In this article, we would talk about the story behind Lingodbhava- a form of Lord Shiva; Lingodbhava Iconography and will do the Tatva chintan of the episode.
Beginning of Ishaan Kalpa
It was the beginning of Ishaan Kalpa – the cycle of cosmos from creation to dissolution. The universe as we know was not there; and there was nothing but water on earth.
During one of those starless nights, Lord Vishnu was floating in his Yoganeedra, on the deep abyss of the black water of the deep ocean. Suddenly a luminous apparition appeared in front of Vishnu and it dazzeled him. This apparition had brilliance of thousand Suns. Lord Brahma appeared in front of him out from this brilliant apparition.
Dispute between Lord Brahma and Lord Vishnu
Till then, both of them were unaware of each other’s presence. Both of them startled when they saw each other. Lord Vishnu was first to inquire, ” Who are you”?
Lord Brahma replied, “I am the creator of all living beings. But who are you. I am bewildered. I never created you. “
Lord Vishnu smirked at Lord Brahma’s introduction and replied, “Yes, you have not created me. Let me enlighten you. I am the creator, maintainer and the destroyer of the world”.
A fierce argument ensued between the two, contesting the claim of the other and claiming the supremacy of one over the other.
Lingodbhava – Emergence of Shiva Linga
Suddenly a blazing lingam emerged from the ocean and started to expand. In no time it extended from nether-land to empyrean. This dramatic appearance of the strange third element in the scene left both Lord Brahma and Lord Vishnu awe-stuck.
They stopped their argument and looked at the emerging and expanding Lingam with curiosity. The Lingam resembled cosmic fire with hundred tongues of flames blazing from it.
Lingodbhava – the contest between Lord Brahma and Lord Vishnu
Lord Vishnu thought of an idea. He proposed to Lord Brahma, “You fly in upward direction and I would plunge in downward direction. One who would reach the end of this Lingam and return first would be supreme among us.”
Lord Brahma immediately agreed. He took the form of a swan and started to soar higher and higher. Lord Vishnu took the form of a boar and reached the depth of the ocean in no-time. But the Shivalinga was not originating from there. It was emerging from somewhere deep inside the earth. So Lord Vishnu in the form of boar, started to burrow into the earth.
After soaring much higher, still there was no sign of the end of Linga in sight for Lord Brahma too. The attempt of both the Gods to find the other end of the Linga proved an endless tryst.
Lord Brahma finding Ketaki Petal
In the mean-time, Lord Brahma crossed a Ketaki petal floating down. Lord Brahma, asked it, “O’ divine flower, from where are you descending. I am flying up to see the end of this Lingam, but it appears to stretch till infinity”. The Ketaki petal replied, “Lovely swan, I am descending for quite a length of time and even I have not seen the end of it”. These words of Ketaki Petal made Lord Brahma realize the futility of his attempt to reach the top.
Lord Brahma was desperate to win the bet. So he decided to deceive. He cajoled Ketaki flower to speak a small lie that He found it on the top of the Lingam and picked it from there. Ketaki Petal did not see much in this small lie and agreed to Lord Brahma’s request.
Lord Brahma took the petal and returned back. He was happy to see that Lord Vishnu has not yet returned. Lord Vishnu on other end dug for years, only to finally realize that there was something greater than Him, and that there was no end to the lingam; Humiliated, He decided to return and accept his defeat.
Manifestation of Lord Shiva from the blazing Pillar (Lingodbhava)
He returned embarrassed, and saw smiling Lord Brahma waiting for him with a Ketaki Petal. As soon as Lord Brahma saw Lord Vishnu, he started to narrate the story that how he reached the top, found the ketaki flower there and brought it back as an evidence. Ketaki Petal agreed and confirmed Lord Brahma’s story.
Lord Vishnu was about to accept the defeat, suddenly there was a loud sound and the side of the colossal Lingam burst open and there formed a niche like aperture – Shiva – the lord of Lingam manifested Himself.
How Lord Brahma lost his fifth Head
Lord Shiva revealed himself. In that form, he had thousand arms and legs; he had three eyes of sun, moon and fire, he was clad in elephant hide, carried his bow Pinaka and the trident, and was wearing the yagnopavit of snakes. Shiva was furious at Brahma for his falsehood.
Mythology says that lord Brahma had five heads at that time. In this state of fury, he cut the fifth head of Brahma that lied. Lord Shiva cursed Brahma that from then onwards, no man on earth would construct a separate shrine for him and would worship him.
Why Ketaki Flower is not used for worshipping Shiva
Ketaki petal was trembling with fear as it knew that it was its turn. It profusely asked for Shiva’s forgiveness. Shiva cursed it that for abetting the lie and the liar, from then onwards no one would use it while praying Him. On repeated and intense apologies, Lord Shiva allowed Ketaki petals to be used for his worship but only on Mahashivratri.
Lord Vishnu and Lord Brahma originate from Lord Shiva
Seeing the raudra (anger) form of Lord Shiva, Lord Brahma and Lord Vishnu stood in reverence with folded hands. Slowly and slowly Shiva’s anger subsided and he explained both of them in a thundering voice that both of them also originated from Him only. He told them that at the end of every kalpa all Gods merge in Him and at the start of every kalpa they originate from Him again.
Lingodbhava as described by Nayanar Saint in their poetry
In the poetry of Appar, the famous Nayanar saint, and his younger contemporary Sambandar, the Lingodbhava event dominates and their verses show their awe, reverence and adoration. :
They did not meditate, bathing him with milk and ghee
They did not praise him, issuing lies and deceit
There the two tried to see the lord in his true form of intensely hot fire
They did not wear Rudraksh bead or carry skulls in their hand
They did not blow the white conch resoundingly
There the two dug and tried to see the intensely hot form – the embodiment of the universe
Red-eyed Vishnu and Brahma wandered everywhere, searching for Him, but they did not see him
The embodiment of virtue, his red matted locks flowing, appeared in the linga and said – I am here.
From: Book – Verse of Appar from Historicizing Emotions: Practices and Objects in India, China, and Japan
Lingodbhava Murti in Temples, North India and South India
Linga-purana, Kurma Purana, Vayu Purana and also Shiva-Purana mention this Lingodbhav episode, proclaiming Shiva to be the origin of the other two Gods.
The episode of Lingodbhava is a common etching in the temples of Southern India. This panel is usually carved and placed in the niche of the western wall of the garbhagrih of the central shrine.
The reason behind the choice of the western wall is that the energy and the grace of Lingodbhava radiates outwards from the eastern entrance of the temple/garbhagrih, blessing and charging Shiva’s devotees with positivity.
Initially I wondered that Lingodbhava was most common only in South India as I did not see any in North India. However, I remembered that I saw one panel in National Museum of India, Delhi (taken from Gujarat). I think, probably we don’t see it in North India as most of the temples were destroyed by the attackers.
Lingodbhava iconography
The Lingodbhava panel represents merging aniconic form of Lord Shiva with the iconic form of Him. The ancient scriptures of karanagam defines in details that how this episode must be carved. Lingodbhava carving in kailashnath temple in Kanjeevaram perfectly matches the agamic description.
According to this ancient scriptures of sculpting, only one-fifth of Shiva Linga in Lingodbhav Murtis must be visible on top and one-fifth in the bottom. Rest of it, in the center, must depict Lord Shiva carved as Chandrashekhar.
If Shiva is carved four-handed, one hand should be carved in Abhaya-mudra, another one in Varada pose, third hand should carry an axe(parshu/shula), and the fourth a black deer. Lord Shiva’s face must show serenity, His hairs must be styled as Jatamukuta, and sliced moon must adorn it. Shiva must be wearing serpents as His ornaments.
The legs below knee must be left unsculpted and appear as if they are becoming invisible. Lord Brahma soaring high in the sky as swan, must be carved on right and Lord Vishnu as boar digging the earth, must be carved towards left, at the foot of the Shivalinga. The size of swan and the boar must be same as the size of the face of lord Shiva.
In some of the Lingodbhava panels, we find Lord Brahma and Lord Vishnu facing the Lingam with folded hands. The treatise also mentions that figures of Lord Brahma and Lord Vishnu must be beautifully carved but they must carry the expressions of submission.
However, according to these ancient scriptures, carving the two Lords in human form is not necessary and can be omitted as well. But, carving the swan soaring high and the boar digging deep must necessarily be there and can’t be omitted.
Tatva Chintan about Lingodbhava Episode
The growing and expanding Shivalinga in Lingodbhava episode signifies the phenomenon of growing and expanding forms. It represents that there is nothing static, but the flow of relentless energy with everything originating, growing, flourishing, decaying and finally vanishing.
It also signifies that the God’s immanence cannot be measured in terms of space and time; any attempt to discover the pinnacle or the base only results in folly and failure.
The ever expanding Linga also signifies the infinite light and knowledge that prevails in this cosmos.
The Siva devotees believe that it signifies that the formless Shiva is beyond the reach of not only to the ordinary mortals but even to the Gods. However, Bholenath manifests Himself to the devotees who are true and pure.
I will add another thought here – all forms, even gods appear from the all pervading, all powerful omniscient, whom we can neither measure fully, not discovere fully, not know fully, because he is beyond our imagination and knowledge of mind and senses. The only way to know him is to be Him, merge in Him with love and seeking.
This omniscient we could call Shiva or anything, because if we have to describe or tell something, we have to give name and use words. It is just a way of indicating something. And here our, creativity comes under play. In my opinion, the desire of Shaiva devotees to put Lord Shiva above Lord Vishnu, a one-upmanship game that we read in several mythological stories, has given this omniscient, the name Shiva.
References
- Elements of Hindu Iconography, By T. A. Gopinatha Rao
- Verse of Appar from Historicizing Emotions: Practices and Objects in India, China, and Japan
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