hindu iconography 1

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byPandit Sri Rama Ramanuja Achari

Simha Publications2012


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Hindu Iconology Introduction ________________________________ 3

Technique of Icons ___________________________________________ 4

Theological Support for Icons __________________________________ 5

Temple Structure and Icons ____________________________________ 6

Types of Icons _______________________________________________ 6

Classification of Icons ________________________________________ 7

Orientation of Icons & Karma Bimbas ____________________________ 8

Construction of Icons and their materials __________________________ 9

Iconometry Measurement of Icons ____________________________ 10

UNDERSTANDING ICONOGRAPHY __________________________ 11

Gane a _____________________________________________________ 19Brahm ____________________________________________________ 21Vi u ______________________________________________________ 22

Siva _______________________________________________________ 25

Natar ja ____________________________________________________ 27The Lingam _________________________________________________ 28

Consorts of the Trinity ________________________________________ 30Sarasvati ___________________________________________________ 31

Lak mi ____________________________________________________ 32

Prvati, akti, K li ___________________________________________ 33Durga _____________________________________________________ 34

Subrahmanya _______________________________________________ 37

Ayyapan ___________________________________________________ 38

Hanuman ___________________________________________________ 38Kmadeva __________________________________________________ 39Iconography of Vedic deities THE LOKA P LAS _______________ 41NAVAGRAHAS ____________________________________________ 48

DASA-MAH -VIDYAS ______________________________________ 54


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Definition; Icon ( ikon ) is a word derived from the Greek and is defined as an image orrepresentation of a religious figure. Iconology is the study of icons.

Everything connected with the Hindu icon hasa symbolic meaning; the posture, gestures,ornaments, number of arms, weapons,vehicle, consorts and associate deities(pariv ra devat ). Symbolic meanings ofvarious rituals and paraphernalia are first

given in the Br hmanas and Aranyakas, andlater the iconic symbols are explained in thevarious Pur as such as Srimad Bh gavatam(S.B.), Vi u Pur a (V.P.), iva Pur a;Upaiads such as Gop la-uttara-t piniUpani ad (G.U.T.Up), K a Upani ad(K.U.) and gamas.

Iconology

Iconology is defined as the study of thesymbolism behind sacred images. One of themost prominent tools of devotion in Hinduismis the use of images. These images or iconsare made of wood, stone, metal or painted oncloth. The term generally used by non-Hindusand unfortunately by Hindus themselveswhen referring to these sacred images isIDOL. This term is actually pejorative ademeaning, insulting word first used byChristian missionaries who perceivedHinduism in an extremely negative way describing us as pagans, heathens andidolaters.

The use of images is also predominant amongCatholics and Eastern Orthodox Christianswho refer to sacred images as ICONS todifferentiate them from the idols of theheathens.

An icon can be defined as a sacred symbolwhich embodies a spiritual truth and is worthyof veneration and contemplation.

All Hindu icons are visual representatives ofthe transcendent Divine and the SpiritualForces which support, sustain and direct theCosmos. The art and symbology of Icons hasbeen developed to an extremely sophisticateddegree by the Hindu mind. Each and everyfeature of an icon has a profound truth behindit, and all the mystical teachings of the sagesare presented to the spiritual seekers throughthe means of these icons and symbols.

The language of symbols develops when anattempt is made to represent something that isbeyond the normal capacity of the human

mind to comprehend or to express. Atranscendent reality is expressed in terms ofequivalents known as symbols.

All of human interaction is carried out throughthe use of symbols. To represent a quantity ofsomething we use symbols called numbers .To articulate and communicate ideas we usesymbols known as words . To transmit wordsto others in a graphic manner we use thesymbology of letters of the alphabet.

A symbol can be natural or conventional.When we perceive a direct relationshipbetween one order of things with another anatural symbol develops.

In Hindu cosmology, symbolism is theexpression of reality. It is the expression ofthe particular points where two realms meet the transcendental ( nikala ) with thematerial ( sakala ).

The gamas affirm 2 core tenets;1. the material realm ( sakala ) is a

reflection of the transcendental realm(nikala ) and


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2. the inner spiritual/psychic world isrelated with the outer ( yath brahm a tath pi a )

and therefore symbolism arises from natureitself and is not the result of speculation. Andthrough the contemplation of the outersymbols one reaches the innermost subtleconcepts behind those symbols.

However far back we reach in Indian thoughtas a whole we find a coherent use of symbolsto represent the abstract. The whole of Indianiconology is built up upon a code of symbols

based on the assumption that there exists anatural affinity between ideas ( nma ) andforms ( r pa ).

This code of symbols has been transmittedover thousands of years and its origins arelost in the remote past.

Symbols do not speak to the rational mind andcannot be fully understood by logic, they arethe subject of contemplation, worship,assimilation, inner experience and ultimatespiritual realization. Symbols are the esotericlanguage of the unconscious mind.

TTThhheee ttteeeccchhhnnniiiqqquuueee ooof f f IIIcccooonnnsss

Brahma-vid pnoti param Taittiriya Upa iad.One who contemplates upon the Brahman attains the Supreme.

The Upa iads prescribe many techniques forspiritual advancement but the most prominentof them is upsana . Up sana ( upa + sana )literally means sitting near and refers to theact of meditation. The term up sana can betranslated as worship, contemplation,devotion, the making of offerings etc.

The icons are primarily used for this practiceof upsana . They not merely"representations" of the Godhead but are infact a "focus" or "locus" of the presence of theGodhead. This means that God is actuallypresent in the icons.

How is this doctrine justified? Firstly God isomnipresent (all-pervading), omniscient (all-knowing) and omnipotent (all-powerful). Theentire creation is pervaded by the Godhead,there is no place or thing in this universewhich is devoid of the presence of God. Sonaturally it follows that the Godhead is alsopresent in the icon. When the icon is properlyconsecrated according to the prescribed rites God is implored to be especially present inthe icon out of compassion and love so thatwe in turn may love and adore Him/Her.

Secondly God is the Inner-witness whoknows our every thought and emotion, andScripture tells us that God always responds toour devotion. So God with a small fraction of

His limitless being takes up residence in theconsecrated icon in a very special and specificway, and because by definition God isomnipotent all-powerful, this empoweringof the icon is certainly no great effort on hispart!!

The Divine is all-pervading and intimatelyclose. The entire universe is pervaded withinand without by Divinity. The Divine cannotbe confined to the icon because ofomniscience but through the power ofmantras (sacred formulae) and mudras (ritual gestures) the Divine Essence is invokedinto the icon and It, through It's infinite mercycondescends to take residence in the grossobject for the purpose of receiving theworship of devotees and bestowing Grace. Inother words the divine Presence is

particularized or focused in the icon. Theenergy that is already there is awakened, itdoes not enter from somewhere outside. Theimage of stone or brass is thus transformedinto a living entity. Its actual shape andornamentation are symbolic and conveymeaning in every single aspect. Once theinvocation ceremony ( prana - pratishtha ) hasbeen performed, the icon is no longerregarded as merely 'symbolic' but as a mrtiwhich means ' a materialization orembodiment' of the Divine .


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In the Parama Samhita 3:7 it is stated;

nir k re tu deve e na arcana sabhave n m |na ca dhy na na ca stotra tasm t sk ram arcayet ||

It is impossible for the human being to worship, meditate or praise a deitywithout form. Therefore the Lord should be worship through an icon.

The Sriprashna Samhita 18;1 affirms that the descent of the Lord into a permanent iconic abode isdue to His Divine Initiative alone, for bestowing grace and blessing upon the devotees

TTThhheee TTTeeemmm pppllleee SSStttrrruuuccctttuuurrreee aaannnddd IIIcccooonnnsss... The human body is the temple for theIndwelling Spirit of God ( Antaryamin ). All

the various parts of the temple structurecorrespond to various parts of the humanbody. The temple is the physical bodywhich houses the presence of Divine. So theactual building of the temple itself is asymbol of the presence of the Divine in theworld. The temple with all its intricateimagery represents the universe in all itsvariety and just as on the macrocosmicscale the universe is the body of the Divine

so on a microcosmic scale when the icon represents the manifested Godhead; the temple is It's Body.

TTTyyypppeeesss ooof f f IIIcccooonnnsss ...

Two types of icons are encountered in thetemple. There is the main deity which isusually carved out of stone or sometimes inthe case of very large icons such as inSrirangam temple they are molded out of

plaster. This is known as the mla vigraha ,and once installed can never be removed this icon receives all the daily services. Thesecond type of icon is known as the proxyicon (utsava vigraha ). It is smaller than the

main icon and is usually constructed of analloy of 5 metals ( pa ca-loha ). Duringfestivals the Spiritual Energy [ shakti ] from themain icon is transferred temporarily into theproxy icon which is then taken out in

procession and receives particular services.The icons for use in the home for dailyworship are either pictures or metal images.Metal images, when used for worship shouldbe about 14 cms high.

CCClllaaassssssiiif f f iiicccaaatttiiiooonnn ooof f f IIIcccooonnnsss;;; 1. gamic Icons fall into three broad groups they are;

citra sculptured in the round.citr rdha base-relief


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citrabh sa painted2. Those that are sculptured in the round can be classified according to movability as;

cala movable,

acala immovable,

cal cala both movable and immovable.3. They are also classified according to temperament;

anta or saumya those of a peaceful demeanorv ra Those of an heroic natureraudra or ugra those of a terrifying nature.

4. The immovable icons are known as dhruva-bera or m la-vigraha are classified by posture;sth naka standing,sina sitting,ayana reclining

5. Icons are further classified according to the purpose for which they are worshipped, differentresults being obtained from each type ( yad bh vati tad bhavati that upon which you contemplateyou become.).

1. yoga m rti; These icons depict the Supreme Being in various meditational postures. They areworshipped by the aspirant desiring self-mastery or Yoga. These icons should beestablished and consecrated on the banks of rivers, in forests or on top of mountains,it should be quite far from human habitation, the reason being quite obviously in orderto afford a peaceful and undisturbed environment in which the aspirant can practiceyogic meditation.

2. bhoga-m rti; These icons depict the deity in a domestic situation. This is the best suited form forworship in temples constructed in towns and places of habitation. These icons areconducive of enjoyment and happiness and can be resorted to by all classes and bypeople of all temperaments. The images of Uma-Maheshvara, Radha-Krishna andLakshmi-Narayana etc. are of this type.

3. v ra-m rti; These icons depict the Deity in a heroic posture such as Rama defeating R vana orDurga defeating Mahi sura or iva as Na ar ja. This type of icon bestows powerand victory over enemies (such as anger, greed, delusion etc.), it can be establishedeither in the town or outside of it.

4. ugra-m rti; This is the form which is used for protection against enemies (either real or spiritualin the form of anger, delusion, desire etc.). They are characterized by sharp teeth and alarge number of arms carrying various weapons, wide eyes and a flaming halo aroundthe head. This icon may only be set up in the North-eastern corner of the settlement orvillage. The setting up of an Ugra-murti in the midst of a town or city is prohibited. Ifit is established then a nta-m rti must be placed directly in front of it, or a tank ofwater should be constructed in front of the temple. The Vi var pa, Narasimha,Sudar ana and the Va a-patra- yin are of the Vai ava Ugra type. Gaja-samh ra is

an ugra form of Lord iva and K li dancing on iva, and Pratya gira Dev areexamples of Ugra aktis.


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5. abhic rika-m rti; used for the purpose of inflicting death and destruction on one's enemies orconfounding his purposes. This form is only set up far from a town and never in aplace of human habitation. (This form is purely theoretical as there are no temples ofthis type and no bhakta would have anything to do with them).

OOO rrriiieeennntttaaatttiiiooonnn ooof f f IIIcccooonnnsss The standing and seated icons are orientated either facing the east or the west. The sayana bera (reclining) can face any of the four cardinal points, if facing North then the head is to the East, iffacing South-the head is to the West. If facing East or West then the head is to the South. Dependingon the direction of the head of the Icon differing results are obtained;

East Shantidam (peace) West pushtidam (vigour)

South jayadam (victory) North abhicarikam (depredation)

The Ugra-rupa can only be established in the North-east of the settlement where it will giveprosperity and happiness, the incorrect establishing of the ugra-rupa in a town or village leads to thefollowing results;

In the East destruction of village

In the south-east destruction of the settlement

In the South degradation of the womenfolk

In the South-west population will be decreased through disease

In the west bad conduct, depression and mental anguish

In the north-west delinquency amongst the populace

In the north various types of afflictions. Narasimha usually the yoga form is always set up to the west of the main sanctorum, even inSiva temples.

KKK aaarrrmmm aaa BBBiiimmm bbbaaasss;;;

A karma bimba is a proxy image of the mainIcon which is used for a variety of practicalpurposes. The life force (prana) from the mainIcon is transferred into the karma bimba for ashort duration for serving the particularpurpose. Thereafter it is transferred back intothe main Icon.

In a temple consecrated according to theAgamas there should be three, five or sixsuch karma-bimbas. Five are most commonand are known as the Paca-bera.

dhruvam tu gr ma rak rtham arcan arthamtu kautukam | sn nrtham snapanam

proktam balyartham baliberakam | utsavacotsavartham ca pa ca-bera prakalpit ||

1. dhruva- bera the main icon in

the sanctum sanctorum which is of theimmovable kind, constructed of stone andpermanently fixed. It protects the town

2. kautuka-bera the movable imageused for daily offerings .

3. snapana-bera the icon used for thedaily bathing ceremony.

4. bali-bera icon used for thedaily bali offerings in the courtyard of thetemple.

5. utsava-bera the icon which istaken out in procession on festivals.


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6. ayana-bera the icon used forputting to rest at night

Few temples are opulent enough to possessand to handle all these five beras so the

general situation is to have two beras only; themula-bera and the utsava-bera . The utsava-bera fulfills the function of all the other 4

types. These karma-bimbas have tocorrespond in certain iconical forms to thedhruva-bera . If the dhruva-bera stands theystand, if the dhruva-bera sits they sit, but ifthe dhruva-bera reclines then the karma-bimbas either stand or sit. They also have to

correspond in the number of arms and variousother paraphernalia.

karm rc sarvath k ry mla-bimba anus ri | Vi vaksena Samhita 17; 11.

The karma-bimbas must correspond in every way to the mula-bimba.

CCCooonnnssstttrrruuucccttt iiiooonnn ooof f f IIIcccooonnnsss In the Agamas and Silpa Sastras (canons of

architecture) there are dhyna slokas (visualizations) which are given; describingthe exact features of the particular Deity andthe paraphernalia in great detail for thepurpose of meditation. It is according to thesedhyana slokas that the icons are constructed.

Certain proportions having symbolicsignificance, are essential features of icons aswell as of temple architecture. The image is

made in strict conformity to the originalcanonical texts and concentration andvisualization is extremely important. Anyomission, error or oversight is attributed toimperfect concentration and slacking of

attention, in this case the image is discardedand the process is deferred.

The Agamas insist on the necessity of makingthe icon as beautiful as possible but actuallyeven an ill-shaped image made strictlyaccording to the Agamic directions serves thesame purpose as a very artistic and beautifullyexecuted one.

The construction is always begun upon a dateset according to astrology, being anauspicious day and in harmony with thenature of the deity. The Silpi or craftsman isexpected to maintain his ritual purity duringthe process of construction and there areseveral disciplines which he has to undertakeuntil the completion of the task.

MMM aaattteeerrr iiiaaalllsss ooof f f CCCooonnnsss tttrrruuuccctttiiiooonnn::: k tv pratinidhi samyag d ru loha ildibhi |tat sth payitv m sth ne stra d ena vartman || Padma Samhita Kriya Pada 1;5

According to the Agamas, icons can be constructed of stone, wood, metal, clay, kadi-sarkara akind of cement, precious stones or painted on cloth. Those made in metal are usually sculptured inwax form and then cast in metal.

IIIcccooonnnooommm eeetttrrryyy MMM eeeaaasssuuurrreeemmm eeennnttt ooof f f IIIcccooonnnsss Dhruva Bera;

The height of the Dhruva-bera varies. It is either taken in proportion to the temple super structure orthe temple measurements are taken from the dhruva-bera .

Example 1


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The whole Icon consists of three parts; 2 parts are the Icon proper and 1 part is the pedestal.Multiply the whole length of the Icon by 4 and divide by 8. One 8th is the width of thedoorway into the sanctum.

Example 2

The whole length of the Icon including pedestal should be 7/ 8ths of the height of the doorway.

(i.e. height + 7 x 8 = doorway). If the Icon is made 2 meters in height then the followingmeasurements are calculated;

doorway = 2 .28 mtrs high x 1.14 mtrs in width.Sanctum = 4.57 mtrs squareVimana = 9.14 mtrs highMandapa = 9.14 mtrs widePlinth = 3 mtrs high

Proportional measurement of Karma Bimbas

mla-bimba samucchr y dvidh v pi tridh pi va |caturdh v sa vibhajya eka bh gena kalpayet ||utsav rc tad ucchr y dvidh v pi tridh pi v |caturdh v vibhajya eka bh gena parikalpayet ||

vara Samhita 17; 242, 243.The karma-bimbas should be either a quarter, a third or half of the height of the mula-bimba .

Position of the Deities in the Sanctum

The sanctum sanctorum is called the garbhalaya and is divided into half. The half should again besub-divided into 10 parts. The deities are positioned as follows;

Shiva Lingam in the 10th part i.e. centerBrahma is placed in the 9th part.Vishnu is placed in the 8th part.Shanmuga is placed in the 7th part.Sarasvati in the 6th.Surya in the 5th.Ganesha in the 4th.Bhairava in the 3rdShakti in the 2nd place from the rear wall.

UUUnnndddeeerrrssstttaaannndddiiinnnggg IIIcccooonnnooogggrrraaappphhhyyy There are certain features which are common to almost all Hindu deities and some Buddhist ones.

Lotus ThroneAll the gods & goddesses, buddhas and boddhisattvasare usually depicted standing or seated upon lotuses.The pure and unsullied lotus arising from the depth ofthe waters and far from the banks of the lake isassociated with the idea of purity which arises fromthe


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law-of-conduct ( dharma ) and wisdom ( jana ). The Lotus is also symbolic of the enlightened mind.It rises in the mud of material existence gradually growing through the waters until it reaches thesurface and then opens up to the sun in all its glory. Water splashed upon a lotus leaf never remainsbut immediately slips off. In the same way the dirt of worldliness never stains the enlightened being.The lotus base therefore establishes the idea that the devata or buddha contemplated is nothing but aprojection of the mind, and has no existence apart from the devotee.

The Postures.The deities and buddhas are shown in various stereotyped postures, reclining, sitting with one footraised, two feet raised or two feet down or standing.

The reclining posture indicates absolute transcendence, a state of inscrutable "otherness" and isbeyond all our powers of comprehension.

Seated there are three stages of manifestation being depicted.Both legs crossed in padmasana (lotus posture) indicate a stateof transcendence with a potential for manifestation. One leglowered indicates a concern for sentient beings, a desire to bepro-active and an intention to engage in acts of compassion andliberation. Both legs down indicates a full intention to assist thedevotee and an impending act of great compassion guiding

others to enlightenment.

Standing indicates full manifestationwithin our realm and capacity tocomprehend it indicates immanence

the closeness of our inner being. It is the Divine in full actionwithin our minds and the world in which we live.

The Four Arms.Most Hindu deities are depicted with four arms, these represent:


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Absolute all inclusive totality of being; vara thePersonal Creative Deity, Hira yagarbha theconglomeration of individual Selves or J vas, and Vir the manifest universe.

The cardinal directions; indicating that the god is allpervading and has perfect dominion over all thedirections.

The four divisions of society; intellectuals, administrators, entrepreneurs, and workers. The four stages of life; student, householder, retirement and renunciate. The four aspects of Hindu psychology the lower cogitative mind ( manas ) the intellect

(buddhi ), ego ( ahamkara ) and consciousness ( cit ). The four levels of consciousness; waking ( jagrata ), dream ( svapna ), sub-consciousness

(sushupti ) and transcendental consciousness ( turiya ). The four essential components of dharma; truth ( satya ), meditation ( tapa ), compassion

(daya ), and charity ( Dana ). The four aims of human endeavor ( purusharthas ); pleasure ( kama ), prosperity ( artha ),

righteousness ( dharma ) and liberation ( moksha ). The four "immeasurable" qualities friendliness ( maitri ), compassion ( karuna ),

empathetic joy ( mudita ) and non-attachment ( upeksha ).

The CrownThe crown is the quintessential symbol of sovereignty and is also saidto be indicative of the Unknowable Reality which is trying to bepresented through this deity.

The EarringsThe earrings shaped like mythical sea-monsters ( makara ) represent the two

methods of pursuing knowledge intellectual knowledge ( sankhya ) andintuitive perception ( yoga ).


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The Face of Glory

Very often the deity is framed by a doorwaylike formation with a monster's head over thetop. This is a common feature of many ofdoorways to the old houses, temples andpalaces in India and South East Asia. This iscalled a kirti-mukha which literally means "theface-of-glory" and it represents the principleof all-consuming Time. Since Time is thegreat destroyer and takes from us all that is

precious and separates us from our lovedones and objects it is shown as being wrathfuland terrifying. It serves to remind thecontemplator that everything is conditioned bytime and space and all things in the universeincluding the deity depicted are all subjectedto appearance and disappearance. Everythingis impermanent and subject to constantchange.

The Gestures

The language of the hands known as mudra is very significant in all forms of Indian art in danceas well as sculpture and ritual. There are some mudras which are common to many deities andbuddhas. These are:

Abhaya Mudra the gesture of fearlessness the palmdisplayed with the fingers pointing to the sky. Indicates thepractice of harmlessness to all beings in word, deed and thought(ahimsa ) and granting to all beings the gift of freedom from fear.

Varada Mudra the gesture of generosity

the palmdisplayed, fingers pointing downwards. This indicates thebenevolence of the deity as well as the teaching of the principle ofgenerosity to all beings.

Chin Mudra the gesture of teaching palm displayed,fingers upwards thumb and fore-finger joined at the tips. Thisindicates the imparting of knowledge, form the deity to thecontemplator and having received the knowledge the aspirant isexpected to pass it on to others. The thumb pressing on the index

finger indicates suppression of egoism, the 3 upraised fingersindicate overcoming self-referent desire, anger and greed.


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Dhyana Mudra the gesture of meditation, this takes twoforms: palms placed one over the other in the lap or armsstretched out, hands on the knees with the palms outwarddisplaying the chin mudra . The former indicates meditation usingan abstract or formless focus, and the later expresses the idea ofmeditation upon a more tangible object.

Tarjani Mudra the gesture of vigilance fist closed withthe index finger raised. This mudra is usually found in images ofprotective or guardian deities and indicative of the need to beextremely mindful when approaching the spiritual path. Theindex finger is also representative of the ego which is the majorobstacle to spiritual advancement. It also represents the principleof aggression and harm aspects of personality which need tobe overcome in the preparatory stages of spiritual life.

CCCooommm mmm ooonnn IIIcccooonnniiiccc SSSyyymmmbbbooolllsss Symbol Esoteric Meaning

PaNoose

The 3 bonds that bind us to the cycle of rebirth avidya(ignorance) karma (action) vasana (habital patterns). Italso has three other meanings attracting oneself to theDharma, tying onself by the constraints of Dharma anddestroying all obstacles to one's spiritual evolution.

Aku haElephant Goad

Incentive to continue in spiritual practice and theapplication of the teachings. The urging of the guru whichdrives us to practice and apply. Also the control of anger.

Churidagger

The spiritual path - the razor's edge which needs to betreaded with great care and vigilance.

V n Lute

Inner sound of spiritual harmony; the vibration of theatoms in motion, creation, the sound of the spheres, theharmony of all the diffuse elements of the cosmos. Musicand dancing the arts.


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Kama alu

water jug

Fullness and generosity, also purity and purification.

Gad mace

Primarily a symbol of Vishnu but also shared among manyof the deities. The mace is a symbol of sovereignty and theCosmic Order. It also symbolises Karma the law of causeand effect.

Salipallavarice-sprig

bounty of nature, fecundity and abundance.

Dhvaja

flag

Making oneself known to others, indicating that one is asource of charity and safety to all sentient beings. Anindication of the triumph of the Dharma.

Khatv gaclub with skull Impermanence, dissolution, also represents the 8 mystical

powers obtained through yoga meditation.

Khe aka

shield

Security, defence, protection of oneself, deflection ofnegativity and assault by others.

amaru

Hour-glassDrum

Union of the masculine and feminine and the projection ofthe universe through sound. When the two halves part thesound ceases and the universe dissolves.


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Padma

Lotus

By reproducing from its own matrix rather than the soil thelotus is a symbol of spontaneous generation ( svayambhu ).It grows in mud but rises in immaculate purity to thesurface and opens to the sun - the evolution begins in themire of samsara but rises to full enlightenment and purity.The closed lotus symbolizes potential and the open lotus actualization.

akhaConch

In battle conveys the instruction of the commander to thetroops. It represents the diffusion of the Dharma teachingsand the proclamation of war upon the negative forces of themind. Also creation through sound and the Pranava AUM.

Cakra

Discus orwheel

The wheel is the symbol of the Dharma which rotates and

spins its beneficial influence in all directions. It alsosymbolises the cycle of Samsara of repeated birth anddeath which turns endlessly and from which we desire tobe liberated. It is also used as a weapon and it's speed isfaster than the speed of the mind thus representing thecosmic mind which destroys our enemies in the form of theafflictive emotions.

Sarpa

Snakes

Kundalini - sexual energy latent within the lowest chakra the muladhara at the base of the spine. Also symbolizes thecontrol of anger the worst of all the negative emotions.

ukaParrot

Truth, the transmission of the teachings. The parrot repeatsexactly what it hears without clarification, modification orcontortion.

PtraBowl

In the hands of a Rishi or the Buddha it symbolizes the

begging bowl and the idea of generosity. In the hands ofthe wrathful deities it is a skull bowl filled with bloodwhich symbolizes the achievement of higher states ofconsciousness through the elimination of the lower mindand notion of self.

Para uAxe

Non-attachment - the severing of our ties and bonds to thematerial world.


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Gha a

Bell

Impermanence. The phenomenal world which isimpermanent and evanescent. Creation of the transientuniverse through sound being perceived but not heldand kept.

CmaraFly-whisk

The obedience to the law and in particular to the highestprinciple of Dharma ahimsa . Also represents thefollowing of the teacher and the tradition.

Vajra

Thunderbolt

Diamond wisdom the ultimate truth as adamantine andindestructable, but which destroys all that is other thantruth. Symbol of sovereignty and the Cosmic Order.

Tri laTrident

Control over action, speech and thought. Also fire Agniand its 3 forms. The 3 paths to liberation Bhakti love,Jna wisdom and Karma skilful action

Kunta

Spear

One-pointedness of concentration applied duringmeditation aimed at the goal of perfection. Focussedattention at eliminating the inner demons of delusion,anger, greed etc.

Kha ga

Sword

Sword of wisdom which cuts through illusion anddestroys all ignorance- hidden within all of us like ascabbard - needs to be withdrawn with skill and used withcare and precision.

Pustaka

Book

The Vedas sacred Scriptures and the formal learning ofall sorts of knowledge and theory.

Japa-M l Rosary

Sdhana or spiritual practice. Meditation and the recitationof mantras.


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Cpa/ araBow & Arrow

Concentration and focussing of the mind upon the goals ofovercoming lower nature and achieving transformation,enlightenment and Liberation.

In the hands of Kama the god of love, it represents theattachment of the five senses to their objects.

dar aMirror

Notion of the evanescence of the material delusion. Theworld is but a reflection in the mirror of the pure mind. Sothe mirror represents the perfectly clear mind in which all isreflected but not held or contained.

Kala aVase

receptacle of water which is the foremost representative oflife in general, water is also allied to breath and all-pervading cosmic consciousness. The heart of the devoteeshould be ready like the jar to contain and hold the watersof truth and universal wellbeing. The jar also contains thenectar of immortality liberation from conditionedexistence.

Mrga

Deer

The deer symbolises gentleness as well as attentiveness whatever its doing the deer is always mindful of predators.This is indicative of the way we should live in the world practicing ahimsa and being mindful of the impermanenceand transitory nature of all created phenomena.

Chatra

The Parasol

In Indian culture only high dignitaries were allowed the useof a parasol the largest ones usually white were reservedfor the king and for the gods. The larger the number ofsmaller parasols heaped above the main one, the higher thepersonage represented. Thus in Indian culture the parasol isa symbol of spiritual power.

Durva

lawn grass

Associated with Ga ea, it is the symbol ofindestructibility and regeneration offered in p js for theprolonging of life.


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Garland of skulls munda-mala perpetual revolution of ages. It also represents all the falsepersonalities we assume for creating identity

Vibhuti The sublimated power of procreation. K ma or Eros wasdestroyed and turned into ashes by the ray from the third-eye of Shiva. Ashes also symbolise the ultimate transienceof everything.

Chint -ma iWish-fulfilling

gem

Represents the mind, the precious jewel of the perfectedmind in which all wishes and aims are accomplished.

Nandi

The Bull

The libido, also Dharma the way to enlightenment andliberation.

Purna-

kumbha [TheFull Vase]

symbolises fullness, and spiritual perfection which

overflows to serve all beings.

Srivatsa [endless knot]

symbolises the way things are = endless and complex without beginning and end.

The Meaning of The Emblems

While the description of the image is in conformity with the texts the Kamika goes a step furtherand gives the esoteric meaning of the various emblems of Sadasiva. The following meaning aretherefore of interest. The crescent moon on the head represents knowledge (Candras sarvanjatarupas). The tern arms represent the eight directions and the nether world and heaven; the threegunas satva, rajas and tamas are personified by the Trisula.

(Trisulam tri gunam proktam); Parasu indicates existence (Satta parasu uchyate); the swordrepresents the valour of Siva (khadgam Isa pratapa syad).

The impregnable nature is represented by vajra (vajram durbhedyata bhavet). The fire is thedestructive power consuming the fetters; it illuminates the objects and is mahamaya. (Vanhisamharini Saktih pasanam basmasatkari, prakasika padarthanam maha maya urdhva jivani). Thesnake is the perceiving power and also the power of execution (naga upadrishtata saktih sarveshamcha vidhayiki). The pasa represents the three fetters maya, karma and mala (pasam pasatrayam

vidyat maya karma malattmakam). The bell is the sound reminding the mantra from (ghantanadatmakam rupam mantravigraha bodhakam). The abhaya hand is the protective power to thewhole world (abhayam sarvalokanam saktih vai paripalini). The God brings happiness andenjoyment to the souls (yad bhogyah atmanas praptis tu atraiva niyamo ankusam).

hindu iconography 1

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