#Shiva as Bhikshatana

[ritish16]

Lord Shiva as Bhikshatana Moorthy with Chandikeshwara.

[eshwarforever]

Bhikshatana Shiva is a form of Lord Shiva in which he became a naked mendicant and wandered all over the world asking for alms. https://www.instagram.com/p/CrqxQhuBTgXkNTRTy5uhLiD3IdpW6M_H49oEtM0/?igshid=NGJjMDIxMWI=

[curious-sight]

What is Significance of Kaal Bhairav Jayanti?

Bhairava Ashtami, also known as Bhairavashtami, Bhairava Jayanti, Kala-Bhairava Ashtami, and Kala-Bhairava Jayanti, is a Hindu festival honouring the birth of the ferocious and angry form of the god Shiva known as Bhairava. "Bhairava means "terrifying" in Sanskrit". It occurs on the eighth lunar day (ashtami) of the Hindu month of Kartik or Margashirsha. As all of the Ashtamis in Krishna Paksha are holy days of Bhairava, who is also known as Dandapani (as he holds a rod or Danda to punish sinners) and who rides a dog, he is also known as Swaswa, which means "whose horse is a dog," the name Kalashtami is occasionally used to refer to this particular Ashtami.

Bhairava represents the anger of Shiva. The narrative related on the occasion states that the Trimurti gods, Brahma, Vishnu, and Shiva, were debating who was the superior of them all in a serious manner. Brahma's comments during the heated discussion angered Shiva, who gave the order to his ganor Bhairava to remove one of Brahma's five heads. Bhairava executed Shiva's commands, causing Brahma to have four heads after losing one of his heads. All the others prayed to Shiva and Bhairava, trembling in fear.

Another somewhat altered version states that after Brahma insulted Shiva, Bhairava (Kala-Bhairava) materialised from the enraged god's forehead, cut Brahma's head, and left him with only four heads. Because of the sin of killing Brahma, the most knowledgeable Brahmin—Brahmahatya or Brahminicide—his head was affixed to Bhairava's left palm. Bhairava had to carry out the vow of a Kapali, traversing the world as a Bhikshatana with the skull of the dead as his begging bowl, to atone for the sin of brahmahatya. When Bhairava arrives in Varanasi, a sacred city where a shrine is still devoted to him, his guilt is finally repented for.

[shinymoonbird]

Bhikshanta Shiva - Supreme Naked Beggar

✨

A comprehensive description by Yogi Ananda Saraswathi:

BHIKSHATANA is a manifestation of Lord Shiva as the Supreme Naked Beggar. Bhikshatanar is the murti who asks for alms. He is smeared in white ash, forehead bears the Tripundra, the Shaiva tilaka composed as three horizontal lines with red dot in the middle; with good omen in eyes, fingers with grass to the right, with Trishula and Kapala in the left hands, nice paduka in feet, with dangling red matted hair, jatamandala or jatabhadra, disheveled matted locks, moon on head, patta, ornamental head band, deer-mrigam in the right hand, a vessel for alms in the left, with bulged belly, multiple necklaces, armlets, elbow bands, bracelets, snake tied around his waist, white yagnopavita worn across the chest, followed by love-sick women, so much describes Bhikshatana. Various Puranas describe the backdrop of Lord Shiva taking this manifestation. In the South, Bhikshatana has a different depiction. The front arm is stretched out and downwards. It is holding a bit of grass or another plant in the kataka gesture, near the mouth of a deer who is leaping playfully by his side. The back arm is raised holding a Damaru. The front left holds a Kapala for begging. The back left hand holds a Trishula decorated with peacock feathers. The left leg is firmly rooted in the ground while right is slightly bent. He wears the wooden sandals, the Paduka or is barefoot. His attendants, the ganas and women, often seven in number eager to embrace him, follow. These women are shown to have their cloths slipping from the loins symbolizing lust. This depiction shares much of Bhairava iconography and is linked to the forest legend. This begging iconography is also described in the Satarudriya. It is symbolic of a sustainer of the universe and life-sustaining food. Again this is uniquely from the ascetic Kapalika and Pashupata sects. Images of Bhikshatana are found throughout South Indian Shaivite temples and almost unknown in Northern Indian. Near naked, the phallus is covered either by a tiger skin loin cloth or heavily ornamented as a cover. UPADESA UNDHIYAR: Sri Muruganaar’s Tiruvundyar reached up to Verse 70. As Muruganar was translating this story to Tamil he stopped at the part where Siva is to teach the rishis. Since this portion was to be in the voice of Siva as the Mahaguru, he wanted Bhagavan Ramana to complete this portion. In Murguna’s eyes, Bhagavan was a manifestation of Siva Himself. Bhagavan was compassionate to write the remaining portions. These verses narrate Lord Siva enlightening the ascetics of the Daruka Forests. As such Verses 70-137 was sung by Bhagavan. This culminated as 37 verses in Upadesa Undihyar. It was later translated in sanskrit as Upadesa Saram. DARUKAVANAM FOREST: The background story of Daruka or Darukavanam Forests is this. While the Puranas describe the householder ascetics life, their tapas shows that they were following the path of ‘kamya karma.’ This mean one emphasizes on deeds and performing rituals. They were performing tapas for a long duration and prayed to Siva. They were staunch ritualists who believed that rituals karmas were the way to ultimate Bliss. They exhibited their ignorance by performance of various kinds of yagas and yagnas –sacrificial rites to obtain siddhis – powers for both this world and the next. They had become intoxicated by the use of mantras, yantras and tantras techniques. ‘Karma alone is of foremost importance; even God cannot prevent them from yielding fruits’ was their arrogant attitude. So they stopped worshiping God. They were not to realize that, whatever be the deeds, is there One Who provides the doer with the fruits? How can inanimate deeds automatically give fruits. Not realizing these facts, the rishis pursued their dogma of karma. These paths are prescribed by the Purva Mimamsa school which concerned with the interpretation and practice of Karma Kanda. This portion of Vedas relates to rituals and ceremonial rites. In all His compassion, Lord Siva appears to purify their minds by teaching the ultimate truth. This was to make them realise that actions are born out of ignorance of one’s own nature. Knowledge is the only way to the Ultimate Reality. So Lord Siva’s makes his advent as a Bhikshatanar-beggar. Vishnu accompanies as his wife, Mohini, glamorous girl. In this form the Lord is naked but quite enchanting. His appearance is Urdhvalinga, with an erect phallus. So was Mohini. The Naked Lord came to the street of the rishis to get alms and Mohini followed Him. The rishis are attracted to the enchanting Mohini and started following her. They forgot all about their karmas. On the other hand the rishi pathinis, the wives, are attracted to the robust-built Siva. They forgot what they were doing, allowed their clothes to fall off and followed Him. They were also dancing, singing and love-sick. The rishis get upset. They started to have double standards. While they were in pursuit of Mohini, they got upset with Siva as their wives have lost their virtue by following a Naked Beggar. So they uses all the mantras and ritualistic powers to destroy Siva. They performed abhichayagam which will produce bad effects. They directed snakes, demons, tigers, fire and drum that came out of the yagna fires against the Lord. Siva was beyond defeat and made them all as ornaments. He peeled off the skin of the tiger and wore it round his waist; caught hold of the ball of fire in his left hand and held it aloft and calmed the serpent and wore it round his neck as an ornament. By now, Lord Shiva had begun to dance in joy. This irritated the rishis because the wives started to enjoy the dance. So they set up the monster against him, He dwarfed the monster, stood on it on one leg and continued his dance. Vishnu and the others were charmed by this Ananda Tandava - Joyous Divine Dance of the Lord. Finally the forest dwellers realise Siva’s true nature when Anusuya, the wife of sage Atri enlightened the sages that the Beggar couple was none other than Shiva and Vishnu. PASHUPATA: Shiva later returned with Parvati and eventually revealed his Supreme form and exalted the Pashupata vow – by which a man restrains his passion, becomes celibate, and roams naked smeared with holy ash, declaring that such a lifestyle would lead to moksha. The forests prostrate at his feet and beg for knowledge. Lord Siva led the ascetics from their low level spiritual maturity. They had to be elevated gradually from the grosser methods of spiritual practice such as puja, japa, dhyana and pranayama towards the refined method of Self-enquiry. Siva takes His true form and taught that “there is only one thing here that is called the Self or God or Brahman. Whatever is seen in this dual world is only Consciousness and not different from it, and that perfect Blissful Consciousness You are. KURMA PURANA: Brahma declares that he is the Supreme Creator of the Universe in the council of rishis. Lord Shiva appeared as an infinite pillar of light and challenged Brahma. The council accepts Siva’s superiority. Brahma remains obstinate and upsets Siva. He transforms into a terrifying Bhairva and cut off one of Brahma’s heads with the flick of his fingernail. This form is depicted as Brahmashirascheda Murti. Brahma’s death is redeemed by his lifetime asceticism. Thereafter Brahma accepts Shiva’s superiority. The story does not end here. The Shiva Purana, Matsya Purana and Skanda Purana give different reasons for the decapitation. The reason given is Brahma’s lust and incest for his daughter. However all the Puranic versions point to Brahma’s head getting stuck to Bhairava Shiva’s left palm. KAPALIKA: It is also a sin to kill a Brahmin as this is Brahmahatya or brahamnicide. To expatiate the sin of brahmahatya, Shiva as Bhikshatana, had to perform the vow of a kapali, wondering as a naked beggar with the skull as the begging bowl. He wanders the three worlds begging from door to door accompanied by bhutas. Here again women are attracted to Bhikshatana despite his appearance, singing and dancing. He finally reaches the Daruka forest. There he shocked the sages with his ‘lewdness and nudity’ and also tempts the sage’s wives. But Bhikshatana-Shiva made them realize his greatness after they confronted them. There are various other plots related to his wanderings. After the Daruka forest encounters, Bhikshatana reaches Vishnu’s abode. The gatekeeper, Vishvaksena refuses entry. He is killed and the corpse is impaled on Shiva’s Trishul. This is an additional sin. Kankala Murti is the form of Siva with a corpse on the Trishula. He enters Vishnu’s abode to beg for food, where one version states that Vishnu offered his own blood. The other version is Vishnu cutting an artery on Bhikshatana’s forehead and a stream of blood spurting into the begging bowl. Vishnu then directed Bhikshatana to make a sacred trip to Varanasi to expatiate his sin. At Varanasi, Brahma’s skull falls off Bhikshatana at a place called Kapala-mochana. It means ‘liberating from the skull’ and Vishaksena’s corpse also disappears from the Trishula but he is revived to life by Shiva. Now Bhikshatana enters the sacred ponds of Varanasi. He then casts off the Bhikshatana form to return to Kailash. KAPALESHVARA: This legend in the Skanda Purana narrates that Bhikshatana appears as a naked, fierce Kapali beggar. In a sacrifice hosted by Brahma, Bhikshatana appears and begs for food. He is driven away by Brahmin because they find a begger unfit to attend sacrificial rites. Bhikshatana throws his skull begging bowl on the ground and the brhmins throw it out. But other skulls appear in its place. Consequently hundreds of skulls appear and pollute the sacrifice. This compels Brahma to promise that no sacrifice would be complete without invocation to Kapalshvara-Shiva, the Lord of the Skulls. Yogi Ananda Saraswathi

[arjuna-vallabha]

Bhikshatana Murti story, Chidambaram temple ceiling, Tamil Nadu

[hinducosmos]

Bhikshatana - Shiva in mendicant form (via Instagram: Sripratyangirathailand)

[indian-mythology]

19 AVATARS OF LORD SHIVA

1. Piplaad Avatar

Lord Shiva took birth in the house of Rishi Dadhichi as Piplaad. But the sage is said to have left the house due to the positioning of the Shani. So, Piplaad cursed Shani and caused the planet to fall from its celestial abode. Later, he forgave Shani on a condition that the planet would never trouble anyone before 16 years of age. Hence, worshipping the Piplaad form of Lord Shiva helps to get rid of Shani dosha.

2. Nandi Avatar

Lord Shiva is seen as the protector of the herds. He is depicted as bull faced with four hands. The two hands are seen holding an axe and an antelope

3. Veerabhadra Avatar

Veerabhadra came to be after Goddess Sati immolated herself at the Daksha yagna. Lord Shiva became extremely furious. Lord Shiva plucked a hair strand from his head and threw it on the ground. It was from the hair strand that Veerbhadra and Rudrakali were born. This fierce avatar is said to have broken the sacrificial vessels, polluted the offerings, insulted the priests, and finally cut off Daksha’s head, trampled on Indra, broke the staff of Yama, scattered the gods on every side; then he returned to Mount Kailash.

4. Sharabha Avatar

Shiva Purana narrates that god Shiva assumed the Avatar of Sharabha (part bird part lion) to tame Narasimha – the fierce man-lion avatar of Vishnu. This form is popularly known as Sarabeshwara (Lord Sarabha) or Sharabeshwaramurti.

5. Ashwatthama

Ashwatthama is said to be the “The Vish Purush” sprung out of Shiva after he took Halahal during Samundra Manthan. He was granted a blessing that he would be able to kill oppressive Kshatriyas. He will be born as Bhardwaja’s grandson and be raised as Brahman but attracted to Kshatriyahood. This Vish Purusha was born as Ashwatthama to Drona and Kripi.

6. Bhairava Avatar

Bhairava avatar was created when Lord Brahma lied about his quest for superiority, Shiva took the form of Bhairava and cut off Lord Brahma’s fifth head. Severing a Brahma’s head made Lord Shiva guilty of the crime of killing a Brahmin (Brahma hatya) and hence Shiva had to carry the skull of Brahma for twelve years and roam as a Bhikshatana. In this form, Shiva is said to guard all the Shakti Peetha.

7. Durvasa Avatar

Lord Shiva had taken the avatar of Durvasa on the earth to maintain the discipline of the universe. Durvasa was a great sage known for his short temper.

8. Grihapati Avatar

Lord Shiva was born to a great devotee of Lord Shiva, Shuchismati was his devoted wife who yearned to birth a child, like Shiva. The child was well versed in all the Vedas yet was informed had to die young due to planetary positions. His journey to Kashi was dampened by Indra but Lord Shiva came to his defense and Lord Shiva blessed Grihapati by saying “even Kaalvajra would not be able to kill you.” Grihapati became very pleased. The Shivalinga which he worshipped, later on, became famous as ‘Agnishwar linga’. Lord Shiva made Grihapati the lord of all the directions.

9. Lord Hanuman

Lord Shiva was so infatuated by the appearance of Lord Vishnu in his form of Mohini during Samudra Manthan that his sem*n was released on the ground. This sem*n was established by the Saptarishis in the womb of Anjani, with the permission of Lord Shiva himself. In this way was born the mighty Hanuman.

10. Vrishabha Avatar

During Samundra Manthan Vishnu tricked all the asuras by creating an illusion of enchanting beauties. When the asuras saw them, they forcibly carried these enchanting beauties to their abode – Patal Lok. After that, they again returned to take control of the Nectar which had been taken by the gods. While Vishnu went to annihilate them in Patal loka he himself got caught up in the Maya and fathered many immoral sons there who created a ruckus for the Gods. It was then Lord Shiva took the form of an ox or Vrishabha and killed all the cruel sons of Lord Vishnu. Lord Vishnu came to fight the ox but after recognizing that it was Lord Shiva’s incarnation, he left the fight and returned to his abode.

11. Yatinath Avatar

Yatinath Avatar – There was once a tribal man named Aahuk. He and his wife were ardent devotees of Lord Shiva. One day Lord Shiva visited them in the form of Yatinath. Their small hut couldn’t accommodate lord Shiva guised as a guest, so Aahuk decided to sleep outside. Unfortunately, he was killed by a wild animal outside. This wife decided to take her own life but was blessed by Lord shiva that they would be born as Nala and Damyanti in the next life and Shiva would unite them.

12. Krishna Darshan avatar

Lord Shiva took the incarnation of Krishna Darshan avatar to highlight the importance of yagna and rituals in a person’s life. A prince, Nabhag who was kept from his share of the kingdom by his brothers had been asked by his father to educate a sage to get rid of all his attachments to successfully conduct a yajna. When the task is completed the Sage, Angiras pleased hands him all the wealth which is stopped by Krishan Darshan Avataar of Shiva. He showed Nabhag the significance of higher spiritual attainment and salvation and hence gave blessings.

13. Bhikshuvarya Avatar

This incarnation of Lord Shiva protects human beings from all kinds of dangers.

14. Sureshwar Avatar

Lord Shiva and Goddess Parvati appeared in front of the son of sage Vyaghrapaad, Upamanyu disguised as Indra and Indrani respectively. To test his devotion,  both of them told Upamanyu to stop doing penance and stop worshiping Shiva. Upamanyu was enraged and refused even after being cursed by them. Shiva and Parvati were satisfied by his total dedication and devotion Shiva promised Upamanyu that he would be present in the vicinity of his hermitage along with Parvati forever. Lord Shiva got the name ‘Sureshwar’ because he appeared in the guise of Indra.

15. Kirateshwar Avatar

Lord Shiva descended in the form of a hunter or Kirat while Arjuna was meditating to kill an Asura named Mooka, disguised as boar. Arjun’s meditation got disturbed by the sound and upon seeing the boar, Arjun and the Kirat struck the boar at the same time with arrows. A fight broke between the Kirat and Arjuna as to who struck the boar first. Arjuna challenged Lord Shiva in the form of Kirat for a duel. Lord Shiva was pleased by Arjuna’s valour and gifted him his Pashupata Astra.

16. Suntantarka Avatar

Lord Shiva took this incarnation to ask the hand of Goddess Parvati in marriage from her father Himalaya.

17. Brahmachari Avatar

It was in Brahmachari Avatar, that Lord Shiva had tested Goddess Parvati’s determination to marry him.

18. Yaksheshwar Avatar

When the deities after defeating the Asuras during Samudra Manthan, had become arrogant, Lord Shiva disliked it as pride was not a quality for gods to possess. Lord Shiva then presented some grass before them and asked them to cut it. It was Lord Shiva’s attempt to destroy their false pride through this divine grass. Hence, nobody could cut the grass and the pride vanished. This form of Lord Shiva then came to be known as Yaksheshwar.

19. Avadhut Avatar

Avadhut Avatar was an incarnation was taken by Lord Shiva to crush the arrogance of Lord Indra.

[supersingh-sbs]

Lepakshi is a village in the Anantapur District of Andhra Pradesh, India. It is located approximately 120 km north of Bangalore. Lepakshi is culturally and archaeologically significant as it is the location of shrines dedicated to Lord Shiva, Shri Vishnu and Veerabhadra which were built during the Vijayanagara Kings' period (1336–1646). The temples are the location of mural paintings of the Vijayanagara kings and Kannada inscriptions. Near the temple complex is a large granite Nandi bull, mount of Shiva, which is carved from a single block of stone, which is said to be one of the largest of its type in the world. On a hillock known as Kurma Saila, "tortoise shaped hill", are other temples to Papanatheswara, Raghunatha, Srirama, and Durga. . According to Skanda Purana, Veerbhadra Temple is one of the divyakshetras, an important pilgrimage site of Lord Shiva. The temple is of the Vijayanagara architectural style. The main temple is laid out in three parts. The fresco in the ceiling of ardha mantapa (ante chamber), which is said to be Asia's largest. It has frescoes of the 14 avatars of Lord Shiva as: Yogadakshinamurthy, Chandes Anugraha Murthy, Bhikshatana, Harihara, Ardhanarishwara, Kalyanasundara, Tripurantaka, Nataraja, Gouriprasadaka, Lingodhbava, Andhakasurasmahara and so forth. . The presiding deity deified in the sanctum sanctorum is a near life-size image of Veerabhadra, fully armed and decorated with skulls. There is a cave chamber in the sanctum where sage Agasthya is said to have lived when he installed the image of the Linga here. Within the temple complex, on the eastern wing, there is a separate chamber with Shiva and his consort Parvati carved on a boulder. In another shrine chamber there is an image of Lord Vishnu. . Within the temple precincts, to its eastern side, there is huge boulder of granite stone which has carving of coiled multi-hooded serpent providing an umbrella cover over a Linga. 🙏🏽🕉🐍🔱🌙 (at Kew Gardens) https://www.instagram.com/p/CKvvmmyjAtpMMhESa-buYAcf9naxl93DHuqWvc0/?igshid=m6u2dylroq32

[shivanatarajablog]

Transcript & additional notes

This bronze statue at the oriental museum dates to c. 1800 ce; but the figure’s origins trace back much further. This statue depicts Lord Shiva, in his form as Nataraja, meaning Lord of the Dance. Shiva is one of the three pantheons of Hinduism, together with Brahma (insert img), the creator and Vishnu, the preserver (insert img).  Shiva is the destroyer. However, these three deities represent different avatars of the same divine substance. In fact, Shiva here (back to img) dances the cosmic dance of destruction and creation.  

The deity of Shiva seems to have emerged from the Vedic deity Rudra (insert img & date) who represents the destructive forces of nature. Ancient Hymns of Rig Veda and Atharva Veda point to his dual ascetic and ithyphallic aspects; now associated to Shiva, and enabling a later worship of Shiva in the linga form. (insert img) The linga is a phallic form of Shiva which is most commonly venerated in temples, a symbol of unrealised potential and creative, fertile forces. Puja, or worship is performed by pouring milk or ghee over the linga.

These destructive forces remain integral to his figure. (back to img). In the 9th and 10th century Shiva is depicted as the Lord of Destruction in a morbid way. He dances at cremation grounds. (insert img) It is thought that these are the roots of his later Nataraja depiction.  The flames which embrace the composition radially recall a funeral pyre;(zoom) and the skull in his hair is reminiscent of its remnants (zoom) The drum he holds gives rhythm to his dance (zoom). One of the most famous statues of Shiva Nataraja is in Chidambaram, (insert img) and it is thought that this town was was close to a cremation ground. However, Shiva’s history is complex and mysterious, and the temple at  Chidambaram is home to many of these mysteries.It is still a very famous site, known for having Shiva in his Nataraja form as opposed to just his linga form. Nataraja in Chidambaram remains the most sacred of his presentations. (insert img) The icon literally embodies the deity’s living presence. Every morning he is awakened, bathed, offered meals, and throughout the day is entertained and delighted via dance and music. He is put to sleep in the evening. During the festival of Margayi Tiruvadirai, the winter solstice, Nataraja is taken out on a chariot for a procession (insert img). It is likely, due to the size of the statue at the Oriental museum, that it too was venerated in a temple, and perhaps carried out in processions.

The statue at Chidambaram  points to other possible origins of Nataraja’s iconography. Nataraja is also associated to Kotravai (insert img), a goddess of war who dances in the carnage of battlefields. His dance thus, is not just of death, but of victory. His victorious qualities emerge from two myths. The first, is the myth of the pine forest. (insert img) After the death of his wife, Sarti, Shiva goes to the Daru forest with the intention to live with rishis (sages), whilst he is mourning her death. He comes to this forest as a naked, ithyphallic, handsome beggar, Bhikshatana. He is sexually irresistible to the wives of the rishis, who become interested in Shiva. The rishis feel humiliated and retaliate by sending various weapons. He easily overcomes all of them and turns them into trophies by either wearing them or dancing over them;  (back to img) these are: the drum in his right hand (zoom), the fire in his left hand (zoom), the skull on the crown on his head (zoom).the demon, apasmara, which he treads on. (zoom)  The snake which wraps around his body ( zoom). He bears the scratches of a tiger in the form of stripes on the garment around his waist. (zoom) (back to img). He dances with such furious joy that the dance takes on a cosmic dimension, thus encompassing into itself all of creation. This dance enlightens the sages. At Shiva’s urging, they worship him in his abstract form, the linga.

The second myth to emerge was that two sages residing in Chidambaram, after knowing of the performance of this dance, yearn to see it. Shiva Nataraja agrees to perform the cosmic dance there and only there, thus marking Chidambaram as the core of the psychic universe. However, resident goddess, Tillai Amman resents Shiva’s decision and challenges him to a dance competition. Shiva wins by raising his leg above his hip in the urdhva janu pose (insert img). As a woman, and as a virginal goddess, she cannot perform this move without compromising her modesty. She is thus defeated and cedes the temple to Shiva.

(back to img) It is theorised that the popularisation of this triumphal icon was due to the Chola dynasty Kings desire to assimilate themselves to his victorious aspects, as they expanded their rule all throughout India. Nataraja served as a god of conquest, brandishing the priests’ failed weapons similarly to how Kings exhibited looted goods from their enemies.

Nataraja thus dances both in death and in triumph; but what remains clear is the  profound quality of this work beyond its morbid and martial implications. Perhaps this is why he has remained such a prevalent symbol until the present day. Another undeniable factor is the figure’s beauty. His form is taken from the guidance of ancient manuscripts, the Shilpa Shastras, on divine measurements for sculpture.  For example,  Shiva’s eyes are shaped like almonds, and his arms ‘long like stalks of bamboo’, his face ‘round like the moon’; and a (insert img) radial geometric composition underlies it all, exalting its cosmic symbolism, which I will now elucidate.  

(back to img) This statue conveys first principle of creation according the Hindu account of genesis - that at first, there was sound. This is represented through the drum, or damaru, that Shiva holds in his upper right hand (zoom). The drum tunes the act of creation and measures the passage of time. his front right arm is raised in the gesture of abhaya mudra meaning, “fear not, those who follow my path of righteousness will  have my blessing” (zoom) . The fire, agni, which he holds in his upper left hand, represents destruction (zoom).  The ring of fire (back to img) represents the perpetual cosmic cycles of the universe. His long matted tresses alternate flower garlands, which stream outward the ring of fire, showing his omnipresence throughout the universe. He tramples apasmara, (zoom) representing the dispelling of ego and ignorance. (back to img) His dance destroys the universe but also the bonds of every soul, freeing them from their egos and deeds. He embodies the tension of dynamic action and balanced stillness. His is a dance of furious bliss, but his expression is one of calm contemplation. Physicists today describe this as the dance of subatomic matter. In the words of Aldous Huxley… (insert clip)

Notes:

This was my final transcript. It is similar to a storyboard, in that while and after I wrote it I inserted directions for when I wanted a certain image. I then compiled a bullet point list of images that I wanted to include in my podcast. These were the following:

-Triad of Brahma, Vishnu, Shiva - Shiva in all his poses - Img of Rudra deity - Shiva linga - Shiva dancing at cremation grounds - Temple of Chidambaram - Shiva at Chidambaram - Shiva in procession - Img of Kotravai - Illustration of pine forest myth - Shiva in urdhva janu pose - Radial Yantra

I initially looked at the Oriental Museum collection online to see if I could find any of these images there, and indeed I found that of Brahma, Vishnu and Shiva. I also found one of the linga, but there were other gods in the image as well (the image I found in a previous post), so I thought it might make it confusing.

I then encountered a few difficulties. I found no images of Rudra, if not for one with a pitiful quality. The same applied to the illustration of the pine forest myth. I also just did not find an image of Shiva dancing at cremation grounds. I don’t know why I thought I could find an image of Shiva’s statue at Chidambaram, given the fact that you’re not allowed to photograph it (since it is the living embodiment of the deity). I was however, successful in my remaining pursuits.

I found that the way I structured my transcript made it easy for me to edit. I did however, have immense difficulties in recording myself reading it. Every time there was a problem, and at first I was trying to record it all in one go as when I listened to sample podcasts one of the main things that struck me was the abrupt change from one section of a voice over to the next. I quickly accepted my fate, however, as I realised I was utterly incapable of reading a page of words without stumbling over my words, being interrupted by some kind of noise, or sounding dead inside when listening back to it. I thus decided to record in parts, which was significantly easier. 

I then wanted to choose some music, and an artist I had been listening to recently was Anoushka Shankar. She is a Bengali sitar player and composer, trained in classical Indian music, although she was born in the UK. I thought her identity perfectly embodied this project - and Indian object in an English museum. The songs I chose, Flight and Maya, I thought were beautiful, soft instrumental tracks that would not overpower me speaking. Fortunately for me, the change between the two songs, from a mellower, more melancholy tone to a more upbeat one happens when I start to narrate the myths, which I feel helped the transition to a lighter-hearted ‘storytelling’. 

[indiantiquest]

. . Bhikshatana /Bhikṣāṭanamūrti literally - The Wandering Mendicant.. . Bhikṣāṭanamūrti is the representation of the Hindu god Shiva as the "Supreme mendicant". Depicted as a nude four-armed man adorned with snake as his ornaments who holds a begging bowl in his hand assisted by demonic attendant & he is seen feeding his leaping mythical deer. Bhikshatana is considered a gentler manifestation of Shiva's fierce aspect Bhairava that Shiva assumes to atone for his sin of severing Brahma's fifth head which attaches to his hand as a curse. So he wanders the universe in the form of a naked Kapali mendicant, begging for alms with Brahma's kapala (skull cup) begging bowl, until his sin is expiated upon reaching the holy city of Varanasi. . Panchalogha Masterpiece collectible made according to the aghama vidhi and Silpa Sastra..Highly intricate detailing with all auspicious symbology, made by lost wax casting process by skilled crafters of Tamilnadu . . Dimensions 12 inches tall 9.5 inches wide 4.25 inches broad . . Now on Sale DM for details Ships All India No Returns Check Dimensions to assess the size . . Antiques: For Antique collectibles follow us @ . instagram.com/indiantiquest . m.facebook.com/pg/indiantiquest/ . in.pinterest.com/indiantiquest . indiantiquest.blogspot.in . indiantiquest.wordpress.com . indiantiquest.com . amazon.in/shop/indiantiquest . tumblr.com/blog/indiantiquest . g.page/indiantiquest . #indiantiquest #amazoninfluencer #antiqueshop #antique #antiquebrass #antiquecopper #bronze #antiques #vintage #vintagevignettes #kitchenvessels #vintageart #vintagedecor #indianantiques #curiocollection #interiorstyling #foodstylingprops #homedecor #foodphotoprops #antiquesforsale #decorativeantiques #kitchenprops #antiquesforsale #vintagehomedecor #vintagevessels #antiquedealersofinstagram #myantiquestory #brasscollectibles #antiquedecor #interiordecor @ Coimbatore, Tamil Nadu https://www.instagram.com/p/B-roha4pze6/?igshid=124euwyu754e0

[info-about-lord-shiva]

🌷Lord Bhikshatana🌷:

⭐⭐⭐⭐⭐⭐⭐⭐⭐

The Rishis in dArukAvanam forest🏞, once thought that only the karma(deed, performing rituals) is supreme and it is not required to pray God at all. They stopped worshipping God. Whatever be the deeds, isn't there One Who provides the doer with the fruits ? How can the inanimate deeds automatically give fruit ? Not realizing these facts the Rishis pursued their dogma of karma. To teach them the importance of worship Lord Shiva took the form of BhikshAtanar (beggar) and MahA vishNu the form of mOhini (glamorous girl). In this form the Lord is naked and quite enchanting. So was the Mohini. The Naked Lord came to the streets of the Rishis to get alms. At the charm of the naked Lord Shiva the wives of the Rishis lost their heart❤️. They forgot what they were doing and started simply following the Naked God. Meanwhile the Rishis also forgot the karma, they were strongly advocating and followed the glamorous Mohini.

When they got to see their wives the followers of karmic discipline, lost their virtue and following a Naked Beggar, they got angry😡 with Lord Shiva and Lord Vishnu and started targeting their power of the karmas towards the Lord, by performing the abhichAra yAgam which will produce bad effects. They directed the snakes🐍, demon👹, tiger🐯, fire and drum that came out of the fire against the Lord. What can hurt the Supreme Who is the Source of everything. He coolly made them his ornaments!. Now the Rishis realized their stupidity and realized that God is the supreme and not the karma😃.

[ritish16]

Lord Shiva as Bhikshatana Moorthy sketch

[onlygodis]

top: Shiva Bhikshatana, Tamil Nadu

bottom: Tim Cantor

[reark3d-blog]

Bhikshatana-murti is an aspect of the Hindu god Shiva as the ‘Supreme mendicant’ or the ‘Supreme Beggar’. We've preserved this sculpture digitally by making a 3D model of it! 

View the 3D Model: https://rerk.in/m/eKiUra

Visit our website: https://reark.com 

[shinymoonbird]

Via Wikipedia:  Bhikshatana Shiva, Lord Shiva as the "Supreme mendicant" or the "Supreme Beggar" 

Arunachalesvara Temple, Thiruvannamalai, Tamil Nadu, India

✨

[arjuna-vallabha]

Shiva Bhikshatana abhisekam (ritual bath) Tamil Nadu, photo by Ajabafotos