chap12
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Vedic Roots of Hindu Iconography
R. Nagaswamy
CHAPTER-12
Liṅga in Viṣṇu Anugraha Mūrti
The tradition of representing Cakradāna Mūrti Śiva is will known especially in Tamilnadu. In the portrayal of this scene, the emphasis is given in many instances to the presentation of Cakra to Viṣṇu by Śiva. In all these instances, the main figure in Śiva shown seated with Pārvatī, presenting the Cakra to Viṣṇu who will be shown receiving the weapon. Such representations are seen from the Pallava times as in the Kailāsanāthan temple of Kāñchīpuram. But there are illustrations where the emphasis is given to the worship of Liṅga by Viṣṇu and in such cases Śiva is shown emerging from Liṅga, portrayed standing and Viṣṇu also standing receives the weapon. A good illustration of this theme is found in the Great temple of Tanjore, where the Liṅga is shown prominently. It almost resembles the Lingodbhava image, but unlike Lingodbhava, in which Śiva is shown only upto the knee in his lower body, Śiva in Cakradānamūrti, he is shown emerging from Liṅga in full. The most important point is the Liṅga from which Śiva emanates is given importance and it has no resemblance to the phallus (illustration).
Thus both in the Lingodbhava form and Viṣṇu-anugraha form, the Liṅga that is represented has no resemblance to Phallus.
Kāmākṣi worshipping Liṅga.
There is another representation is sculpture in which goddess Kāmākṣi (Pārvati) is said to worship. According to the legends the Goddess, in order obtain a boon from Śiva, worshipped him in the form of Liṅga.
An excellent illustration of Pārvatī worshipping Liṅga is now in the Dhaka museum of the Pāla period 10th-11th cent. This shows Liṅga prominently in the front while the goddess is shown standing behind the Liṅga adoring him. It may be seen from the sculpture that the Liṅga portrayed is of the common variety, with no resemblance to the Phallus. According to the legend, the goddess performed the worship according to the Āgamic tradition and the Liṅga represented should be taken to stand for the common Liṅga of the Āgama. We may also point out, that in Pāla sculptures, belonging to Bengal region, one finds sculptures of Śiva, some representing ūrdhva retas and some without it, indicating and in the same period two different concepts are seen and so all Liṅgas, an not be brought under phallus type Liṅga.
In South India, the Goddess is said to have come to Kāñchīpuram to do worship of Liṅga. She did the worship on the banks of the river Vegavati, where she heaped up the river sand on the banks and worshipped it, when suddenly floods brought waves of waters. The Goddess embraced it to prevent the Liṅga of sand being washed away. Śiva bestowed grace on her. This theme mentioned in 12th cent Tamil work, is seen in many Chōḻa temples of even earlier times. The Liṅga worshipped by the Goddess is a repeated theme and this has nothing today with phallus.
Similarly in the story of Candeśa, the saint worshipped a Liṅga made of sand and Liṅgas had nothing to do with phallus.
We may also point out the famous concepts of Pañca-bhūta-Liṅgas i.e., the Liṅgas made of five basic elements namely Pṛthvī Liṅga, Jala Liṅga, Vayu Liṅga, Tejo Liṅga (Agni), and Ākaśa Liṅga. The Pṛthvī Liṅgas are generally considered the ant hills ; the Jala Liṅga is waters in which the water itself is worshipped as Śiva. Similarly in fire, and Air and Ākaśa Liṅgas, the concept is they represent Śiva and not the phallus.
In interpreting idols and images made for worship, a historian has to point out how the makers of the sculptures or images visualized them and used them and can not impose their own views. In none of the Āgamic texts which carry detailed process of invocation and daily worship and in none of them we find the concept of phallus.
I have mentioned earlier that there is no doubt that some Liṅgas are shaped like the human phallus and also literature in support of the identification. It may be in the range of one in ten-thousand. But to call all the Liṅgas as representing phallus is too pedestrian an approach, lacking even a basic knowledge of the concept of Hindu Worship.
When the fire is kindled in the altar it emerges as heat energy, called Rudra. When that energy raises to a higher degree, it emits light, which spreads and is called Viṣṇu who also protects living as benign heat. The protective power of Viṣṇu is symbolized by the Cakra in his hand. This figuritively called Viṣṇu receiving his power from Agni-Rudra, which is the origin of Viṣṇu-anugraha-mūrti.