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Sri Dakshinamurthy iconography and some other questions: Part Two

03 Oct

Continued from Part One

Let’s now come to the questions you framed.

Why Dakshinamurthi facing South direction?

Are there any specialties in south direction suggested in Agamas and in Shilpa Sastras?

‘Kuragasanam’ is one of the type of Asanas?

Can you tell me the types of ‘ Chadamudi ‘(Hair Types?)

Why there are such different types of Dakshinamurthi in South Indian temples?

In North India, we can’t see the Dakshinamurthi idol… Why it is so?

In your sixth chapter, I saw a Dakshinamurthi photo. It is very different. Can you tell me from where it is?

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 A. Why Dakshinamurthi facing South direction?

1.1. The direction towards which a temple-deity faces depends upon its disposition and attributes. It also is according to this triple orientation – towards the Sun, towards the centre, towards man. The majority of the preserved temples do face the east, but it is not necessary that they physically must. The other directions could be described as being east. To the tantrics that have some obscure symbolism about Sunrise in the east, the directions of south, west and north each have relative value or significance. In Tantra, any direction may notionally be taken to represent east.

1.2. Most temples face east, because it is believed that the doorway of the sanctum facing east is best (uttamottama – most auspicious); west is next best (uttama); even south is permissible (madhyama); and to the north it is inferior (adhamam), not desirable. (Vimanarchana-kalpa patala 3)

2.1. As regards Sri Dakshinamurthy, as you mentioned, he most usually faces the South (except perhaps in few cases such as in the temple at Tiru Anjaikkalam in Kerala where Sri Dakshinamurthy faces east). The south-orientation of Sri Dakshinamurthy appears to be based on the notion that he is seated in the Himalayas looking towards the land-mass where the aspirants reside; that is towards south.

2.2. Another way of understanding it is; Suta –samhita describes the five faces or five aspects of Shiva which are turned towards four cardinal directions and the space above, as: on the West: Sadyojata (representing earth, and pervading ego); on the North: Vamadeva (water and manas); on the South: Aghora (fire and Buddhi); on the East: Tatpurusha (air and maya); and above all: Isana (akasha and soul).

The South face of Shiva is Aghora .It is to your right-hand-side (Dakshina) as you stand facing the Linga of Shiva. Aghora (that which is not dreadful) is the benevolent, benign face of Shiva; and it is directly related to Vidya (the knowledge that liberates) and then to fire (illumination) according to Vatulagama (1.67-69).

Aghora the benevolent is predominantly of sattva nature with minimal of rajas and tamas. It is a state of pure being and energy. It is pure knowledge (para-vidya); and, Sri Dakshinamurthy represents that knowledge.

Sri Dakshinamurthy who corresponds to Aghora the south aspect of Shiva is therefore represented facing south.

3.1. Another, perhaps more plausible, reason could be the one that has to do with the nature and disposition of Sri Dakshinamurthy.

According to the Padma-samhita (kriya-pada 2, 33-34) the door of the sanctum facing east is productive of happiness; the door facing the west enhances health and nourishment; the door facing north brings wealth and prosperity; and the sanctum door facing south makes for liberation.

Since Sri Dakshinamurthy the Adi-Guru teaches knowledge (jnana-karaka) that liberates (mokshadam) it seems appropriate he faces south, according to Padma samhita.

B. Why Dakshinamurthy?

4.1. It is mentioned repeatedly that he is called Dakshinamurthy because he is facing south.And also because the deity is placed in the southern quarter of the temple .Some say ; the name of the deity may have been derived because of this practice.  However, there are few other explanations too.

4.2. According to Tantra tradition in which Sri Dakshinamurthy is a revered Guruof the Kadi (samaya) School, the term Dakshina means a woman and refers to the feminine principle, which can create, unfold and manifest. When Dakshina assumes a form along with Shiva it results in Dakshinamurthi an androgynous aspect of Shiva. The Tantra tradition Dakshinachara regards and worships Sri Dakshinamurthy as Ardha-nari.

4.3. The great seer Sri Ramana Maharishi who perhaps is closest to Sri Dakshinamurthy in his ideals and in his teaching methods, explained the term as Dakshina + Amurthy, meaning a formless entity, one which is capable but is without form.

दक्षिणः सृष्टि स्थित्यन्त विरचना निपुणश्चासौ परमार्थत अमूर्तिश्च आकारविशेषरहितः |

Dakshina refers to He, who is competent to create, sustain, and dissolve this Universe; and, who, however, in reality, in his Absolute state, is A-murthy i.e. formless.

4.4. It is also said; Dakshina refers to Buddhi (intellect), the vision which has the capacity to perceive Brahman (Akhandaakara Vritti ) in His non-dual or formless state (A-murthy). Thus, the Brahmavadins  refer to Dakshinamurthy as that Buddhi in each of us – (Dakshinamurthy Upanishad– Verse 31)

शेमुषी दक्षिणा प्रोक्ता सा यस्याभीक्षणे मुखम् ।दक्षिणाभिमुखः प्रोक्तः शिवोऽसौ ब्रह्मवादिभिः ||

4.5. He is called Dakshinamurthy because of his boundless compassion (Dakshinya) towards all creation.

4.6.Dakshina , it is said , also means favourable (anukula ) to the devotee.

4.7. Dakshina is also interpreted as grace. Sri Dakshinamurthy is regarded the very embodiment of grace .It is explained that ‘grace’ (anugraha) is an act of unbound compassion releasing the individual from the coils of samsara. As Guru, he is the sublime ideal of spiritual wisdom adorned with grace towards all aspirants. And, only through his grace can one attain liberation.

4.7. And, It is also mentioned that the term ‘daksha’ denotes one who is capable, skilful or an expert. Daksha also signifies the intelligent or competent. Dakshinamurthy is the Daksha, the Master in music, arts and in all that is accomplished artistically; an exponent, an authority on scriptural learning; an adept in Tantra-vidya; a supreme Yogi; and a teacher beyond compare who teaches the true knowledge that liberates.

4.8. Sri Shankara, in his Dakshinamurthi Stotra, offers salutations to Sri Dakshinamurti,  the abode of all wisdom; the Supreme Guru; the teacher of all the worlds; and, the healer of all the ills of existence

निधये सर्वविद्यानां भिषजे भवरोगिणाम्  गुरवे सर्वलोकानां दक्षिणामूर्तये नमः

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C. Are there any specialities in south direction suggested in Agamas and in Shilpa Sastras?

5.1. Orientation is an essential aspect of the yajna and construction of the yajna vedi, the temples, the towns and buildings. Meticulous care is taken to ensure location of those constructions exactly along the desired axis. That was because of the belief that each direction was complimented by the attributes associated with the gods who presided over it. The directions were therefore of much significance to the Vedic people.

5.2. The traditional texts describe the arrangement and attribute of the Dikpalas the Regents who preside over directions. This arrangement is generally followed in the Tantra texts as also in astrology, architectures and Vastu. The classification is briefly as under:

Indra the king of Devas, the Lord of the heavens dwells in the East, which represents power and courage.

Yama the protector of the Law (Dharma raja), guardian of the ancestors and the king of the Dead dwells in the South, which represents justice and the care of the ancestors.

Varuna the protector of rta the cosmic law; guardian of rites; lord of destiny and the lord of water element dwells in the West, which represents knowledge.

And, Kubera the king of Yakshas and the lord of riches dwells in the North, which represents an upper position and wealth.

5.3. Since we are talking about the south direction in particular, let’s take a look at it.

In the context of the yajna, the Southern gate is reckoned as the way of the ancestors the pitris; and, the offerings to the departed ancestors are always submitted facing South.

Yama is the Regent and protector of the South. Yama the lord of death is depicted as the embodiment of righteousness, the Dharma;   and he is the king of justice, the Dharma raja. He judges the dead; but, he is amenable to pity and reason, as it happened in the case of Savitri and Pramadvara* in the Mahabharata. 

savitri-yama-1  pramadvara

[ * Pramadvara (pramadaam varaa, the best among the most beautiful) was the daughter of Menaka, the Apsara (celestial nymph) and Viswavasu, the king of Gandharvas. Since Pramadvara was abandoned by her parents, Rishi Sthulakesa raised the most delightful little girl with great care and love. Later in her life, just on the eve of her wedding with her beloved Ruru (son of hermit Pramati and damsel Ghritachi) Pramadvara  died suddenly , bitten by a snake. Ruru, the heartbroken bridegroom,  in deep sorrow and bewailing appeals to gods (Devas) to restore his Love Pramadvara  to life. Yama, the Dharmaraja, moved by pity and sympathizing with the plight of Ruru agrees to bring Pramadvara back to life; but, on condition that Ruru should  gift half of his remaining lifespan (Ayu) to her.  Ruru readily agrees to Yama’s rider with alacrity; Pramadvara comes back to life; and, immediately marries Ruru without losing time. The happy parents later beget a son Sunaka. And, his son   Saunaka, later,  as the chief of the Rshis,  performed a very long Yajna in the Naimisha forest (Naimisaranya). Saunaka is the one who heard the recitations of Mahabharata and   Srimad Bhagavata   from Suta and his son Ugrashravas. Saunaka, in turn, narrated these epics.  Saunaka is credited with monumental works, such as the Anukramanis ( a sort of Vedic Index) , Brhaddevata (which narrates  the legends of the Vedic gods ) and Rg Vidhana  (which explains each rk in the context  of the Srauta and Gruhya Sutras)]

Yama is also an adept in Atma-vidya, the knowledge of Self.In the katha Upanishad, Yama, explains to boy Nachiketa: “that knowing which, everything else becomes known?”

Yama Nachiketas by Shri Nanda Lal Bose

Sri Dakshinamurthy too was an adept in Atma-vidya. (I am not suggesting a connection).

D. Kuragasanam’ is one of the types of Asanas?

6.1. The Shilpa texts (Ahirbudhnya samhita and others) together describe as many as twenty asanas or sitting postures. They also describe about eleven types of seats or pedestals, also termed as asanas, on which the iconic representations are lodged.

The Kuragasana you mentioned is in fact Kurangasana. It merely refers to the fact that Sri Dakshinamurthy is seated on a throne or pedestal or a seat covered with deer-skin. Kuranga, in Sanskrit, refers to Indian antelope. In Poet Jayadeva’s celestial poem Gita Govinda, Sri Radha covered in the fragrance of Kasturi (deer’s fat or musk) is described as kuranga madena .Please click here for a glossary of animal/creature names mentioned in the texts.

E. Can you tell me the types of ‘ Chadamudi ‘(Hair Types?)

7.1. Providing elaborate, graceful and attractive hairstyles (Kesha vinyasa or kesha-alankara), which besides enhancing the beauty of the sculpture would also bring out the status, the nature and the attribute of the subject, received a great deal of attention. This was one area along with ornamentation (alamkara) where the shilpis could give wings to their imagination and enterprise; and exhibit originality. Some Shipa texts carry a chapter usually titled Mauli lakshanam, but there is no comprehensive list of hair styles. Some names are not supported by illustrations; and therefore we do not know what those style-names imply. And in some cases the names of the headgears (kirita or mukuta) have got mixed up with the names of hair styles.

 Kuntala0002Mauli0003

The following are some of those Kesha – vinyasas, so far as I know .This is not exhaustive.

(1) Jata-mukuta: A hair-do; hair arranged in long braids and then tied around. It is raised into conical form resembling a crown. The height of the jata-mukuta would be about 1 ½ times the length of the face. (Shiva, Brahma)

   Jatamakuta2Jatamakuta

(2) Jata-bhara: long strands of hair let lose flowing down on to the shoulders, around the ears. It could be either neatly combed stylishly and decoratively; or be just dishevelled.(Shiva , Dakshinamurthy)

Jatabhara 

(3) Jata-mandala: Long strands of thick hair woven into three braids are wound in circular forms and held behind on the neck like a disc or a fan. Its other variation is: some braids are let flowing on to shoulder and back. (Shiva)

  sarpanaulisapamauli20002

(4) Sarpa-mauli: Thick strands of hair are woven (pigtailed) to look like snakes; and, tied up and arranged turban-like. The hair-do would look like a turban made of snakes.(Shiva)

(5) Jata-bandha: Strands of hair made rope-like are wound into ball-shape or spindle-like and placed atop the head. (Rishis, Devas, Narada)

Jatabhanda

(6) Vikirna-Jata-bandha: Strands of hair made rope-like are spread out to flow on the back, on the shoulders. When the person dances or spins around, the hair- do spreads and whirls in the air. (Nataraja)

(7) Agni-kesha: strands of hair either loose or pigtailed spread out horizontally like the tongues of a spreading flame. (Agni, shakthi, aggressive characters)

 Agnikesha

(8) Kesha –Bandha: The strands of hair are neatly combed and arranged into various conical forms of a series of diminishing tiers and placed in position by tying up the arrangement securely. There are varieties of decorative and stylish hair arrangements under this category. In most cases the conical hair-do is arranged to look like a mounted crown and decorated with ornaments. There are countless variations. (Devis and Queens).

keshabandhakeshabandha4

(9) Shirastraka: strands of hair are neatly combed, made into number of bunches and each tied into number of small knots to look like rows of water-bubbles. The ends of each bunch are tied into small ball-like knots; and arranged on top of the head. (The Buddha)

 buddha-head-drawingbuddha hair

10) Kuntala: Long locks of hair neatly combed, parted three-ways and tied into decorative shapes or ball-like, mounted on top of head either to one side or to the middle of the head. The ball-like arrangement when it is to one side of the head is just over the over the ear .The hair-do is well ornamented. (Andal, Sathyabhama, Balakrishna)

Kuntala40002aKuntala5

(11) Dhummila: collecting the hair, tying up the bunch into knots of various shapes. Bunched knot is usually placed behind. It is usually as broad as the person’s face; and wound into three or four rounds. (Devis, Queens)

  Dummila3

(12) Alakacuda: Specially suited for curly hair. It could be used in depictions of children, women or even men. Hair is neatly parted in the middle and made into two bunches one on the right and the other on the left. Then the bunch on the left is brought over to the right; and similarly the bunch on the left is brought to the left. They then are together tied into ball shapes; and held behind or to the side of the head. Tiny wisps of hair are arranged around the face, like bees around a flower. This depiction is extensively used.(women in queens quarters, and other general use)

F. Why there are such different types of Dakshinamurthi in South Indian temples?

8.1. We discussed in fair detail the variations in the depictions of Sri Dakshinamurthy image. Well…the aspect of the divinity one chooses to worship depends on one’s needs and aspirations. As you noticed, the Vyakhyana, medha – Jnana versions and their combinations appear to be popular .They are worshipped praying for scriptural knowledge, intelligence and spiritual progress.

G. in North India, we can’t see the Dakshinamurthi idol… Why it is so?

9.1. I agree, Sri Dakshinamurthy shrines are more in number in the South. But, Sri Dakshinamurthy is worshipped even in the North; and there are some temples dedicated to him. As we already saw, Sri Dakshinamurthy is worshipped in Linga form at the Shiva temples in Kathmandu (Nepal) and in Ujjain. I understand there is an old temple dedicated to Sri Dakshinamurthy in Varodra.

9.2. Shri Dakshinamurti Pitha (Varanasi), with the temple of the deity, is an ancient one. Its history goes back to about the tenth century. The Math is still in active service and the worship continues.

9.3. The Dakshinamurthy tradition was prevalent in Kashmir region too. Abhinavagupta’s teacher (11th century) pleased with his student’s excellence compares him to Sri Dakshinamurthy. Later, Madhuraja Yogin a student of Abhinavagupta reveres his Guru as an incarnation of Sri Dakshinamurthy.” He sits like Dakshinamurti himself as though he has taken an incarnation in Kashmir….May the glorious Dakshinamurti in the form of Abhinava, who is an incarnation of Shrikantha and who has come to Kashmir out of deep compassion, protect us.”

9.4. The noted scholar Shri TA Gopinatha Rao in his book Elements of Hindu iconography (p 273 vol. 2, First edition, 1914) identified a niche figure in the temple of early sixth century at Deogarh MP as Daksinamurti.

9.5. The worship of Sri Dakshinamurthy perhaps travelled along with the Indian traders of 10th -11th century to Far East. The Phnam Rung Siva temple, Pimay , a Khmer temple complex built during 10th to 13th century in North east Thailand, has a panel depicting Sri Dakshinamurthy in a teaching posture.

9.6. For some reason, the shrines of Sri Dakshinamurthy are not many in North India. I am sorry, I am not aware of its precise reason.

dakshina at Siddheswar temple

H. In your sixth chapter, I saw a Dakshinamurthi photo. It is very different. Can you tell me from where it is?

10.1. I presume, you are referring to the following picture.

It is a creation of Shilpi Siddanthi Sri Siddalinga Swamy of Mysore. He crafted the image in the early stages of career while he about twenty years of age (1903?). I understand the image is located in the caves of the Sri Shambhulingeshwara Hills (Chilakawadi Betta) near Chamarajanagar. Sri Dakshinamurty is depicted seated in Yoga in utkutikasana  with both the legs drawn up on to the seat , bent and crossed  like scissors and held in position by paada-patta or Yoga –patta (as in Yoga Nrusimha) which passes round the legs and the body , The four armed figure is holding akshamala in upper-right-hand; veena in upper-left-hand ( he is just holding it , but not playing on it ); a palm- leaf text in the lower-left-hand ; and gesturing vyakhyana mudra  in the lower-right –hand. A prabhavali is placed behind the figure of Sri Dakshinamurthy.

It looks different, as you said, because it is a combination of three aspects of Sri Dakshinamurthy: the Yoga-murti, the Vina-dhara and the vyakhyana-murthi. It is Yoga because it is sitting in yogic posture; vina-dhara because it is holding in its back left hand a veena; and it is vyakhyana-murthi because its front right hand is in vyakhyana-mudra, while its front left hand is holding a text.

It is said; the full view of the sculpture reveals that the deity is sitting under a banyan tree; the figures of six Rishis are carved on the lower portion of the pedestal; and Nandi with four arms and human body is standing besides the Rishis.

The sculpture, it appears, was inspired by a similar depiction placed in a niche at the Shiva temple in Nanjangudu ; and , by an illustration in Sritattvanidhi  of Sri Krishnaraja Wodeyar III the then Maharajah of Mysore (1794-1868).

Sri Dakshina murti

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I trust this might be of some use to you .Please also check the references/links I provided. I wish you Godspeed in your project and in all your endeavours. Regards.

Sources and references

I gratefully acknowledge the line-drawings Of Kesha –vinyasa, hair styles From the wonderful text Brahmiya chitra karma sastram by Dr. G Gnanananda

Elements of Hindu iconography by TA Gopinatha Rao

Elements of Indian Art by SP Gupta and SP Asthana

Devalaya vastu by  SK Ramachandra Rao

http://www.treasurehouseofagathiyar.net/07300/7314.htm

http://www.tamilnation.org/literature/pathumakkoththan.pdf

http://manasataramgini.wordpress.com/2005/11/15/a-description-of-abhinavagupta-by-madhuraja-yogin/

http://www.tamilnation.org/heritage/chola/deivanayagam.htm

http://www.tamil.net/list/2000-12/msg00795.html

http://ssubbanna.sulekha.com/blog/post/2009/08/dvarapalas.htm

Other picture from Internet.

 
13 Comments

Posted by on October 3, 2012 in Dakshinamurthy

 

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13 responses to “Sri Dakshinamurthy iconography and some other questions: Part Two

  1. thisisvj

    December 7, 2012 at 11:40 am

    In many places, I have read about 21 important temples of Lord Dakshinamoorthy…could you please list the same.

     
    • sreenivasaraos

      December 7, 2012 at 1:51 pm

      Dear Thisisvi, Temples where Dakshinamurthy is the chief deity are small in number. Generally, in Chola temples- both of Shiva and Vishnu- a niche in the south wall of the central shrine holds the image of Sri Dakshinamurthy. In all those temples the idol of Sri Dakshinamurthy is either carved on the wall; or placed in a niche or in a small shrine. Many temple towers too carry various versions of Sri Dakshinamurthy image.
      Sri Dakshinamurthy forms are immensely diversified; there are too many versions of his form. There are too many temples to be listed.
      However, my friend Smt Ushasuryamani had earlier made a list of Sri Dakshinamurthy idols she visited during her pilgrimages. I am reproducing extract from list. Trust this might help.This exhaustive ; but not complete.
      : At Agaram 12 kilometres from Kanchi on the kanchi-Arakonam road. ( This is called Govindavadi) Sri Dakshinamoorthy is worshipped as Guru here. A separate Temple with very interesting Features.
      : At SuruttappaLLi one can see Shree Dakshinamoorthy as Koshta Devatha with His Consort…something unusual. He is called Daampathya Dakshinamoorthy.
      : At Puliyarai near Thenkasi, Zodiac signs are supposed be there in front of Him.
      :At Punjai near Semponaar koil, Naagai district, Most beautiful Dakshinamoorthy red in colour.
      : At Thirunaavalur near Panrutti…Sri Dakshinamoorthy standing with the Rishabha.
      :At Lalgudi, Sri Saptharisheeswarar Koil..Veena Dakshinamoorthy.
      : At Thiruppunnavasal…5 1/2 feet tall Lord Dakshinamoorthy.
      : At Omaampuliyur near Kaattumannarkoil…Not only is He a Koshta Devatha..He is between Siva & Ambal Sannidhis five and a half feet high.
      : At Vallalaar Koil near Mayavaram, an important Dakshinamoorthy sthalam; Seated on Rishabham.
      : At Alangudi
      :At Thrisoolam Squatting Dakshinamoorthy.
      : At Thirukkattuppall i near Thiruvaiyaru, can see two Dakshinamoorthy roopams in two prakarams at the same time
      : At Thiruvayyaru Big temple…Hari Guru Shiva yoga Dakshinamoorthy with tortoise at His feet giving Maha Vishnu Panchaakupadesamshara
      : At Pattamangalam (Sivaganga)..He is seated under a 1000 year old Saal Tree.
      :At Thirunedungulam near Thiruverumbur, Yoga Dakshinamoorthy in Padmasana , as in Uththarakosamangai.
      : At ILambayankottur near Madras Right hand on His left chest.
      :Thakkolam Uthkada asana
      : At S Pudur (Sengarangudi) on the way to Konerirajapuram from Kumbakonam…all the Grahas are at HIs feet (I have not seen this place)
      : At Thiruppoonthuruthi, sitting on Lotus & playing the Veena.
      : At Thingalur near Thiruvayyaru, seated with Palm leaves in His Hands.
      : There is a relatively new temple near the huge Anjaneya Temple, Thiruvallur.
      : There is also a beautiful Temple Medha Dakshinamoorthy in Theni at the Swami Omkarananda Ashram. He is so beautiful.
      : At Annadana Dakshinamoorthy at the Siva Temple at Thepperumanallur near Kumbakonam (originally called Devarajapuram).
      : At Thirunageswaram, he is near Amman Sannidhi with Thrisulam & Rudraksham in the hands behind.
      : At the Badami cave temple He is in the form of Ardhanareeswara, holding a Veena.
      *In the Tanjore Baladandayuthapani, he is with Ambal as Sakthi Dakshinamurthy.
      *In the Kazhugumalai Vettuvan Temple Vimana, He is there on the South side playing the Mridhangam.

       
  2. thisisvj

    December 13, 2012 at 12:18 pm

    @sreenivasarao thank you so much for your detailed reply. In the process of seeing these temples. Hope this can be expanded to include more, in future.

    Sorry for disturbing you again & again…pl help me to get the following text in english or tamil or audios in sanskrit please:
    1. Sri Nandhi, the bull vehicle of Lord Shiva had sung 8 verses in praise of Lord Dakshinamurthy (as explained in http://temple.dinamalar.com/en/new_en.php?id=456)
    2. Sri la Sri Sivagnana Desiga Swamigal, the Tenth Maha Sannidhanam of Dharmapuram has sung the praise of Lord Dakshinamurthy in ten stanzas which go by the name “Sri Dakshinamurthy Thiruvarutpa”.
    3. Maha Vidwan Meenakshi Sundaram Pillai has sung the Sthala Puranam of Vallalar temple in Tamil (as explained in http://tiruvannamalai.co.in/tiruvannamalai-ashram/vallalar-koil.php)
    4. advaita devatam and dakshinamurthy (am unable to comprehend this – please help)
    5. Chintamani Dakshinamurthi Stotram (as found in http://www.kamakotimandali.com/stotra/chintamanistava.pdf)

    Further, please help me to understand/read/learn more about my craze Lord Dakshinamoorthi. I have only heard and read these: http://www.flipkart.com/sri-dakshinamurthy-stotram/p/itmd6zew653m7gr3. Would be happy if there is a compilation of reference to Lord Dakshinamoorthi as found in various ancient scriptures (like, Suta Samhita). If there is one, please help me to access it or else guide me to create it.

    Thank you so much Guruji…for giving me a platform and space to ask my doubts. Much blessed and obliged.

     
  3. thisisvj

    December 17, 2012 at 5:49 am

    ji…did you receive the set of questions I posted last week since it did not appear in your blog. pl clarify. thanks n regards…

     
  4. thisisvj

    December 20, 2012 at 12:04 pm

    Much obliged & blessed with your replies and kindly help me understand this.

    Requesting you earnestly to direct me on knowledge resources in Tamil, Sanskrit, in writing and on mp3/audios of the following:
    1. Sri Nandhi, the bull vehicle of Lord Shiva had sung 8 verses in praise of Lord Dakshinamurthy which is recommended to devotees for prayer and chanting for relief from arrogant qualities and to attain wisdom at sri Vadaranyeswarar temple. (as in http://temple.dinamalar.com/en/new_en.php?id=456). Please help me to get that.
    2. Further in the same sri Vadaranyeswarar temple mentioned above, a hymn was written on Lord Dakshinamurthi in Tamil. Please help me to get that.
    3. Just wanted to know if there is any compilation available on various verses about Lord Dakshinamoorthy found in ancient scriptures (like in Suta Samhita, etc…) or else help me to compile the same.
    4. Till date I was able to hear & read only the following stotras on Lord Dakshinamurti as in http://www.flipkart.com/sri-dakshinamurthy-stotras/p/itmd6zcevbfdwz6p?pid=DGAD6ZA4HGWYGHMH…Please help me to locate more stotras on Thy.
    5. Kindly enlighten me on Brahma Sutra & its connections with Lord Dakshinamurthi; further whether Lord Dakshinamurthi and Dakshinamurthi School of thought is connected?

    The seventeenth paasuram of Alwar’s Thirumazhisai is another beautiful one that describes the parathvam of Sriman NaarAyaNan . Here , hedescribes the relationship between DakshinAmUrthy ( Lord SivA sitting under the pupil tree and explaining sakala–sAsthrArthams with His silence to the four rishis , Dakshar ,Agasthyar , Pulasthyar and MaarkanDeyar ) and Sriman NaarAyaNan . Am unable to trace the script of 17th paasuram in tamil.

    Please pardon me if my doubts were silly.

    Your part 1 & II of this article is mesmerizing me again & again whenever I look at it. Enjoyed & enjoying with your blessings.

     
    • sreenivasaraos

      December 21, 2012 at 5:52 am

      Dear thisisvj , I am posting below a reply received from Smt. Usha Suryamani , an erudite person in these subjects. Please follow her views. In the meantime , I shall also try.
      Regards

      Dear Shree Rao
      There is one gentleman called Raju, who posts extensive blogs on all
      the Temples and he has posted a blog on this particular temple-
      Vadaranyeswarar Temple, Mayavaram. Your friend can just log into
      Raju’s Temple blogs and key in Mayavaram temples and see the history
      of the Temple which talks about Nandi deva’s arrogance and and Lord
      assuming Dakshinamurthy swaroopa and initiating him.. I have been to
      this beautiful temple. Mr Raju can be contacxted through this site and
      all doubts cleared.

      As for the Thirumazhisai aazhwar Paasuram, I only
      know that this Aazhwar was a staunch Saivaite before he got coverted
      into a staunch Vishnavite by Peyaazhwar, I think. And there are 15
      Pasurams by him and one talks about how Sriman Narayana created Brahma
      and from Brahma came Siva… I don’t have any knowledge of 17th
      pasura. Shall enquire from my Vaishnava friends and let you know in a
      couple of days.

      Thank you
      Warmest regards.

       
  5. thisisvj

    December 20, 2012 at 12:18 pm

    Much obliged & blessed with your replies and kindly help me understand this.

    Requesting you earnestly to direct me on knowledge resources in Tamil, Sanskrit, in writing and on mp3/audios of the following:
    1. Sri Nandhi, the bull vehicle of Lord Shiva had sung 8 verses in praise of Lord Dakshinamurthy which is recommended to devotees for prayer and chanting for relief from arrogant qualities and to attain wisdom at sri Vadaranyeswarar temple. (as in http://temple.dinamalar.com/en/new_en.php?id=456). Please help me to get that.
    2. Further in the same Sri Vadaranyeswarar temple mentioned above, a hymn was written on Lord Dakshinamurthi in Tamil. Please help me to get that.
    3. Just wanted to know if there is any compilation available on various verses about Lord Dakshinamoorthy found in ancient scriptures (like in Suta Samhita, etc…) or else help me to compile the same.
    4. Till date I was able to hear & read only the following stotras on Lord Dakshinamurti as in http://www.flipkart.com/sri-dakshinamurthy-stotras/p/itmd6zcevbfdwz6p?pid=DGAD6ZA4HGWYGHMH…Please help me to locate more stotras on Thy.
    5. Kindly enlighten me on Brahma Sutra & its connections with Lord Dakshinamurthi; further whether Lord Dakshinamurthi and Dakshinamurthi School of thought is connected?

    The seventeenth paasuram of Alwar’s Thirumazhisai is another beautiful one that describes the parathvam of Sriman NaarAyaNan . Here , hedescribes the relationship between DakshinAmUrthy ( Lord SivA sitting under the pupil tree and explaining sakala–sAsthrArthams with His silence to the four rishis , Dakshar ,Agasthyar , Pulasthyar and MaarkanDeyar ) and Sriman NaarAyaNan . Am unable to trace the script of 17th paasuram in tamil.

    Please pardon me if my doubts were silly. I understand Internet is not the final place to search many of these. But please guide me.

    Your part 1 & II of this article is mesmerizing me again & again whenever I look at it. Enjoyed & enjoying with your blessings.

     
    • sreenivasaraos

      December 20, 2012 at 6:59 pm

      Dear thisisv , pardon me for the delay in responding to your questions. Sadly , my familiarity with Tamil is minimal ; and I have not read the stotras in Tamil.
      However , I will try to get at the translations and shall get back to you.
      I have also requested a friend to guide me. Lets hope it works.
      Regards

       
  6. thisisvj

    December 24, 2012 at 10:09 am

    @Usha Suryamani ji…thanks for your dedicated reply. Me too an ardent follower of Raju’s temple visits…sure, will heed your advice.

    @sreenivasaraos ji…I remain obliged for you and your dedication in getting solutions for anything. Will wait for your detailed reply. As requested please help me to build a Lord Dakshinamurthi Database…I know…its not that easy but with peoples like you around, it shouldnt be impossible either.

     
  7. Nischal

    February 25, 2013 at 9:26 pm

    Thanks for the very deep knowledge shared about my Guru Deva!!

     
    • sreenivasaraos

      February 26, 2013 at 1:33 am

      Dear Nischal , Thank you for the appreciation. Please do read the other articles too , listed under “categories’
      Regards

       
  8. typical question

    July 5, 2013 at 6:21 am

    It’s nearly impossible to find knowledgeable people about this topic, however, you seem like you know what you’re talking about!
    Thanks

     
    • sreenivasaraos

      July 5, 2013 at 6:31 am

      Dear TQ, Thank you for the appreciation.
      Please do read the other articles too.
      Thanks
      Regards

       

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