Mukha Lingas and esoteric meanings - Siva-linga: an Iconological Study
Mukha Lingas are a variety of Manusha-Lingas bearing one or more sculptured
faces of Siva on it. Most of the Agamas and Tantras provide detailed
descriptions about making of a Mukha Linga and hence their importance is
stressed upon.
“The substance of these is that a Mukha Linga should be made on the puja
Bhaga of the Savrvsama-linga and that it might have one, two, three, four
or five faces corresponding to the five aspects, Vamadeva, Tatpurusha,
Aghora, Sadyojāta and Isana of Siva.”
Te number of faces on the linga were equal to the number of doorways of the
garbhagriha, hence if there was only one doorway, ekamukhalinga was
established and if there were four then Caturmukhalinga was established.
An important ekamukhalinga is housed in The Philadelphia Museum of Art.
Interestingly it shares the realistic depiction of Gudimallam Linga and
other free standing Lingas belonging to pre-Christian era. Here an incised
rim circles the nut just above the central fold and above this point
emerges the human head. ([Ekamukhalinga, Pre Kushana, 1st BCE, Mathura
(Philadelphia Museum of Art)]
Another interesting pre-Kusana ekamukhalinga comes from Aghapur (Bharatpur
District, Rajasthan). Carved out of mottled red sandstone it echoes the
similar realism seen in the early Lingas from Mathura. Siva’s face carved
on the shaft is seen wearing an elaborate turban and which as one can see
in the table is showing the east face displaying the kingly characteristics
of the Loka Pala Indra.
An ekamukhalinga, showing Siva as jaṭā-makuṭa is carved on an
architectural fragment presently housed in State Museum, Lucknow. On the
basis of style it can be dated a little later than the earlier ones
discussed above, i.e c. 1st CE, possibly the early Kusana period. Still the
nut and the shaft are seen visibly differentiated with a help of a deep
line which goes round the Linga. The top portion is decorated with a
patterned band, tied as if to secure Siva’s face to the Linga. Like all the
early Linga forms this too is free standing and is installed upon a brick
platform, situated before a spreading papal tree. Two worshippers are seen
on the right standing in front of a broken figure.
The fact that a number of “mukha-lingas “are found from Thailand as
enumerated by shows that this cult was popular in the area around 5th -6th
C.. A number of Siva Lingas have been reported from Southern Thailand
especially from “Chaiya”, “Nakhon Si Thammarat” “Songkhla” and “Pattani”.
Besides these Shivalinga the existence of Saivism on Peninsular Thailand
during this period is well supported by the 6th C. Sanskrit inscriptions
from “Khao Chong Khoi” in “Nakhon Si Thammarat” province. The commercial
trade contact hugely responsible for exchange of ideas between South India
and Thailand were well established from Pallava period (6th C.) onwards
though there are earlier scattered proofs of contact with east and central
India.
“The predominance of Sivalinga and Siva images as well as Saiva sacred
places indicates that Saivism was flourishing in the peninsular Thailand during
Srivijaya period37.” The detailed study of these inscriptions and their
bent towards Saivism is clearly pointed by the scholar. Further observed
that from the reign of King Bhavavarman I till king Jayavaraman VII’s
accession to the throne, the major religion in the north eastern region of
ancient Thailand was Saivism.
In case of Caturmukhalinga in addition to the four visible faces there is
one supposed to be on the top which is usually not carved and which
represents Isana aspect of Siva. Tatpurusa is represented by the east
facing face and Aghora by the southern one. Sadyojata is represented by
western face and Vamadeva by the northern one. In the case of four faces,
these should be attached to a body which ought to be represented to the
level of the chest.
“Three of the four faces on the caturmukhalingas–the terrifying (aghora),
the shaven (mundin or yogin) and the turbaned (usnisin)are male, while the
fourth one is female (vama). In Post Kusana sculptures turbaned and shaven
faces disappear and are substituted for by normal faces”
Epic and Puranic mythology provide a mytho-poetic explanation of emergence
of this interesting form of Siva. Mahabharata, a storehouse of interesting
and valuable myths narrates the story of celestial nymph Tilottama who was
going around in the assembly of gods. Bewitched by her beauty Siva didn’t
want to take his eyes off her even for a moment so he developed four faces,
one at each cardinal point to enjoy an unimpeded view of Tilottama.
(Adi-parvan,210. 23-26,605-6). Another reason is provided in Anushasana-Parvan
of Mbh where Siva appears to explain this form saying that with his eastern
face he rules as Indra, the western one is his normal face, his southern
face is meant for destruction and that with his northern face he converses
with Uma. Joshi suggests that here Siva has taken over the function of four
lokapalas.
---------------------------------------------------------------------------------------
Direction Lokapala Function Aspect
East Indra King and Administrator Turbaned
Usnisin
West Varuna God of water and fertility Normal Saumya
South Yama God of death and destruction Terrifying Aghora
North Soma/Kubera God of beauty/God of wealth Feminine Vama
-------------------------------------------------------------------------------------
The Suta Samhita also conveys the notion about the nature of the five
aspects of Siva represented by the five faces. Thus Isana is ether (akasa),
Tatpurusa air (vayu), Aghora fire (agni), Vamadeva water (jala) and
Sadyojata earth (bhoomi). The text states that the universe is pervaded by
the “Panca Brahma” and the person who is able to realize this attains
liberation from bondage (is free of pasas which bind him to Sansara) . In
his Brahma Mimamsa-Bhasya Srikanthasivacarya interprets these five faces as
representing five senses viz. Sadasiva is sound (sabda), Isvara touch
(sparsa), Rudra form (rupa), Visnu taste (rasa), and Brahma smell (gandha).
Now the esoterism of the Mukhlingas may be traced in the *Narayanopnisad *which
was largely used by the Pasupatas for their sacred hymns.
Pasupata-sutra preached these mantras to be used as Bija-Mantras for
sadhana.
सद्योजातं प्रपद्यामि सद्योजाताय वै नमः / .
भावे भवे नातिभवे भजस्व मम भवोद्भवाय नमः/
वामदेवाय नमो ज्येष्ठाय नमः श्रेष्ठाय नमो, रुद्राय नमः, कालाय नमः
कला-विकरणाय नमो बलविकरणाय नमो बाला-प्रमथनाय नमः सर्वभूतदामनाय नमो मनोनमनाय
नमः//
अघोरेभ्योथा घोरेभयो गोरा-घोरा-तरेभ्यः /
सर्वतः सर्वसर्वेभ्यो नमस्ति-अस्तु रुद्ररूपेभ्यः//
तत्पुरुषाय विद्महे महादेवाय धीमहे तन-नो रुद्र प्रचोदयात्//
इसानः सर्वविद्यानेश्वरः सर्व भूतानं ब्रह्माधिपतिर् ब्रह्मोधिपतिर्
- ब्रह्मा सिवोऽस्तु सदासिवम्
Sadyojatam prapadyami Sadyojataya vai namah /
bhave bhave natibhave bhajasva mam bhavodbhvaya namah/
Vamadevaya namo jyesthayah namah sresthaya namo, Rudraya namah, kalaya
namah kala-vikaranaya namo balavikaranaya namo bala-pramathanaya namah
sarvabhutadamanaya namo manonmanaya namah//
Aghorebhyotha ghorebhayo gora-ghora-tarebhyah /
sarvatah sarvasarvebhyo namasti-astu Rudra-rupebhyah//
Tatpurusaya vidmahe Mahadevaya dhimahe tan-no Rudra prachodayat//
Isanah sarva-vidyanam-isvarah sarva bhutanam brahmadhipatir brahmanodhipatir
- Brahma Sivo’astu Sadasivom
These are hymns to Siva in five different aspects, each with a certain
specific attributes.
Thus Sadyojata is conceived of as Bhavo”dbhava, similarly Vamadeva is given
nine attributes as suggested by the terms Jyestha, Srestha etc.
Aghora is invoked as having two attributes, Ghora and Ghoratara.
Mahadeva and Rudra are the attributes of Tatpurusa.
Isana is addressed as being the supreme lord of learning, of animate
objects, of the Vedic knowledge and also of Brahman, as Sadasiva.
It is from Sayana’s commentary on these verses that we know these five
mantras were addressed individually to five faces of Mahadeva by those who
aspired for enlightenment and that four faces of the lord were turned to
four cardinal directions and the fifth one towards the sky. Such esoteric
form of worship was mainly followed by ascetic aspirants with all its
philosophical significance. Sayana does not suggest any reason for
emergence of these five faces, he simply says that the Lord assumes such
physical forms only to show mercy to his devotees.
Classifies Pasupata-sutra into five sections each ending with an
exhortation to meditation eg. Bhasya on sutra 1. 8 says,
“atra idam Brahma japet-japyam nama….
”.But Kaundinya’s bhasya does not give any idea of the iconographic form
associated to these invocations.
The attributes of Siva in these mantras are explained in this commentary
and are invoked in their formless abstractions with stress laid on the
concept of Brahmans (panchbrahma). Though Kaundinya does not clearly talk
about panchmukhas (five faces) but from his bhasya on sutra 1. 9 it is
clear that though Mahadeva has faces turned to other directions
Pasupata-sutra is only majorly concerned with the Daksinamurti.
In the earlier sutra 1. 8 he states distinctly that the Pasupata disciple
should invoke the image of Mahadeva on the southern side i.e. the southern
face of the image of the Lord.The icon Daksinamurti is known from its
various depictions as representing a teacher and its no wonder Siva was
worshipped in this form by the aspirants of Lakulisa-Pasupata system, who
combine the aspect of bhakti with jnana (jnanottar bhakti).
The first image
“Here we have a sculpture that is visually analogous to my definition of
meditation with its interconnected disciplined stages (the emanatory gods)
linked by a continuum (the column) leading to transcendence (the freedom of
the top four figures around a domed apex-the dome being the symbol of
universality, facing, as it does the entire horizon and all angles of space
leading to the zenith”
“The image from Parel is based on meaning of lingam, of Yaksa and yoga
power. It visualises Siva not with the cosmical suggestiveness of the
Nataraja image. This shows Siva in this everlasting activity beheld from
without. The image from Parel shows Siva realised from within his state of
power”
On reaching the spot Kamdhenu filled the void in which the linga had fallen
with her milk. Due to her maternal care and love linga emerged out of the
hole, floating on the milk and became famous as Eklingji.(p 10)
In chapter nine its clearly stated though Siva was ekalinga but due to
devotion of various beings he became Bahu-linga in various aeons. In
Satyuga due to Indra, in Treta yuga due to Nandini-dhenu, in Dwapar due to
Takshak and in Kaliyuga due to Bashap-Harita.
Troubled by Vrtrasura gods invoked Narayana. Visnu adviced them to cheat
the demon in believing that the gods were on his side and after gaining his
complete faith to kill him. The gods did the same and finding the right
occasion killed the demon on sly. But after killing the demon Indra
incurred the sin of Brahmhatya and asked Brhspati to suggest ways of
getting rid of the terrible sin. The latter asked Indra to worship
Eklingji. Indra came to Nagahrda and first worshipped goddess
Vindhayavasini.When the goddess asked him for a boon,Indra asked to be free
of sin. Devi directed him to invoke Eklingji which required austere tapa
(ugra tapa).Indra dug a lake with his vajra and Eklingji was pleased and
absolved him of his sin and declared the “Indra saras” to be a pious
pilgrimage site.
This incident reminds one of “Pasupata vrata” mentioned in Mrgendra Agama.
The text was written in the form of a dialogue between Harita and his
disciples. Indra after killing Vrtrasura incurs brahmhatya and praised
Visnu with 1000names (visnu sahastra nama) along with various rites,
recitations and rituals .Visnu gave him a “Narsimha cavaca” and asked him
to adore Siva in that attire. Here Indra takes up Pasupata vows and adores
Siva for thousands of years. (translated from the French introduction to
the version found in Puddukotai). Such myths connect the concept very
strongly with Vedas. Pasupata-sutra also substantiates this in sutra 4. 10,
P.S. 4. 10 Indrova agre Asuresu Pasupatamacharat
What is quite significant and connects this motif quite strongly to
Pasupata order is its similarity with myth preserved in Gopala Vamshabali
of Nepal. It mentions that a cow used to spill her milk at a particular
mound in Mrgasthali forest and was once notices by a cowherd of Kirtipur
named Nema Gopala. Nema was surprised to witness the act and decided to
unfold the mystery by digging the mound. He found a “jyotirling” hidden
under the mound but was soon burnt to ashes by the heat of the linga. After
his death Ne-Muni, the well known ascetic of that area installed the son of
Nema Gopala as the king of Nepal . The parallels between both legends are
unmistakable and the connection with kingship raises interesting questions
about the role of Pasupata Acaryas in the royal set-up and might throw
light on the later Rajaguru tradition. As we know Nepal in connected with
the worship of Pasupati since a long time and till this day the temple of
Pasupati exists on the banks of Bagmati river and commands great devotion.
Nepal Mahatmaya of Skanda Purana preserves the myth of formation of this
site. It says that Siva was highly taken in by beauty of the forest and
started roaming around in form of a deer with golden horns and that is why
the place began to be called as Mrgasthali. As other gods got to know about
this he left his deer form and returned back to Kailasa but not before
installing himself in this area as Pasupati. The passage here could very
well be talking about the linga which was installed here and according to
Gopala Vamshabali can be dated to 1st CE.
The worship of Siva linga was popularized around Gupta period when the
Puranas began to establish that the linga represents the Nirguna state of
Siva like Para Brahman of Vedas. A repertoire of mythological literature
emerged around the symbol to confer multiple meanings on it, meanings which
lay people could understand, which required no ascetic initiation to
understand.
K RAJARAM IRS END OF PART 9 AND COMPLETED 26724 27724
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