Kankalamurti

Last updated
Kankalamurti, Darasuram (12th century), currently in Thanjavur Maratha Palace museum, Thanjavur Kankalamurti.jpg
Kankalamurti, Darasuram (12th century), currently in Thanjavur Maratha Palace museum, Thanjavur

Kankala-murti ("One with the skeleton"), also known as Kankala ("skeleton") or Kankala-Bhairava, is an iconographical form of the Hindu god Shiva. He is often associated with a fearsome aspect of Shiva, also associate with bones, skeletons and skulls. Bhairava and thus considered the latter's aspect too. Kankalamurti is popular in South Indian temples of Shiva, but almost unknown in North India. He is described in legends to have defeated and slain Vishnu's army-chief and gate-keeper Vishvaksena or Vishnu's avatar Vamana. He is depicted as a four-armed man with a kankala-danda (skeleton-staff) in his hand and followed by demonic attendants and love-sick women.

Contents

Legend

Kankalamurti depicted in a painting, 1842. Kankalamurthi.JPG
Kankalamurti depicted in a painting, 1842.

Kankalamurti is one of the three most popular aspects of Bhairava; the others being Brahmashiraschedaka-murti and Bhikshatana-murti. [1] Shiva – as the terrifying Bhairava – cuts the fifth head of the creator-god Brahma (an act iconographically depicted as Brahmashiraschedaka-murti) and that head/skull stuck as kapala (skull-cup) to Bhairava's left palm due to the sin of beheading Brahma. To expiate the sin, Bhairava had to undertake the vow of a Kapali: wandering the world as a naked mendicant with the skull of the slain as his begging bowl. This gentle beggar form is Bhikshatana-murti. [2]

The Kurma Purana narrates that Bhairava, after the encounter with the sages of the Devadaru forest, continued to wander, visiting various countries of gods and demons before he finally reached the abode of the god Vishnu. Vishnu's gatekeeper Vishvaksena did not allow him to enter. Angered, Bhairava slew Vishvaksena, impaled the corpse on his trishula (trident) and carrying it over his shoulder, which added to his sin. Bhikshatana-murti transformed into Kankala-murti, the one with a skeleton. Bhairava, now as Kankala-murti, entered Vishnu's abode and begged for food. Vishnu offered his own blood as food in one version. In another version, Vishnu cut an artery on Bhairava's forehead; a stream of blood spurts into his begging bowl as his food. Vishnu then directed Bhairava to visit the sacred city of Varanasi, where his sin would be expiated. [3] [4] The encounter with Vishnu's gatekeeper is also retold with some variation in the Vamana Purana and the Matsya Purana . [5] Kankala-murti wandered with his begging bowl in his hand and the corpse or skeleton on his shoulder. [6]

All Puranas agree that upon reaching Varanasi, Brahma's skull falls off Bhairava's palm and Vishvaksena's corpse disappears. Vishvaksena is resurrected and the sanctified Bhairava-Shiva casts off the appearance of Kankala-murti and returns to his abode. [3] [4]

Another legend about Kankalamurti is that Shiva assumed the form when he slew Vamana, an avatar of Vishnu. Vishnu assumed the form of Vamana, a huge form that encompassed the huge universe to teach a lesson to the demon Mahabali. After Mahabali was humbled, the Vamana form became a nuisance to the world and the gods. On their request, Shiva destroyed Vamana and used his back bone as a weapon. Thus, Shiva held the kankala (bones) of Vamana and became known as Kankalamurti. [7] [8] Another interpretation is that Kankalamurti is Shiva as the dissolver of the universe and the bones symbolize destruction. [9]

Iconography

Kankalamurti's company, Darasuram, currently in Thanjavur Maratha Palace museum
tnycai arnnmnnnai vllaakm1.jpg
The seven wives of the sages
tnycai arnnmnnnai vllaakm3.jpg
The five bhuta-gana

The iconography of Kankalamurti is discussed in all Shaiva Agamic texts, including Amshumadbhedagama, Kamikagama, Supredagama, Karanagama and the iconographic work Shilparatna; the texts are mostly South Indian in origin. [10] The iconography is quite similar to Bhikshatana-murti. The chief difference is that Kankala-murti is clothed and Bhikshatana is nude. [11] [12]

Kankalamurti is depicted with a jatamukuta (matted hair piled up in form of a crown), adorned by the crescent moon on the right and a serpent and datura flowers on the left. He may also wear a crown with his hair flowing from the sides. [13] He should bear a happy expression, as though singing songs. He wears ordinary kundalas (earrings) or a makara-kundala (makara-shaped earring) in the right ear and a shankhapatra (earring made of conch) in the other. Kankalamurti wears red upper garments and a short pant made of tiger hide and silk. His complexion is white. A white yagnopavita (sacred thread) is worn across the chest. [11]

Kankalamurti is depicted with four arms. His front left hand holds a drum called dhakka or damaru and his front right hand holds a bana, a short stick by which the drum is played. His back right arm is stretched out downwards and the hand held in the kataka gesture, near the mouth of his pet deer or antelope, who playfully leaps near the hand. His back left arm holds a kankala-danda, a staff on which the bones of the arms and legs of the slain person are tied. [11] Decorated with peacock feathers, a flag and a small bell at the end, the staff is held horizontally and rests on the left shoulder. In bronze images, the deer may be cast separately or be absent and the back left hand is also carved in kataka gesture so that a separately cast kankala-danda may be placed in it. The Suprabhedagama, the kanakala is of Vishnu. [11] Snake ornaments adorn his body and a waist-band has a golden dagger tucked in it. Kankalamurti should be standing with his left leg straight and firm on the ground and his right one, slightly bent, suggesting walking. He often wears paduka (wooden sandals). [11]

Kankalamurti is often accompanied by women and bhuta-gana (goblin attendants of Shiva). One of the attendants placed to the left should carry a large bowl used for storing the food alms of Shiva. The women, sometimes seven – wives of the seven great sages as in the Darasuram sculpture now in the Thanjavur Maratha Palace museum, [12] are variously pictured as enamoured of Shiva, eager to embrace him, blessing him, or serving him food in his begging bowl with a ladle. [11] Sometimes as in the Lepakshi Temple, there may be only one woman. [13] The clothes of some of these women are slipping from their loins, symbolising their lust. [11] Various gods, celestial beings, and sages bow to him with folded hands. Some gods are prescribed to be shown cleaning Kankalamurti's path, others singing his praises or showering him with flowers. The corpse of Vishvaksena is sometimes added in the scene, as in the temples of Suchindram, Thirumarugal and Nageswaraswamy Temple. [11]

An iconographic description according to a hymn says that Kankalamurti is blood red smeared over his body and has three eyes. His head is adorned with the crescent moon. He has four lotus hands like the four Vedas. He holds a kankala-danda, an axe (parashu), a deer and beats the drum with a hand. Adorned with skeletons and the veena, Kankalamurti is the "god with skeletons". [9]

In another description, Kankalamurti is said to hold a kankala-danda, a club, a deer and a damaru with a serpent around it and carry the veena around his neck. [8]

Kankalamurti and Bhikshatana are seen in every major South Indian temple of Shiva, almost not known in North India. [11] In the four gopurams (towers) of Chidambaram Temple, in Tamil Nadu, there are four large niches and each niche has one of the four forms of Shiva: Kankalamurti, Bhikshatana, Somaskanda and Kalyanasundara. [12]

Related Research Articles

<span class="mw-page-title-main">Shiva</span> Major deity in Hinduism

Shiva , also known as Mahadeva, is one of the principal deities of Hinduism. He is the Supreme Being in Shaivism, one of the major traditions within Hinduism.

<span class="mw-page-title-main">Andhaka</span> Demigod in Hinduism

In Hindu literature, Andhaka refers to a malevolent asura, whose pride is vanquished by Shiva and Parvati.

<span class="mw-page-title-main">Ardhanarishvara</span> Composite form of the Hindu deities Shiva and Parvati

The Ardhanarishvara, is a form of the Hindu deity Shiva combined with his consort Parvati. Ardhanarishvara is depicted as half-male and half-female, equally split down the middle. The right half is usually the male Shiva, illustrating his traditional attributes.

<span class="mw-page-title-main">Bhairava</span> Hindu and Buddhist deity

Bhairava, or Kala Bhairava, is a Shaivite and Vajrayāna deity worshiped by Hindus, Jains and Buddhists. In Shaivism, he is a powerful manifestation, or avatar, of Shiva associated with annihilation. In Trika system Bhairava represents Supreme Reality, synonymous to Para Brahman. Generally in Hinduism, Bhairava is also called Dandapani, as he holds a rod or Danda to punish sinners, and Svaśva, meaning "whose vehicle is a dog". In Vajrayana Buddhism, he is considered a fierce emanation of boddhisatva Mañjuśrī, and also called Heruka, Vajrabhairava, and Yamantaka.

<span class="mw-page-title-main">Nara-Narayana</span> Hindu divine sages

Naranarayana, also rendered Nara-Narayana, is a Hindu duo of sage-brothers. Generally regarded to be the partial-incarnation (aṃśa-avatara) of the preserver deity, Vishnu, on earth, Nara-Narayana are described to be the sons of Dharma and Ahimsa.

<span class="mw-page-title-main">Ishana</span> Hindu direction deity

Ishana, is a Hindu god and the dikapala of the northeast direction. He is often considered to be one of the forms of the god Shiva, and is also often counted among the eleven Rudras. He is venerated in Hinduism, some schools of Buddhism and Jainism. In the Vastu Shastra, the north-eastern corner of a plot of land is referred to as "Ishana". Ishana also shares qualities with Samhara Bhairava and is therefore a part of the Ashta Bhairava.

<span class="mw-page-title-main">Sharabha</span> Part-lion and part-bird beast in Hinduism

Sharabha or Sarabha is an eight-legged part-lion and part-bird beast in Hindu religion, who is described as more powerful than a lion or an elephant, possessing the ability to clear a valley in one jump in Sanskrit literature. In later literature, Sharabha is described as an eight-legged deer.

<i>Vamana Purana</i> One of eighteen major Puranas of Hindus

The Vamana Purana, is a medieval era Sanskrit text and one of the eighteen major Puranas of Hinduism. The text is named after one of the incarnations of Vishnu and probably was a Vaishnava text in its origin. However, the modern surviving manuscripts of Vamana Purana are more strongly centered on Shiva, while containing chapters that revere Vishnu and other Hindu gods and goddesses. It is considered a Shaiva text. Further, the text hardly has the character of a Purana, and is predominantly a collection of Mahatmyas to many Shiva-related places in India with legends and mythology woven in.

Matrikas (Sanskrit: मातृका (singular), IAST: mātṝkās, lit. "divine mothers") also called Matar or Matri, are a group of mother goddesses who are always depicted together in Hinduism. The Matrikas are often depicted in a group of seven, the Saptamatrika(s) (Seven Mothers). However, they are also depicted as a group of eight, the Ashtamatrika(s). In the Brihat Samhita, Varahamihira says that "Mothers are to be made with cognizance of (different major Hindu) gods corresponding to their names." They are associated with these gods as their spouses or their energies (Shaktis). Brahmani emerged from Brahma, Vaishnavi from Vishnu, Maheshvari from Shiva, Indrani from Indra, Kaumari from Kartikeya, Varahi from Varaha and Chamunda from Chandi. and additionals are Narasimhi from Narasimha and Vinayaki from Ganesha.

<span class="mw-page-title-main">Varahi</span> Hindu sow-headed mother goddess

Varahi is one of the Matrikas, a group of seven mother goddesses in the Hindu religion. Bearing the head of a sow, Varahi is the shakti of Varaha, the boar avatar of the god Vishnu. In Nepal, she is called Barahi. In Rajasthan and Gujarat, she is venerated as Dandini.

<span class="mw-page-title-main">Bhikshatana</span> Aspect of the Hindu god Shiva

Bhikshatana or Bhikshatana-murti is an aspect of the Hindu god Shiva as the "Supreme mendicant" or the "Supreme Beggar". Bhikshtana is depicted as a nude four-armed man adorned with ornaments who holds a begging bowl in his hand and is followed by demonic attendants and love-sick women.

<span class="mw-page-title-main">Ekapada</span> Aspect of the Hindu god Shiva

Ekapada refers to a one-footed aspect of the Hindu god Shiva. This aspect is primarily found in South India and Orissa, but also occasionally in Rajasthan and Nepal. The Ekapada is primarily represented in three iconographical forms. In the Ekapada-murti form, he is depicted as one-legged and four-armed. In the Ekapada-Trimurti form, he is depicted with the torsos of the deities Vishnu and Brahma, which together with Shiva form the Hindu Trinity (Trimurti) emanating from his sides, waist upwards and with one leg; however, sometimes, besides the central one leg of Shiva, two smaller legs of Vishnu and Brahma emerge from the sides. While some scriptures also call the latter configuration Ekapada-Trimurti, some refer it to as Tripada-Trimurti. In Orissa, where Ekapada is considered an aspect of Bhairava—the fearsome aspect of Shiva—the iconography of Ekapada-murti becomes more fierce, with motifs of blood sacrifice. This aspect is called Ekapada Bhairava.

<span class="mw-page-title-main">Vimala Temple</span> Hindu temple of goddess Vimala in Puri, India

The Vimala Temple or Bimala Temple is a Hindu temple dedicated to goddess Vimala or Bimala (ବିମଳା), located within the Jagannath Temple complex in Puri in the Indian state of Odisha. It is generally regarded as a Shakti Pitha, among the holiest temples dedicated to the Hindu Goddess.

<span class="mw-page-title-main">Gajasurasamhara</span> Form of Hindu god Shiva

Gajasurasamhara, also Gajasamhara, Gajantaka and Gajaha and Matangari, is a fierce aspect of the Hindu god Shiva as the Destroyer of the elephant demon, Gajasura. The icon is popular in Pallava and Chola art, which portray him dancing vigorously in the flayed elephant hide of Gajasura.

<span class="mw-page-title-main">Kalyanasundara</span> Iconographical depiction of the wedding of the Hindu deities Shiva and Parvati

Kalyanasundara, also spelt as Kalyansundar and Kalyana Sundara, and known as Kalyanasundara-murti, Vaivahika-murti and Panigrahana-murti ( पाणिंग्रहण-मूर्ति), is the iconographical depiction of the wedding of the Hindu deities Shiva and Parvati. The couple are often depicted performing the panigrahana ritual of a Hindu wedding, where the groom accepts the bride by taking her right hand in his.

<span class="mw-page-title-main">Bhairava Ashtami</span> Birth anniversary of Bhairava

Bhairava Ashtami, also known as Bhairavashtami, Bhairava Jayanti, Kala-Bhairava Ashtami and Kala-Bhairava Jayanti is a Hindu holy day commemorating the birthday of Bhairava, a fearsome and wrathful manifestation of the god Shiva. It falls on the eighth lunar day (ashtami) in the fortnight of the waning moon in the Hindu month of Kartik or Margashirsha. By both schemes, Bhairava Ashtami falls on the same day in November–December-January. The name Kalashtami is sometimes used to refer to this day, but might also refer to any ashtami in Krishna paksha, all of which are sacred days of Bhairava, who is also called Dandapani and he rides a dog he is also known as Swaswa meaning "whose horse is a dog".

<span class="mw-page-title-main">Vishvarupa</span> Universal form of deities in Hinduism

Vishvarupa, also spelt as Vishwaroopa and known as Virata rupa, is an iconographical form and theophany of a Hindu deity, most commonly associated with Vishnu in contemporary Hinduism. Though there are multiple Vishvarupa theophanies, the most celebrated is in the Bhagavad Gita, given by Krishna in the epic Mahabharata, which was told to Pandava prince Arjuna on the battlefield of Kurukshetra in the war between the Pandavas and Kauravas. Vishvarupa is considered the supreme form of Vishnu, where the whole universe is described as contained within him.

<span class="mw-page-title-main">Vishvaksena</span> Commander-in-chief of the army of the Hindu god Vishnu

Vishvaksena or Vishwaksena, is the commander-in-chief of the army of the Hindu deity Vishnu, additionally serving as a gatekeeper and chamberlain of his celestial abode of Vaikuntha. As the embodiment of the tantras, Vishvaksena is worshipped before any ritual or function in the Vaikhanasas and Sri Vaishnavism sects. He occupies an important place in Vaikhanasa and Pancaratra temple traditions, where temple festivals often begin with his worship and procession.

<span class="mw-page-title-main">Sadasiva</span> Aspect of Hindu god Shiva as the Supreme Being

Sadasiva, is the Supreme Being in the Shaiva Siddhanta tradition of Shaivism. Sadasiva is the omnipotent, subtle, luminous absolute, the highest manifestation of Shiva. Sadasiva blesses with Anugraha and Vilaya, or grace and obscuration of Pasha, which are the fourth and fifth of the Panchakritya, or "five holy acts" of Shiva. Sadasiva is usually depicted having five faces and ten hands, is also considered one of the 25 Maheshwara murtams of Shiva. Shiva Agamas conclude that the Shiva Lingam, especially the Mukhalingam, is another form of Sadasiva.

<span class="mw-page-title-main">Shiva Parvati</span> Divine couple in Hinduism

Shiva Parvati or Shivan Parvati is the dual representation of the Hindu deities Shiva, and his consort, Parvati, traditionally featured in their abode, Kailash. The goddess of power and strength, Parvati, is depicted as standing next to Shiva. While other depictions show Parvati sitting next to Shiva.

References

  1. von Stietencron p. 105
  2. von Stietencron pp. 105-6
  3. 1 2 Rao pp. 295–7
  4. 1 2 Kramrisch pp. 293–4
  5. Kramrisch pp. 297–8
  6. von Stietencron p. 106
  7. Vasundhara Filliozat; Pierre Sylvain Filliozat; Indira Gandhi National Centre for the Arts (1 January 1995). The Temple of Muktēśvara at Cauḍadānapura: Little-known 12th–13th Century Temple in Dharwar District, Karṇāṭaka. Abhinav Publications. p. 59. ISBN   978-81-7017-327-4 . Retrieved 10 January 2013.
  8. 1 2 E. A. Rodrigues (1842). The complete Hindoo Pantheon, comprising the principal deities worshipped by the natives of British India throughout Hindoostan: being a collection of the gods and goddesses accompanied by a succinct history and descriptive of the idols. p. 91.
  9. 1 2 "Kankalar". Shivam.org. Retrieved 9 December 2012.
  10. Rao p. 303
  11. 1 2 3 4 5 6 7 8 9 Rao pp. 303–8
  12. 1 2 3 David Smith (13 November 2003). The Dance of Siva: Religion, Art and Poetry in South India. Cambridge University Press. pp. 161, 166. ISBN   978-0-521-52865-8 . Retrieved 3 January 2013.
  13. 1 2 "Siva Kankalamurti". Kaladarshana.com. Retrieved 8 January 2013.

Sources