ShaḌguna (six gunās)

Paravāsudeva and the ShaḌguna (six gunās)

 

The Pāncarātra āgama system is also known as the sāttvatashāstra (belonging to sattva). Sattva commonly known as mode of ‘goodness’ is better understood as the visibility of these effects (not limited by these but can be used for approximation):

1.     Shoba – Splendour

2.     Vilāsa – Grace

3.     Mādhurya – Self-Possession

4.     Sthairya – Steadiness

5.     Gāmbhirya – Dignity, composure

6.     Lalitā – Elegance with charm

7.     Aūdārya – magnanimity

8.     Cāturya – beaming with intelligence

9.     Tejas – Brilliant aura / Shining

 

Pāncarātra āgama is all of the above and more. Pāncarātra āgama adopted vedic concept of rituals for forms of temple worship and festivals, paurānic concept of creation and philosophy from Upanishads. Therefore, the āgama is also known as siddhānta.

The Pāncarātra āgama (or Sāttvatashastra) is concerned with the direct method of worship of the Brahman (The Supreme Being – Lord Sriman Nārāyana) and hence is considered as the best of all systems. The Ultimate Reality within the Pāncarārtra system is Sriman Nārāyana with his consort Sri Lakshmi characterised by eternal bliss and free from all undesirable qualities.

आनन्द लक्षणं ब्रह्म सर्व हेय विवर्जितम्

ānanda lakshanam brahma sarva heya vivarjitam || (Jayakha and Pādma Samhita)

 

Creation

In Ahirbhudniya samhita (Ch. 46) it is explained that He is beyond the reach of all beings, out of His (karuna) compassion comes forth His first form called (sūkshma) Vāsudevā (In short, the holder of all vastu (Universe and beyond), therefore vāsudeva). He is said to have crystal like complexion in yellow garment, is seated in the heart of beings and seen by Catur mukha Brahmā as the highest form of Lord Vishnu light in meditation (….tad Vishno: paramam padam || verse 12, Chapter 2, Pādma Samhita).

From the sūkshama Vāsudeva emanates sthūla Vāsudeva aka Para vāsudeva and Nārāyana with four arms and in blue (nīla). Thus arise vyūha vāsudeva from who arises shankarshana, Pradyumna from shankarshana and Aniruddha arises from pradyumna. These four are said to constitute CaturBrahman (not the same as Catur mukha Brahmā/Lord Brahmā). Brahman is derived from the root brh meaning to be unlimited in nature, to ever increase in both nature of attributes and of essential nature – the Supreme/Ultimate Reality. And Brahmā means coming from that Brahman or Sriman Nārāyana.

Lakshmi is ever with Brahman. Lakshmi is the state of existence (bhava) and Narayana is the existent reality. The two together constitute Brahman according to Lakshmi Tantra. Sri is also called Shakti in Lakshmi Tantra of Pāncarātra āgama.

 

अपृथग्भूतशक्तित्वात् ब्रह्म अद्वैतं तदुच्यते

Aprtagbhūtashaktitvāt Brahma advaitam taducyate || (Lakshmi Tantra Chapter 2 verse 11)

The two are inseparable and one cannot exist without the other (Lakshmi Tantra chapter 2, verses 17 and 18). If Lakshmi is the Dharma then Nārāyanā is the Dharmin.

 

ShaḌguna – The Six Qualities

Whilst The Brahman (Lakshmi and Nārāyana together) has unlimited (auspicious) qualities and without even a shade of undesirable qualities, The Brahman is said to have six main qualities explained in Ahirbhudniya Samhita (Chapter 2, verses 56 to 60) and Lakshmi Tantra (Chapter 2 from verses 28):

1.     Jñāna – Non inert, Eternal and Self-Luminous

2.     Bala – Strength without fatigue

3.     Aishvarya – Lordship / activity that is unchecked and is not dependent on anything external to it

4.     Vīrya – Unchanging virility in spite of being the material cause

5.     Shakti – Potency that becomes the material cause

6.     Tejas – Splendour/Brilliance which is capable on inflicting defeat on others without any external assistance.

 

These six qualities link to the Taittirīya Upanishad – ānando brahmeti vyajānāt (Brighu valli) and in Sri Brahma sutra – tadgunasāratvātttu tadvyapadesha: prāgyavat (2/3/29).

The saḌguna appear when Lakshmi manifests – the six gunas are non-material in nature. As they appear they form the body of Vishnu who gets the name Vāsudeva (Ahirbhudniya Samhita verses 26 to 29 Chapter 5) and work in groups:

1.     Vishramabhūmi – Jñāna, aishvarya and shakti

2.     Sramabhūmi – Bala, vīrya and tejas.

The first three are given the name vishrama (as in vishrām – to rest) meaning whilst the second group is active the first group is dormant.

 

Pairing ShaḌguna

Each are now combined into pairs:

In Vāsudeva all six are active, in Shankarshana jñāna and bala are dominant, in Pradyumna aishvarya and vīrya are dominant and in Anniruddha Shakti and tejas. Each vyuha vigraha are represented so to explain their definitive purpose and are not to be seen as different from one another (Lakshmi Tantra).

 

 

Iconography of Shiva/Rudra

A request recently came through on Shiva symbology, whilst I am no expert in Shaivam, the general principles remain the same in interpreting a form of art. The interpretation below is by no means complete because each one of us could potentially derive a new meaning from the art from our own inspirations.

I reference this blog on my learning from teachers of Dharma with guidance using the following books: Gopinatha Rao, T. A. (1919), ‘Elements of Hindu iconography’ and Parthasarathy, A. (2007), ‘The Symbolism of Hindu Gods and Rituals’.

 

Introduction

 The iconography of (Hindu) Goddesses and Gods are generally not very uniform, it changes according to the one’s creativity, however, the general rules and principle in Shaiva āgama are certainly adhered to when it comes to temple sculptures. I will use one such symbol of Lord Shiva to explain there is more to it than what you see in the pictures, as a symbol of the principle, in your homes or in temples or elsewhere.

 Although there is uncertainty around when Rudra and Shiva became to be known as one, there are verses in Pādma purāna, Shvetashvatara Upanishad, in Taittiriya Samhita of (Krishna) Yajur Veda and Vājasenīya Samhita of Mādhyandia of (Shukla) yajur veda. Today, however, they are interchangeably used. There are numerous name for Lord Rudra/Shiva such as Shambu, Hara, Mahādeva, Pashupati, Neelakanta, etc but the focus to keep the blog concise is to limit to Rudra and Shiva.

 

Etymology & meaning:

 1.  Rudra (रुद्र) – to roar, howl, weep, tears have its verb form rodati, with roots rud (रुद्) or ru (रु) – to weep, wail, or howl. In Hindi, the word rona (रोना) has its origin from the root in Sanskrit.

 2.  Shiva (शिव) – auspicious, gracious, prosperous – shivatvam / shivakārakam – the principle of auspiciousness. The root of Shiva and the root for shaya (शयन) are the same meaning to sleep. Hence, Shiva is also said to be the Lord of sleep.

 

Note diligently here, in all our lives (regardless of if one is an Indian or foreigner or a Hindu or of another religion or if one is a Vaishnavite or Shaivite or Shakta) everyone experiences both weeping/crying and moments of auspiciousness. These effects that we experience depend on life circumstances because of dynamics of kāla (time) and Karma (accumulated actions/results). There is, however, a more philosophical meaning to explore.

 

The three main Gods of modern Hinduism

 

Lord Vishnu	Sattva	·         Centripetal force ·         Preservative force ·         Cohesive force ·         Sustainment
Lord Brahma	Rajas	·         Creative force ·         Integrative force
Lord Rudra	Tamas	·         Centrifugal force ·         Disintegrative force ·         Transformative force ·         Dispersive force ·         Annihilation

  

Iconography of Lord Shiva (a basic overview):

 Death occurs in two stages:

• Stage 1 (Rudra) – termination of bodily existence (physical aspect) – generally results in family and relatives crying/weeping – This is the aspect of Rudra.
• Stage 2 – termination of individuality and bonds of cycle of birth and death (if one is deemed suitable for it) – awards the ‘auspiciousness’ aspect - breaking this cycle hence called Shiva / Shivatvam

 

1.    Lotus seat with one leg lowered represents concern for sentient being and a desire to be active in offering compassion and liberation. The lotus seat itself represents purity.

 

2.    Leaping Deer indicates the mind which is leaping, unstable and fleeting as the deer. The deer is never stable or constant and so our mind which is never constant and stable. The cause of disturbance in this world are the materials and senses around us, the deer also symbolises this aspect of material nature.

 

3.    Crescent moon indicates our emotions which wax and wane – it is unstable.

 

• The two aspects (crescent moon and deer) together on Shiva indicate Him as the Supreme Yogi that has control over emotions and a fleeting/wavering mind. Using the symbology, it is a reminder to us to be in control of ourselves, our emotions and sense stimulations to pursue a spiritual path.

 

4.    The axe (Paraśu) represents the potential for cut through all attachments which are the cause of suffering in this world. Therefore, it indicates non-grasping, non-craving, and non-clinging aspects needed to remain happy and peaceful. Non-attachment DOES NOT mean renunciation, but it means to possess positively as in enjoying and caring for them but being emotionally detached regardless of if it remains in your possession or not. This is the secret to happiness and peace in this world.

 

5.    The rosary (japa mala) represents pursuing a spiritual path.

 

6.    The Sacred Bull (Nandi) – it represents the vigour/virility of pleasures in the material world. The virility can be used to cause harm / destruction or when controlled and tamed one can direct it towards universal benefit and peace (Shreyas). Nandi simply means joy and welfare in Sanskrit.

 

7.    The Trident (trishula) represents:

• control over action, speech and thought
• the three sacred fires in yagña (Gārhapatya, āhavanīya and dakshinā), and
  
• the three-fold spiritual paths of:

• bhakti – devotion,
• jñāna – applied wisdom, and
• karma – skilful action.

 

8.    The flowing Ganga represents the ocean of knowledge within Hinduism which can cause a lot of confusion, therefore, the controlled flow represents that portion of knowledge to be learnt that can purify The Self (Jivā) and lead towards enlightenment.

 

9. The snake around the neck symbolises anger, a poisonous emotion. The symbol of Shiva teaches the need to keep the emotion of anger under control.