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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 ...
In Sohrai art, first the red lines are drawn depicting ancestors or fertility, followed by a black line representing Shiva. Finally, the white lines are drawn depicting food, as the art form is related to the harvest festival. The patterns are drawn instinctively from the natural forms and the person's connection with nature. [8]
The dance of Shiva in Chidambaram forms the motif for all the depictions of Shiva as Nataraja. Koothan(ta: கூத்தன் , romanized: Kūththaṉ ), Sabesan(ta: சபேசன் , romanized: Sabēsaṉ ), Ambalavanan (ta: அம்பலவாணன் , romanized: Ambalavāṇaṉ ) are other common names of Nataraja in Tamil texts.
Chitra (IAST: Citra, चित्र) is a Sanskrit word that appears in the Vedic texts such as hymns 1.71.1 [note 1] and 6.65.2 of the Rigveda.There, and other texts such as Vajasaneyi Samhita, Taittiriya Samhita, Satapatha Brahmana and Tandya Brahmana, Chitra means "excellent, clear, bright, colored, anything brightly colored that strikes the eye, brilliantly ornamented, extraordinary that ...
Bhikshatana (Sanskrit: भिक्षाटन; Bhikṣāṭana; literally, "wandering about for alms, mendicancy" [1]) or Bhikshatana-murti (Bhikṣāṭanamūrti) is an aspect of the Hindu god Shiva as the "Supreme mendicant" [2] or the "Supreme Beggar". [3]
The various dualistic and monist Shiva-related ideas were welcomed in medieval southeast Asia, inspiring numerous Shiva-related temples, artwork and texts in Indonesia, Myanmar, Cambodia, Laos, Vietnam, Thailand and Malaysia, with syncretic integration of local pre-existing theologies.
Other sculptures reflect the cultural legacy of Greater India and express legendary themes more typical of Javanese or Cambodian art than the art of India. An example of such a theme is the motif of the makara sea-monster, which came to Champa from Java, where it is prominent in the art of the Borobudur and other temples of the same period.
Sadasiva (Sanskrit: सदाशिव, Sadāśiva), is the Supreme Being in the Shaiva Siddhanta tradition of Hinduism.Sadasiva is the omnipotent, subtle, luminous absolute, the highest manifestation of Shiva.