Thirteenth Chapter
14. Creation of Universe – concepts in Shaivism and Shaktism
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14.1 Shaivism
Shaivism/Saivism is one of the four most widely followed sects of Hinduism,
which states the God Shiva as the Supreme Being. The followers of Shaivism are
called Shaivas/Shaivites. They believe that Shiva is All and in all, the creator,
preserver, destroyer, revealer and concealer of all. Shiva, meaning “The Auspicious
One”, also known as Mahadeva1 (“Great God”), is the supreme god within Shaivism.
He is the Destroyer/ Transformer among the Trimurties i.e. the Gods of Hinduism viz:
Brahma, Visnu & Mahesh. At the highest level, Shiva is regarded as limitless,
transcendent, unchanging and formless. Shiva also has many benevolent and fearsome
forms. In benevolent aspects, he is depicted as a Yogi who lives an ascetic life on
Mount Kailash, as well as a householder with wife Parvati and his two children viz:
Ganesha and Kartikeya. In fierce aspects, he is often depicted as slayer of demons.
The main iconographical2 attributes of Shiva are the third eye on his forehead, the
snake Vasuki around his neck, the adorning crescent moon, the holy river Ganga
flowing from his matted hair, the trishula as his weapon and the damaru as his musical
instrument. Shiva is usually worshipped in the aniconic form of Lingam.
14.1.1 History: The Svetasvatara Upanisad3 is the earliest known textual exposition
of a systematic philosophy of Shaivism. The text says: ‘A theology which elevates
Rudra to the status of Supreme being i.e. the Lord Isa who is transcendent yet also has
cosmological functions, as does Shiva in later traditions.’ During the Gupta Dynasty;
Puranic religion developed and Shaivism spread rapidly, throughout the Indian
subcontinent. The Shiva and Linga Puranas are important scriptural texts.
14.2 Lingapurana - Eight Cosmic forms of Lord Shiva: This Purana4
narrates that it is Kala (Time) that evolves everything. Lord Shiva evolves the Kala.
When the mind devoid of qualities is set on lord Shiva, He reveals His true, attribute
less nature. Universe appears to be existent by his very activity. The eight forms of
the lord represent the empirical universe. It is evident that the world consisting of the
mobile and immobile beings is the gross body of Rudra. The eight forms of lord Shiva


 


constitute the five gross material elements, the soul, the sun and the moon. These are
as follows: (i) Sarva – Earth, (ii) Bhava – Water, (iii) Rudra – Fire, (iv) Ugra – Wind,
(v) Bhima – Ether, (vi) Pasupati – Soul, (vii) Isana – Sun and (viii) Mahadeva –
Moon. [14; 15-17]
14.3 Shivapurana – Murtyatmans – of Lord Shiva: As per
Shivapurana5: This universe of the mobile and immobile beings is pervaded by the
Murtyatmans of lord Shiva, the great Atman. Shiva presides over all these by means
of his own Murtis (forms). His Atman is incomprehensible. This is said by the sages.
These shall be known as his Murtis whereby this universe is pervaded viz. Brahma,
Visnu, Rudra, Mahesana and Sadashiva. [1, 2, 3].
14.4 Eight Murtis of Lord Shiva: The universe consists of eight Murtis of
lord Shiva i.e. the primordial lord of the gods, wherein lies stretched the universe as
the gems and beads in the string. These famous eight Murtis of Shiva are Sarva,
Bhava, Rudra, Ugra, Bhima, Pasupati, Isana and Mahadeva. The earth, waters, fire,
wind, ether, ksetrajna, the sun and the moon are presided over by the eight Murtis of
the lord Shiva.This is the conclusion of the scripture that the Murti of Sarva, in the
form of the earth upholds the universe consisting of the mobile and immobile
beings.These eight Murties of the supreme lord Shiva is the Atman. It pervades all the
Murtis. Hence the universe has Shiva as its Atman. With pious emotions, worship the
lord Shiva who presides over the universe in the form of Astamurti. [18, 19, 20, 28,
33]
[Note: The Astamurti concept of Shiva finds it’s parallel else-where in agamas of
Shiva.]
14.5 Five Murties of Shiva –
Panchabhuta/Panchabrahmans Concept
According to Shaiva Agama, Lord Shiva performs five actions – creation,
preservation, dissolution, concealing grace and revealing grace. Each of the five
actions corresponds to a name and form of Shiva with varying attributes. These five
names are with Relation to Action Performed, Direction Faced and Associated
Element:
i) Sadyojata – Creation. West. Earth (Prithvi), ii) Vamadeva – Preservation.


  


North. Water (Jala), iii) Aghora – Dissolution/Rejuvenation. South. Fire (Agni), iv)
Tatpurusa – Concealing Grace. East. Air (Vayu) and v) Isana – Revealing Grace.
North-east. Ether (Akasa).
Signification of these forms: Though bearing each a different name, form and set of
qualities, these are all aspects of a one Supreme Being i.e. the lord Shiva and are not
to be looked upon as different deities.
i) Sadyojata: Represents Iccha Shakti (willpower). This face of Shiva will give
both happiness and sadness to all creatures. Earthy nature. White in color. The
fearsome aspect. This aspect is attained by solitude and practices that transcend
conventional structures.
ii) Vamadeva: Represents Citta rupa (Ego-mind form) of Shiva. This form is,
attained by getting acquainted with primordial energy of the sun. This face of Shiva
has special powers to heal both mentally and physically of any creature. Represents
Paralinga (form). Blood red in color; watery nature represents unmatched force that is
capable of transforming all elements of the cosmos. Uplifts the element of Tejasa
(energy). Direction is North. Predominates the energy of vital life force. It represents
brightness of light. Only those established in yoga can contain it within their physical
forms, otherwise the mortal frame sheds itself immediately resulting in union with
Vamadeva. This contains energy of creation of elements within themselves.
iii) Aghora: Represents Jnana Shakti (Infinite Knowledge). It is function of
Prakriti / Parashakti (nature, consort of Shiva). This face of Shiva is Buddhi rupa
(Intellect). Represents Banalingam (form). Smoke (Dhumra varna) in color. It
represents our balanced aspects of Ahamkara Tattva (ego nature). It represents the
fiery nature.
iv) Tatpurusa: Represents Ananda Shakti (bliss form). East direction.
Manorupa form. The individual merges with infinite. Yellow in color. Windy (air)
nature. Svambhuva linga (Self originated form). If you have severe difficulty in
focusing on any subject, you should meditate this face of Shiva, as he meditates in
this face. Direction is east.
v) Isana: Represents the (soul) Citta (mind) Shakti of Shiva. Represents Space.
Starts from your Muladhara to Anahata to Ajna to Sahasrara / chakras (circles of


 



energy) leading to Brahma Randra in your body. Akasa (Ether) Tattva. The individual
is from very less to not at all receptive to social structures. Possesses excellent
qualities of controlling mortal and divine beings with ease. The individual has
reduced his ego to ashes signifying absolute love for the universe and has been freed
from cosmic law.
14.6 Shiva Sutras of Vasugupta and Kashmir Shaivism
Shiva Sutras6 is a collection of seventy seven aphorisms that form the foundation of
the tradition of spiritual mysticism known as Kashmir Shaivism. They are attributed
to the sage Vasugupta of the 9th century C.E. He is said to have lived near Mahadeva
Mountain what are now the Shalimar Gardens near Srinagar. One myth is that he
received the aphorisms in a dream visitation of a Siddha (semi-divine being). Another
is that Lord Shiva came to him in a dream and instructed him to go to a certain rock
(Shankaropala) on which he would find the teachings inscribed. The traditional belief,
that the Shiva sutras are of divine revelations and are not considered the product of
the human mind.
14.6.1 Kashmir Shaivism: It is a group of nondualist traditions from Kashmir
(State) that originated in the second half of the first millennium. The term is most
often used to refer to Pratyabhijna (Recognition) system expounded by
Abhinavagupta, but also includes the earlier schools of Kapalika (name) and its sub
schools. The goal of Kashmir Shaivism is to recognize one's already existing identity
with Shiva, the deity who represents Universal Consciousness.
14.6.2 Moksha - Identity with Shiva: Kashmir Shaivism is a household name
based on a strong monistic interpretation of the Bhairava Tantras and its subcategory
the Kaula Tantras. It describes the contraction (mala) of Consciousness (citta Shiva)
into phenomenal existence. Liberation (moksha) from mala can be achieved by
sadhana (practice) for which Kashmir Shaivism gives four methods: (a) Citi:
Universal Consciousness (citi) is the fundamental stuff of the universe. It could also
be called God / Shiva. (b) Mala: Consciousness contracts itself. The one becomes
many. Shiva becomes the individual (jƯva). This contraction is called mala (impurity).
(c) Upaya: An individual caught in the suffering of embodied existence, afflicted by
malas, eventually yearns to return to his / her primordial state of Universal


 



Consciousness. To attain this, he/she undertake sadhana (spiritual practice). (d)

Moksha: The fruit of the individual’s sadhana is the attainment of Self-realisation
(moksha). In Kashmir Shaivism, the state of liberation (mukti) is called sahaja
samadhi and is characterised by the attainment of unwavering bliss-consciousness
while living one’s ordinary life.
14.6.3 Vasugupta - Spanda system: Vasugupta wrote the Shiva Sutras, Spanda
Karikas7 and Vijnana Bhairava Tantra, the most important texts of the Spanda
system. The Spanda system is usually described as "vibration/movement of
consciousness". Abhinavagupta uses the expression "some sort of movement" to
imply the distinction from physical movement; it is rather a vibration/sound inside the
Divine, a throb. The essence of this vibration is the ecstatic self-recurrent
consciousness. The central tenet of this system is "everything is Spanda", both the
objective exterior reality and the subjective world. Nothing exists without movement,
yet the ultimate movement takes place not in space or time, but inside the Supreme
Consciousness. So, it is a cycle of internalization and externalization of consciousness
itself, relating to the most elevated plane in creation i.e. Shiva-Shakti Tattva.
14.6.4 Aham - the Heart of Shiva: Aham is the concept of supreme reality as
heart. It is considered to be a non-dual interior space of Shiva, support for the entire
manifestation, supreme mantra and identical to Shakti. The concept of free will plays
a central role here. Known technically as svatantrya it is the cause of the creation of
the universe - a primordial force that stirs up the absolute and manifests the world
inside the supreme consciousness of Shiva.
14.7 Shaktism (Goddess Durga/Shakti/Devi)
Shaktism/Shaktidharma (doctrine of the Goddess Durga8) is a subject of Hinduism
that focuses worship upon Shakti/Devi/Kali i.e. the Hindu Divine Mother; as the
absolute, ultimate Godhead. Shaktism regards Devi/the Goddess as the Supreme
Brahman itself, with all other forms of divinity, considered to be merely her diverse
manifestations.
14.7.1 Historical and philosophical development: The beginnings of Shaktism
are shrouded in the mists of prehistory. The earliest Mother Goddess figurine
unearthed in India, belonging to the Upper Paleolithic, has been carbon-dated to


 




approximately 20,000 BCE. Thousands of female idols have been recovered at

Mehrgarh, one of the most important Neolithic sites in world archaeology.
14.7.2 Shakti and Shiva: Shaktas conceive the Goddess as the supreme, ultimate
Godhead. She is considered to be simultaneously the source of all creation, as well as
its embodiment and the energy that animates and governs it. The Adi Shankara's
renowned Shakta hymn, Saundaryalahari: states that in the first line as: if Shiva is
united with Shakti, he is able to create. If he is not, he is incapable even of stirring.
This is the fundamental tenet of Shaktism, as emphasized in the widely known image
of the goddess Kali striding atop, the seemingly lifeless body of Shiva.Broadly
speaking, Shakti is considered to be the cosmos itself – she is the embodiment of
energy and dynamism and the motivating force behind all action and existence in the
material universe. Shiva is her transcendent masculine aspect, providing the divine
ground of all being.There is no Shiva without Shakti, or Shakti without Shiva. The
two in themselves are One. In short, Brahman is static Shakti and Shakti is dynamic
Brahman. In religious art, this cosmic form is powerfully expressed in the half-Shakti,
half-Shiva deity known as Ardhanari.
As per Devi-Bhagavata9, the Devi declares: “I am Manifest Divinity,
Unmanifest Divinity and Transcendent Divinity. I am Brahma, Visnu and Shiva, as
well as Saraswati, Lakshmi and Parvati. I am the Sun and I am the Stars and I am also
the Moon. I am all animals and birds and I am the outcaste as well and the thief. I am
the low person of dreadful deeds and the great person of excellent deeds. I am
Female; I am Male in the form of Shiva.”
14.7.3 Principal deities: Shaktas may approach the Devi in any of a vast number
of forms; however, they are all considered to be but diverse aspects of the one
supreme goddess Devi. The best-known ten benevolent goddesses of popular
Hinduism are: 1.Adi Parashakti (Shree Bhagavathy): Para Brahman itself - the
Goddess as Original, Transcendent Source of the Universe. 2. Durga (Amba,
Ambika): The Goddess as Mahadevi, Material Manifestation of Supreme Divinity
(Brahman). 3. Lakshmi (Sri): The Goddess of Material Fulfillment consortof Visnu. 4.
Parvati (Gauri, Uma): The Goddess of Spiritual Fulfillment consort of Shiva. 5.
Saraswati: The Goddess of Cultural Fulfillment consort of Brahma. 6. Gayatri: The


 



Goddess as Mother of Mantras. 7. Ganga: The Goddess as Divine River 8. Sita: The
Goddess as Rama's consort. 9. Radha: The Goddess as Krishna's lover and 10. Sati
(Dakshayani): The Goddess of Marital relations; original consort of Shiva.
The majority of the people worship Kali. The general terminology for mother goddess
is Durga; mostly her deities are worshiped in temple on the name of Bhagavathy /
Mahadevi.

Fig. 13.1: Devi portrayed as Durga, Slayer of the Buffalo Demon – a central episode of the
Devi Mahatmya and one of the most famous in all of Hindu mythology.
Worship: Shaktism encompasses a nearly endless variety of beliefs and practices –
from primitive animism to philosophical speculation of the highest order – that seek
to access the Shakti (Divine Energy) that is believed to be the Devi's nature and form.
Its two largest and most visible schools are the Srikula (family of Sri), strongest in
South India and the Kalikula (family of Kali), which prevails in northern and eastern
India.
14.7.4 Srikula: family of Sri: The Srikula (family of Sri) tradition (sampradaya)
focuses worship on Devi in the form of the goddess Lalita-Tripura Sundari, who is
regarded as the Great Goddess (Mahadevi). Srikula became a force in South India no
later than the seventh century and is today the prevalent form of Shaktism practiced in
South Indian regions such as Andhra Pradesh, Karnataka, Kerala and Tamil Nadu.
The Srikula's best-known school is Srividya, one of Shakta Tantrism's most influential
and theologically sophisticated movements. Its central symbol, the Sri Chakra10, is
probably the most famous visual image in all of Hindu traditions.


 



Fig. 13.2: Sri Lalita-Tripurasundari enthroned with her left foot upon the Sri Chakra,
holding her traditional symbols, the sugarcane bow, flower arrows, noose and goad.

14.7.4.1 Sree Chakra/Shree Yantra: The Sree Chakra, sometimes also called as
Shree Yantra, is a beautiful and complex sacred geometry used for worship, devotion
and meditation. It has been in use for thousands of years and its origin seems to be
unknown. The Sree Chakra is also called as Chakraraja / Yantraraja, etc., (means
king of chakras / yantras) all referring to the same yet with shades of differences in
connotations. It signifies: (device), a store-house of power, which can convert one
form of energy into other desired forms; Contains in itself controlled and the
uncontrolled form of the Almighty; Limits the illimitable by giving it a form and its
crisscross lines, angles, circles, squares and channalise in a cognizable form of the
deity, the vast ocean of consciousness. Indicates the dynamics of the divinity and
stands for a transmission of the divine energy.
14.7.4.2 The Authority for Sree Chakra: The authoritative reference for Sree
Chakra occurs in the Arunopanisad in Krishna yajur Veda. It describes the Sree
Chakra as consisting of eight Chakras. Yet another Vedic piece Bhavanopanisad of
the Atharva Veda describes the Sree Chakra in greater detail. A full and clear
description of Sree Chakra is given in Soundaryalaharee and a free style translation of
this verse goes as follows: “The angles of Thy abode (the Sree Chakra), which is
made up of nine mulaprakritis / basic triangles (the nine primary causative forces of
the universe) consisting of the four distinct Shiva triangles (pointing upwards) and
five distinct Devi triangles (pointing downwards) kept apart from the former by the


 



Bindu”.
14.7.4.3 Properties of the figures of Sree Chakra: A typical Sree Chakra is
split into different geometrical figures and the properties of the figures are keenly
observed below.
Nine Triangles within a Circle:

Fig. 13.3: Four triangles pointing Fig. 13.4: Five triangles pointing
Upwards. Downwards.

Fig. 13.5: Central figure with nine triangles.

The intersections of lines of the nine triangles appear as hexagons. The
number of black and white areas count to 89 (43 white and 46 black). The white areas
represent energy aspect and the black areas represent the consciousness aspect of
reality.


 



14.7.4.4 The Parts and Significations of Sree Chakra: The Sree Chakra has
the following components:
At the centre “The Bindu”, a dot. This is an embodiment of the Brahmananda
(Supreme bliss) that is the result of the union of male and female aspects of Brahman,
ready to create the Universe. The Trikona (the small triangle) around the Bindu
represents universe. Then Astakona i.e. the group of eight triangles surrounding the
Trikona.Antadasara i.e. the inner group of ten triangles i.e. around the inner
triangles.Bahirdasara i.e. the outer group of ten triangles i.e. around the inner
triangles.Chaturdasara i.e. the fourteen triangles surrounding the Bahirdasara.The
eight-petalled lotus (astadala) around Chaturdasar i.e. the sixteen-petalled lotus
encircling the astadala. The three girdle like circles around the sixteen-petalled lotus
and the Bhupura i.e. The three quadrangular lines with gate like openings on all the
four sides.
The Sree Chakra is viewed as representing nine conscious and gravity envelopes as:
1. First chakra – Quantum envelope
2. Second chakra – Particle envelope
3. Third chakra – Atom envelope
4. Fourth chakra – Molecule envelope
5. Fifth chakra – Matter envelope
6. Sixth chakra – Air envelope
7. Seventh chakra – Fire envelope
8. Eighth chakra – Water envelope  
9. Ninth chakra – Earth envelope
Fig. 13.6
14.7.4.5 Symbolisms of Sree Chakra
Spiritual symbolism: Scientific
symbolism:
1. Shiva or the cosmic consciousness 1.
Consciousness
2. Para Shakti or the cosmic energy 2. Gravity
 
3. Iccha Shakti or the energy of creativity 3. Strong force
Fig. 13.7


 



4. Gyana Shakti or the energy of knowledge 4. Weak force

5. Kriya Shakti or the energy of action 5.
Electromagnetic Force
14.7.4.6 Equilaterals of Inner Triangle
The center of the innermost triangle coincides with the center of the circle. Let us now
look at the bindu point i.e. the small point located in the central triangle. It should be
located at the center of the innermost triangle. This can be achieved precisely by
placing the bindu at the center of the circle that fits inside this triangle. This is known
as the center of a triangle.

Fig. 13.8: Triangles as the expression of Rishi, Devata and Chanda.

The Sree Chakra symbolises, among other things the unfoldment of creation. The
bindu represents the unmanifest, the silent state. The next level is the expression of
the Universe represented by the innermost triangle. This level represents the trinity of
rishi, devata, chanda, or the observer, the process of observation and the object being
observed. At this point the symmetry of creation is still intact and will be broken
when it reaches the next level, which represent the grosser aspects of the relative. This
reflects the unfoldment from unity to trinity as expounded in the Vedic literature.
According to this, the Universe becomes manifest when unbounded awareness
becomes aware of itself. The spark of self-awareness ignites creation. At this point
Unity divides into the trinity of rishi (the observer), devata (process of knowing) and


 



chanda (the object of perception).

14.7.4.7 Sree Chakra and Human Body: This also tries to identify and establish
the various parts in the human body as the Sree Chakra itself and also outlines a
method of considering the various parts in our body as parts of Sree Chakra. The
below parts of the human body are identified with the nine chakras as: (1) Muladhara
– the bottom most tip of the spine at the back. (Earthy), (2) Svadhitana – the root of
the genital organs. (Watery), (3) Manipuraka – navel. (Fiery), (4) Anahata – heart.
(Airy), (5) Vishuddhi – neck. (Life), (6) Talu – palate. (Senses), (7) Ajna – between
the eye brows. (Agni), (8) Sahasraar – Brain. (Atom) and (9) Vyom – Space.
(Particle).
Since the Sree Chakra is an important sacred geometry definitely it should
relate to the human physiology in one way or other. Atharva Veda indicates the
cosmic organisation of Sree Chakra as an abode. Bhavnopanisad correlates powers in
cosmic organisation and the organisation within human being i.e. macrocosm and
microcosm. It has mentioned that a field of energy around the body in the shape of a
star tetrahedron, called a Merkaba, translates as vehicle of light.
14.7.5 Kalikula: family of Kali: The Kalikula (family of Kali) form of Shaktism
is most dominant in Nepal, northern and eastern India and is most widely prevalent in
West Bengal, Assam, Bihar and Odisha. Kalikula lineages focus upon the Devi as the
source of wisdom (vidya) and liberation (moksha). The main deities of Kalikula are
Kali, Chandi and Durga. Other goddesses that enjoy veneration are Tara and all the
other forms as well as regional goddesses such as Manasa, the snake goddess and
Sitala, the smallpox goddess – all of them, again, considered aspects of the Divine
Mother.


 



Fig. 13.9: The Devi as Durga, in her form as Mahishasura Mardini, "Slayer of the
Buffalo Demon, Mahishasura. Photographed at a pandal (temporary shrine) in T
Maddox Square, Kolkata, during Durga Puja 2005.
14.7.6 Nataraja
14.7.6.1 Etymology and other names: The Sanskrit word Shiva comes from Shri
Rudram Chamakam of Taittiriya Samhita of Krishna Yajurveda. The root word ¥si
means auspicious. Other popular names associated with Shiva are Mahadev, Mahesh,
Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra Trilokinath
(meaning Lord of the three realms) and Nataraja11.

Fig. 13.10: Shiva absorbed in meditation, as depicted commonly in Hinduism

14.7.6.2 Indus Valley origins (3300 – 1300 BCE): Many Indus valley seals
show animals but one seal that has attracted attention shows a figure, either horned or
wearing a horned headdress and possibly seated in a posture reminiscent of the Lotus
position and surrounded by animals was named by early excavators of Mohenjo-daro
as Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra.


 




14.7.6.3 Nataraja: The Lord/King of Dance is a depiction of the Hindu God Shiva
as the cosmic dancer who performs his divine dance to destroy a weary universe and
make preparations for the god Brahma to start the process of creation. Shiva as
Nataraja, dances in an aureole of flames, lifting his left leg (or in rare cases, the right
leg) and balances over a dwarf demon (Apasmara) who symbolizes ignorance. It is a
well known sculptural symbol in India and popularly used as a symbol of Indian
culture. The two most common forms of Shiva's dance are the Lasya (the gentle form
of dance), associated with the creation of the world and the Tandava (the violent and
dangerous dance), associated with the destruction of world. In essence, the Lasya and
the Tandava are just two aspects of Shiva's nature; for he destroys in order to create,
tearing down to build again.
14.7.6.4 Characteristics: Nataraja in Sanskrit ( ¸',) means Lord of dance.

Fig. 13.11: Nataraja: The Lord of Dance.

A cobra uncoils from his lower right forearm; the crescent moon and a skull are on his
crest. He dances within an arch of flames. This dance is called the Dance of Bliss i.e.
(aananda taandavam).The upper right hand holds a small drum, shaped like an
hourglass that is called a damaru in Sanskrit. A specific hand gesture (mudra) called
‫ڲ‬amaru-hasta (Sanskrit for ঌamaru-hand) is used to hold the drum. It symbolizes
sound originating creation/the beat of the drum is the passage of time.The upper left
hand contains Agni (fire), which signifies destruction. The opposing concepts in the
upper hands show the counterpoise of creation and destruction or the fire of life. The
second right hand shows the Abhaya mudra (meaning fearlessness), bestowing
protection from both evil and ignorance to those who follow the righteousness of
dharma. The second left hand points towards the raised foot which signifies


 


upliftment and liberation. It also points to the left foot with the sign of the elephant
which leads the way through the jungle of ignorance. The dwarf on which Nataraja
dances is the demon Apasmara, which symbolises Shiva's victory over ignorance. It
also represents the passage of spirit from the divine into material. As the Lord of
Dance (Nataraja/Shiva) performs the tandava, the dance in which the universe is
created, maintained and dissolved. Shiva's long, matted tresses, usually piled up in a
knot, loosen during the dance and crash into the heavenly bodies, knocking them off
or destroying them utterly. The surrounding flames represent the manifest Universe.
The snake swirling around his waist is kundalini, i.e. the divine force thought to reside
within everything. The stoic face of Shiva represents his neutrality, thus being in
balance.
14.7.7 Significance: An essential significance of Shiva’s dance can be explained as:
It is seen as the image of his rhythmic play which is the source of all movement
within the universe. This is represented by the circular / elliptical frame surrounding
the Lord. The purpose of his dance is to release the souls of all men from the snare of
illusion. Lastly, the place of the dance, Chidambaram, which is portrayed as the center
of the universe, is actually within the heart.
Dancing is seen as an art in which the one creates a thought to evoke the oneness of
God and creation. Nataraja is a visual interpretation of Brahman and a dance posture
of Lord Shiva. It is the representation of reality at the time of cosmic destruction; it
would mean the disappearance of all life. The half moon shown in the head of
Nataraja is a symbol. The fall of the moon would result in cosmic destruction. The
image of the Lord as the Cosmic Dancer is shown at the Chidambaram temple, an
unusual fact as Shiva is depicted in an anthropomorphic form rather than in the usual
non-anthropomorphic form of the lingam.
14.8 Modern developments
In 2004, a two meter statue of the dancing Shiva (Nataraja) was unveiled at (CERN),
the European Center for Research in Particle Physics in Geneva. The statue,
symbolizing Shiva's cosmic dance of creation and destruction, was given to CERN by
the Indian government to celebrate the research centre’s long association with India.
Author Fritjof Capra12 (1975 C.E.) first drew a parallel between Shiva’s dance of


 



creation and destruction and the dance of subatomic particles in The Tao of Physics. It
quotes: “Modern physics has shown that the rhythm of creation and destruction is not
only manifest in the turn of the seasons and in the birth and death of living creatures,
but is also the very essence of inorganic matter. For modern physicists, Shiva’s dance
is the dance of subatomic matter.” Shiva’s dance represents the dynamic flow and
‘dance’ of the universe. The dancing universe is a ceaseless flow of energy going
through an infinite variety of patterns, which merge into one another in a dynamic
universal interplay. His dance symbolizes the daily rhythm of birth and death and the
cosmic cycles of creation and destruction. Shiva is a reminder that the many forms in
the world are maya (not constant, but ever-changing), while He is eternally Real as He
continually keeps creating and dissolving the forms in the external flow of His dance.
The Eastern mystics have a dynamic view of the universe similar to that of modern
physics. The parallels of Eastern mysticism and modern physics become particularly
striking when sound is considered as a wave with a certain frequency, which changes
with the sound. Particles are also waves with frequencies proportional to their
energies. According to modern physics, each particle perpetually sings its song and
produces a rhythmic ‘dance of energy in dense and subtle forms.’ Modern physicists
use phrases like the ‘dance of creation and destruction’ and ‘energy dance.’ The
conception of rhythm and dance emerge naturally when one tries to imagine the
discharge of energies going through the patterns that make up the particle world.
Modern Physics and eastern Mysticism, therefore, demonstrate that rhythm and
motion are essential aspects of the phenomenal universe. Another parallel is the
understanding that all matter, whether here on Earth or in outer space, is participating
in a continual cosmic dance. Moreover, both of them agree on the idea of the
emergent and convergent universe. According to Eastern Mysticism, the world of
maya (illusion) changes perpetually, since the cosmic dance of Shiva is a rhythmic,
dynamic dance. In the active principle of the cosmic dance, the entire universe is in
action, manifest and emerging, while in its non-active principle the entire universe has
converged into an unmanifest essence. Similarly, modern physics has discovered the
expanding universe as supported by the kinetics of the Bing Bang theory. And,
presently the universe has been shown as expanding, but at a slower rate than


 


previously due to the changes in the gravitational force. Moreover, the reverse
phenomenon of the collapsing universe will take place at some time in the future,
when the gravitational pull will be greater than the receding force and then the
universe will converge. Behind this dancing pose of Shiva, there seems to be a hidden
cosmic secret of creation and destruction.
14.9 Chapter Conclusion
Shaivism is one of the sects of Hinduism which states the Lord Shiva13 as the
Supreme Being. As per Lingapurana, Lord Shiva creates Kala (Time) that evolves
everything in the universe. There are eight cosmic forms of Lord Shiva and the entire
world consisting of mobile and immobile beings are the gross body of Lord Shiva. As
per Shivapurana the entire universe is pervaded by the great Atman of Lord Shiva. As
per Shaiva Agama, Lord Shiva performs five actions – creation, preservation,
dissolution, concealing grace and revealing grace. Shiva Sutras stated that the entire
universe is in a form of vibration/ movements of consciousness. This is known as
Spanda system of Lord Shiva. Shaktism wherein Goddess Durga is absolute ultimate
Godhead represents as the Supreme Brahman. The entire universe is the
manifestations of Goddess Durga. Shakti and Shiva considered to be the source of all
creation in the universe and powerfully expressed as Ardhanari (half Shakti and half
Shiva). As per Srikula family goddess Lalita-Tripura Sundari is one form of goddess
Mahadevi. As per this tradition Sreechakra/ Sreeyantra is a beautiful and complex
sacred geometry used for worship, devotion and meditation. It signifies a store-house
of power indicates the dynamics of the divine energy represents Brahman who is the
ultimate source of creating the universe. The dancing form of Lord Shiva is known as
Nataraja (King of Dance) who symbolizes two types of dances; first one is Lasya, the
gentle form of dance, associated with the creation of the world and the other is
Tandava, the violent and dangerous dance, associated with the destruction of world.
The cosmic dance of Lord Shiva is depicted as creating the universe and in turn
dissolving the universe to create the universe once again. Author Fritjof Capra
compares this as the dance of subatomic matter of the universe.
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