Lakulisha-Pashupata (Philosophy and Practice)

by Geetika Kaw Kher | 2012 | 86,751 words

This study discusses the dynamics between the philosophy and practice in the Lakulisha-Pashupata order. According to the cave temples of Elephanta and Jogesvari (Jogeshwari), Lakulisa was the 28th incarnation of Shiva, and Pashupata Shaivism his doctrine, of which the Pasupatasutra represents the prominent text detailing various ritual practices (v...

Dancing form of Siva full of philosophical meaning is depicted almost all over the country. It is in both Kurma Purana and Linga Purana that this form of Siva is described in detail where it is linked with Tandava aspect i.e. dance of dissolution due to his extreme yogic power.

Linga Purana talks about Siva‘s sojourn in Daruvana which alludes to the better known “Pine Forest myth”. While describing him as stark nude, smeared with ashes he is seen dancing and begging for alms. It is this Bhibatsa yet Adhbhut form that wives of Rishis fall for and this irrestible and seductive form is attained by nothing else but deep asceticism.

Thus these accounts of Siva‘s dance often juxtapose it with his yoga and his ability to project maya or cosmic illusion upon the phenomenal world hence assuming tremendous importance. An interesting panel can be seen from Mandapesvara cave, presently converted into a church but once seems to have been an important site for Lakulisa-Pasupatas. Here in this panel the artist has combined Nataraja aspect of Siva with Kalyanasundaramurti, hence stressing on their highly philosophical nature.

Nataraja Siva, Mandapesvara Cave
[Illustration 37. Nataraja Siva along with Kalyanasundaramurti, Mandapesvara Cave, Kalacuri, 6th CE]
Nataraja Siva, Elephanta
[Illustration 38. Nataraja Siva, Cave 1, Elephanta, Kalacuri, 6th CE]

Ravananugrhamurti: Both Ramayana and Mahabharata mention Ravana as a great devotee undergoing various Pasupata austerities.Not highly favored by Puranic literature this theme assumes a tremendous importance in the works of Kalidasa and hence is one of the most commonly repeated themes in the western Indian caves as well as in art of Pallavas and Cholas. Ravana is supposed to have composed ‗ Sivatandavastuti‘to praise Siva when he was realized the power of the lord.

Usually in these panels Ravana is seen shaking Kailasa mountain, the abode of Siva and the latter is seen pushing his toe to send Ravana to netherlands. It is after this incident that Ravana is supposed to have become a great devotee of Siva and performed harsh austerities to please the lord.

Ravananugrahamurti
[Illustration 39. Ravananugrhamurti, Cave 21, Ellora, Kalacuri, 6th CE]

It is interesting to find the depiction of this theme from the temple of Angkor Wat in Cambodia and it does talk about it being a very important theme for South Indian art which provided the thematic base for Saiva temples in South East Asia.

Ravananugrahamuti, Angkor Wat
[Illustration 40. Ravananugrhamuti, Angkor Wat, Cambodia,12th CE]

Andhakasuravadhamurti: Talking about the aspect of reconciliation in Saiva art and mythology the myth of Andhaka becomes very important. Most of the sources maintain that Andhaka after being killed by Siva was revived and accepted in latters fold. Some sources even maintain that his initial lust for Parvati was converted into the motherly love and after his repentance Parvati forgave him and accepted him as his son. The story has many a shades and a great potential for in-depth study.

Andhakasuravadha, Ellora
[Illustration 41. Andhakasuravadha, Cave 14, Ellora,6th CE]
Andhakasuravadha, Kalacuri
[Illustration 42. Andhakasuravadha, Cave 29, Ellora, Kalacuri, 6th CE]

Siva and Parvati playing chausar (dice): A very frequently depicted theme in these LP caves is this dice play between Siva and Parvati. While on one hand it lends a human feel to the divine couple on the other it focuses on the aspect of lila (sport), the main reason for creation of universe.Indirectly it suggests that it is this divine play that has brought everything to life,hence assuming a very important philosophical meaning. But this higher meaning has not stopped the artist from expressing his creative urges and giving it a lighter feel, especially on the lower register in Cave 14 Ellora where he depicts ganas playfully teasing Nandi.

Siva and Parvati playing chausar
[Illustration 43. Siva and Parvati playing chausar, Cave 14, Ellora, Kalacuri, 6th CE]

The extremely dramatic depiction at Elephanta focuses on the human element more clearly as it points at cheating in the game. Siva was probably shown holding Parvati’s hand and the latter is agitated as can be seen from her hand gestures.

Siva and Parvati playing chausar
[Illustration 44. Siva and Parvati playing chausar, Cave 1, Elephanta, Kalacuri, 6th CE]

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