Tripurantaka, Tripura-antaka, Tripurāntaka: 10 definitions
Tripurantaka means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
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Purana and Itihasa (epic history)Source: Cologne Digital Sanskrit Dictionaries: The Purana Index
Tripurāntaka (त्रिपुरान्तक).—(Tripuradhvaṃsa): see Śiva.*
- * Brahmāṇḍa-purāṇa III. 23. 32; 25. 13.
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.
Shaivism (Shaiva philosophy)Source: Wisdom Library: Śaivism
1) Tripurāntaka (त्रिपुरान्तक, “The one who has burnt three forts (active, dream, deep sleep)”):—One of the eleven epithets of Rudra, as adressed to in the second chapter of Śrī-rudram. These names represent his various attributes.
2) Tripurāntaka (त्रिपुरान्तक) is the Sanskrit name of a deity presiding over Kailāsa, one of the sixty-eight places hosting a svāyambhuvaliṅga, which is one of the most sacred of liṅgas according to the Śaivāgamas. The list of sixty-eight svāyambhuvaliṅgas and presiding deities (e.g., Tripurāntaka) is found in the commentary on the Jirṇoddhāra-daśaka by Nigamajñānadeva. The word liṅga refers to a symbol used in the worship of Śiva and is used thoughout Śaiva literature, such as the sacred Āgamas.
Shaiva (शैव, śaiva) or Shaivism (śaivism) represents a tradition of Hinduism worshiping Shiva as the supreme being. Closely related to Shaktism, Shaiva literature includes a range of scriptures, including Tantras, while the root of this tradition may be traced back to the ancient Vedas.
Shilpashastra (iconography)Source: Wisdom Library: Śilpa-śāstra
Tripurāntaka (त्रिपुरान्तक) is a Sanskrit name referring to one of the eight manifestations of Unmatta, who is a form of Bhairava. According to the Rudrayāmala, there are eight main forms of Bhairava who control the eight directions of this universe. Each form (e.g., Unmatta) has a further eight sub-manifestations (e.g., Tripurāntaka), thus resulting in a total of 64 Bhairavas.
When depicting Tripurāntaka according to traditional iconographic rules (śilpaśāstra), one should depcit him (and other forms of Unmatta) having a white color and good looks; he should carry in his hands the kuṇḍa, the kheṭaka, the parigha (a kind of club) and bhiṇḍipāla. The word Śilpaśāstra refers to an ancient Hindu science of arts and crafts, dealing with subjects such as painting, sculpture and iconography.Source: Shodhganga: Iconographical representations of Śiva (shilpa)
1) Tripurāntaka (त्रिपुरान्तक) or Tripurāntakamūrti refers to one of the eighteen forms (mūrti) of Śiva mentioned in the Kāraṇāgama (pratimālakṣaṇavidhi-paṭala): the fourth among the Siddhāntaśaivāgamas. The forms of Śiva (e.g., Tripura-antaka) are established through a process known as Sādākhya, described as a five-fold process of creation.
2) Tripurāntaka is also listed among the ten forms (mūrti) of Śiva mentioned in the Ajitāgama (under the Raudrarūpa heading): the fifth among the Siddhāntaśaivāgamas.
Shilpashastra (शिल्पशास्त्र, śilpaśāstra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.
General definition (in Hinduism)Source: Tamil Arts Academy: Tripurantaka
Tripurantaka images are called Tripura-samhara-murti, Tripura-sundara, Tripura-vijaya, Purari and by other names. The images may, according to texts, have 2,4,8,or 10 arms. Some texts list eight types of Tripurantaka images, the differences between them being mainly in the postures of legs and arms.
Siva as Tripurantaka should always be accompanied by his consort Gauri Uma. Of the legs only the left should be placed on the dwarf. These have symbolic as well as deep theological meanings.
The Aghora-sivacharya-paddhati, an influential text states that the image of Tripurantaka should be taken in procession on the sixth day of the annual festival.
There are several segments in the legend of Tripurantaka Siva. The Asuras of Tripura were originally worshipers of Linga but were so arrogant they were causing havoc in the worlds. The Devas performed a Vedic sacrifice called Upasad which gave them a very powerful weapon but the Devas were unable to use it and so they approached Rudra to discharge the weapon.
The ultimate message of Tripurantaka legend is to worship Siva through a Linga and become Siva, meaning achieve unfettered, unbounded knowledge. "The myth of Siva is the myth of God as consciousness" says Stella Kramrisch (Manifestations of Siva p. xxiii)
Procession of Tripurantaka images are prescribed under two headings in agamic texts. One list gives the names of metal images to be taken out in Procession. For example the Suprabheda-agama gives the following list:—
- Siva seated with Uma
Similarly all the agamas give the nature of different festivals as
- and Kalyana-mahotsavas.
Languages of India and abroad
Sanskrit dictionarySource: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary
(-kaḥ) A name of Siva. E. tripura, and antaka ender, destroyer: see tripuradahana .Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionary
Tripurāntaka (त्रिपुरान्तक).—[masculine] = tripuraghātin.Source: Cologne Digital Sanskrit Dictionaries: Aufrecht Catalogus Catalogorum
Tripurāntaka (त्रिपुरान्तक) as mentioned in Aufrecht’s Catalogus Catalogorum:—son of Bhaṭṭapāda (?): Yācaprabandha. [Mackenzie Collection] 98.Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary
Tripurāntaka (त्रिपुरान्तक):—[=tri-purāntaka] [from tri-pura > tri] m. = ra-ghna, [Mahābhārata ii; Harivaṃśa 1579; Śatarudriya-upaniṣad] ([interpolation]), [Kathāsaritsāgara ciii]
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.
See also (Relevant definitions)
Search found 9 books and stories containing Tripurantaka, Tripura-antaka, Tripurāntaka, Tri-purantaka, Tri-purāntaka; (plurals include: Tripurantakas, antakas, Tripurāntakas, purantakas, purāntakas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
The Skanda Purana (by G. V. Tagare)
Chapter 100e - Yātrā Parikrama (pilgrimages) (5): Ekādaśāyatanī Yātrā < [Section 2 - Uttarārdha]
Chapter 69 - The Assembly of Sixty-eight Holy Spots < [Section 2 - Uttarārdha]
Chapter 7 - Worship of the Liṅga < [Section 1 - Kedāra-khaṇḍa]
The history of Andhra country (1000 AD - 1500 AD) (by Yashoda Devi)
Part 20 - Vijayagandagopala (A.D. 1250-1285) < [Chapter XII - The Pallavas]
Part 3 - Tripurari Deva (A.d. 1271-1273) < [Chapter XIX - The Kayasthas (A.D. 1220-1320)]
Part 2 - Jannigadeva (A.D. 1258-1271) < [Chapter XIX - The Kayasthas (A.D. 1220-1320)]
The Religion and Philosophy of Tevaram (Thevaram) (by M. A. Dorai Rangaswamy)
Chapter 4.6 - (b) Symbology of Man (the deer) < [Volume 2 - Nampi Arurar and Mythology]
Chapter 4.6 - (e) Symbology of Malu (the axe) < [Volume 2 - Nampi Arurar and Mythology]
Chapter 3.1 - Tripurantaka-murti (burning down of the three castles) < [Volume 2 - Nampi Arurar and Mythology]
Early Chola Temples (by S. R. Balasubrahmanyam)
Devakoshta < [Chapter XIII - Prasada: Component Parts]
Bronze, group 1: Late Pallava and Early Chola—Age of Vijayalaya (a.d. 785-871) < [Chapter XI - Sculpture]
Temples in Kodumbalur < [Chapter II - Temples of Parantaka I’s Time]
The Garuda Purana (by Manmatha Nath Dutt)
Later Chola Temples (by S. R. Balasubrahmanyam)