Shakti Peetha, Ma Kamakhya Devi temple, Assam

It might be a misconception that Tantrik cults are over and done with, for the essence of it still continues to prevail rather openly in West Bengal and Assam. While Kalighat and Tarapeeth might have been big centers for such practices the seat of ancient tantricism is at Kamakhya Devi temple, Kamarupa Assam. This is the most important of all the Shakti Peethas in India.

Kamakhya devi shrine hosts the yoni of Sati that fell here following the destruction of Daksha's sacrifice. This Shakti Peetha symbolizes the union of Shiva with Shakti, as described in the Kali Purana. They are depicted in constant union where Kamakhya is the Goddess of desire, who grants salvation. She is the young bride of Lord Shiva and together they symbolize the sublime reality of the miracle of life, the everlasting bliss of male/female union. This temple is situated atop a hill that overlooks the Brahmaputra river. The inner sanctum is a deep dark underground rocky chamber into which one descends by a flight of steep steps. The "Matra Yoni" which is inscribed on a rock is covered with silk sarees and is constantly moist by underground spring water.

Tantrik cult is a different kind of cult where the orthodoxy of normal rituals and male dominance over the female took a massive beating. In tantricism, it’s the opposite where the female is given a lot more importance and is associated with Shakti. This is reflected in all their strange ritual practices. There is a deep divide between conventional worship and tantrik worship. In conventional worship, a woman is considered as "impure" during her 3 day monthly cycle, further to which she is almost treated as an untouchable in ancient brahmin traditions still prevailing today. In Tantrik worship, most of the rituals including initiation are centered on the 3 days, this period being the most important period where the woman is considered most pure and an incarnation of Shakti. This is clear from various references made in Tantric texts.

Most of the tantrik texts have been found around the regions of Kamarupa, suggesting very strong prevalence of this cult around the Kamakhya Devi temple. The Yoni Tantra hails from Cooch Bihar but most of the Kaul Tantras originated from Kamarupa. The earliest comprehensive references made to the most important element of Tantrik ritual, called Yoni Tattva in the Kaula Tantra are given in the Kaula Jnana Nirnaya by Matsyendranath.

A few references that really call for interest about this esoteric cult, and can be made mention of, are as follows.

1. The Shakti, represented here as Kamakhya Devi has close associations with the 64 Yoginis found elsewhere in Orissa. The yantra associated with Kamakhya devi empowers the 64 yoginis(Hirapur Chaunsat Yogini Temple, Khajuraho) as part of Shakti. The Tripura mantra "Aim Klim Sauh" represents the triple Kundalini. It is also believed that female sadhvikas who are well versed in Yoga dwell at Kamakhya peetha. If one joins them, they obtain yogini siddhi.

2. The Matrikas who dominated both Buddhist sculpture as well as Brahmanical, are the depiction of the importance of alphabet or sound in the worship of Shiva and Shakti. There are seven representations called the Sapta Matrikas, describing the importance of the alphabet in the Beeja mantra and associated hymns sung in the praise of Shiva and shakti.

3. This reference comes as an eye opener that Tantrik cults were not restricted to unknown tantriks who practiced in complete secrecy, but a few known faces also seem to be a part of this cult in thought.

With reference to Yoni tattva, Kaula tantras deal with the subject of menstrual blood as given in the following translation.

Matrikabheda Tantra (English translation Ideological Book House 1990) describes the different types:

"Shri Shankara said:
The first menses appearing in a woman who has lost her virginity is Svayambhu blood.
In a maiden born of a married woman and begotten by another man, that which arises is Kunda menses, the substance causing the granting of any desire.
Deveshi, a maiden begotten by a widow gives rise to Gola menses, which subdues gods.
The menses arising in the first period after a virgin becomes a married woman is the all bewildering Svapushpa."

Last but not the least is the dialog between the supreme creative power Brahma and Shakti. Brahma can create but only through the yoni which shall be the sole creative principle, and will bless the soul with life. After severe penance Brahma brought down a luminous body of light to earth and placed it within the yoni circle of Goddess Kamakhya at Kamarupa.


Courtesy: Translation (c) Lokanath Maharaj 1985. All rights reserved. Creativecommons.org

Kalika Mata at Kalighat, a sacred Shakti Peetha

When power is felt up close,
When the female energy in all its fury hits the eye,
When the sound of the conch shell deafens the ear,
Where innocent lambs are slaughtered without a doubt,
Where the floor is a mixture of blood and sacred sindhoor,
The power of being woman comes alive
We are at Kalika Mata temple Kalighat

To read about tantricism is one thing, to actually witness it is quite another. Kali mandir might look normal to anyone, but the effect it left behind was one of mixed feeling within me. All I could see was a helpless lamb being bathed and waiting to be slaughtered, traumatized by the impending reality gaping at it right there on a bright Saturday morning.

As the silvery streaks of water celebrated the lamb with its body shining gold as a sacred offering, and red smeared its face proclaiming it a sacred meal, and the animal is ceremoniously brought to the stake. The head is led through two vertical poles and a third locks it from above, a few sacred words are spelt out to appease the Mother's ever hungry appetite for blood.

The flames rise, the fire lights up her deep red eyes, setting ablaze her fury, and her face looks on awakening the abstraction of her presence - the power of the mother is here. The bells ring and the blade cuts through without question, splattering blood to the floor. Divine food is collected in the cup and offered to the mother, a drop after another rolls down her golden tongue in the twilight.

A half bust black stone is all that one can visualize this power in, crowned by three enrapturing eyes that grab your attention. The Goddess tilts slightly to one side. Her two prominent arms have a deadly sickle in one and wears bangles in the other. This whole form, has the formidable appearance of a Goddess in anger, her fury so vividly captured that the heart pounds when we stare at her face to face.

Nakulish kalipithe dakshapadangulishu cha|
Sarbadhikari devi kalika tatra devta||

This was once a deserted small temple with fewer lights. What stands now as the mother with arms on the silver body of Lord Shiva was once just an abstraction that represented the fury of Sati that lives on well after her right toe fell here, cut through by Vishnu's discus, proclaiming it a Shakti Peetha. There was a time when the flames set ablaze this fury of the goddess that was appeased by the taste of human blood.

What surrounds this shakti peetha is a wondrous experience of intense faith coupled with brutality of sacrifice, where the skinning of innocent lambs is a common delight, an offering so sacred that I dare not oppose it in the name of sympathy for innocent life. The only thing I can do is cut three crosses at the balipeeth myself, wash away any dosh in my life and symbolically place my neck there, with my head in offering to calm the wrath of this divine form of the Goddess.

O Mother
Whose eyes can burn this universe
Whose presence can reduce this world to ash
Who is invoked by only those who dare
Who lives in the cremation ground
Who burns with the dead corpse
Who blesses them by pressing their heart
Who guides their ambition by stepping on their thighs
Who brings alive the fiery form of death
Who stares with her three eyes open through the flames
Who raises us from the dead
Who takes us into her lap of love
Who renders us fearless
O Mother, why an innocent lamb, why?

Eklingji town, Shiva temples near Udaipur, Rajasthan

The name Eklingji is not that of a temple as much as it is the name of a place. Eklingji hosts approximately 108 temples scattered around the green hilly Rajasthani countryside near Udaipur. In this untouched terrain, one is faced with low hills, lakes with proliferating wild life, thick ancient walls and narrow alleys leading into small houses surrounding stone temples...its almost dream like.

Rural Rajasthan is a quiet landscape with architecture so quaint and so different that one could live there and just admire it. Its not about forts, palaces and havelis, or the homes of the once rich and famous but about single chambered temples with a simple mandap in front, scattered every where yet sacred in themselves.

While the sun rises and lights up these ancient wonders into current times, while the lamps light up these otherwise silent interiors, they bring with them an aura of spiritualism far more active and prolific than what we probably have today. These once populous temples just remain historical wonders, waking us up only occasionally to their presence.

In this vast sea of stone structures, crowded with sculptural representations of an open society in ancient times, we have the deep under currents of faith ruling these miniature wonders. One of the most interesting temples, with a difference is that of Eklingji temple Kailashpuri founded by Acharya Viswaroopa, a contemporary of Adi Sankaracharya.

This in one word is "anokha" or unique. This temple is dotted with smaller single chambered temples along its walls that surround the larger temple with two floors in the center of this courtyard that gradually climbs the hillside.

Going back into those ancient days, where electricity gave way to fire torches and lamps lit the interiors, and folk songs echoed among these walls, the ambiance appeared almost magical. As we step into this wondrous world of dancing flames in the wind, throwing shadows of sculptures on the walls and almost bringing them alive, the drums beat reverberating through the walls and the bells ring as the flame goes up in arti, we witness a spectacle of divinity that touches our souls. Deep within the garbha griha, are the sparkling eyes of a Shiva linga, comprised of four faces each in a cardinal direction.

Silent cool pillared halls lead into this deep chamber that hosts one of the most spectacular icons of divinity. Covered by a gold triple parasol, we have all of the Gods residing within. The flames flicker on, lighting up the face of Surya to the east, Vishnu to the North, Brahma to the west and Rudra to the south, all carved into a sacred black marble stone. Decorated with precious stones that shine through like the cosmos itself, the lingam is striking, with the eyes of divinity capturing us, our senses, our minds, leaving us helpless and swollen with an emotional high of bhakti in its purest form. As we circle around this icon of divinity on earth, all forms of the Lord locked into the linga peetha, we are met with the most powerful and profound symbol of all. A sacred yantra crowns their heads, powerful and divine that rules the faith of people who visit this enchanting temple. Surrounding this divine form, resting within their niches are Parvati, Ganesha and Karthikeya.

This chamber brings alive a phenomenon, in a symbolic form. The black marble represents the cosmos, the universe itself, created and preserved by the very forms who reside within the linga, each eye glowing and sparkling waking us to that which is beyond. At its crown lies the power of the yantra, that which defines the nature of this power that has created the universe and controls it. The unique element of this yantra is that it is not embedded deep within the idol but out in the open, present for us to see, a very unique feature uncommon in Indian temples.

This linga is a reminder, that Brahma, Vishnu and Surya are a part of a larger whole, the apex of which is the divine form of Lord Shiva, embedded within the yantra, that is sacred and has been preserved through generations for worship. Indeed, with the vastness of the cosmos proliferating with life, there is indeed just one force that controls it all - Eklingji Shiva who protects all and is not just the guardian deity of the Maharanas of Mewar.

Photo courtesy: Indiantemples.com (templenet.com)

From Giza and Varanasi to the Milky Way galaxy

The ancient city of Varanasi is more than just a pilgrimage center, or a land where the dead are cremated. Varanasi has been described in the ancient scriptures to be designed in the form a mandala or a protective ring consisting of Ganesh, and 350 gods and goddesses with Shiva Vishwanath at the center. While the boundaries of Kashi are delimited by the sacred Panchakroshi road, the main city of Varanasi extends from Asi Ghat, circling around the confluence of the Ganges and Varana rivers. Yet within this is the sacred area, much smaller, called the Avimukta which starts at the Kedara ghat in the south and ends at the Trilochana Ghat. Within this is the Antargriha or the inner sanctum around the Vishwanath temple, shaped in the form of Lord Shiva’s trident, with Omkara to the north, Vishwanath in the center and Kedara to the south(refer to the map below).

Given the symbolic representation of the 3 main areas of Omkara, Vishwanath and Kedara marking Lord Shiva’s trident, it brings to mind something very uncanny. I would defer with the theory that the three sacred areas are edged on Lord Shivas’s trident.

Why? These 3 areas on the Gangetic plains with the river Ganges flowing surprisingly South to North within this ancient city of Kashi, as the river meanders through to the Bay of Bengal, resemble something equally spectacular far away in ancient Egypt.

Click on the map for enlarged view

In ancient Egypt, the sacred river Nile flows south to north right through the Egyptian countryside. Along the river, as we cruise down towards Giza, our eyes meet with one of the greatest ancient marvels, the pyramids of Giza. It is believed in Egyptology, that the 3 pyramids were built with absolute astronomical perfection in the period of the Old Kingdom to resemble a phenomenon in the Milkyway Galaxy.

In the early months of spring, in March when one stands along the banks of the Nile, we can witness a cluster of stars meandering through the skies above. Among these very stars is the famous constellation of Orion, who is identified by the 3 belt stars and the 4 stars that mark his body from shoulders to knees. Orion is one of the most ancient Egyptian Gods, revered and honored in the same way as Aton (Sun god) and Horus (Falcon god). The ancient Egyptians meticulously constructed these pyramids, not just to bury their dead but also to study what is beyond death and recorded them in their Book of the Dead. The 3 pyramids of Giza along the Nile are a mirror image of the 3 belt stars of Orion constellation along the Milkyway galaxy in the months of spring.

Varanasi has a few very striking similarities with Egypt, one which is the very placement of 3 sacred shrines along the river Ganges, mirroring the 3 belt stars of Orion along the cluster of stars of the Milkyway, through the Ganges which surprisingly flows south to north in this city too. It might be taken as coincidence, but a bit of deeper thinking increases the importance of Orion to much more than a mere constellation. Varanasi is the land of the dead, where it is considered a blessing to die in this land and be burnt here. Varanasi might throw light on the importance of obvious constellations, the mirroring of which on earth is still unknown, though meticulously done on the banks of the river Nile and the Ganges possibly.

It is also interesting to note other strange similarities found in the left hand path of the worship (Aghora) of Lord Shiva and Kali that involved sadhanas in burial grounds, which was performed in ancient days by Tantriks. This sadhana brought alive the Goddess, Shamshan Tara, before whom appeared a Jackal - a messenger of the Goddess during the ritual. Strangely the description given by various sadhakas regarding the blue hued jackal bears striking resemblance with the jackal god Anubis, who is the god of death and embalming in ancient Egypt.

Could it be that the ancient Hindus and Egyptians had found out some deeper truths that we are completely unaware of today? Could they have been involved in practices and rituals that woke the power of these deities and have them recorded in ancient paintings left behind all over their tomb walls and scriptures for us to see and understand? Is there more to the constellation Orion than 3 belt stars in the night sky?

Varanasi is as much a reflection of the Milkyway galaxy (alias the cosmic ocean) on earth as much as the ancient city of Giza is along the river Nile. The Ganges is as sacred as the Nile and “3 points” were considered the most sacred to both ancient worlds as the belt stars of Orion. While in the case of one civilization these stars represented death marked by pyramids, in the case of the other they celebrated the miracle of life marked by sacred shrines. Each interpreted the science in their own ways, but maybe the truth is the same. What is that truth or science?

We may need to wonder about the cosmic ocean by night more than just lay the ashes to rest into a watery bed of peace.

Click here for more on Shamshan Tara

Disclaimer: This link might hurt religious sentiments, it requires an open mind.

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Taraka Mantra - Passage to heaven

It was a mournful morning, as Srinivasan watched a family cremating their loved one at the Harishchandra Ghat. The Ganges flowed by in all her zest, the waters reflecting the sunlight as tiny droplets of fire on her watery veil, dotting her various ripples with glowing lights while the fire on the banks raged on consuming another man as his soul departed.

Srinivasan looked around, observing the sad faces of people who could not think or perceive life beyond the burning dead man who lay in front, reminding everyone that if they got lucky, they would get a chance to be cremated here too. Then Srinivasan turned and stared into the Ganges, through the clouded air wondering whether he could ever have set eyes on the silent presence of Lord Shiva whispering the Taraka Mantra into the ears of the dead, leading them to heaven and washing their karmas of this janma away into the pure chilling waters of the Ganges.

He stood and watched this world, distant to their emotions of sorrow, but aware completely of the reality of death that knocks at every door when the time comes. He heard the echo in the background.

Rama Nama Satya Hai Rama Nama Satya Hai

Low voices of men reverberated to the rhythm of the Ganges as the rising pyre ate into the dead. Srinivasan was at peace with himself, quite emotionless to the morose event taking place in front of him. Did these people even know why they were uttering those sacred words?

Srinivasan watched on as the words Ra Ma Na Ma began to echo in his mind. Rama Nama is the mantra that is called the Taraka Mantra. Taraka denotes 'tari' or the boat that takes the soul and crosses over the waters of samsara. Samsara, which means "flowing together" denotes the cycle of birth, death and rebirth, a constant cycle in time.

The Taraka Mantra is the name of Lord Rama himself. As the great Tamil poet Thyagaraja sings, 'Ra' is a syllable taken from the Ashtaksharam of Lord Vishnu - Om Na Mo Na Ra Ya Na Ya, and 'Ma' is taken from the Panchaksharam of Lord Shiva - Na Ma Shi Va Ya. The result is 'Rama', the beeja mantra of Lord Rama as named by Sage Vashishta.

The essence of the mantra is such. Sage Vishwamitra had done constant upasana and attained Sakshatkara over all the devatas of all the mantras. He gifted the outcome of these mantras to Rama be initiating him into it. With the utterance of this mantra Lord Rama attained Sakshatkara of all the devatas much sooner than the time sage Vishwamitra had taken. As the devatas appeared in front of Lord Rama while he did his upasana, Lord Rama did "avahanam", imbibing them into his being, and absorbed them into his heart. In this way, Lord Rama imbibed all the devas into himself. The Taraka mantra is the Rama mantra which is equivalent to worshiping all the devatas within him.

Ra in Rama is found in the ashtakshari (8 syllables) mantra of Om Namo Narayanaya. Ra is also the beeja mantra for Agni or fire, and could also be pronounced as Rum, Rm. Ra and Ma are jeeva-aksharas, or life giving syllables.

Interestingly, in Buddhist cosmology, Ma Ra (Mara) signifies ignorance and evil. Siddhartha conquered Mara and the world of illusions and seduction into materialism (samsara) to be finally enlightened as Gautama Buddha. Srinivasan thought on furiously, Ma Ra was the opposite of Ra Ma.

Srinivasan woke out of the echoing thoughts in his mind as the sun glowed through the engulfing flames at the Ghat. The air was cloudy and he almost imagined Lord Shiva whispering the sacred words through the flames of Agni, releasing the soul embarked with the Taraka mantra, in His divine voice, beyond all human awareness, and helping the boat sail into the other world.

Srinivasan got up to leave, watching the landscape as he walked back up the Ghats. Up ahead near the Ghat, glowing in bright sunlight and draped with flowers, the coppery hue of Lord Shiva glistened in the day light promising enlightenment to all who consciously seek the Taraka mantra upasana.

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Manikarnika Ghat: Where life meets the world beyond

Varanasi, city of lights, city of color and city of spiritualism hosts the most ancient cremation grounds in the Indian subcontinent. Manikarnika Ghat and Harishchandra Ghat are the most ancient, of which the former is considered to have existed well before Bhagiratha went into penance to bring down the Ganges and have her flow over the cursed ashes of his ancestors. Since then, mere mortals have considered death and burning of their bodies sacred near these waters, a road to salvation.

Varanasi has 98 sacred water fronts, which are believed to form the cosmic frame linking 14 bhavana kosas of the human body. Among 84 ghats, 5 are considered to be supremely auspicious. These are Asi, Dashashwamedha, Manikarnika, Panchganga and Adikeshava. These are the Panchathirthas, and are believed to be symbols of the cosmic body of Lord Vishnu; Asi at the head, Dashashwamedha at the chest, Manikarnika at the navel, Panchganga at the thighs and Adikeshava at the feet. Manikarnika is considered to be at the center of the 5 thirthas, the navel of the universe from which blooms life.

According to mythology, Vishnu went into tapasya (penance) that generated heat and being the source of life he created this world. Vishnu is known to have dug a pit here at Manikarnika with his chakra (discus) and the resulting sweat due to his severe penance filled this pit with sacred water. It is also believed that Shiva’s earring fell into this pit due to which the name of this Ghat came to be known as Manikarnika (jeweled earring), and the pit is called Manikarnika Kund. What remains here is the foot print of Vishnu, Vishnu’s Charan Paduka, which is a pair of feet on a lotus pedestal carved into marble, at the very same place where he is believed to have performed tapasya.

This ghat brings death and release face to face with the creation of the universe. While the power of life was generated at the charan paduka of Vishnu, the actual cremation of bodies takes place at Jalsayin ghat, the whole of which is called the Manikarnika Ghat. Jalsayin, or “the sleeper of the water” reflects the beauty of Vishnu asleep on Sesha Naga, during the cosmic deluge consuming the ashes of the cosmos, symbolizing the endless cycle of time, the flame of which burns continuously at the Manikarnika Ghat, a flame that never dies. Sesha also means remainder; the ashes that remain that get washed away by the Ganges, and lose themselves into the cosmic ocean. Vishnu is the seed of life, a lotus from whose navel grows and brings alive Brahma who creates the world. Cremation takes place here, where life and death meet, where creation meets delusion.

This ghat symbolizes that which is real with time bringing Lord Shiva and Vishnu to the same sthal (place). Apart from Vishnu’s sacred charan paduka, that contains the power of life in his toe, the Manikarnika Ghat also hosts Manikarnika Devi’s shrine and Lord Shiva in the form of Tarakeshwar linga.

As the story of Swami Ramakrishna Paramahamsa also reveals, when he traveled in a boat down the Ganges advancing towards the Manikarnika Ghat, he had a vision of Annapurna Devi holding a corpse in her lap. Lord Shiva in shining brilliance, bends over the corpse, whispering the Taraka mantra into the ears of the dead carving the path for them and helping them cross into the after life. Maybe that is why a person is considered truly dead after his kabala (skull) cracks when the body is cremated. The silent spell of the Lord whispering the Taraka mantra was visible only to Paramahamsa, revealing the real beauty of life, of death and of the journey beyond in the hands of Lord Shiva, Lord Vishnu and Devi.

Such is the reality of life, of death, a reminder every day with every corpse that burns, that there is a world beyond and death is not the end. This reality of living echoes all over Manikarnika Ghat and reverberates at the Charan Paduka of Lord Vishnu.

Enlightenment on the streets of Varanasi

Varanasi, the land of lights, and host of one of Shiva’s Jyothir lingas has been celebrated through centuries as a place of high spiritualism. These crowded lanes leading to the temple give a feeling of purpose, of just one goal – a visit to the Lord hoping a million unfulfilled desires be granted or just an aspiration of attaining salvation from the high stress, low good will lives we lead.

In this desperate hurry, to squeeze out every bit of spiritualism this city offers for the time and money spent, most of us miss out on the inherent depth of knowledge that was once a dialog between two profound souls right here.

Amidst the lush green paths that lead to the slivery cool waters of the Ganges, dotted with saffron clad men taking a holy dip in her waters, the sounds in the air were at one point in history, a mixture of nature and profound dialogs on philosophy between men of high intelligence! In this back drop of a river sweeping away the very ashes of life that burn away in the fiery flames of death, an ancient saint was stopped by a sweeper of low caste.

What came forth is a dialog of profound wisdom, which would render us truly enlightened souls if we ever lived by it; this is called the Manishapanchakam. 5 verses of beauty and rhythm, 5 pearls of profound wisdom have brought a different meaning into the lives of mere mortals. This was a dialog sparked between Adi Shankaracharya and a low caste sweeper, when the sweeper refused to move despite Adi Shankara asking him to clear the way as he headed to Kashi Vishwanath temple.

The sweeper just asked one question: Oh Great Saint, what do you mean when you say move, do you want one physical body to move away from another physical body or do you want consciousness to move away from consciousness?

Is there a difference between the reflection of the Sun in the holy Ganges or in the water flowing by the house of an outcaste? What is this illusion of difference between two forms that have the same atman within, that of a Brahman and that of an outcaste? Atman is pure consciousness, a part of a ripple free ocean of bliss.

Shankaracharya, surprised with this question, realized this was no ordinary man and replied:

If the wisdom of consciousness is realized, a person ceases to be an object of perception, and becomes a pure stream of consciousness which shines is deep sleep, dreams and when awake. He who has this consciousness, dwells in all be it Brahma or even an ant, he is my Guru, irrespective of whether he is an outcaste or a Brahman. This is my conviction.

I am Brahman, pure consciousness. This illusion around me is a making of my own ignorance and perception of my mind, a result of my own gunas; satwik, rajasik and tamasik. Brahman, which is bliss, is my Guru, whether he is an outcaste or Brahman.

Having come to the conclusion that the universe is perishable, he who with a calm and pure state of mind constantly meditates on Brahman, he who has burnt his past and future sins into the flames of knowledge, he submits his present body to his praarabdha karma. This is my conviction.

The self is pure consciousness and is experienced clearly within as “I”. It is by the reflection of this consciousness that the mind, body and senses appear to be sentient, though they are insentient. The real self is concealed by the mind, and senses like the sun is covered by clouds. The yogi who always meditates on the self is my Guru, this is my conviction.

The self or atman is an eternal ocean of bliss, a minute fraction of which is enough to satisfy Indra. One who meditates on the self with a perfectly calm mind, experiences Brahman. Such a person is not a mere knower of Brahman, but is Brahman itself. Such a person will be worshipped by Indra, he attains Jivamukta. This is my conviction.

A profound spell of words rained down these very noisy alleys that lead to Kasi Vishwanath temple, long ago in ancient India. The Lord himself graced these streets to test enlightened souls. Such was the pulse of Varanasi.

Potency of Sri Chakra Yantra

When the heavens open
bring forth the force
the wilderness the heat
the power alive
the potency let lose
the divine embrace
such energy released
the Goddess arrives

The power of the Mother
felt through in history,
a power so strong
mere humans crumble
the heat so much
it scorches the soul
no one can survive this fury
the Goddess brings alive.

Such was her fierceness
her Ughra swarupa
the heart fears
this form of the Goddess
burns away to ashes
all mankind those alive
who witness her fury alike

One such form is known as the Kali swarupa, where though she has warmth and appears coy, her fierceness rules supreme. In the Tamil Nadu landscape, we revisit this Goddess at 4 Shakti sthalas which stand out for their strangely mystical stories bearing almost the same solution to control her fury. Thiruvotriyur, Thiruvanaikkaval, Kanchipuram and Mangadu have each seen this anger of the Goddess in the ancient days.

There is another possible explanation to this theory of controlling her fierceness. It could have been possible that blood(animal) sacrifices might have been performed at some these altars to appease the Goddess and this practice was curbed. Also, these shrines of the Goddesses existed well before they were formally consecrated into temple shrines. The Goddesses energy was felt and experienced more than her physical presence was seen in stone at some of these shrines.

Mythology holds that Shakti manifests Herself as Thripurasundari at the current temple of Thiruvotriyur facing south. Her counterpart Vattaparai Amman resides in the north of the temple.

At Thirvanaikkaval the Goddess manifests herself as Akhilandeshwari in the ughra form, so fierce is her form that her devotees could not withstand the power.

At Kanchipuram, the Goddess takes the form Kamakshi Amman and manifests herself in ughra form, sending ripples of fury around, so much so that it could be felt among her devotees who walked along what is now the temple precincts.

At Mangadu (meaning Mango grove), Parvati was reborn as Sri Adikamakshiamman in repentance of her act of covering the Lord's eyes playfully which turned the whole universe into darkness for a short while causing unrest and fear in all creatures alive. Kamakshi is known to have waited here for Lord Shiva, to be wedded to Him as promised and when he didn't come she is believed to have performed the Panchagni Sadhana*, a fire ritual with five sacred yagnas, four yagnas burning around her each in a cardinal direction while she stood in the center of the fifth on her left toe, with the rising flames engulfing her right leg bent upwards as her hand stayed raised above her head holding the japamala(picture below). She came to be known as Sri Tapas Kamakshi at Mangadu. So fierce was her anger before She went to Kanchipuram to be finally married to Lord Shiva, as instructed by Him. The heat of these fires could still be felt by her devotees.

One thing is strangely common among all these forces of the Goddess. It took just one form of Lord Shiva to calm her fury down. Adi Shankaracharya mastered the art of conquering the fury of this Goddess and brought her back into the world as a warm and endearing mother to all her devotees, rather than as a fierce Goddess. Battling her Ughra form, he brought down this fury, this wild energy of the Goddess purely by a science unknown to all but felt within the self. He placed the potent Sri Chakra yantra with the Mother bringing down her fury across the lands.

This has been a divine dialog, one that Adi Shankara has with the divine mother Parvati in her various forms, this has been illustrated in recent times by Paramacharya Sri Chandrasekhar Mahaperivar, who also had enough and many dialogs with the divine mother before he finally took Samadhi and merged into her divine light. This also marked the end of possible sacrifies and brought into existence a more potent and friendly form of ritual practice that appeased the Goddess and depicted her as a Divine mother within her shrine chamber.

At Thiruvotriyur, Adi Shankaracharya installed the Sri Chakra Yantra opposite the shrine of Vattaparai Amman. At Thiruvanaikkaval Adi Shankarcharya is known to have made two sets of earrings called Tatankam, a pair of powerful Sri Chakra Yantra studs adorning both the ears of the Goddess, within her sacred shrine. At Kanchipuram, Adi Shankaracharya established the Sri Chakra yantra at the feet of the Goddess, within a gold metal plate that is installed and worshiped everyday. Adi Shankaracharya requested the Mother never to leave the temple complex, and hence symbolically the "utsavamurthy" of the Goddess takes leave of Shankaracharya at his shrine within the inner prakaram, before she leaves for her daily procession. At Mangadu Adi Shankaracharya is known to have installed the Ardhameru Sri Chakra yantra to appease the power and heat of the flames left behind by the Goddess.

Dwelling more into the form and power of the Sri Chakra, its value lies further and beyond mere material satisfaction. The Sri Chakra within the temple of every house in India brings alive the Goddess who resides within her shrine chamber and its not a mere Hindu manna machine for health wealth and happiness. A complex mystical diagram to calm the very fury of the Goddess, when the Gayathri mantra is chanted brings power and peace to the worshiper. Its a science of spiritualism, divinely illustrated by Adi Shankara that resides within our very own homes, at the center of which the bindu holds the seat of the Goddess Kamakshi, the Mother, in an endearing "Soumya" form.

*The Panchagni Sadhana is performed to kill five evils which dominate the mind leading one towards misery. The five evils are Kama (Desire), Krodha (Anger), Lobha (Greed), Madha (Ego) & Maacharya (Attachment). If one wins over all these five evils they can attain the supreme bliss and union with the Lord. This is depicted by Kamakshi Amman before she marries Lord Shiva.

Please excuse the audio in the embedded video, it appears to be Buddhist.

Temple of Eklingji Shiva, near Udaipur

Eklingji Temple near Udaipur, Rajasthan: There was chill in the air as Srinivasan walked on the cold stone floor of this remote temple, near Udaipur. The north has a charm; the rural west is so quaint, undeniably simple and slow and laden with tranquility. It’s like a village, with not too many people, no shops selling the familiar chips and coke, just clean untouched natural beauty lying spotless all around him.

He had cut out the noise of the city, of a busy life to come here, and what lay around him was pure historical magnificence. He walked slowly, pillar to pillar of this small Nagara styled temple breathing in the chill as he progressed towards the dark interiors of the shrine chamber. Within the deep silent darkness lay the stone idol of the Lord, as vibrant as it was centuries ago when this temple was first built. A small lamp glowed, lighting up the bare interior as Srinivasan just transported himself to another world, breathing in this fresh air around him. He sat on the floor, the chill eating into his veins as he looked on to the Lord ahead.

The temple bell rang, a single ring resounding in the air, reverberating through the temple interiors almost bringing alive the dancers on the walls. This was Eklingji, the one and only Shiva who is unattainable and only surrender is the way towards Him. Srinivasan, closed his eyes, as his heart sank, and he shut his mind down to hear the sounds around him. Birds chirped, peacocks shrieked, and the sound of water slowly began to cover the air. He opened his eyes and saw rays of sunlight beaming into the temple, lighting up the stage along the temple walls as stone idols played their music and danced to a different tune, one that was so pure, so clear and almost lost that it was left within the imagination of the self to really live this moment of silence.

Srinivasan yearned to just leave his work, and come to settle here, live a simpler life with fewer desires and worship the Lord. He breathed a sigh, one that echoed the bondages in his life, those that he could not leave due to karmic entanglement though he just wished to break free. But wasn’t this all in the mind! Srinivasan got up to walk around the temple. As he walked out of the pillared hall the beauty of the land just sprawled itself out in front of him. He looked around to see a large lake behind the temple, circled by low hills, dotted with many more such small temples. It felt like heaven had opened its gates to make us feel the presence of all divinity, such brilliance meticulously carved out by men. A heavenly paradise of a different kind, of which he was a part. The wind blew among the hills, causing small ripples in the waters of the lake that made the sounds like that of a woman’s anklet as they splashed gently along the stony temple floor. A lake, covered with green, untouched in the lap of rocky hills. This was nature in its purest form, all its elements being felt so close without any distraction. His mind was so much at peace.

Srinivasan thought, the beauty of this land is so subtle, it needs to be felt. Peace is hard to find, but here it was very much in abundance. Spiritualism can be found only in the silence of the mind, and there seemed to be so much tranquility here, he felt he was so far away from the familiar world he knew so much. He watched a lady pass by, rural in appearance singing an ancient folklore as she walked by with a pot of water. Srinivasan walked down to the lake, touching the chilling water surface with his feet, feeling the sudden chill through his bones as he sat looking around. He was but a small speck in this large panoramic world of the Lord, surrounded by hills and silent villages, with no apparent rules, just pure freedom with the self.

As the clouds covered the sun, draping the world into sudden shade, Srinivasan turned to see the silhouette of this small temple housing the very symbolism of his existence and the meaning to his life. As he stared on the temple bell rang again, a resounding echo which rippled out of the temple scattering itself into the space around bathing life on its way. Eklingji temple, another world, another reality, but running right through his being in this little paradise.

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Lakulisa - Founder of Pasupata Shaivism

On the road to Champaner, Guijarat: Lakulisa Temple

At the foothills of the great Kalikadevi temple at Pavagadh Gujarat, there is a sprawling peaceful lake dotted with temples displaying the splendor of rural Gujarat. On the way to Champaner this picturesque landscape produces one of the finest architectures both Islamic and Hindu.

Driving down during the monsoon time can indeed change the mood of the land such that it almost feels like divinity descended on earth in a chariot of mist. And here among rocky hillsides strewn with huge boulders lie one of India's most ancient temples now in ruins - Lakulisa temple. This temple dates back to the 10th century though the cult of Lakulisa existed well into the 1 cen.A.D and has been mentioned the Mahabharata. This delapidated temple holds the iconography of Lord Shiva thought it houses Lakulisa within its walls. Among its very rare and fine sculptures one can see Dakshinamurthy Shiva, Ganesha and Gajantaka Shiva. Most of the upper half of the temple has fallen off and merged with the surrounding boulders leaving standing walls with intricate sculptures to show the original spendor of this great cult icon.

Lakulisa was the founder of Pashupata Shaivism which was one of the oldest and prominent Shaivite schools that existed in the early 1 cen A.D, though dating it is still uncertain. Lakulisa's school of Pashupata Shaivism originated at Kayavarohan in Gujarat and extended to Payar in Kashmir and Orissa in the east. It later spread far and wide and penetrated into Tamil Nadu in the 7th to 14th cen A.D.

Lakulisa's images are found all over India indicating that his cult was very well established. The Pashupatas were ascetics and were followers of the Bhakti movement. Lakulisa was almost considered an incarnate of Lord Shiva during his time. He is represented as a saint, teacher, yogi, and a man of divinity, very similar to the Buddha when it came to depiction in scupture. His teachings are codified in the Lakulisa Siddhanta, while in his images he is represented in Dharmachakrapravartana mudra with a Lakuta (stick) in one arm. His main desciples were Kausika, Gargya, Mitraka and Rusta.

Among may such temples and images, Lakulisa can be found in person in the ruined Bhairava temple on the banks of the Gangua river near Bhubaneswar where he is depicted as a four armed Lakulisa with the Jatamukuta and snake, very similar in appearance to Shiva Dakshinamurthy. Alternatively he is also found in the Orissa State Museum at Bhubaneswar.
What was this cult all about? Kaundinya in one of his commentaries on the Pashupata Sutras says that Lord Shiva taking the form of a Brahman as an incarnate at Kayavatarana, went on foot to ujjain and taught his doctrine to Bhagavat Kushika. The Pashupata doctrine was revealed by Lakulisa, the last of the 28 incarnations of Shiva. The worship of Shiva included strange practices which involved bathing in sand and holy ash thrice a day and living in isolation. I would suspect its quite close to our current day Nagas. What ever their practices and whether it conformed to the society at large, this once popular cult lost its dynamic presence and ceased to exist till today in its original known form.

What remains is a ruined temple dedicated to the last incarnate of Lord Shiva - Lakulisa, along the road to Champaner.

References: Religious Beliefs and Practices of North India During the Early Mediaeval by Vibhuti Bhushan Mishra

The Perfect Nataraja, a perfect life

In the darkness of the night
the earth trembles
with the resounding drum
a sound that creates
the vibrations of life
the air that swirls
the purity imbibed
and the feet descend to earth
into a circle of fire
that silhouettes this form of the Lord.

Locked into metal is an energy so strong that one can barely imagine the potency of the Lord. A common name, Shiva, but a form so enigmatic and unknown that the more we dwell into His realm the more lost we feel. Such is the enigma that surrounds Lord Shiva. To feel His presence in the self is a moment of enlightenment well lived for.

Within this wall of fire He dances creating the rhythm of life, creating the essence of existance and clearing the clouds of illusion that shade our eyes.
Tirobhava - A ring of fire He lights up to kill the darkness of ignorance.
Samhara - A ring of fire He ignites to burn the self into His being.
Sthiti - A ring of fire He presents to preserve the soul.
Shrishti - A ring of fire that dances to the sound of creation.
Anugraha - A ring of fire that raises us from the misery of living.

It is a flame within, a tiny flame, a potent flame that can set the stage of life alight with Lord Nataraja, the King of dance. He has vigor in his movements and yet a calm in His eyes. He opens His third eye to burn the soul yet His hand rises in abhaya giving us reassurance. The flamboyance of His silent energy just makes the yajnopavita and the rudraksha sway to His gentle moves, to His enchanting presense. He has gentleness and warmth that can make the heart melt when one sets eyes on this form of the Lord. Locked in stone or metal, He shines with all His grace. Coated with dust on the outside but clarity of the being rules supreme. Gentle and tame on the outside but a brilliant flame of life engulfs us from within reminding us of His constant presence.

Such a perfect being, such beautiful imagery that has been painted, sculpted, drawn, sung about, written about and yet He is so difficult to come into our reality. Such perfection that is forever there to stay. Such bliss that the mind rests even in trouble. Such sweetness that the world appears beautiful. Such brilliance that we can see beauty in life and appreciate it if only we make ourselves open to it.

Perfection is so undefined, yet we see it in Him, perfection is so unreachable yet faith in Him lends us that satisfaction. Perfection so unnoticed that He sets us the examples to true and effective living. Perfection so unheard of that we need His presence to comfort us. Perfection is so unreal that we need Him to guide us into the unfamiliar world beyond this life.

Our life breath is a rhytm, one that we are never aware of, one that he creates with his damaru when we are born, our life is a saga, one that He preserves while we live these million births, our ego is our own enemy, one that He destroys and raises us into a new world merged within Himself, our path to heaven is through fire, a life that He destroys to bring us face to face with reality, our mind a whirlpool of ignorance, one that he smashes with His feet and lifts our helpless souls into His warmth.

There is so much more to Nataraja, there is so much more to Shiva, there is so much more to perfect living and no time to explore it. We are part of a man made rat race to higher living with assumed perfections that no one has defined or has a clue of. And all we have to guide us into that promised realm is a hint of the Lord locked into a silent dust coated metal sculpture out on display, the life of which is within us, unknown and untapped.

Temple of a saint - Adi Shankaracharya

It was a run, from the world familiar, a fast run away from reality as we know it. A breathless run until Srinivasan chanced upon a wall, a strange wall with a narrow door. It was a strange landscape, walls without roofs, doors leading no where, steps leading to the skies and stone as ancient as the creation of man and no sign of the creators of these strange pieces of architecture, all on top of a hill. In all the daylight it still seemed to look so meaningless and yet they were after him. Srinivasan felt relief when he saw the wall as he ran. It looked familiar but there was nothing beyond it that made any sense. Just a flight of steps leading up to the sky and a strange bell that didn't seem to call anyone to his rescue when he rang it and yet he felt he wanted to run, and get away and escape for good and go... where, he didn't know.

Srinivasan got up, awake into his familiar world, yet the images of another world hung vividly in his mind as he didn't make any sense of the place he had just seen in his dream and yet, it was so familiar. It was close to reality, some place he had been to and had felt something drawing him so close, saving him from something he had no idea about yet felt its overpowering presence in his life.

View location of this temple - Photographed in 1911

Months passed and Srinivasan decided to go on a vacation. He had been working hard enough and deserved a break. Srinivasan stood at the hill and breathed in the fresh air. It was a perfect get away. The city was so far away from such purity and strangely wasn't it all a familiar man made world? He looked at the landscape, it was beautiful, and he wondered why he had not come to Srinagar all these days. He walked around the summit of Gopadhari hill looking at the greenery around deep down in the valley below wondering what else the Gods had blessed this earth with and why the cities were so devoid of such creation. As he drifted in his world the guide walked up to him and directed him to the temple ahead. Srinivasan gathered himself, quite forgetting he had company in this trip, company he suddenly didn't seem to want.

He walked on, coming up to a formidable wall. A wall that didn't seem to have anything around, and nothing beyond. It stood deserted lost in a realm of its own, yet an endless flight of steps seemed to lead to the skies above with a hint of stone beyond, ancient stone that belonged to another era unknown, just withered by time and belief. Srinivasan stood and gazed beyond as the bells ringing reverberated through the air. The chilling air settled in his mind as he stared up to ascend the steps to heaven. Srinivasan felt strange, not knowing what to expect. He just felt blank as he decided to see what really lay beyond. Every step up reminded Srinivasan that he had been here. The lanscape, the emptiness, the strange architecture that contradicted every book and every proven theory of art...nothing seemed to have value except this moment as he took to the steps. He touched the bell and rang it, the brass resonating the sound echoing within itself rang through his mind and senses. There was strange peace within his mind. He walked up, crossing this strange wall that housed a narrow door but led to no roof beyond but just a mammoth temple, made of ancient rock, octagonal in shape rising into the sky.

A narrow door lay ahead holding secrets within its darkness. The main door appeared strangely similar to that he had seen within the pyramids of the Maya. Yet this kind of architecture was unknown and untapped back here. Srinivasan walked up to the main door, and looked at the world now at his feet. He was told it was the temple of Adi Shankaracharya, an ancient Shiva temple, that came to be known by this great saint's name centuries ago when he visited it and worshipped the Lord here. Adi Shankaracharya was known to have been initiated into the Shakti cult during this period.

View location of this temple

Srinivasan entered the narrow entrance and walked through its thick walls. What lay ahead of him was a breath taking view of the Lord. A stone linga towered in front of him, topped with floral offerings. A small chamber held more than just air and stone. Srinivasan came down on his knees, overwhelmed with the presence of the Lord in front of him. It was not just another temple, it was the world of Shankaracharya relived, the world of Lord Shiva brought alive again within his mind, the world of Shankaracharya temple waking up another soul to itself, far away and above the familiar world, one that promised experiences beyond the realm of the self, soaking the soul in the air within these chilling ancient walls experiencing the meaning of perfect life.

An ancient cult, an ancient world, ancient stone and an ancient emblem of faith still alive after so many centuries to just wake up the inner realm within the mind of Srinivasan - Shankaracharya temple, a divine outpost to the world of the Lord, meant much more than just a dream.

Courtesy:
Takhat-e-Sulaiman / Shankaracharya Temple. Srinagar 1911
sgankaracharaya - KPLink.com photo gallery
© 2003 shankracharya.com. All rights reserved.

Inspirations for a life of true spiritualism

I was once asked about who was my inspiration to keep writing to my blog. I had no answer then except the name of Lord Shiva that echoed in my head. The thought remained in my mind for a while, about those who I would like to follow blindly as examples of perfection in my life.

Two names struck me at a shot, both of whom were a perfectionist when it came to self expression of their love to the Lord and towards their Guru. A Guru that even I admire and respect deeply within my heart but I am not really sure whether I made it to His list of favorite children. A simple man, who commanded respect as well as kept alive this fantastic faith that is slowly dying its natural death thanks to the “modern” questions we pose to try and understand something quite out of reach through reason and beyond probably even metaphysics. The then Mahaperivar of Kanchipuram was an epitome of divinity and peace, a human nature we have somewhere quite given up to even try and attain.

I have come to admiring two of his favorite children and yes, they have set me an example of at least hoping to make it to His list. To be a favorite child of Kanchi Mahaperivar Chandrashekhar Swamigal mean pure devotion, complete surrender, love and adoration for the Lord and maybe orthodoxy too. I have not made it too well in any of these areas, but the Mahaperivar is always there deep down to guide me when I lose my way. He has been the fire to perform for both His favorite children.

One of His children did it through her music. She is probably the only person who brought soul into Carnatic music and gave it the additional touch of devotion that overpowered technique, for when one listens to her song, there is so much life and humility that you can almost hear the Lord wake up to her notes. And what is music without soul? What is music without devotion? M. S. Subhalakshmi makes the heart melt to the Lord when she dives into her ocean of music and takes our souls with her.

Another of Mahaperivar’s favorite children is a unique man. A person I would call India’s unknown Michaelangelo. I had the opportunity to visit his house and come across his works of perfection. And perfection simply seems to be an understatement. What lay around me was not raw talent or patience of practice of expression. What lay in front of my eyes was just one original picture that made my heart skip a beat, and transform my world to feel miserable and small in front of such a great man. Artist Shilpi as he is known was an illustrator for the Ananda Vighatan(Tamil magazine), who gave up his illustrative career to be blessed by the Mahaperivar of Kanchipuram, Sri Chandrasekhar Swamigal, to begin painting deities within temples across the country. I do not have words to express the beauty he has captured in every deity of the North and South of India.

There is something more that is common to these two people, and that is purity in their minds and detachment to the world and complete surrender to the Lord when they performed. We need to realize that music is found everywhere but that with devotion which can melt your heart and make you emotionally breakdown in front of the Lord are few. The same with visual art, talent is plenty but that which religiously follows one goal and is perseverant to bring the Lord to your home are few to find. And of course that additional something, that makes the heart look within itself, searching furiously for the promised Lord hiding within ourselves. These people are inspirations, to the material world of people that we are missing something far more fundamental in our lives and that is a spiritual high that is rare to find but needs to be patiently worked upon.

Having said this, here is a league of people, who have walked the same earth we have, during our times and are definitely not mythological and have no tales to make us believe they were supernatural. They all lived next door, around us, and lived a life that was once celebrated on Indian soils. I can only hope Mahaperivar blesses me as I seek inspiration from His favorite children, that the very Incarnate of Lord Shiva teaches me as I move on. I am indeed blessed to have set eyes on this divine incarnation of Lord Shiva.

Om Namo Bhagavate Sri Chandrasekharendra Saraswati Sharanam Prabhadyey

Shiva Bhairava - The naked mendicant

The form of Bhairava is considered to be fierce and terrific, one that infuses more fear than love towards Lord Shiva. Bhairava is known to be a naked mendicant or at least follows the same iconographic appearance as Bhikshatana where he is depicted ash clad and naked.

As described in the Shivabhaktavilasam, Dabhra Bhakta, an ardent devotee of Lord Shiva was being tested for his devotion to the Lord. In order to show Parvati the intensity of Dabhra Bhakta's devotion, Lord Shiva descended to the earth in the form of Bhairava to his residence. Dabhra Bhakta, unaware that the very Lord had descended, was blessed to have seen this form of the Lord and as he directed the stranger who had come begging for a meal. As he guided his guest back home, he describes his appearance as follows:

He appeared to be a staunch Maheshwar, with the very grace of Lord Shiva shining upon him, a stranger who had come to this little town, and had knocked at his door asking for a meal. As Dabhra Bhakta was not at home, the mendicant went to the nearby Ganapateshwara temple and waited. On hearing about his arrival, Dabhra Bhakta rushed to the temple to invite the mendicant home. As he neared the temple he saw an aged man sitting under a tree and meditating. His left elbow was supported by a Yogadanda his staff, and he had a Brahma Kapala (skull cap that serves as a begging bowl) near his right hand which was engaged in counting the beads of his rudraksha rosary as he chanted within his mind. His effulgence beat the very beams of sunlight that lit up the day. He looked aged and yet very rugged. He was ash clad and in deep meditation when the invitation for a meal was brought over to him.

He rose up from his seat in all his majesty and grandeur. He took out a handful of ash from the pouch in front of him and smeared it all over himself, forming a little cloud of holy ash that almost crowned his brow like a halo. He help the kapalam and skull bowl in one hand and played the damaru in the other hand creating a sound so loud and terrific that it echoed his arrival through the little town. He wore a waist band of skulls which rubbed against each other as he walked on gracefully. His thick silver tresses were neatly held up tightly in his elaborate jatamukuta which he tied with a garland of smaller skulls. He was smeared with red gorochana on his forehead and it seemed like the fiery third eye spread fear over his brow while his eyes showed great compassion to the world. And as he walked, his over sized anklets tinkled on manifesting the primeval nada - the cosmic vibration.

That was Bhairava then, depicted in scriptures and sung about and probably He walked this very earth in the previous yugas. A depiction so clear that it became the definition of "Shivahood" among the yogis of the coming centuries. The yogi attire has not changed much since then, though with a few alterations to the described visual appeal. But none have come even close to matching the Lord's form, His beauty, his very presence that reflects in the eyes of the aspirant, one who has immersed himself completely into the worship and love for the Lord, living in a real trance as he journeys into His adoration.

These are the possible appearances of Bhairava today, those that somewhere remotely match the Lord's original splendor but seem to have lost the essence of His presence in their eyes!

Pashupatinath Temple, Nepal

Pashupatinath Temple, Nepal

Click the photo to enlarge

When beauty transforms itself into grim reality
When all curtains of illusion fall
When the mind comes face to face with the truth of death
When the mind gives up all attachment
When joy is overcome by the futility of existence
When it feels that this is Now the end
You're at Pashupatinath temple, Nepal.



On a cold wintry morning Nepal presents an ancient quaint little town basking in the morning sunlight. It is a beautiful city with ancient temples, plenty of emblems and the echo of Lord Shiva and Buddha surround you as you explore its lanes. Narrow streets, wooden walls, strange and exquisite carvings along roof edges against the mountains behind, it cannot get more picturesque, its a treat to the eye.

But as one walks down the narrow lanes of life along the Bagmati river with the anticipation of Pashupatinath in the mind one also sees endless burning ghats, bodies perishing into flames, souls departing and all of life coming to an end. It is a smoky lane to cross, where the blinding mist is overpowered by the thick curtain of smoke rising from these funeral pyres.

And there it stands by day. A gold roofed temple at the top, with a flight of ancient steps leading up to it. A gorgeous courtyard meets us right after the treat of death looming all around us. Its like we rose up to paradise or heaven , reaching the abode of Lord Pashupatinath. Dotted with smaller shrines and pillared halls, this is a "delicate" wooden temple with exquisite sculptures blanketing its wooden exteriors. A small wooden structure plated with gold, leads one into the tiny sanctum approached from four cardinal directions. And there He stands in the center in the form of a chaturamukha linga. The four faced Shiva, Lord of all the directions is seated at the center of this sacred shrine chamber. Each of his mukhas(faces) represent Isana, Tatpurusha, Vamadeva and Aghora attributed as guardians to the four directions.

This is the moment when all life halts, all desires for health and wealth fade away, all pain and agony in the mind disappears, and the life in us wakes up and the mind goes blank. The only reality of Lord Shiva lies ahead in front of us, the only question of what the value of this life is echoes in the mind. The limits fo existence wake the mind, we are born, we will die, we owe nothing, we belong no where, we have come and we have to go, the only constant is Lord Pashupatinath, our only reality and hope in our transition to the next world. The arti rises and the faces of the Lord glow within the dark misty interior. Its a moment of tranquil existence where, neither death or birth matter. Life will cease.

The landscape around Pashupatinath temple is dotted with smaller shrines of Lord Shiva along the river side. As one looks through all the shrines the thought that runs through the mind is the repetition of births we take and continuously toil through our many lives. At every stage we come face to face with the Lord as we go from one life to another, rather aimlessly. As one walks down to the river, to take her blessings and purify oneself, a small linga beckons us to come its way. A personal worship, a small abhishekam, with the river water and blessings for a fruitful life are granted at this little shrine out in the open. At the end of this small ritual, a lamp is lit, a flame of enlightenment as it burns and sails down the Bagmati. A fire, the light for the rest of our lives.

With a heavy heart and a torn mind, the steps lead back to our familiar worlds that lie ahead of us. With the vision of the Lord, His all pervading self, deeply engraved in us, one can't stop but think about the value of life. As one journeys back to the grind, Pashupatinath Temple leaves an uneasy void, that we are missing the presence of a greater reality, one before which all else is just nothing.

Pashupatinath temple on the night of Shivratri.
Click the photo to enlarge

Mahasadashiva - Vishwaroopa darshanam

The Vishwarupa Darshanam of Lord Krishna has been elaborately described in the Gita, but few know or realize that of lesser known Shiva. This is a form of Lord Shiva that defines pure consciousness. A form of Shiva that is hard to come by. Few have sculpted His form in stone and bronze. Strangely the Vishwarupa Darshan of Shiva is very similar to what we see for Krishna/Vishnu in illustrative representations of the Gita today.

The Uttarakamikagama describes Sadashiva in white with flowing jatamukuta sinking the glowing crescent moon into His locks. He sits in Padmasana and is depicted either with 5 faces or with one face and 3 eyes - each symbolising Agni, Chandra and Surya or Iccha Shakti, Jnana Shakti and Kriya Shakti. He has 10 arms; his right carries Sakti, Sula (spear), Khatvanga (spear/tantric staff of a long arm bone with a skull at its head), prasada and the last arm is in Abhaya (Hand gesture blessing symbolising "Do not fear"). On his left he carries Bhujanga (snake), akshamala (garland of beads in counts of 27 to 108), Damaru (Sound of creation - OM), nilotpala (half opened lotus bud) and a fruit of the Matulunga (Ayurvedic fruit). He wears a yajnopavita (holy thread) and when he is depicted with one face and 3 eyes, he is also accompanied by goddess Manonmani.

The more terrific form of Sadashiva or Ughra form is 18 armed with flames rising out of His 5th head. He is alternatively found carrying the sûla (trident), pâ'sa (noose), khadga (sword), khetaka (weapon), musala (food grain), para'su (axe), ghanta (time/bell), kapâla (skull cap) among others. Mahasadashiva is described to have 25 heads (5*5) - they represent the Panchabrahmas and symbolize the 25 tattvas of philosophy.

Mahasadashiva depicts a state of mind, one which is further emphasized by the presence of goddess Manonmani alias Durga. Manonmani is a state (a mudra in yoga) where the eyes are neither closed not open, a state where breath is neither inhaled nor exhaled, and the mind is blank, it doesn't speculate or have doubting thoughts. Its after this stage that Unmani stage of super consciousness is reached. The state of the eyes when they are neither opened nor closed is called Nilotpala or resembling a half opened water lily(lotus). To reach this state of super consciousness, one needs to detach from worldly illusions and conquer their fear of death. Hence the Lord is shown in the Abhaya mudra. His various hands hold icons of this truth, emphasizing that this illusionistic world is just a facade, the real truth behind which is probably too difficult to imagine and hence is represented by the Rudra form of the terrific Sadashiva.

But the most beautiful emphasis is made to the three eyes of the Lord - Trayambaka(release from the cycle of birth and death). The third eye is typically associated with fierceness, but in reality the eye radiates a brilliant light, a kind of eye blinding brilliance which is not there in the calm of the other two eyes equated to a blooming lotus when the moonlight falls on it. Such is the beauty of Sadashiva, where coolness of the moonlit night is experienced at the same time as the brilliance of enlightenment when the fiery third eye opens one into consciousness. Such beauty can scarcely be scary except to the ignorant who fail to see the beauty if Mahasadashiva.

A quiet path to self realization brings the brilliance of Lord Shiva's Vishwarupa darshan to the mind's eye. One where the Lord presents his all encompassing form into one - Mahasadashiva roopa.

The other surviving example of Mahasadashiva is this rock cut sculpture from Elephanta caves.

Sadashiva Elephanta Caves

Courtesy: Gopinatha Rao, T. A. <1872-1919>: Elements of Hindu iconography. -- Madras : Law Printing House, 1914 - 1916. -- 2 Bde in 4 : Ill. -- Bd. II, 2. -- S. 371 – 374 PL CXIII and PI. CX V illustrate the description of Sadâ'sivamurti