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The name Ardhanarishvara means "the Lord Who is half woman." Ardhanarishvara is also known by other names like Ardhanaranari ("the half man-woman"), Ardhanarisha ("the Lord who is half woman"), Ardhanarinateshvara ("the Lord of Dance (Who is half-woman), [1] [2] Parangada, [3] Naranari ("man-woman"), Ammaiyappan (a Tamil Name meaning "Mother-Father"), [4] and Ardhayuvatishvara (in Assam, "the ...
In Hindu scriptures, Shiva is the master of Kalā. In the Lalita Sahasranama, the devi is invoked as an embodiment of the 64 fine arts. [1] In some contexts, devi Sarasvati is also attributed with this the 64 kalās and thus she is called Kalanidhi or Chausath Kalamayi. (the owner of 64 kalās)
In Indonesian Shaivism the popular name for Shiva has been Batara Guru, which is derived from Sanskrit Bhattāraka which means "noble lord". [363] He is conceptualized as a kind spiritual teacher, the first of all Gurus in Indonesian Hindu texts, mirroring the Dakshinamurti aspect of Shiva in the Indian subcontinent. [364]
The tail pips behind from Shiva's crown and his left leg is on the head of the elephant, while the right one is bent and raised above the left thigh (utkutikasana posture). Shiva wears silk and tiger skin garments and various ornament and is deep red in colour. [4] He may be depicted four or eight armed.
It is the function of Prakṛti (nature, consort of Shiva) and Parā Śaktī. This face of Śiva is Buddhi rūpa (Intellect) and it represents Pūrṇagiri Pīṭha. Banaliṅgam. There are one billion mantras trying to describe this face of Śiva. The direction of this face is South and it is smoky (Dhumra varṇa) in color.
Uma–Maheshvara symbolises the union of the supreme Shiva (Maheshvara), one of the Hindu Trinity, with his consort, the primordial feminine cosmic energy, [6] the supreme goddess Parvati (Uma). [5] Shiva is a manifestation of the Purusha, [7] while Parvati, as the goddess, represents Prakriti. [8]
Sandhya Ravi (2015), Color Culture and Identity: Influence of Colors on Kerala Mural Art. IJASOS- International E-Journal of Advances in Social Sciences, Vol. I, Issue 3, December 2015; Poyil, M. (2011). THODIKALAM MURAL PAINTINGS: FEATURES, MEANINGS AND TECHNIQUES. Proceedings of the Indian History Congress, 72, 1239-1246. Bernier, R. M. (1982).
Rudra's identification with Shiva was put in writing for the first time in Shvetashvatara Upanishad and later in Yajurveda linked Taittiriya Samhita (S.4.5.1), in the Shata Rudriya section. The Vajasneya samhita (S. 3.63) also co-equals Shiva with Rudra by citing the mantra, “ tam Shiva namasi”, meaning “I bow to you, Shiva”.