Essay \"Shiva: The Creator And Destroyer \" - Grade A PDF

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Kaitlyn Barton Ellen Goldberg RELS 222 Monday March 21st 2016 Shiva: The Creator and Destroyer As the most complex deity within the Hindu pantheon, Shiva is an extraordinarily important god. Although equal to Vishnu and Brahman, Shiva is engulfed in an eternal paradox as a result of his diverse characteristics. Furthermore, Shiva represents a variety of spiritual and domestic aspects of Hindu culture. Importantly, Shiva embodies the energy of the universe as both creator and destroyer; he is the ultimate construction of non-duality. Further, Shiva’s power and significance demonstrates philosophical teachings as to the way in which certain aspects of Hindu life are constructed. To illustrate, the iconography of Shiva incorporates identifying characteristics that are necessary to understanding his relevance as a god, Shiva establishes his power as both creator and destroyer through the image of the Nataraja dance, Shiva’s creative capacities are depicted through his erotic ascetic characteristics, and Shiva exemplifies the formulation of both male and female ideological construction within the cosmos, all thereby displaying a progression of the human understanding of the atman. There are several identifying features of Shiva’s iconography that exemplify his importance and symbolic meaning. While he is illustrated in several different circumstances, there are common themes noted among his depictions. Furthermore, the distinct aspects of Shiva’s iconography serve to distinguish him from the other gods. A typical image of Shiva will depict water flowing from his head, which represents the Ganges River. This illustration of the river originating from the top of Shiva’s head demonstrates his creative energy as he produces important elements of the natural world. Moreover, this depiction is representative of his intimate

connection with nature. Additionally, Shiva is also portrayed with a third eye. This third eye is regarded as “the inner eye of wisdom” (Chaturvedi, 9). The purpose of Shiva’s third eye is to provide energy and light to the world. The third eye is a key factor in a variety of legends such as the story of Andhaka in which Parvati, Shiva’s wife, playfully closes his eyes which resulted in the whole world becoming fully darkened (Chowdhury, 2014). Consequently, Shiva had to open his third eye in order to restore light into the world. Additionally, Shiva wears a snake around his neck, which symbolizes the life force, otherwise known as kundalini. Kundalini is regarded as a cosmic force that everyone possesses, however, it is through the practice of yoga whereby kundalini is realized and utilized (Encyclopaedia Britannica, 2016). Shiva has mastered kundalini to the extent at which it conforms around his body as he wears it effortlessly. Shiva wears beads around his neck for the purpose of mantra and prayer thereby illustrating his ascetic attributes and yogi practices. Many Hindus, especially ascetics, wear similar beads in order to embody the devout nature of Shiva. Correspondingly, Shiva is depicted as carrying a trident whereby each point is indicative of the past, present and future. Shiva’s dominion over time is symbolic of his ultimate and supreme power within both the construction and destruction of the universe. Shiva is able to see events as they occurred, and as they will happen. In addition, Shiva is illustrated as holding a drum in one hand or, in other cases, the drum is tied upon his trident. It is proposed that the sound of the drum acts as the beat to which Shiva dances the universe into either creation or destruction. Likewise, Shiva is also demonstrated as holding his hand in the abhyaya mudra, representative of his fearlessness. In light of his asceticism, Shiva is often displayed as sitting upon a lion or tiger skin because he lives in the mountains. Moreover, in depictions of Shiva as Lord of Yoga, he is depicted as having a pot of water near him. In like manner, Shiva’s vehicle is the bull, which is symbolic of his fertility and creative power. Furthermore, in the Ardhanārīśvara image, Shiva is

depicted as being both male and female as Parvati is attached to his left side. The Ardhanārīśvara is symbolic of Shiva’s union with Shakti however, this will be explored more in depth later in the paper. Shiva’s iconography is culturally significant as it highlights key aspects of Hindu tradition that are admired and aspired to, especially for his devoted followers. Ellen Goldberg, a professor of Religious Studies at Queen’s university, suggests that iconography is a dynamic and essential component of Hindu religious expression as it serves as a meditational and devotional aid for worshipers (Goldberg, 11). Shiva’s symbolic attributes work to reinforce crucial elements that are regarded as spiritually and domestically desirable. In regards to religious virtues that are revered which are illustrated through Shiva’s iconography, the Ganges River, which flows from Shiva’s head, indicates his role as supreme creator. The Ganges River is a rather sacred aspect of the natural world for Hindu’s for not only religious purposes, but for their everyday lives such as travelling, filtration and it provides water for crops and livestock. Additionally, Shiva’s snake, third eye, water pot and prayer beads are reflective of his religious influence. Devotees of Shiva, often members of the religious sect Shaivism, aspire to master the life force, open their third eye of wisdom and incorporate prayer into their lives as depicted through the ascetic attributes of Shiva. Furthermore, devotees of Shiva strive to attain moksha through his wisdom; they work to realize and come to know Shiva within their own hearts. To summarize, followers of Shiva work to achieve these religious goals by practicing yoga and meditation like Shiva. Lastly, Shiva’s role as a husband is depicted through the illustration of his vehicle the bull as well as within the image of the Ardhanārīśvara. In this context, the Ardhanārīśvara depicts how a husband and wife are to devote each aspect of themselves to the other person in order to make a single and perfect union. Shiva as Lord of creation and destruction is best demonstrated through the depiction of the Nataraja. However, it may appear as a paradox for one deity to be god of both creation and

destruction. The key to understanding this complex aspect of Shiva’s power relies on the Hindu concept of the impossibility of annihilation. The concept of the impossibility of annihilation suggests that when there is an absence of non-being and annihilation, all that is left is the transformation of states. This transformative energy is regarded as ceaseless and infinite (Smith, 2). Death or destruction can be viewed as a result of a transformational process after life, whereby life is the product of creation. To explain, death is “a rearrangement of indestructible atoms, and a gateway from one court of life to another. To destroy therefore, is to practically to recreate, and Death stands at the gates of life” (Martin, 167). In this sense, all that lives within the realms of time are regarded as being in a state of constant transition and change from life to death thus, the natural circle of life. When something is destroyed, it is recreated with a new or different form. It is suggested that in efforts of purification, at the end of each era, Shiva destroys the universe by fire (Doniger, 83). The universe must be destroyed in order for it to be purified and renewed. Consequently, after the universe is destroyed, new life will is created. Therefore, it is reasonable that Shiva be regarded as the lord of both creation and destruction. There cannot be creation without destruction. The Nataraja demonstrates this continual dance of creation and destruction of Shiva. The entirety of the cosmos is involved, as there is no part of the entire universe that is not affected by the energy of creation and destruction. The Nataraja illustrates Shiva in a specific cosmic dance pose known as ananda-tandava. The tandava is the component of the dance that is responsible for destruction of not only the universe, but time and space itself. The tandava is an energetic and violent dance whereby the beat of the drum he obliterates creation. Comparatively, Shiva is also the master of lasya, which is the dance of tenderness and grace (Encyclopaedia Britannica, 2016). In this sense, the Nataraja demonstrates the connectedness of existence because in order for creation to occur destruction must follow. To expand, flames are often depicted as surrounding Shiva in the Nataraja. To the

beat of creation, flames express the arc of dissolution (Encyclopaedia Britannica, 2016). In regards to his physical position, one of Shiva’s hands points to his foot, which indicates that his followers will receive refuge. In like manner, he holds his other hand in a gesture of protection. (Encyclopaedia, Britannica, 2016). In this context, despite being the cause of destruction, Shiva’s devotees trust in him to recreate after each era and they look to him for salvation in this iconographic depiction. Further, Shiva’s energy is both creative and destructive simultaneously because the order of the universe would not exist otherwise. Comparatively, the Nataraja can also be representative of a transformation of not just the cosmos, but of the human consciousness as one reaches moksha. While it is proposed that the Nataraja represents the transformative of states in reference to the cosmos, it can also be suggested that the image is symbolic of the release “the souls of men from illusion” (Chaturvedi, 9). Illusion refers to the human mind that has not yet reached moksha and is therefore unenlightened. Shiva allows for the destruction of certain aspects of the mind in order for it to be recreated in light of liberation. Symbolically, one must forgo and sacrifice aspects of their being in order to attain enlightenment. Individuals want to demonstrate bhakti towards Shiva, as they believe he is the key to their enlightenment as he is responsible for their recreation and instrumental in their quest to know their atman. The force of destruction, thereby leading to a type of recreation in order for one to reach moksha may be an important aspect of why he is highly revered within the religious community. Shiva’s erotic asceticism is descriptive of his a key aspect of his identity and is illustrative of his creative energy. However, it seems that this is another paradox in Shiva’s identity for how could one practice asceticism, yet still engage in sexual activities? To illustrate, Shiva’s sexual behaviour is parallel to his ascetic practices. Interestingly, rather than eroticism and asceticism being viewed as opposite ends of a spectrum Wendy Doniger, a professor of Religions at the

University of Chicago suggests that in India, erotic and ascetic experiences and practices are considered to occur simultaneously (Doniger, 66). Therefore, it is possible for Shiva to be regarded as an erotic ascetic. To emphasise, Doniger affirms “unlike the mortal yogi, Siva need not always alternate phases of sexual activity and yogic restoration, but may exist in both states simultaneously, renewing his lost powers at the very moment that he spends them” (Doniger, 293). Therefore, Shiva’s erotic asceticism demonstrates idealistic goals for individuals during the renunciant, forest-dweller stage of life. Shiva’s creative potential through his eroticism is purposeful as it is indicative of his connection and role within the universe. Accordingly, his eroticism depicts his role in the maintenance and preservation of the universe. To expand, Shiva is described as urdhvareta, meaning he is always erect. By being regarded as urdhvareta, Shiva is able to positively impact the earth. To illustrate, Doniger articulates that Shiva, with his great phallus, spreads seed upon the surface of the earth (Doniger, 56). This image demonstrates his capacities as creator and preserver of the earth by increasing and maintaining its fertility. Shiva is the force by which creation occurs. Another example, in regards to the maintenance of the earth, suggests that Shiva’s sexual relationship with Parvati sustains the moon. When the moon is full, it means that Shiva and Parvati have been reunited (Doniger, 296). This example illuminates Shiva’s influence on the natural processes of the world. Through this aspect of Shiva’s identity, it can be inferred that Hinduism generally embraces sexuality while it is suppressed in other religions such as Judaism or Christianity. The concept of desire is also illustrated through Shiva’s sexual expression. Shiva is regarded as having a large libido that, instead of being denied, must be controlled. Shiva must be satisfied which brings to light a crucial teaching on the concept of desire being that “desire must be controlled, not denied, and in certain extreme situations the only possible control is release”

(Doniger, 257). This teaching illustrates that it is best to accept and respect the nature of desire rather than repress the natural human instinct. Desire is powerful and therefore, must be controlled to some extent. As lord of creation, if Shiva were to create ceaselessly there would be chaos, however, if he was to remain chaste at all times the world would also suffer. Therefore, the balance of desire is the key. To demonstrate, Doniger states that in some cases, it is acceptable for one to go to his wife during her fertile period (Doniger, 80). Therefore, there must be a balance between chastity and fertility. Shiva cannot withhold his natural and essential power. This aspect of Shiva’s character demonstrates an important teaching about self-control. One must exercise the wisdom to know when it is appropriate to be chaste and when it is necessary to engage in procreation. In the context of symbolism, Shiva and Parvati’s fertility and creativity are illustrated through the aniconic statues of the lingam and yoni. The lingam is a pillar shaped shrine dedicated to Shiva that is representative of an erect male phallus. The yoni is the base upon which the lingam stands on symbolizes the female sexual organ. Therefore, the lingam and yoni exemplify a male and female in union. During certain celebrations, milk or water is poured over the lingam to further illustrate the creative energy as a result of the unity between male and female. Moreover, “the lingam and the yoni serve as a reminder that male and female forces are united in generating the universe” (Dimock, 2016). This quote is representative of Shiva’s necessity of Shakti as Shiva is empty without Shakti. They must both be connected in order to be creative and fertile and access the totality of existence. Therefore, the lingam and yoni are an important aspect of Shiva’s nature, the Hindu tradition, and especially within Shaivism. The Ardhanārīśvara, as mentioned above, is an image in which Shiva is depicted as both male and female, which serves to illuminate key philosophical speculations regarding male and female’s relation to the construction of the cosmos. As well, the Ardhanārīśvara illustrates the

coexistent nature, and interdependence of both sexes. To expand, Shiva is one with the feminine or Shakti, demonstrated through his consort, Parvati, which exemplifies his creative energy. This creative energy is integral to Shiva’s characterization in relation to the construction of the cosmos. Goldberg articulates that the Ardhanārīśvara “represents divinity at the subtle level of metaphysics” (Goldberg, 24). In this sense, the Ardhanārīśvara manages religious and ideological expectations as well as gender. Goldberg relates the Ardhanārīśvara to biological human origin wherein the symbolism of formlessness to form is apparent (Goldberg, 10). This analysis further exemplifies the necessity of both male and female as, through their union, humanity is transformed from formless to form through the act of conception. The role of gender as a motif of the Ardhanārīśvara is also an important aspect of the study of the god Shiva. It can be suggested that the Ardhanārīśvara symbolizes the advancement of one’s comprehension of the atman thereby promoting their attainment of moksha. Goldberg suggests that the image of the Ardhanārīśvara illustrates one’s progress to reaching atma vidya (self-realization) among the nirguna brahman and the atman (Goldberg, 135). However, Goldberg asserts that it is exclusively male individuals whom experience this process of self-realisation. For this reason, the image encompasses certain cultural implications in regards to gender roles. At this point, a feminist perspective of the Ardhanārīśvara points out the imbalance of authority and power entrenched within the image (Goldberg, 114). It is proposed that the Ardhanārīśvara maintains and promotes the inequality of men and women within the Hindu culture. I suspect that the attainment of atma vidya is generally a male dominated religious practice because of the way in which the Hindu society is constructed. Brahmins are primarily male in most regions thereby allowing them to engage in such religious exercises while women are expected and valued for their domestic roles such as having children and maintaining a household.

I argue that the inequality of men and women in light of the Ardhanārīśvara extends beyond religious practices and are evident within the grinhastya stage of life. To expand, Goldberg goes on to assert that Shiva’s consort Parvati, demonstrates the qualities of a perfect and devoted wife, whereby she is absorbed into Shiva, and not the other way around (Goldberg, 133). This is significant because it exemplifies that once a woman is married to a man in this culture, she becomes a part of him and his life rather than the man being absorbed into the woman’s life. Interestingly, this absorption of Parvati leaves her always depicted as being Shiva’s left side. Parvati being illustrated on Shiva’s left side further demonstrates the reinforced inequality of men and women within Hindu society. This uneven distribution of power (Goldberg, 115), forgoes a woman’s individuality as she is revered within society as being a good and positive part of her husband instead of being valued for being herself. Another perspective of the Ardhanārīśvara maintains that the image cannot possibly be symbolic of a procreative union. Goldberg articulates that Shiva and Parvati, once under the influence to create, must fully separate (Goldberg, 116). Once separated, Shiva and Parvati must reconnect in order to engage procreation. This separation demonstrates that there are different ways for the male and female to connect rather than just for reproductive purposes. In this sense, male and female can connect by transcending of the duality of heterosexual normative conceptualizations allowing male and female to be equal in regards to intellect and religious endeavors. Moreover, I contend that females are deserving of this respect as being regarded as equals in other regards than that of simply reproduction; however, not to discredit the importance of reproduction. Further, I think that Shiva’ demonstrates this deeper respect for Shakti as a result of his heightened wisdom and existence. This analysis correlates with the idea that the Ardhanārīśvara is symbolic of one’s reaching of moksha because it demonstrates one having a different perspective of the female identity despite the patriarchal influences of the Hindu culture.

To conclude, Shiva is illustrative of the non-duality and active energy of the universe. Shiva’s characteristics and significance are best demonstrated through his iconography as yogi, Nataraja and Ardhanarisvara. Shiva’s paradoxical nature is demonstrated as he is the creator and destroyer, chaste and erotic, one with Shakti and independent. Moreover, cultural and social norms are depicted through Shiva’s iconography. As Shiva dwells within the caves of the Himalayas, he also dwells within the caves of the human heart. Followers who look within themselves realize and find Shiva.

Works Cited Chaturvedi, B. K. Shiv. Delhi: for All, 1996. Print. Chowdhury, Sanchita. "Significance Of Shiva's Third Eye." Www.boldsky.com. N.p., 24 Feb. 2014. Web. 16 Mar. 2016. Dinmock Edwar...