Quantcast
Channel: Bharatkalyan97
Viewing all articles
Browse latest Browse all 11099

Indus Script Cipher and Jyotirlinga,aniconic Skambha, fiery pillar of light

$
0
0

Some scholars have advanced erroneous arguments suggesting non-Aryan phallus worship to explain the traditions of linga worship. Such arguments run counter to the references to jyotirlinga temples for worship of Sivalinga as fiery pillar of light as detailed in the Atharva Veda Skambha Sukta. Archaeological evidence, iconograhic evidence from scores of temples and evidence from Indus Script cipher  to decipher the Candi Suku Sivalinga are presented to counter such fallacious arguments.

The chronology of Hindu tradition from the days of Atharva Veda is that iconic form of Mahesvara Siva emerges out of the aniconic Skambha (linga) or pillar of light and fire. What we find in the seven Sivalingas of Harappa is the aniconic form. Sivalinga appeared as a flame. Brahma, as hamsa, searches for the end in the heavens. Vishnu, as Varaha, searches for the beginning in the bowels of the earth. This Lingodbhava narrative is in many Puranas. 

Appar, Shaiva saint of the 7th century, provides a similar narrative for this Lingodbhava. Tirugnana Sambandar refers to Brahma and Vishnu who set out on a search and comprehend Siva as the nature of light. 

I submit that the most abiding form of worship is that which is displayed architecurally in Amaravati where Naga venerate the Skambha, the fiery pillar of light with the adornment of Srivatsa as the capital. The Srivatsa is a Indus Script hieroglyph of a pair of fish-tails: dula 'pair' Rebus: dul 'cast metal'  Kur. xolā tailMalt. qoli id. (DEDR 2135) The hooded snake which adorns as headgear is also read rebus: kula 'hooded snake' M. khoḷ f. ʻ hooded cloak ʼ(CDIAL 3942) A. kulā ʻ winnowing fan, hood of a snake ʼ(CDIAL 3350) Rebus: kol 'working in iron' kolle 'blacksmith' kolhe 'smelters'. 
Naga worshippers of fiery pillar, Amaravati stup  Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher signifies: tamba, tã̄bṛā, tambira 'copper' 
Railing crossbar with monks worshiping a fiery pillar, a symbol of the Buddha, , Great Stupa of Amaravati

http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html
Railing crossbar with monks worshiping a fiery pillar, a symbol of the Buddha,

The iconographic signifiers of linga are consistent with the early semantics of linga which relate to: लिङ्ग[p= 901,3] n. (once m. in Nr2isUp.;  ifc. f()., f(). 
only in विष्णु-लिङ्गी ; prob. fr. √ लग् ; cf. लक्ष , लक्षण) a mark , spot , sign , token , badge , emblem , characteristic (ifc. = तल्-लिङ्ग , " having anything for a mark or sign ") Up. MBh. &c. Linga as meaning 'organ of generation' occurs in Mn. Hariv. Pur. &c. The context of Atharva Veda Skambha Sukta is NOT in reference to linga but as a pillar of light, jyotis or a लक्षण of light or fire. The linga as an Indus Script hieroglyph has been explained in the context of Candi Suku iconography of four balls at the tip of a 6 ft. tall linga as a cipher for lokhāṇḍā, 'metal tools, pots and pans of copper'.
http://bharatkalyan97.blogspot.in/2015/09/bronze-age-lokhnda-metal-tools-pots.html Some scholars cite RV 7.21.5 and RV 10.99.3 references to s'is'nadeva as a reference to 'phallus worshippers'. This view is in error and will be explained based on Sayana's translations of the Rigvedic rica-s.

RV 7.021.05 Let not th ra_ks.asas, Indra, do us harm; let not the evil spirits do harm to our progeny, most powerful (Indra); let the sovereign lord, (Indra), exert himself (in the restraint) of disorderly beings, so that the unchaste may not disturb our rite. [Let not the ra_ks.asas: na vandana vedyabhih = vandana_ni, ra_ks.a_m.si, prajabhyah; the unchaste: s'is'nadevah, abrahmacharya ityarthah (Yaska 4.19)].

RV 10.099.03 Going to the battle, marching with easy gait, desiring the spoil, he set himself to the acquisition of all (wealth). Invincible, destroying the licentious, he won by his prowess whatever wealth (was concealed in the city) with the hundred gates. [s'is'nadeva_n is a tatpurus.a compound; hence, the meaning would perhaps be: incontinent or licentious]. 

Gopinatha Rao erroneously interprets s'is'na as non-aryans, phallus-worshippers "The worship of the Phallus which the non-Aryans of India shared with other nations who inhabited on the borders of the Mediterranean sea, has survived in India to this day. The Dhruvaberas in all Siva temples is the Linga surmounted upon the Yoni or the piNDika (pedestal). It is only in very rare instances we meet with the anthropomorphic representations of Siva set up as the principal deity in Siva temples. This non-Aryan phallic emblem seems to have been identified at a later period with Skambha of the Vedas, wherein Skambha is conceived as co-extensive with the universe and comprehends in him the various parts of the material universe, as also the abstract qualities, such as tapas, faith, truth and divisions of time. He is distinct from Prajapati, who founds the universe upon him...The gods who form part of him do homage to him."(pp.55-56 opcit.)  This interpretation is based on the meaning given to s'is'na: शिश्न [p= 1076,3] m. n. (cf. शिशन् ; said to be fr. √ श्नथ् , " to pierce ") a tail , (esp.) the male generative organRV. &c.

Gopinatha Rao has erred because, following Yaska, Sayana interprets s'is'nadeva of both these ricas as unchaste men. Durgacharya also applies the word to those who dally carnally with prostitutes, forsaking Vedic observances. The veneration of Skambha an aniconic form of Mahesvara is NOT related to Skambha as a शिश्न  but the jyotirlinga, the pillar of fire and light as the primordial explanation for the phenomena of the Universe like an axis Mundi linking earth and heaven. 

'Skambha in the beginning shed forth that gold (hiraNya, out of which HiraNyagarbha arose) in the midst of the world.' This passage in the Skambha Sukta of Atharva Veda DOES NOT 'pour forth his golden seen in begetting Prajapati' as interpreted wrongly by Gopinatha Rao but explains the term HiraNyagarbha in relation to Skambha. The word vetasa used in the Sukta refers to a reed and NOT to a membrum virile, vetasa does NOT refer to an identity of the Linga, as wrongly interpreted by Gopinatha Rao who further adds: "At a later time a sort of philosophical clothing is given to the primitive Linga: by a section of scholars the LInga and its pedestal are viewed, with some justification, as the representation of the araNis, the two pieces of wood which were rubbed together by the Vedic Indian in making fire." I submit that this view of Gopinatha Rao is speculative with no basis in philology or tradition. Skambha is a pillar of light and fire and hence, the appellation Jyotirlinga given to the 12 holy sites of Siva temples in ancient India.






Image of Lingodbhava in the Airavatesvara Temple at Darasuram, 10th century CE
Siva Lingodbhavamurti, Shiva apperaing in the falming linga, Tamil Nadu, Chola period, 12th-13th century, basalt. Musee Guimet.mg07 100112181 j r 
Shiva 1
Shiva, Lingodbhava Story (Cave 16 Ellora)
Lingodbhava, the god rappers as a pillar of fire in the ocean; Brahma and Vishanu search for a beginning and Shiva for its beginning and end.
DSC_8336
Shiva the god as cosmic dancer.
File:British Museum - Shiva as Lingodbhava Murti.JPGSiva as Lingodbhava Murti. c. 900 CE. Height: 138 cm (54.3 in). British Museum. Asia OA 1955.10-18.1
Lingodbhava. Early Chola. http://www.jstor.org/stable/4422848
Siva as Lingodbhava, with Vishnu worshipping him. Thanjavur Brihadeesvara Temple
A second century BCE Lingodbhava cult of Lord Shiva, Gudimallam Chittoor district
Rajasimhesvara (Kailasanatha) Temple: ca. 730. West wall: Lingodbhava (Shiva emerging from the linga) & Linga installed in sanctum
Emerging from Jyotirlingam, Skambha of Light. 
Lingodbhava. Tirumayam. Pudukkottai. Tamil Nadu
Lingodbhava, Virupaksha Temple, Pattadakal, Karnataka 
Lingodbhava.
Linga with One Face of Shiva (Ekamukhalinga), Mon–Dvaravati period, 7th–early 8th century. Thailand (Phetchabun Province, Si Thep) Stone; H. 55 1/8 in.
 Lingodbhava, Swarga Brahma temple, Alampur, Andhra Pradesh.

Arunachala. 







Brahma flying up to find the top of the Column of Light









Vishnu burrowing downwards to find the bottom of the Column of Light



Siva Lingodbhavamurti. The Lingodbhavamurti, in which Siva is represented as Candrakasekhara emerging out of fiery Skambha  Early Cola period (c. 850-1014CE. 
Lingodbhava. Ellora.
Lingodbhavamurti. Stone. Dasavatara cave, Ellora. (After TA Gopinatha Rao, 1997, Elements of Hindu iconography, Vol.2, Pt.1, Delhi, Motilal Banarsidass, Plate XIV, Fig.1, p. 109)
Lingodbhavamurti. Stone. Ambar-Magalam. (After TA Gopinatha Rao, 1997, Elements of Hindu iconography, Vol.2, Pt.1, Delhi, Motilal Banarsidass, Plate XIV, Fig.2, p. 109)

Lingodbhavamurti. Stone. Lingodbhavamurti. Stone. Kailasanathaswamin Temple, Conjeevaram (After TA Gopinatha Rao, 1997, Elements of Hindu iconography, Vol.2, Pt.1, Delhi, Motilal Banarsidass, Plate XIII, Fig.1, p. 109)


Why do Hindus Worship Shiva Linga? Kanchi Paramacharya’s Talk

lord-shiva-linga-big-temple-br (1)
S GurumurthyCompiled by London Swaminathan
Post No. 870 dated 26th February 2014

“ God is Omnipresent and All-pervasive. By the very nature of these qualities, He cannot have any form. He is, therefore, formless (Arupa). But in order to bless us, He assumes innumerable forms (Rupa). The Linga form in which we worship Isvara is symbolic of both His formlessness and form. It is symbolic of form because it has a particular shape; It is symbolic of formlessness because it has neither head nor limbs. The very conception of a Linga denotes something which has neither beginning nor end; the literal meaning of Linga is symbol.
Banalinga, part of Panchayatana Puja, is egg shaped. It serves to remind us Isvara(God) has neither beginning nor end. The shape of the sky is another example. Looking at the horizon we feel that the sky and the earth meet at a particular point. We may circle the earth and return to the point from which we started, without coming to the point where the sky and the earth meet. If we go into the significance of the symbol of Linga, we will realise that it is intended to bring the Unknown within our mental comprehension.

Lingodbhava Moorthi
Isvara assumes various forms in pursuance of His Divine Leela. The prime manifestation with a form of the formless Isvara, is known as the Lingodbhava Moorthi, and He made his appearance in that form exactly at midnight on Sivaratri. That is why all devotees keep vigil during the night of Sivaratri, and worship Isvara at midnight. If we go to any important Siva temple, we will find a niche, in the outer wall of the sanctum sanctorum, exactly behind the spot where the deity is installed. In that niche we can find a representation of the Lingodbhava Moorthi—a form emerging out of a linga. We can see neither the top half of the head nor the bottom half of the legs of that form. All the other attributes of Siva, like the axe, the deer etc. will be found sculptured. We will find also depicted a swan in flight at the top of the linga, and a boar burrowing the earth at the bottom.
According to tradition, Brahma took the form of a swan to find the crown of Siva’s head and failed. Similarly Vishnu took the form of a varaha/ boar and burrowed deep into the bowels of the earth to locate the feet of Siva and failed.
Thus in Lingodbhava Moorthi, we find the unique combination of Brahma, Vishnu and Siva, impressing in our minds the Advaitic tatva that God is One, Full and All Pervasive. Both the Arupa and Rupa aspects of Isvara are thus depicted.
(Significance of Sivaratri, Talk delivered by Kanchi Shankaracharya Sri Chandra Sekarendra Sarasvati on 16th February 1958 in Madras.)
Source: Pages 105- 107 of Acharya’s Call, Madras Discourses 1957- 1960, B G Paul & Co., Madras 1, 1968 publication.
Hindu Gods in Japan
Interview between Paramacharya and Hajme Nakamura, Professor of Philosophy, University of Tokyo
His Holiness: Is Shiva Linga found anywhere in Japan
Professor Hajme Nakamura: No. there is neither Shiva Linga nor images of Vishnu. But there is Ganapathi, Saraswathi, Indra, Brahma and even Varuna. But also there is a crocodile, which is regarded as the vehicle (Vahana) of the Ganges. The meaning of the Japanese names of
Ganapathi = Arya deva
Saraswathi = Goddess of eloquence
Indra = Chakra deva
Varuna = God of water
Lingodbhava Murthy - Shiva Inside Linga
Picture of Linodbhava
Shiva 50% + Vishnu 50%
“We Hindus regard both Siva and Vishnu as the same and this is evident from the fact that in the ecstasy of our devotion, when we are alone or in groups, we exclaim Haro-Hara and Govinda Govinda which names come to our lips spontaneously.
The holy days of Sivaratri and Janmashtami, are divided from each other by exactly 180 days, and this seems to indicate that god in his aspect as Siva protects us during one half of the year and his aspect as Vishnu , in the other half.
The traditional practice of boys and girls collecting oil for their vigil on Sivaratri and Janmashtami nights , singing in chorus a song which means Sivaratri and Sri Jayanthi/Janmashtami are the same, is another pointer to the identity of these two manifestations of the divine.”
(Paramacharya has pointed out in another talk that only two stars out of 27 stars has the honorific prefix “Thiru=Sri” in Tamil. They are Arudra and Onam. Both of them are associated with Shiva and Vishnu respectively. Big celebrations are held in Siva and Vishnu temples on those days. (Arudra= Thiruvathirai; Onam= Thiruvonam )
ardhanaree
Picture of Ardhanaree
Ignorance of Western Scholars
“Some Western scholars in their ignorance have dubbed Hindu religion as polytheistic. The uniqueness of our religion lies in the fact that under whichever name a devotee worships his Ishtadevata – that manifestation of god which appeals to him most – he considers him as the all pervading Paramatma. In fact, the culmination of all conceptions of the Supreme Being is in monism. That is Advaita Vedanta. Isvara, Narayana and Parasakti are all different aspects of one Supreme Being. This is visibly illustrated in the divine forms of Ardhanareeswara and Sankara – Narayana.
Such manifestations of the divine are installed in many South Indian temples, such as Ardhanareeswara (Half Siva, Half Sakti) in Tiruchengodu, SankaraNarayanan (Half Siva and Half Vishnu) koil in Tirunelveli district and Harihara in Mysore. Siva and Vishnu are also found together in the temple at Tiruparkadal near Kaveripakkam.
Source: Volume 2 of Acharya’s Call, Madras Discourses 1957- 1960, B G Paul & Co., Madras 1, 1968 publication.
2 million Rudraksha seeds in Surat.
Linga made up of two million Rudraksha seeds from Surat,Gujarat.
Contact swami_48@yahoo.com
S. Kalyanaraman
Sarasvati Research Center
September 23, 2015

Viewing all articles
Browse latest Browse all 11099

Trending Articles



<script src="https://jsc.adskeeper.com/r/s/rssing.com.1596347.js" async> </script>