingers are stretched up) indicating identity of the Absolute and the individual orVykhyana-mudra(similar tochin-mudra) : But,facing the viewer as if imparting a teaching ; seated in a relaxed position.A rare depiction of Jnana-mudra at Ilambyankottur;And the other to the rightis chin mudra[ and its next is vyakhyana mudra (Pallava sculpture)2.3. Sri Dakshinamurthy is most usually depicted in a seated posture (aasana); and at times in standing (sthanaka) as in hisVeena-dharavariation (holding a veena). But, he is not depicted in reclining (shayana) postures. While seated inVirasana,his right leg is stretched down (lambaka padam) and is stamping upon(samharaka)the dwarf (apasmarapurusha: representing ignorance and delusion) -- (apasmaroparishthat tu lamba-pada-talam nyaset). This suppression (nirodha) of ignorance is described as thetirobhavaaspect of Sri Dakshinamurti. And, his left foot bent at the knee is resting on his right knee or thigh (sayanam padakam or kunchita-paada). His sitting posture is relaxed; his body position and carriage is free from bends and rigidity. His general aspect is calm and meditative.2.4. His luxuriant hair of matted locks (jatabhara,jatabhandha,jatamandalaorjatamakuta) , said to represent hissthithi(preservation) aspect, is adorned and enriched with jewellery, the crescent moon, a snake and bunches of wild flowers such asdurdhura(dhatura). The mass of thejatasis either dishevelled or held together by a snake or a band (patta-bandha) and arranged in conical shapes to resemble a crown. In the middle ofjatabhararesides a small smiling face of the Ganga.Curly hair locks fall onto his shoulders and upper arms. On his forehead he bears a verticalurna(third eye).It is said ; dhurdhura (dhatura) and other forest-flowers as well as the cobra must be positioned over the right of his head ; the skull and moon over the left ; and , Ganga in the middle.Sri Dakshinamurthy is modestly adorned withrudraksha-mala; garlands of wild flowers; flowers above his ears (karna avathamsam). Theyagnopavita(sacred cord) runs across his chest which is adorned with sandal-paste, garlands and necklaces. He is ornamented withkati-bandhajewelled waist band;naga-bandhaarmlets; ankletswithlittle bells; bracelets; kirti-mukhaearring in his right ear and conch- shell earrings (shankha-patra) or an open circular earring (karnavali or vrutta-abharana)in his left earlobe.The Shipa textShilpa-ratnasuggests that Sri Dakshinamurthy must be adorned with five emblems (pancha mudra) : the gem on the forehead (mani) ; the ear rings (kundala) ; the necklaces (kanthika) ; the bracelets on arms and legs (ruchaka) ; and , the girdle (mekhala) . These ornaments are said to symbolize : spiritual power (virya) ;forbearance (kshanti) ; generosity (daana) ; moral virtue (shila) ; and wisdom (jnana) .2.5. The nature of Sri Dakshinamurthy issattva,pure, bright and serene (shantha). His complexion is radiant like a clear crystal (shuddha spatikopama) or soothingly bright as the jasmine flower or the moon(kundendu dhavala prabha) . He is also described as glowing like gold (hema prabha) or dark (shyamabha) . Some Tantric texts describe his complexion aswhiteas milk (kshira-gaura) or snow-white (Kailasadri -nibha) absorbed in in self (bhava shuddha ).His countenance is free from even the traces of disturbance (klesha vargitam). A soothing and gentle smile lights up his expression. His steady gaze is fixed upon the tip of his nose (nasagra drshti yuk) or on the tip his toes (padagre drhsti patam). His eyes must be slightly open (kimchid unmiltair netraih) as in contemplation (yoga dhyananusarinam). He is dressed in white upper garments (sittottariya) andyajnopavita(sita-upavita).His lower garment is of tiger skin (vyagra charmambara) or silk (divyambara) .2.6. The great teacher-god is surrounded by many animals particularly the deer and the Nandi bull. Therishiseager to absorb the Gurus teaching are at his feet. Their numbers and names are mentioned differently in different texts. For instance,Karanagamamentions four rishis: Agasthya, Pulasthya, Vishwamitra and Angirasa.Kamikagamamentions sevenrishis:Kaushika, Kashyapa, Bharadwaja, Atri, Gautama and two others. And,Amsumad-bhedagamamentions seven rishis as Narada, Vashista, Jamadagni, Bhrighu, Bharadwaja, Sanaka, and Agasthya. The aged sages must all be shown with matted hair coiled up (jata bhara) dressed in white and wearingrudraksha maala .Their height is prescribed not to reach above the chest of Sri Dakshinamurthi.The texts also mention the number of sages depicted could even be one , two or three(esham ekam dvayam vapi trayam vaparsvayor nyaseth).3.1. The aforesaid are the general features in depiction of Sri Dakshinamurthy. In specific illustrations, he could be depicted as either sitting or as standing; sitting either invirasanaor otherwise on a rock or on an elevated seat covered by deer-skin or tiger-skin; either with the legs resting or not resting on theapasmara; he could sit either under the banyan tree or not; his complexion could be fair or golden or red or dark; he could either be surrounded or not surrounded by the rishis. There are also variations in the details of his gestures (mudra), theayudhashe holds and their positions (some versions depict holding akamandaluwater pot ormrigadeer orsnake noose ora baton likedandaor an axe in one of his hands). There are no strict scriptural prescriptions in these regard.These details also vary with the disposition or the particular aspect of Sri Dakshinamurthy that is depicted. Some details are revised as a function of the period (Pallava, Chola or later times) and the region (South or North).4. Variations4.1. Sri Dakshinamurthy forms are immensely diversified; there are number of versions of his form. Apart from his spiritual eminence, Sri Dakshinamurthy is regarded a Master in Music, in Tantra and in Yoga. The various styles and forms of his depiction are basically related to one or more of these attributes. Sri Dakshinamurthy representations are grouped under four broad categories that delineate his aspects and attributes: as a teacher of music and arts (veenadhara Dakshinamurthy); as the supreme yogi who teaches practice of the control of body and mind for realization of the self (Yoga Dakshinamurthy); as the Guru who bestows jnana (jnana or medha Dakshinamurthy) revealing the knowledge that liberates; and as the master of rhetoric expounding the scriptures (vyakyana-Dakshinamurthi). Of the four forms, the latter two are more frequently represented. The combinations of two or more aspects are also not rare.5. Veena-dharaVinadhara,Chidambaram5.1. The vinadhara or veena-dhara or Gaana Dakdhinamurthi in extremely handsome form is depicted in two variations; in sitting (aasana) posture and in standing (sthanaka) posture. There are many bronze images of Vinadhara in the Chola period but sculptural representations and stone images were not many during the early Pallava period. But, in the later periods it seems to have captured the imagination of poets and saint-singers.The images in the standing posture generally belong to the early Pallava period. The saint poet Appar a contemporary of the Pallava king Mahendravarman I (600 - 630 CE) sang He (Shiva) stands wearing the sweet smellingvibhuthi; holding a veena. Similarly, Sundarar (8thcentury) the last of the Shaiva Nayanmars describes Shiva with matted hair hanging down, wearingyajnopavithahe holds a veena in which he is proficient.

The images in sitting posture appear to be later variations. In the sitting (aasana) posture, the youthful, charming figure of Sri Dakshinamurthy with broad shoulders and tapering torso, is sitting with the left leg drawn up and resting on the seat inutkutikaposture. His upper body is slightly slanting towards the left, balancing the veena held gracefully across his chest. The lower-left hand supports the instrument and is facing upward (vama hastam katakam urdhva vaktram) while the lower-right hand is tenderly placed on the frets as if plucking the strings (katakam dakshina hastam adhomukham). The hand gestures (mudra) are half-open, slanting and tending to extend gracefully (kataka mudra). At times, he is shown holding in his upper hands a deer and an axe. (Amsumadbheda andKaranagama).The gaze of the god is settled on the instrument ; and he appears absorbed in music.The rest of the features are similar to that ofvyakhyana-murthy.The illustrations of this variation can be seen in the7th century Pallava architecture Dharmaraja Ratha at Mamallapuram; Kailasanatha temple at Kanchipuram and in Shiva temple at Tiruvaikavurnear Kumbhakonam.5.2. In the standing posture the gestures of the image suggest as if it is holding the veena. The instrument as such may not always be depicted or in some cases it could even be missing. The Chola bronzes are the best illustrations of thesthanakaVinadhara murthy(Tiruppurambiyantemple).5.3. Shri Sivaramamurti, former Director, National Museum, New Delhi, in his workKalugumalai and Early Pandyan Rock-cut Shrinesdescribes two forms of Sri Dakshinamurthy, one playing the veena and the other themridanga, sculpted on thevimanaof the Murugan temple of Pandya period at Kazhugumalai near Tiirunelveli. Sri Dakshinamurthy playing on a drum (mridanga) is called Pushkara Dakshinamurthy, the Master of instruments.6. Yoga-murthy6.1. Sri Dakshinamurthy the supreme yogi is often depicted asYoga-murthy(Yoga Dakshinamurthy). He is shown sitting inutkutikaasanawith both the legs drawn up (uddhrtam janvagram) crossing each other from the root of the thigh , heels touching each other (anyonya-baddha - pashnikam) and held in position by a band,yoga-patta, passing round the waist and the fore-legs, a little below the knee. In the classic versions ofYoga-murti, his front arms are stretched out resting freely on the knees (as in yoga Nrusimha); while the back arms hold a rosary (aksha mala) and a water pot (kamandalu).His hair is arranged asjatamandalawoven into circular form and held together by a band or a snake and adorned with crescent moon and flowers. The complexion of Yoga Sri Dakshinamurthy is variously described either as fair or red or golden; but his throat is dark in colour (nila griva). The image is modestly ornamented; and with snakes and snake-like ornaments [E.g. Temples of Ilambayam Kottur Dakshinamoorthy; Elimiankottur near Kadabathur; andShiva temple at Nanjangud near Mysore].In another form ,as described inAmsumad-bheda-agama ,the right leg hangs down from the seat while the left leg is folded vertically with the foot placed on the seat and knee facing upward (lambayed dakshinam padam , vamam utkutikasanam) . The folded leg is held in position by a band which goes round the body (sambaddhya yoga pattena deham , yoga pattikaya-baddhya). In this form , the left hand is stretched out resting on the left knee (parasarya vama hastam tu vama-janupari sthitham).There are some other variations of the Yoga Dakshinamurthy. For instance in the following from theAvur and the Tiruvengavasal (Pudukkotai) temples show Sri Dakshinamurthy in relaxed posture holding an antelope, rosary and kamandalu (water-pot).The textUttara-kamikaprescribes that the Yoga-murthi must be facing southandseated on a tiger skin spread upon an auspicious bejewelledthrone (ratha simhasane shubhe) under a banyan tree(tan mula dakshine chhayanishannah ratnopashobhite pithe vygra-charmottara -chhade) .The tree must be shown resplendent with fruits , flowers and crowded by many kinds of birds.7. Jnana (jnana or medha Dakshinamurthy)

7.1. Medha denotes intellectual brilliance, vigour and vitality. It is the faculty that refers to the brightness of the mind (Buddhi prakasham); the radiance (prabha) of understanding (medha)and wisdom (prajna); as also the power of learning (vidvath shakthi) and the consummate skill in use of language (vak patuhvam).Sri Medha Dakshinamurthy is worshiped as the luminous teacher who ignites intelligence (dhi), memory (smruthi), steadfastness (dhruthi) and in general the intellectual ability and acumen. These virtues are of great merit, and equip the aspirant with the skill and capability to deal with and gain insight into the world of existence perceived by the senses.7.2. Jnana in this context refers topara-vidyathe higher knowledge as compared toapara vidyathe lower knowledge of scriptures including the Vedas. It is not an activity of the senses or of the intellect (buddhi); but is total perception (drishtiordarshana) of all reality.It is the sort of knowledge that leads to the understanding of the problems of being and becoming; to cross over all sorrows (shokasya param trayathi);and to realize ones true identity (atma-vidya).It is a knowledge that liberates. It is content-less intuitional understanding and experience. It is explained; it is called jnana or knowledge merely because there is no term to describe the absence of subject-object, knower knowing distinctions. It is the immediate and non- indirect perception (sakshat aparoksha), self-luminous consciousness (sva praksha).The expression jnana in the context of Sri Dakshinamurthy is therefore more suggestive than denotative.7.3. The representations of Medha and Jnana aspects of Sri Dakshinamurthy have got mixed up. In either case he is characterized by thejnana mudraandchin-mudra(described earlier), as also by the scriptures or theKushagrasshe holds. His otherayudhassuch as the rosary (akshamala) witha snake and Agni the torch of illumination; as also his firmly stamping on theapasmarapurushasymbol of ignorance and delusion, amplify his main attributes. In these depictions, his face is serene, tranquil and smiling.He is portrayed as embodiment of bliss, immersed in deep meditation with his eyes half-closed (ardhanimila-aksha). Yet, there is eloquence in his being; and there is purity around him. The Medha Jnana Sri Dakshinamurthy is composed of bliss, intelligence and existence. (Sri Dakshinamurthy at Karuvili temple; sent by Ms.Ushasuryamani)7.4. There are number of shrines of Medha Sri Dakshinamurthy; too many to be listed here. Just to mention a few, the better known shrines are located in: temples of Sri Arunachaleshwara, Tiruvannamalai; Sri Kaalahasteeswara, Sri Kaalahasti; and Srikanteshwara temple, Nanjangudu.8. Vyakhyana-murti

8.1. Sri Dakshinamurthy asVyakhyana murti orDharma -vyakhyana -murtithe teacher ofBrahma-vidyais sitting in absolute comfort(Sukhaseena) fully relaxed assumingveerasanais expounding, interpreting the scriptures. He is sitting on a throne(vyakhya pithe nishannam) or on white-lotus-seat (sitambuja stham) or on a circularpadmasana (or kamalasana) thesymbol of the sacred syllableOM.The shade of the banyan tree under which he is sitting is interpreted as Maya, illusion. And the bull standing nearby is Dharma, the eternal law.His right leg is hanging below the seat (lambaka padam) while the left one bent at the knee is placed across over the right thigh (sayanam padakam or kunchita-paada). His right foot may or may not rest on the back of theapasmarapurusha. He is depicted with three eyes and four arms. The mass of his hair may be let loose hanging around his ears (jatabhara) or held together by an ornate band (lalata patta). Thekesha-vinyasa, the hair-do, is adorned with flowers, crescent moon, a snake and small tinkling bells.His expression is benign and compassionate.Unlike as in his Jnana version, Sri Dakshinamurthy is not immersed in meditation; here, he is in wakeful (jagrat) state with his eyes fully open. His left hand invarada-mudraalso holds a text of the scriptures; and his right hand gesticulates, invyakhyana-mudra, as if he is speaking, explaining, teaching or imparting a discourse. The thumb and the index finger of his right hand are joined while the three other fingers are pointed upward; and the palm is facing the viewer. His upper right hand holds theaksha-mala(representingtattvas) while his upper left hand holds Agni (torch of fire) orsarpa(snake) or a lotus ornilothphalaflower. The great teacher is surrounded byRishissitting at his feet, eager to learn. TheDharma-Vyakhyana-murtiis the supreme teacher, the Guru incarnate;most auspicious and readily accessible to eager aspiring learners.Most of the temples in South India depict combinations of Vyakhyana-murti and Medha Dakshinamurthy.9. Other variations9.1. As mentioned earlier, the forms and representations of Sri Dakshinamurthy image are immensely diversified; there are various forms; many in number.Kashyapa Shilpa(76.5) mentions a variety with eight hands (ashta-hastham-athapi va). But, most are, in effect, combinations of any of the four main aspects discussed above. Some of those variations are fairly well known; while many others are rather obscure or specialized forms. Lets briefly see some of them.Sri Vidya Dakshinamurthy9.2. Sri Dakshinamurthy is a revered seer of thekadi (samaya) mathaschool of Sri Vidya tradition.Samayais centred on knowledge (jnana) which is the realization of the identity of Shiva and Shakthi: Shiva becomes Kameshwara and Kameshwari becomes Shiva. Their names too get intertwined.For instance, Shiva and Shivaa; Tripura and Tripuraa; Bhava and Bhavani; Shambu and Shambhavi; Rudra and Rudrani; and Sundara and Sundari etc. Therefore, Sri Dakshinamurthy, in this tradition, is worshipped as a combination of Shiva and Shakthi.Namanumber 725 of Sri Lalitha Sahasaranama describes Sri Lalitha Parameshweri asSri Daksinamurti-rupini.Sri Dakshinamurthy, here, is depicted as a Master of Tantra. He has a very heavy jata-bhara, dishevelled and flowing down his shoulders, almost covering the ears. A patra-kundala is worn in the left ear, while there is none on the right. Snakes symbols of Tantra are prominently displayed: coiled loosely around the thighs, with its hooded head on the right; and in the jata-bhara; as also coiled on the damaru drum.Ardhanari Dakshinamurthy9.3. It is explained; the termDakshinaliterally means a woman and refers to the feminine principle, which can create, unfold and manifest. When Dakshina assumes a form, it results in Dakshinamurthi, an androgynous, variety of Shivas form. Sri Dakshinamurthi, asardha-nari,as Kameshwara and Kameshwari is regarded the principle deity of the Kadi School. Theardha-naridepictions can be seen in some temples; for instance, in the Sivanandeswarar temple in Thirupanthurai, (Tanjore) and in the Thirupulivanam, temple near ChennaiRishabharudha Dakshinamurthy9.4. The form of Sri Dakshinamurthy either riding the bull (vrishabha)or standing beside the bull leaning against it with his right elbow placed on the bulls head or neck is quite popular. Sri Dakshinamurthy with four arms a nd three eyes, looks peaceful and pleased (prasanna).His hair is tied up in the shape of a tall crown (baddha-veni-kirita).There are number of temples depicting Sri Dakshinamurthy in this aspect; for instance: in the Vathanyewara (Vallalar) temple, Sri Dakshinamurthy is seated on Nandi; and in Tirunallavanur temple, Sri Dakshinamurthy is portrayed in a standing posture, holding scriptures in the left hand while his right elbow is resting on the Nandi.Lagudi or Lakuti DakshinamurthyA form of Sri Dakshinamurthy holding acudgel(lagudiorlakuti )is Lakuti Dakshinamurthy . He is described as of golden complexion ,seated underaNigrodhatree invirasana; decorated by eightserpents(ashta bhogi vilasad bhushanam) ; clothed in tiger skin(vyaghra tvak pata ) ; and , holding a cludgel (lagudiorlatuki). He is surrounded by sages waiting on him .Samba DakshinamurthySamba Dakshinamurthyis an unusual form seated alongside Parvathi who is dark in complexion (shyama) , holding a blue lotus (utpala) and lovingly embracing Dakshinamurthy (vamaropari sthitham giri-sutam anyonya-alinganam).Samba Dakshinamurthy is described as holding a book in the hand that embraces Parvathi ; and in the other two hands he holds a pot filled withnectar(kumbham sudha puritam) , arosarymade of pearls (makthakshamala) , while the other hand gestures wisdom (mudram jnana mayim). This form with Parvathi is most unusual because SriDakshinamurthyis invariably depicted askevala murthi.]10. Some more variations10.1.A variety of other depictions are sporadically mentioned. But the iconographic features of these variations are unclear. These forms are perhaps worshipped for specific purposes; say for attaining health, wealth or knowledge. The following are some of such forms: Samhara Dakshinamurthy (vyakhyam samhara samjnam) ; Lakshmi Dakshinamurthy; Veera Dakshinamurthy; Sakti Dakshinamurthy; Kala Dakshinamurthy; Apasmara Nivartaka Dakshinamurthy; Mula Dakshinamurthy; Shuddha Dakshinamurthy; Vaagisha Dakshinamurthy; Hamsa Dakshinamurthy; Chidambara Dakshinamurthy; Vira Vijaya Dakshinamurthy; Kirthi Dakshinamurthy;Brahma Dakshinamurthy; Sakthi Dakshinamurthy, Siddha Dakshinamurthy; Srividya Dakshinamurthy etc.Sri Dakshinamurthy as Linga10.2. Sri Dakshinamurthy is also represented and worshipped in the Linga form. For instance, the Mahakal Jyotirlinga, cream in color and facing South, in the ancient temple of Mahakaleshwar at Ujjain (Avanthika) is revered as Sri Dakshinamurthy.In Sri Pashupatinatha Temple at Kathmandu, the South face of Shiva Linga is regarded as hisanugraha(grace) orjnanaaspect and worshipped as Sri Dakshinamurthy. Similarly, the Linga in the five hundred year old cave temple of Sri Gavi Gangadhareswara t in Bangalore is considered Dakshinamurthiswarupam.And, in the Vaikom Mahadeva temple in kerala and in the Alangudi (Kumbakonam) too, the deity enshrined in the form of Shiva Linga is worshipped as Sri Dakshinamurthy.10.3. Sri Dakshinamurthy is also represented in the form of saligrama. The Dakshina-murti-salagrama has the shape of a conch, but is black in color.10.4.Sri Dakshinamurthy Yantra

Sri Dakshinamurthy Yantra eight petalled lotus, on the portal of which are visualized Brahma, Sarasvathi, Sanaka, Sanandana, Sanathkumara, Shuka, Vyasa and Ganapathi. Sri Dakshinamurthy, in this form, is the originator of the world (jagatam adya) and represents the absolute principle (avyaya). Dakshinamurthy upasana forms an important aspect in Sri Vidya tradition. Here; he is the Adi Guru of its Samaya School .Upasana of the Dakshinamurthy involvespurva-angaand uttara-angamantras.Purva-anga mantra addressed to : Guru, Ganapati, Durga, Kshetrapala, Saraswathi .:Guruuganapatirdurga kshetrapalah saraswathiEtah sridakshinamurtheh purvamantradhidevataahUttara-anga mantraaddressed to : Bala, Devi Shadakshari, Svarna Akarshana Bhairava and Mrita Sanjivani :Balashadakshari devyah svarnaakarshana bhairavahMritasanjivani chaiva mahamrityunjah tatahEte panchamahamantra uttaranga mahesatumThe slokas for worship of the yantra areOm Namo Bhagavathe Dakshinaamoorthaye|Mahyam Medhaam Pragnyaam Prayachas Swaha||Gurave Sarva LokaaNaam Bishaje BavaRogiNaam|Nidhaye Sarva Vidhyaanaam Dakshinaa Moorthaye Namaha||Vrushabath Vajaaya VidhMahe Kruni Hastaaya DheeMahee-Thanno Guru: Prachodayaath||ApraMeyathva ya theedha Nirmala Nyaana Moorthaye|Manogi raam Vidhooraaya Dakshinaa Moorthaye Namaha||11. Temples11.1. As it has been pointed out,the temples where Dakshinamurthy is the chief deity are small in number. The Agamas mention twenty-fivelila-murtis(Lilagenerally is playful, active) forms of Shiva. One of the more important of these is Sri Dakshinamurti. Generally, in Chola temples- both of Shiva and Vishnu- a niche in the south wall of the central shrine holds the image of Sri Dakshinamurthy. In all those temples the idol of Sri Dakshinamurthy is either carved on the wall; or placed in a niche or in a small shrine. Many temple towers too carry various versions of Sri Dakshinamurthy image.11.2. For some reason, the processional or festival images (utsava-murti) of Sri Dakshinamurthy in bronze or alloy do not appear to be in vogue, except perhaps in the temple at Alankudi near Kumbakonam.12. Guru Poornima12.1. Guru Poornima the full moon day which occurs in the month ofAshadha,marks the celebration of the Supreme Guru who taught through eloquent silence. Each year, the aspirants celebrate the day of the Adi-Guru with gratefulness, devotion and reverence.13. Sri Dakshinamurthy and Avalokitesvara13.1. Many scholars point out similarities in the representations of Sri Dakshinamurthy and Avalokitesvara Padmapani. There is also a view that each tradition influenced the other.It is said; by about the fifth century, the Dakshinamurthy tradition was strongly established in the Madurai region. The Potiyil Mountains in the same region was also the cradle of the Avalokitesvara cult. The scholars have pointed out that the images of Sri Dakshinamurthy of the early Pallava period were depicted holding lotus flowers in their hands. The images carved on the walls or placed in the niche of the Sri Kailasanatha temple of Kancipuram and in the temple at Tirusalvar as also in some other temples of that period support the view. In the later period- the Chola- the lotus was replaced by Agni (fire) that illuminates; but the fire seemed to have a stem. That change might have been caused by the growing influence of the Vedic tradition in the South. The argument is that in the early period, the Dakshinamurthy iconography was influenced by the Buddhist tradition.13.2. There is another view too. It is pointed out that the sculptures of Avalokitesvara and Dakshinamurthy- both of Pallava period and both in the region of Potiyil Mountains are adorned withyajnopavithaand the sandal-paste mark between the eyebrows. It is said; these images in turn influenced the Avalokitesvara bronzes of Sri Lanka (8thcentury). It is argued, in this case, the Buddhist sculptures which were smaller in number in South India were influenced by the Hindu iconography.[Please check the following links for more on that::http://indology.info/email/members/palaniappan/patanjali.shtmlhttp://www.poetryinstone.in/tag/dhakshinamurthy]13.3. Both the parties to the argument seemed to have overlooked that in the Indian context the art and idioms of art expressions were at once Hindu, Buddhist and Jain, for the style was a function of the region and of the times and not of religion. The Indian art that rendered religious themes shared a common pool of expressions and symbols.Lets talk of your questions in the next part.

My DashboardPost Now

Sri Dakshinamurthy Iconography And Some Other Questions: Part Two

Sreenivasarao S/Blog/4 yrs ago/16AA+A++Sri Dakshinamurthy iconography and some other questions:Part TwoContinued from Part OneLets now come to the questions you framed.Why Dakshinamurthi facing South direction?Are there any specialties in south direction suggested in Agamas and in Shilpa Sastras?KURAGASANAM is one of the type of Asanas?Can you tell me the types of ' CHADAMUDI '(Hair Types?)Why there are such different types of Dakshinamurthi in South Indian temples?In North India, we cant see the Dakshinamurthi idol... Why it is so?In your sixth chapter, I saw a Dakshinamurthi photo. It is very different. Can you tell me from where it is?****

A. Why Dakshinamurthi facing South direction?1.1. The direction towards which a temple-deity faces depends upon its disposition and attributes. It also is according to this triple orientation - towards the Sun, towards the centre, towards man. The majority of the preserved temples do face the east, but it is not necessary that they physically must. The other directions could be described as being east. To the tantrics that have some obscure symbolism about Sunrise in the east, the directions of south, west and north each have relative value or significance. In Tantra, any direction may notionally be taken to represent east.1.2. Most temples face east, because it is believed that the doorway of the sanctum facing east is best (uttamottama most auspicious); west is next best (uttama); even south is permissible (madhyama); and to the north it is inferior (adhamam),not desirable. (Vimanarchana-kalpa patala 3)

2.1. As regards Sri Dakshinamurthy, as you mentioned, he most usually faces the South (except perhaps in few cases such as in the temple at Tiru Anjaikkalam in Kerala where Sri Dakshinamurthy faces east). The south-orientation of Sri Dakshinamurthy appears to be based on the notion that he is seated in the Himalayas looking towards the land-mass where the aspirants reside; that is towards south.2.2. Another way of understanding it is;Suta samhitadescribes the five faces or five aspects of Shiva which are turned towards four cardinal directions and the space above, as: on the West: Sadyojata (representing earth, and pervading ego); on the North: Vamadeva (water and manas); on the South: Aghora (fire and Buddhi); on the East: Tatpurusha (air and maya); and above all:Isana (akasha and soul).The South face of Shiva is Aghora .It is to your right-hand-side (Dakshina) as you stand facing the Linga of Shiva. Aghora (that which is not dreadful) is the benevolent, benign face of Shiva; and it is directly related to Vidya (the knowledge that liberates) and then to fire (illumination) according toVatulagama (1.67-69).Aghora the benevolent is predominantly ofsattvanature with minimal of rajas and tamas. It is a state of pure being and energy. It is pure knowledge (para-vidya); and, Sri Dakshinamurthy represents that knowledge.Sri Dakshinamurthy who corresponds to Aghora the south aspect of Shiva is therefore represented facing south.3.1. Another, perhaps more plausible, reason could be the one that has to do with the nature and disposition of Sri Dakshinamurthy.According to thePadma-samhita(kriya-pada 2, 33-34)the door of the sanctum facing east is productive of happiness; the door facing the west enhances health and nourishment; the door facing north brings wealth and prosperity; and the sanctum door facing south makes for liberation.

Since Sri Dakshinamurthy the Adi-Guru teaches knowledge (jnana-karaka) that liberates (mokshadam) it seems appropriate he faces south, according toPadma samhita.B. Why Dakshinamurthy?4.1. It is mentioned repeatedly that he is called Dakshinamurthy because he is faceing south. However, there are few other explanations too.4.2. According to Tantra tradition in which Sri Dakshinamurthy is a revered Guruof the Kadi (samaya) School, the term Dakshina means a woman and refers to the feminine principle, which can create, unfold and manifest.When Dakshina assumes a form along with Shiva it results in Dakshinamurthi anandrogynous aspect of Shiva. The Tantra traditionDakshinachararegards and worships Sri Dakshinamurthy as Ardha-nari.4.3. The great seer Sri Ramana Maharshi who perhaps is closest to Sri Dakshinamurthy in his ideals and in his teaching methods, explained the term as Dakshina + Amurthy, meaning a formless entity, one which is capable but is without form.4.4. He is called Dakshinamurty because of his boundless compassion (Dakshinya) towards all creation.Dakshina , it is said , also means favourable (anukula) to the devotee.4.5. Dakshina is also interpreted as grace. Sri Dakshinamurthy is regarded the very embodiment of grace .It is explained that grace (anugraha) is an act of unbound compassion releasing the individual from the coils of samsara. As Guru, he is the sublime ideal of spiritual wisdom adorned with grace towards all aspirants. And, only through his grace can one attain liberation.4.6. And, It is also mentioned that the term daksha denotes one who is capable, skillful or an expert. Daksha also signifies the intelligent or competent. Dakshinamuthy is the Daksha, the Master in music, arts and in all that is accomplished artistically; an exponent, an authority on scriptural learning; an adept in Tantra-vidya; a supreme Yogi; and a teacher beyond compare who teaches the true knowledge that liberates.C. Are there any specialties in south direction suggested in Agamas and in Shilpa Sastras?5.1. Orientation is an essential aspect of the yajna and construction of theyajna vedi, the temples, the towns and buildings. Meticulous care is taken to ensure location of those constructions exactly along the desired axis. That was because of the belief that each direction was complimented by the attributes associated with the gods who presided over it.The directions were therefore of much significance to the Vedic people.5.2. The traditional texts describe the arrangement and attribute of the Dikpalas the Regents who preside over directions. This arrangement is generally followed in the Tantra texts as also in astrology, architectures and Vastu. The classification is briefly as under:Indra the king of Devas, the Lord of the heavens dwells in the East, which represents power and courage.Yama the protector of the Law (Dharma raja), guardian of the ancestors and the king of the Dead dwells in the South, which represents justice and the care of the ancestors.Varuna the protector of rta the cosmic law; guardian of rites; lord of destiny and the lord of water element dwells in the West, which represents knowledge.And, Kubera the king of Yakshas and the lord of riches dwells in the North, which represents an upper position and wealth.5.3. Since we are talking about the south direction in particular, lets take a look at it.In the context of the yajna, the Southern gate is reckoned as the way of the ancestors thepitris; and, the offerings to the departed ancestors are always submitted facing South.Yama is the Regent and protector of the South. Yama the lord of death is depicted as the embodiment of righteousness, the Dharma; and he is the king of justice, the Dharma raja. He judges the dead; but, he is amenable to pity and reason, as it happened in the case of Savitri and Pramadvara in theMahabharata.He is also an adept inAtma-vidya, the knowledge of Self. In thekatha Upanishad, Yama, explains to boy Nachiketa: that knowing which, everything else becomes known?

Yama Nachiketas by Shri Nanda Lal BoseSri Dakshinamurthy too was an adept in Atma-vidya. (I am not suggesting a connection).D. KURAGASANAM is one of the types of Asanas?6.1. The Shilpa texts (Ahirbudhnya samhitaand others) together describe as many as twenty asanas or sitting postures. They also describe about eleven types of seats or pedestals, also termed as asanas, on which the iconic representations are lodged.The Kuragasana you mentioned is in factKurangasana. Itmerely refers to the fact that Sri Dakshinamurthy is seated on a throne or pedestal or a seat covered with deer-skin.Kuranga, in Sanskrit, refers to Indian antelope. In Poet Jayadevas celestial poem Gita Govinda, Sri Radha covered in the fragrance of Kasturi (deers fat or musk) is described askuranga madena.Please click here for aglossary of animal/creature names mentioned in the texts.E. Can you tell me the types of ' CHADAMUDI '(Hair Types?)7.1. Providing elaborate, graceful and attractive hairstyles (Keshavinyasaorkesha-alankara), which besides enhancing the beauty of the sculpture would also bring out the status, the nature and the attribute of the subject, received a great deal of attention. This was one area along with ornamentation (alamkara)where the shilpis could give wings to their imagination and enterprise; and exhibit originality. Some Shipa texts carry a chapter usually titledMauli lakshanam,but there is no comprehensive list of hair styles. Some names are not supported by illustrations; and therefore we do not know what those style-names imply. And in some cases the names of the headgears (kiritaormukuta) have got mixed up with the names of hair styles.The following are some of thoseKesha - vinyasas,so far as I know .This is not exhaustive.(1). Jata-mukuta: A hair-do; hair arranged in long braids and then tied around. It is raised into conical form resembling a crown. The height of the jata-mukuta would be about 1 times the length of the face.(Shiva , Brahma) (2). Jata-bhara: long strands of hair let lose flowing down on to the shoulders, around the ears. It could be either neatly combed stylishly and decoratively; or be just disheveled.(Shiva , Dakshinamurthy)(3). Jata-mandala: Long strands of thick hair woven into three braids are wound in circular forms and held behind on the neck like a disc or a fan. Its other variation is: some braids are let flowing on to shoulder and back. (Shiva)(4). Sarpa-mauli: Thick strands of hair are woven (pigtailed) to look like snakes; and, tied up and arranged turban-like. The hair-do would look like a turban made of snakes.(Shiva)(5). Jata-bandha: Strands of hair made rope-like are wound into ball-shape or spindle-like and placed atop the head. (Rishis, Devas, Narada)(6). Vikirna-Jata-bandha: Strands of hair made rope-like are spread out to flow on the back, on the shoulders. When the person dances or spins around, the hair- do spreads and whirls in theair. (Nataraja)(7). Agni-kesha: strands of hair either loose or pigtailed spread out horizontally like the tongues of a spreading flame. (Agni, shakthi, aggressive characters) (8). Kesha Bandha: The strands of hair are neatly combed and arranged into various conical forms of a series of diminishing tiers and placed in position by tying up the arrangement securely. There are varieties of decorative and stylish hair arrangements under this category. In most cases the conical hair-do is arranged to look like a mounted crown and decorated with ornaments. There are countless variations. (Devis and Queens).(9). Shirastraka: strands of hair are neatly combed, made into number of bunches and each tied into number of small knots to look like rows of water-bubbles. The ends of each bunch are tied into small ball-like knots; and arranged on top of the head. (The Buddha) (10). Kuntala: Long locks of hair neatly combed, parted three-ways and tied into decorative shapes or ball-like, mounted on top of head either to one side or to the middle of the head. The ball-like arrangement when it is to one side of the head is just over the over the ear .The hair-do is well ornamented. (Andal, Sathyabhama, Balakrishna)(11). Dhummila: collecting the hair, tying up the bunch into knots of various shapes. Bunched knot is usually placed behind. It is usually as broad as the persons face ; and wound into three or four rounds. (Devis, Queens) (12). Alakacuda: Specially suited for curly hair. It could be used in depictions of children, women or even men. Hair is neatly parted in the middle and made into two bunches one on the right and the other on the left. Then the bunch on the left is brought over to the right; and similarly the bunch on the left is brought to the left. They then are together tied into ball shapes; and held behind or to the side of the head. Tiny wisps of hair are arranged around the face, like bees around a flower. This depiction is extensively used.(women in queens quarters, and other general use)

F. Why there are such different types of Dakshinamurthi in South Indian temples?8.1. We discussed in fair detail the variations in the depictions of Sri Dakshinamurthy image. Well...the aspect of the divinity one chooses to worship depends on ones needs and aspirations. As you noticed, the Vyakhyana, medha - Jnana versions and their combinations appear to be popular .They are worshipped praying for scriptural knowledge, intelligence and spiritual progress.G. In North India, we cant see the Dakshinamurthi idol... Why it is so?9.1. I agree, Sri Dakshinamurthy shrines are more in number in the South. But, Sri Dakshinamurthy is worshipped even in the North; and there are some temples dedicated to him.As we already saw, Sri Dakshinamurthy is worshipped in Linga form at the Shiva temples in Kathmandu (Nepal) and in Ujjain. I understand there is an old temple dedicated to Sri Dakshinamurthy in Varodra.9.2. Shri Dakshinamurti Pitha (Varanasi), with the temple of the deity, is an ancient one. Its history goes back to about the tenth century. The Math is still in active service and the worship continues.9.3. The Dakshinamurthy tradition was prevalent in Kashmir region too .Abhinavaguptas teacher (11thcentury) pleased with his students excellence compares him to Sri Dakshinamurthy. Later, Madhuraja Yogin a student of Abhinavagupta reveres his Guru as an incarnation of Sri Dakshinamurthy. He sits like Dakshinamurti himself as though he has taken an incarnation in Kashmir.May the gloriousDakshinamurtiin the form of Abhinava, who is an incarnation of Shrikanthaand who has come to Kashmir out of deep compassion, protect us.9.4. The noted scholar Shri TA Gopinatha Rao in his bookElements of Hindu iconography(p 273 vol. 2, First edition, 1914) identified a niche figure in the temple of early sixth century at Deogarh MP as Daksinamurti.9.5. The worship of Sri Dakshinamurthy perhaps travelled along with the Indian traders of 10th-11thcentury to Far East. The Phnam Rung Siva temple, Pimay , a Khmer temple complex built during 10thto 13thcenturyin North east Thailand, has a panel depicting Sri Dakshinamurthy in a teaching posture.9.6. For some reason, the shrines of Sri Dakshinamurthy are not many in North India. I am sorry, I am not aware of its precise reason.H. In your sixth chapter, I saw a Dakshinamurthi photo. It is very different. Can you tell me from where it is?10.1. I presume, you are referring to the following picture.It is a creation of Shilpi Siddanthi Sri Siddalinga Swamy of Mysore .He crafted the image in the early stages of career while he about twenty years of age (1903?). I understand the image is located in the caves of the Sri Shambhulingeshwara Hills (Chilakawadi Betta) near Chamarajanagar. Sri Dakshinamurty is depicted seated inYoga inutkutikasanawith both the legs drawn up on to the seat , bent and crossed like scissorsand held in position bypaada-pattaorYoga patta(as in Yoga Nrusimha) which passes round the legs and the body , The four armed figure is holdingakshamalain upper-right-hand; veena in upper-left-hand (he is just holding the veena , but not playing on it ) ; apalm- leaf text in the lower-left-hand ; and gesturingvyakhyana mudrain the lower-right hand. Aprabhavaliis placed behind the figure of Sri Dakshinamurthy.It looks different, as you said, because it is a combination of three aspects of Sri Dakshinamurthy: the Yoga-murti, the Vina-dhara and the vyakhyana-murthi. It is Yoga because it is sitting in yogic posture; vina-dhara because it is holding in its back left hand a veena; and it is vyakhyana-murthi because its front right hand is in vyakhyana-mudra, while its front left hand is holding a text.It is said; the full view of the sculpture reveals that the deity is sitting under a banyan tree; the figures of six Rishis are carved on the lower portion of the pedestal; and Nandi with four arms and human body is standing besides the Rishis.The sculpture, it appears, was inspired by a similar depiction placed in a niche at the Shiva temple in Nanjangudu, near Mysore;and by an illustration inSritattvanidhiof Sri Krishnaraja Wodeyar III the then Maharajah of Mysore (1794-1868)

***I trust this might be of some use to you .Please also check the references/links I provided. I wish you Godspeed in your project and in all your endeavors. Regards

Sources and referencesI gratefully acknowledge the line-drawings OfKesha vinyasa, hair styles From the wonderful textBrahmiya chitra karma sastramBy Dr.G GnananandaElements of Hindu iconographyTA Gopinatha RaoElements of Indian Art SP Gupta and SP AsthanaDevalaya vastuSK Ramachandra Raohttp://www.treasurehouseofagathiyar.net/07300/7314.htmhttp://www.tamilnation.org/literature/pathumakkoththan.pdfhttp://manasataramgini.wordpress.com/2005/11/15/a-description-of-abhinavagupta-by-madhuraja-yogin/http://www.tamilnation.org/heritage/chola/deivanayagam.htmhttp://www.tamil.net/list/2000-12/msg00795.htmlhttp://ssubbanna.sulekha.com/blog/post/2009/08/dvarapalas.htm