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The stotra has 16 syllables per line of the quatrain, with laghu (short syllable) and guru (long syllable) characters alternating; the poetic meter is iambic octameter by definition. There are 17 quatrains in total. Both the ninth and tenth quatrains of this hymn conclude with lists of Shiva's epithets as destroyer, even the destroyer of death ...
The Shivapradosha stotra says when Shiva performs the Sandhya Tandava, the other gods like Brahma, Vishnu, Sarasvati, Lakshmi and Indra play musical instruments and sing Shiva's praises. [7] The Shiva Tandava Stotra is a stotra (Hindu hymn) that describes Shiva's power and beauty, believed to have been written by Ravana, a great devotee of ...
As per the sage Bharata, Shiva is the originator of dance, and he allowed Nandi to witness his performance. Tandava, the dance form, is derived from Tanda, the other name of Nandi. Shiva Tandava is classified into seven types, namely, Kali Tandava, Sandhya Tandava, Tripura Tandava, Ananda Tandava, Uma Tandava, Samhara Tandava, and Urdhva ...
Furthermore, it says "Shiva, the Supreme Lord, has no liūga", liuga (Sanskrit: लिऊग IAST: liūga) meaning Shiva is transcendent, beyond any characteristic and, specifically the sign of gender. [314] Apart from anthropomorphic images of Shiva, he is also represented in aniconic form of a lingam. [315] These are depicted in various designs.
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The union of Purusha (Shiva) and Prikriti (Shiva's energy, Shakti) generates the universe, an idea also manifested in the union of the Linga of Shiva and Yoni of Devi creating the cosmos. [57] [58] [59] The Mahabharata lauds this form as the source of creation. [46] Ardhanarishvara also suggests the element of Kama or Lust, which leads to ...
Maha Shivaratri is a Hindu festival celebrated annually in honour of the deity Shiva, between February and March. [3] According to the Hindu calendar, the festival is observed on the fourteenth day of the first half (night start with darkness - waning) of the lunar month of Phalguna.
The Śiva·sūtras, technically akṣara·samāmnāya, variously called māheśvarāṇi sūtrāṇi, pratyāhāra·sūtrāṇi, varṇa·samāmnāya, etc., refer to a set of fourteen aphorisms devised as an arrangement of the sounds of Sanskrit for the purposes of grammatical exposition as carried out by the grammarian Pāṇini in the Aṣṭādhyāyī.