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These forms are based on the Puranas and the Itihasas, in which the theme of Shiva's divine play is explained with numerous narratives. Most of these forms are featured in South Indian temples as the main images of the sanctum or sculptures and reliefs in the outer walls of Shiva temples.
In the cibukothhapana pose, Shiva holds Parvati's chin, and looks into her shy gaze. [5] The images are usually shown seated over a throne, and their respective vahanas (vehicles), Shiva's bull, and Parvati's lion, are shown crouched beneath the throne, with the pendant legs of each deity kept above their respective vahanas.
The iconography of Lingodbhava represents Shiva emerging out of the pillar of light, with smaller images of Vishnu in the form of a boar in the bottom and Brahma in the form of a gander at the top. The icon depicts the legend of the origin of the linga , Shiva's aniconic representation, often featured in his worship.
The Ekapada-Trimurti, found in South India, demonstrates the sectarian mission of the Shaivas (sect of Shiva) to establish their Shiva as the Supreme God and to illustrate that Vishnu and Brahma emerged from him. A similar Vaishnava (sect of Vishnu) icon depicts Vishnu in the central position and Shiva and Brahma emerging from his body. [15]
Apart from anthropomorphic images of Shiva, he is also represented in aniconic form of a lingam. [315] These are depicted in various designs. One common form is the shape of a vertical rounded column in the centre of a lipped, disk-shaped object, the yoni, symbolism for the goddess Shakti. [316]
Ardhanarishvara conveys that Shiva and Shakti are one and the same, an interpretation also declared in inscriptions found along with Ardhanarishvara images in Java and the eastern Malay Archipelago. [ 3 ] [ 9 ] The Vishnudharmottara Purana also emphasizes the identity and sameness of the male Purusha and female Prakriti, manifested in the image ...