The Sanskrit term Mṛgacarma can be transliterated into English as Mrgacarma or Mrigacarma, using the IAST transliteration scheme (?).

Alternative spellings of this word include Mrigacharma.

In Hinduism

Purana and Itihasa (epic history)

Source: archive.org: Shiva Purana - English Translation

Mṛgacarma (मृगचर्म) refers to the “hide of a deer”, which is a possible material for making the seat (āsana), according to the Śivapurāṇa 2.1.13, while explaining the mode of worshipping Śiva:—“[...] in a clean place washed and smeared with cow-dung (gomaya), the devotee shall take his seat (āsana), O Brahmins. The seat shall be made of wood (kāṣṭha) or a cloth-cover. A seat of diverse colours (citrāsana) is conducive to the achievement of all desires. Or he can have the hide of a deer (mṛgacarma) for a seat. He shall sit on it and apply Tripuṇḍra with the ashes”.

context information

The Purana (पुराण, purāṇas) refers to Sanskrit literature preserving ancient India’s vast cultural history, including historical legends, religious ceremonies, various arts and sciences. The eighteen mahapuranas total over 400,000 shlokas (metrical couplets) and date to at least several centuries BCE.

Vaishnavism (Vaishava dharma)

Source: Prabhupada Books: Sri Caitanya Caritamrta

Mṛgacarma (मृगचर्म) refers to the “deerskin”, which was worn by Brahmānanda Bhāratī, according to the Śrī Caitanya Caritāmṛta 2.10.154—“[...] when Śrī Caitanya Mahāprabhu and His devotees approached him [viz., Brahmānanda Bhāratī], they saw that he was covered with a deerskin (mṛgacarma). Seeing this, Śrī Caitanya Mahāprabhu became very unhappy”.

Notes: Brahmānanda Bhāratī belonged to the Śaṅkara-sampradāya. (The title Bhāratī indicates a member of one of that sampradāya’s ten classes of sannyāsīs.) It is customary for a person who has renounced the world to cover his body with a deerskin (mṛgacarma) or the bark of a tree. This is enjoined by the Manu-saṃhitā. But if a sannyāsī who has renounced the world simply wears a deerskin and does not spiritually advance, he is bewildered by false prestige. Śrī Caitanya Mahāprabhu did not like to see Brahmānanda Bhāratī wearing a deerskin.

context information

Vaishnava (वैष्णव, vaiṣṇava) or vaishnavism (vaiṣṇavism) represents a tradition of Hinduism worshipping Vishnu as the supreme Lord. Similar to the Shaktism and Shaivism traditions, Vaishnavism also developed as an individual movement, famous for its exposition of the dashavatara (‘ten avatars of Vishnu’).

Shaktism (Shakta philosophy)

Source: Google Books: Manthanabhairavatantram

Mṛgacarma (मृगचर्म) refers to a “deerskin”, according to the Manthānabhairavatantra, a vast sprawling work that belongs to a corpus of Tantric texts concerned with the worship of the goddess Kubjikā.—Accordingly, “Pūrṇā (i.e., Pūrṇāmaṅgalā) is in the northwest and she sits on a vulture. She has one face, three eyes and two hands in which she holds a sword and, in the left, a severed head. She is a female warrior and, extremely fierce, she laughs loudly. She wears a deerskin [i.e., mṛgacarma-parīdhānā]. (Here) in the north-west, she destroys fear. Worshipped, she quickly bestows the boons and fruits of the adept’s (practice)”.

context information

Shakta (शाक्त, śākta) or Shaktism (śāktism) represents a tradition of Hinduism where the Goddess (Devi) is revered and worshipped. Shakta literature includes a range of scriptures, including various Agamas and Tantras, although its roots may be traced back to the Vedas.

See also (Relevant definitions)

Partial matches: Mriga, Carman.

Full-text: Citrasana, Kashtha, Asana.

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Search found 2 books and stories containing Mrigacarma, Mṛgacarma, Mriga-carma, Mṛga-carma, Mrgacarma, Mrga-carma; (plurals include: Mrigacarmas, Mṛgacarmas, carmas, Mrgacarmas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:

Garga Samhita (English) (by Danavir Goswami)

Verse 6.10.26 < [Chapter 10 - In the Description of the Gomatī River, the Glories of Cakra-tīrtha]

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Amaravati Art in the Context of Andhra Archaeology (by Sreyashi Ray chowdhuri)

The Birth of Buddha < [Chapter 3 - Amarāvatī and the Formative Stage of the Buddhist Art]

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