Dakshinamurthy 4k Images
Tyrell Baskerville
Dakshinamurti means something in Hinduism, Sanskrit, the history of ancient India. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
1) Dakṣiṇāmūrti (दक्षणमूर्त) or simply Dakṣiṇā refers to one of the twenty-three forms (mūrti) of Śiva mentioned in the Pūrvakāmikāgama (pratimālakṣaṇavidhi-paṭala): first and foremost among the Mūlāgama. The forms of Śiva (e.g., Dakṣiṇā-mūrti) are established through a process known as Sādākhya, described as a five-fold process of creation.
Shaiva (शैव, śaiva) or Shaivism (śaivism) represents a tradition of Hinduism worshiping Shiva as the supreme being. Closely related to Shaktism, Shaiva literature includes a range of scriptures, including Tantras, while the root of this tradition may be traced back to the ancient Vedas.
The image of Dakṣiṇāmūrti is the embodiment of wisdom, tranquility and serenity. His plentiful hair falls over his shoulders. As a guru, he teaches his doctrines to his disciples who are collected round him.
Shilpashastra (शल्पशस्त्र, śilpaśāstra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.
In this form, Śiva is represented as seated on a rock in lalitāsana. His right hand is in vyākhyānamudra. Other hands hold sarpa, agni and akṣamāla. The four sages (Sanaka, Sanandana, Sanatkumara and Sanatsujata) are represented as seated on the foreground. The height of these images varies from one and a half feet to four feet.
Vastushastra (वस्तुशस्त्र, vāstuśāstra) refers to the ancient Indian science (shastra) of architecture (vastu), dealing with topics such architecture, sculpture, town-building, fort building and various other constructions. Vastu also deals with the philosophy of the architectural relation with the cosmic universe.
Dakṣiṇāmūrti is a Śaivite iconographical form which appears in Indian art from the later Pallava period onwards. It was a stereotyped installation on the southern devakoṣṭha in any Śiva temple from the early Cōḻa period. Deviating from this established pattern, some of the Viṣṇu temples, called Navatiruppatis, on both banks of the River Tāmiraparaṇi in the Far South of India have these images installed on the devakoṣṭhas, grīvakoṣṭhas, and talas of the vimānas in Viṣṇu temples.
The history of India traces the identification of countries, villages, towns and other regions of India, as well as mythology, zoology, royal dynasties, rulers, tribes, local festivities and traditions and regional languages. Ancient India enjoyed religious freedom and encourages the path of Dharma, a concept common to Buddhism, Hinduism, and Jainism.
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.
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Search found 30 books and stories containing Dakshinamurti, Dakṣiṇāmūrti, Dakṣiṇā-mūrti, Dakshinamurthy, Dakshina-murti, Daksinamurti, Daksina-murti, Dakshina-murthy; (plurals include: Dakshinamurtis, Dakṣiṇāmūrtis, mūrtis, Dakshinamurthies, murtis, Daksinamurtis, murthies). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
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Dear Kalpita, I am glad you read. Yes maa, what you mentioned is right. Natya Sastra elaborates on the Aharya aspect of Abhinaya which covers the make-up and costumes, ornaments, use of specific colours, hair-styles as well as dress code for particular characters. Aharya also includes the stage props and dcor. As regards the hair styles of Apsaras and Nagis, they usually have decorated hair tied up in knot or a bun over the head (kuntala or shirastraka or Alakachuda) . The Nagis are made recognizable with a snake-hood placed over the hair-do. The Apsaras wear gem-studded ornaments and r white costumes. The Nagis wear ornaments of pearls and jewels but the latter must be in the form of fruit. But, these descriptions are only suggestive, it is left to the imagination and enterprise of the artists, makeup persons and the director to innovate and render the presentation attractive and stylish .Regards
Yama, the Lord of Death, is in the southern direction. Usually this is considered inauspicious, for example, we are not advised to do Achamanam, japam or any mangala kaaryam facing south. Some people do not even sit facing south while eating. But pitru tarpanam is sometimes done facing south. Since Yama, being the Lord of death is a dreaded one, Sri DakshinAmUrti who liberates one from eternal death, samsara, is actually face-to-face with Death, challenging him. In other words, Jnana is the panacea for samsara, death. He who gains Jnana is never afraid of death. Death is kAla, and Shiva, Jnana, is kAla-kAla, or Shiva deals Death to that very Death. To signify this we have Sri DakshinAmurti facing south, Yama.
There is a very instructive book: Sri Dakshinamurti Stotram, in English, in Two Volumes, published by Sri Sharada Peetham, Sringeri. The Author is Revered D.S.Subbaramaiya, a Vedantin, Jnanin, who also taught in the Central College, Bangalore, in the Physics Dept. This book, of over 1200 pages in two volumes is a great encyclopaedia of Vedanta. It contains numerous quotations from the original Sanskrit works, some of them very rare, spanning the Vedanta Shastra. It is available with the Sringeri Sharada Peetham for just Rs. 300 for the two volumes and can be ordered online through their website. It is worth studying it for a fair grasp of Vedanta as taught and practiced in the ShAnkara sampradaaya. The first few pages contain a whole lot of quotations on Sri Dakshinamurti tattva that could be of use to this researcher whom you are addressing through your blogs. During my very recent visit to Sringeri I learned that this book is in great demand and will shortly be reprinted.
Dear Shri Subramanian, Please pardon me for the delay in responding to your valuable comment. I was away from home for over a week and could not check Sulekha.I am sorry. I am grateful you found my articles on Sri Dakshinamurthy readable; and I thank you for your sagely observations. I have not read the book on Sri Dakshinamurti Stotram,( in English, in Two Volumes), published by Sri Sharada Peetham, Sringeri., you referred to ; and shall request any of my friends visiting India to get the book. I think I will also send a note to the girl researching on Sri Dakshinamurthy to consult the text. Thanks again. Warm Regards
Your knowledge of Sri Dakshinamurthy lore is truly impressive. Please let me know inconsistencies or misrepresentations you noticed. That would help to better its quality. I shall be grateful. You are always welcome.
I forgot to mention..
There is an Annadana Dakshinamoorthy at the Siva Temple at Thepperumanallur near Kumbakonam (originally called Devarajapuram). The neivedyam for this Lord Dakshinamoorthy is Pazhaya sadham mixed with curd. The rice is cooked the previous night and kept in water. Mixed with curd the next morning and offered.
Usha
Dear Ushasuryamani, I am amazed. Thank you for bringing out the lesser-known form-names of Sri Dakshinamurthy. I was totally unaware of those names and forms. I intend picking up all such forms mentioned by you and add them to the blog. Thank you. Regards
I came across this blog of yours dating back to 2yrs. Shows how much I have to still catch up on! You have gone into great depths of iconography to answer questions on Dakshinamurthy; very enlightening.
mounavyAkhyAprakaTitaparabrahmatattvaM yuvAnaM
varShiShThAntevasadRRiShigaNairAvRRitaM brahmaniShThaiH .
AcAryendraM karakalitacinmudramAnandarUpaM
svAtmArAmaM muditavadanaM dakShiNAmUrtimIDe .
Regarding references to Sri Dakshinamurti, the Suta Samhita of the Skanda Purana narrates about Sri Dakshinamurti. And, the 1000 names of Shiva listed in Linga Purana (1.65 -98) includes Dakshinamurti.
Sri Dakshinamurti incarnation of compassion (Dakshinya) moved by the suffering in the world is Karunya-murti. Similarly the Buddha the very personification of compassion (Karunya) strived to find means to eradicate suffering (Dukkha) of all beings.
Both the Buddha and Sri Dakshinamurti are depicted as great teachers or deities, seated in meditation under a Banyan tree and imparting knowledge and peace to the ardent disciples listening with rapt attention.
Kinkaid talks of his coming upon a cross-hall, several hundred feet long in which he found an idol ,carved out of hard rock , resembling marble sitting cross-legged, with a lotus flower or lily in each hand. Surrounding this idol are smaller images, some very beautiful in form, others crooked-necked and distorted shapes.
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