Chapter 6 - Conclusion

Conclusion The foregoing chapters show that Saiva iconography dealt within Prayogamanjari and SNis a topic that has different dimensions. Various topics like location of specific tones for making Lingas, size of the Lingas based on the measure of the sanctum sanctorum, various shapes of the Lingas, measure of the Pitha, diameter of the top portion of the Linga, length of the Siva portion, ornamentation of the Pitha etc. are some important topics dealt with in Prayogamanjari and Saivagamanibandhana related to Saiva iconography. In Prayogamanjari, only the construction of Linga is mentioned. But in Saivagamanibandhana, references to Lingas depicted with the face of Siva on the top like Ekamukhalinga, Caturmukhalinga and Pancamukhalinga are found. These are definitely the examples of the different stages of the later development of the anthropomorphic forms of Siva from original Linga form. In all these examples the face of Siva in different ways is depicted on the top of the Linga. In later Tantric works like Isanasivagurudeva-paddhati and Silparatna, forms of Siva, fully anthropomorphic in nature, are found described. In such works many anthropomorphic forms of Siva like Sukhasanamurti, Somaskandesvara, Candrasekhara, Vrsarudha-murti, Tripurantaka, Arddhanarisvara, Harihara, Kalari and Nrttamurti are seen

described. Thus a development from Linga form of worship of Vedic times or that of early Tantrism to the fully developed anthropomorphic forms of Siva in later ages can be clearly noted in the history of Saiva iconography. The anthropomorphic forms of Siva have influenced the art and literature of our country very much. The concept of Nrttamurti has its wider dimensions related to different dance forms, both Lasya and Tandava. Many of the other anthropomorphic forms of Siva are seen depicted in the paintings of different temples of India, thus establishing their impact on sculpture and painting. The study on Saiva iconography based on Prayogamanjari and Saivagamanibandhana gives many hints to the socio-cultural conditions of Kerala of that ages which is a topic to be studied more. In Prayogamanjari, the Devadasi system is referred to clearly. Prayogamanjari describes that the procession of the idol of the God around the temples during festivals has to be accompanied with fully decorated beautiful dancing girls in the front. They are referred to clearly as 'Divyanganas' in Prayogamanjari This is, no doubt, a clear reference to the prevalence of Devadasi system at the time of Prayogamanjari 168

Different kinds of drums are mentioned in Prayogamanjari and Saivagamanibandhana related to temple worship and temple festivals. A detailed study of all these will throw more light on the socio-cultural aspects of the region during the time of Prayogamanjari and Saivagamanibandhana Among the anthropomorphic forms of Siva described in later Tantric works of Kerala, the Tripurantaka form is very prominent. It is a Raudramurti assumed by Siva for annihilating the Tripuras. This form of Siva is described in Isanasivagurudeva-paddhati and Silparatna It seems that the Tripurantaka form of Siva has close connection with the Raudra forms of Siva popular in the folk ritual art Theyyam of North Malabar, in Kerala. New findings in the thesis 1. 2. A general survey of the iconography in Kerala Tantric Literature is attempted. Measurement of the Lingas, size of the Linga according to the measurement of the sanctum sanctorum, the measurement of Pitha etc. have been studied in detail based on Prayogamanjari and Saivagamanibandhana 169

3. 4. The evolution of Saiva worship from Linga form to anthropomorphic forms of Siva has been traced and a study on the anthropomorphic forms of Siva in Kerala Tantric works has been given. The text of fourteenth and fifteenth chapters of Saivagamanibandhana dealing with Saiva iconography, yet unpublished, has been edited for the first time and appended to the thesis. 5. Some technical terms related to iconography in Prayogamanjari and Saivagamanibandhana are listed as appendix with their connotations. 6. The list of words found in Prayogamanjari and Saivagamanibandhana related to Bhutasankhya is given in the appendix denoting the numbers atttached to them. 7. Diagrams of the measure of the Lingas and the coronary section of the Pratistha are given in the appendix. 8. Plates of different Lingas, anthropomorphic forms of Siva and Pithas found in various temples of different places are collected and given as appendix. ***** 170