CHAPTER-18 ŚIVA AS THE DESTROYER OF BLIND DEMON“ANDHAKĀŚURA VADHA”
IntroductionAmong many forms of Śiva some have left deep impression in the mind of Indian people, that are visually represented in sculptural form and also in theological, literary and ritual texts, through the centuries. Andhakāśura Samhāra – annihilation of the terrific Demon Andhaka, perhaps occupies a unique position in this regard as it is fund in most of the Mahāpurāṇas, the Great legend series, and is seen powerfully depicted in sculptures. Andhakāśura Samhāra is identical with Aghora Bhairava, which developed into a powerful cult, with a philosophy and art of its own, and is found in all parts of India, especially in the northern part of India, from west coast to east coast and from Kashmir to the Vindhyas. In fact it has gone beyond the frontiers of India into Afghanistan, Baluchistan and Central Asia and also to South East Asia. Wherever Hinduism went it went along with it.It manifested not only in Śiva worship, but also encompassed the Śākta tradition, also known as Tantric tradition, both in Hindu, Buddhist and other schools. It also developed a mixed school called Vāma Bhairava school, combining the Vedic school and Vāma Tāntric school into one system. In temple tradition, it has left an indelible mark. Many of the most venerated pilgrim centres like Varanasi, Ujjaini, Somanatha, Mathura etc. owe their popularity to this school. Even the famous name Agra of pre Islamic period owes its origin to “Aghora” cult.In the field of philosophy the word Bhairava, that stood for a physical manifestation of Śiva, was raised to supreme philosophical height, where the term stood not for the physical form but the metaphysical connotation of “Supreme Knowledge – Bhairava Bhaṭṭāra” as in Kashmir Śaivism.But it would come as a revelation, to many that it integrated the worship of Śiva and Viṣṇu, in an interesting manner. In the worship of Bhairava, we find the worship of Varāha (Boar incarnation), Narasimha (Man lion incarnation) and Vāsudeva Kriṣṇa interweaving with that of Bhairava worship. The last one is extraordinary information furnished by the texts Īsānagurudeva Paddhati and Yoga yāmala tantra, that needs attention.Some salient points of this cult and its ramification are discussed in this paper.Andhaka episodeAndhaka was born of the sweat of the Goddess Pārvati. When the demon Hiraṇyākṣha performed severe penance to obtain a child, Śiva presented this child Andhaka to Hiraṇyākṣha and thus became the son of demon Hiraṇyākṣha. Unfortunately the child was blind, but was endowed with an extraordinary sense of perception and invincible might and grew with enormous retinue. Hiraṇyākṣha was the demon, who took the goddess earth and hid her in the depth of the ocean. Lord Viṣṇu took the form of a wild boar – Mahā-Varāha, dived deep into the ocean, rescued the Earth after vanquishing Hiraṇyākṣha, and brought it above the waters.At the death of Hiraṇyākṣha in the battle, Andhaka became the Lord of the demons. On knowing the beauty of Pārvati he got infatuated with her, not knowing she was his own mother. With his might he started torturing the Devas – celestials and the people of the earth. The celestials took refuge in the Mandara hill and requested Śiva when he came there with Pārvati, to protect them by destroying the demon. At the same time the Blind demon appeared on the scene and there ensued a terrific battle. The battle seems to have been quite fierce as it is described in several texts. Śiva as Bhairava with a terrifying force, spiked the blind demon with his trident. From the pierced body of the demon blood flowed like a great stream, and when the blood drops fell on the earth, each drop became another Andhaka demon, with the result, the battle became an endless destruction. Finally Śiva created a power personified as the goddess Carcikā - who started drinking the blood of the demon, not allowing it to drop on the earth. Gradually all the Andhakas were annihilated. Śiva Bhairava with his anger emanating as fire from his third eye burnt the flesh of the Blind demon. It took hundred thousand years to burn down the flesh of the Demon, who was reduced to a skeleton. The demon realized that he can also attain salvation by praising and worshipping Śiva. He praised Śiva whole heartedly, when the lord blessed him, and made him one of the leaders of his retinue - Ganeśvara, and kept him by his side. The Blind demon now became sage Bhriṅgi, the skeletal figure with three legs and three hands, stood by the side of Śiva and danced whenever Śiva danced. Such is the brief account of Śiva as Destroyer of Blind demon (Andhakāśura-samhāra-mūrti) given in the texts..Matsya-purāṇaThe story of Andhakāśura-vadha receives some attention in the Matsya purāṇa. Though there is not much detail about the battle, it nevertheless gives some interesting bdetails from a new angle. It says that when Śivā and Pārvati were sporting, the demon Andhaka tried to carry away goddess and as a result there ensued a great battle between him and Śiva in the country of Avanti (Ujjaini). Śiva aimed the terrific Pāśupata arrow weapon at Andhakāśura, who was pierced by the weapon. From the blood that streamed out of body of the Aśura, thousands of more Andhakāśuras, emanated. From each drop of blood that streamed out of his body sprang up another Andhaka with the result thousands of Andhakas appeared on the scene and when they were pierced, appeared thousands of more Andhaka. demons. In order to prevent the blood falling on the ground, Śiva created a number of goddesses, called Rudra-mātās. The purāṇa gives a list of these Mātās, Mother goddesses.The Mother Goddesses were also called Yoginis in some sources. Sixty four Yoginis are frequently mentioned in the Śākta tradition as the retinues of Bhairava. It is known that separate temples were erected for these 64 yoginis where secretive worship was conducted. Some remarkable temples of these 64 Yoginis exist especially in Madhya Pradesh and Orissa though the worship is no more popular. Variant lists of these Yoginis are available in different texts and these lists have been tabulated by scholars and are published. But what is amazing is that the Matsya purāṇa gives a list that contain nearly 200 Yoginis and hence they are given here.The list of Rudra-Mātās furnished by the Matsya Purāṇa.
and others.Vaishnava versionThese mothers drank the blood of the Andhaka who appeared but soon they found more Andhakas springing up again. The perplexed Śiva took refuge in Viṣṇu Vāsudeva, who created a Goddess named Suṣhka-Revatī. She drank the blood of all the demons in no time. Gradually when the number of Andhakas dwindled Śiva pierced the main Andhaka with his sharp trident. At this the Andhaka started praising Śiva with prayers. Pleased with Andhaka's devotion Śiva blessed him and kept him by his side.The Matsya Purāṇa continues further. The Rudra-Mātās, Mother Goddesses, created by Śiva, approached him and asked him what they should do now as their mission was fulfilled. Śiva directed them to protect the people, but as the Mothers drank the blood of violent demons they themselves grew violent and ignoring that advice started ferociously eating people all around.At this turn of event, Śiva approached Narasimha Viṣṇu in his terrific form to help him. The Purāṇa gives a graphic description of the ferocious form of Viṣṇu Narasimha, whom Śiva praised as a Viśva-Rūpin, with thousands of arms and legs. Śiva told Viṣṇu, that as these Mother goddesses were created by him, he could not destroy them. So Narasimha created goddess Vāgīśvari from his tongue, Goddess Māyā from his heart, Goddess Bagamālinī from his generative organ and from his bones he created Kālī. Along with Suṣhka Revati, (to drink Andhaka's blood) he also created 32 Goddesses. The following are the names of the goddesses who were divided into four groups of eight, each led by a goddess.
The moment they were created, they pounced on Rudra-Mātās with terrific rage. The Rudra-Mātās were unable to withstand even their sight. They took refuge in Narasimha who advised them to protect people as men protect animals. “All of them should worship Tripurāntaka Śiva without creating trouble to the devotees of Śiva. Those who worship Viṣhṇu should also be protected. Some men might worship the goddesses themselves and they should be beneficent to them. Mahādeva will bestow the Raudrī (terrifying) forms on them. They must obey the leading goddesses among them. Further those Mothers who were created by Viṣṇu were also dear to Mahādeva. All the Goddesses (Rudra-Mātās) will receive worship along with the Goddesses created by him. The Goddess Suṣka-Ravati, would bestow children on those who worshipped her”.So saying Narasimha disappeared from the scene. Śiva gave ferocious forms to these Rudra-Mātās, and established Rudra in the midst of them. These were the seven mothers (Sapta mātās), among whom Śiva would appear as Ardhanāriśvara. This form of Śiva in the midst of seven mothers (Mātri-varga?), receives worship along with Narasimha form. The devotees who go to this place of Mātri-sthāna? (Ch.179) says the Matsya Purāṇa. Evidently the Matsya Purāṇa introduces the worship of Raudra Goddesses of Tantric tradition into the Vaiṣṇava cult and at the same time proclaims the supremacy of Viṣṇu in the form of Narasimha. From then on we may see that the Vaiṣṇavas also practiced the Tantric mode of worship of the Śaktas.The Matsya-Purāṇa is one of the 18 Mahāpurāṇas, and is considered a Vaiṣṇava-Purāṇa. However, like all the Purāṇas, it also emphasizes the unity of Śiva and Viṣhṇu and this episode of Andhakāśura-vadha is an example. However it is seen it introduces the greatness of Viṣṇu, by extolling Narasimha worship by Śiva and the creation of Suṣhka Revatī Headed by Bhagamālinī episode.It is known that the destruction of (samhāra) of the blind demon Andhaka, was performed by Śiva in his ferocious Bhairava form. He also created other goddesses to drink the blood of Andhaka. This Purāṇa introduces equally ferocious Narasimha who also creates a maṇḍala (circle of goddesses), and finally in the worship of Rudra-sthāna both Bhairava and Narasimha receive worship. It seems to point out that Narasimha was also integrated into the cult of Bhairava which we find in the Vāma Bhairava Tantra. The presence of Ardhanāri form in the midst of Mātrikas seems to indicate this trend.Iconic ProgramIn temples of northern India, where the sculptures are in position without replacement, though in mutilated conditions, it is seen that the figure of Andhakāśura-samhāra-mūrti is found occupying the south facing main niche of the sanctum facing south, showing its association with the southern direction and also its importance. Such sculptures are seen in position at Khajuraho, Surwaya and other temples of Madhya Pradesh. In the cave temple of Elephanta, where the manifestations are found distributed in the side cells, Andhakāśura-vadha is shown facing south. The presence of this south facing image points to the Aghora form of the mūrti. It is known that Śiva's primary manifestations are five in number namely Tatpuruṣa, Aghora, Sadyojāta, Vāmadeva and Īśāna, which face respectively east, south, west, north and the top. Of these forms the south facing is the Aghora, which is but with Bhairava. He occupies a pre-eminent position in Śaiva hagiology. His name Aghora stands for “one who is not terrific” (na ghoraḥ iti aghoraḥ). Though he is considered the most ferocious who destroys time and death – Kālakāla and Mahākāla, he is worshipped as the most benign deity and hence the name “a-ghora”. According to traditional interpretation, he is furious over his enemies and most beneficent to his devotees. He enables one to ward off diseases and death and so is called Mṛtyuñjaya and Kālakāla. He is the giver of knowledge as Dakṣiṇā-mūrti (south facing), and Yogeśvara (giver of yoga). He is the embodiment of Agni – the fire and is held the “heart” (aghora-hṛdaya) of the Supreme. As Rudra he is the personification of destruction samhāra; he is worshipped for eradication of fear. These principal traits of aghora-mūrti help us in understanding his position and importance. As one goes in circumambulation around the temple (especially in north India) the first main manifestation of Śiva one sees is this Andhakāśura-samhāra-mūrti – the destroyer of Blind-demon. Śiva first removes the blindness of his devotees – symbolic of ignorance. With a blemish-less knowledge so obtained the devotee sees the cosmic universe before him. The south face allotted for portraying the destruction of Blind demon is the first step in the visualization of the divine.IconographyThe sculptures of Andhakāśura-vadha, are shown with multiple arms, from four to sixteen arms, and are generally enshrined in the main niche of the sanctum tower, facing south. His main characteristics are the powerful ālīḍha? pose, with one of the legs planted in front, bent to show power and the other placed at the back stretched to show a fighting pose. The main pair of front arms will hold triśūla in which the blind demon will be shown transfixed, either in an adamant fighting pose with a sword and shield or both arms held in añjali pose in supplication praying for forgiveness. The extreme rear arms will hold high up the elephant that will be shown as a skin, being torn by Śiva's arm. The other weapons are a long sword, a Khaṭvāṅga, a skull cup (kapāla), a bow, and cakra. The other weapons depend upon the number of hands endowed. He is often shown in a furious mood, and is bearded. His eyes will be shown bulging as balls. He is often shown with a dagger and wears a long garland of skulls. He would also wear a prominent skull on his head. On the ears he may wear cakra like ear ornament and simha kuṇḍala. Andhakāśura-samhāra Bhairava may either be nude or clad in tiger’s skinBeneath his left arms is usually shown, Kāli-Carcikā, with a skull cup, drinking the blood of the Blind demon.In most of the north Indian temples, Madhya Pradesh, Rajasthan, Gujarat, Mahārashtra, Punjab, Uttarpradesh, Bihar, Orissa and Bengal and so on, such Andhakāśura-samhāra-mūrti were originally found in the southern niche, but when all the monumental temples suffered destruction during Muslim invasion, the sculptures were destroyed, mutilated or displaced from their original position and lying scattered around the monuments. These were collected and housed in the nearby museums. However some survive in a few places as at Khajuraho, Surwaya in Madhya pradesh and some temples of Orissa and other regions, These are found in the southern main niche, facing south, indicating they are the manifestations of Aghora Bhairava.Shifting EmphasisHowever a totally different picture is noticed in South India, especially Tamilnadu. Though the storey of Andhakāśura-samhāra is well known in Tamilnadu from 7th century, as he is pointedly mentioned by the Tēvāram Śaiva saints in many poems, portrayal of Andhakāśura-samhāra is practically not found anywhere. Instead its position is occupied by Dakṣiṇā-mūrti, mainly as a teacher of knowledge Jñāna Dakṣiṇāmūrti or occasionally playing on Vīṇa as Vīṇādhara Dakṣhiṇā-mūrti (In some north Indian temples as at Orissa, an image of Śiva as Lakulīśa, teacher of Pāśupata-yoga is seen). The invariable presence of Dakṣhiṇā-mūrti in the south particularly Tamilnadu, is an indication that the benign form of Śaivism, emphasizing the Jñānānta-Śaivism has been preserved, instead of Raudra form. The position is seen from the time of the Pallavas - 7th century onwards.Such a preference for the raudra form in the north and the saumya form in the south seems to have been due to, in addition to other factors, the environmental conditions. The north faced more frequent violent incursions, war, and robber infested forest regions, while the south was comparatively free from such violent alien onslaught, that there was less need for the terrific manifestations. It seems that where there was fear of ferocious attack and constant threat, people took refuge in more powerful deities, than calm and quite manifestations. Lord Bhairava was considered as one who will destroy the enemies mercilessly.Gajāśura vadhaThough this is one aspect of the situation, the development of ideas is so complex, that one cannot reduce every such cause to one unitary factor. Another dramatically opposite situation is presented by the story of Gajasamhāra-mūrti form of Śiva. The origin of this samhāra form, is probably rooted in the Vedic passage Krittivāsa? as has been suggested by J.N.Banerjee, Śivaramamūrti and others in their works on iconography.Gajāsura was not a main enemy of Śiva, as Andhakāśura, Tripurāśura or Dakṣha-prajāpati and other forms. However the Gajāśura-samhāra was a very popular myth, as even the greatest poet Kālidāsa, has referred to the episode in his works more than once. At one place he refers to Śiva wearing elephant’s skin, while at another he says that Pārvati looked at Śiva with smile, shiver and peace, when he started dancing with his arms swinging around, forming a maṇḍala (circle) around him and wore the blood oozing skin of the elephant as his upper garment. In both the instances the reference is to wearing the elephant skin as a garment. TA Gopinatha Rao gives the following account of Gajāśura samhāra.“An Aśura named Nīla who had secretly planned to kill Śiva came out in the form of an elephant. Coming to know of this, Nandi informed Vīrabhadra who took the form of a lion, attacked and killed him. The skin of this elephant was presented by Vīirabhadra to Śiva; who wore it as his upper garment. Clad with this garment Śiva started on his expedition against Andhakāśura. This act is seen in Varāha purāna” – (T.A.Gopinatha Rao, Elements of Hindu Iconography, Vol.I p.379 & Vol.II, p.150). Here we find the Gajāśura samhāra is linked to Andhakśura vadha that accounts for Śiva carrying Gajāśura in his upper hands while piercing Andhaka with his Trident.The Kūrma purāṇa does not mention any special sacrifice (yāga) performed by the sages of Dāruka forest against Śiva in the Dārukāvana episode as claimed in later works. The “Gajāśura” does not figure in the narration. So also in the Liṅga purāṇa no abhicārikā homa (destructive sacrifice) was said to have been performed by the sages to kill Śiva.The Kurma purāṇa mentions briefly the episode in (Vārānasi māhātmya), Vārānasi episode that Śiva killed the Gajāśura when he tried to torture the sages at Vārānasi. Śiva pierced the Elephant demon and used its skin as his upper garment. The Purāṇa does not also say that he tore the elephant's skin with his hand. Obviously the origin of the legend should be traced to the Vedas, where Śiva is addressed simply as “Krittivāsā?” one wearing elephant’s skin. The representation of elephant in the hands of Śiva in northern India, in the depiction of Andhakāśura vadha, in north Indian sculptures is due to the word, “Krittivāsā?”. It is possible that Rudra’s, emergence out of lightning (fire) from the dark clouds in the sky, was visualized as tearing open the cloud resembling an elephant and using it as his garment.Evidently Gajāśura-vadha does not seem to be an important one. According to Skanda-purāṇa, Gajāśura seems to have been the son of Mahishāśura whom Śiva killed in order to save the Devas. Thus it seems to be a casual story. However that one of Śiva's dance is associated with his Gajāśura-vadha form which may be taken as the old version of the story, as poet Kalidāsa mentions the dance of Śiva after Gaja-samhāra episode. It is this version that seems to have been popular in South India. Gaja-samhāra Śiva is found in sculptural representation from the time of the Pallavas as seen in Pallava structural temples at Kāñchipuram. The Tēvāram Śaiva saints frequently mention the Gaja-samhāra form of Śiva from around 6th century.Eight temples are listed as Vīra-sthānas (Vīraṭṭtānam) of Śiva going by the name Aṣhṭa-Vīraṭṭtānam in Tamilnadu. Śiva is said to have performed a Samhāra act of Terrific nature in each of this place like 1) Tripura-samhāra, 2) Gaja-Samhāra, 3) Kāla-Samhāra, 4) Dakṣa-yajña-samhāra, 5) Brahma-śirascheda, 6) Andhakāśura-Samhāra, 7) Jalandhara-vadha and 8) Kāmāntaka. Andhakāśura-vadha, Gaja-samhāra, Brahma-śirascheda, Kālāntaka are well known as the acts performed by Śiva as Bhairava. Dakṣhayajña-samhāra was performed by Vīrabhadra, who is also said to be a form of Bhairava in some sources. Among the eight kṣhetras in a village near Thiruvarur in Tanjore district named Vaḻuvūr, the exploits of Gaja-samhāra is said to have been performed. This village retains one of the finest Chola bronze of Gaja-samhāra assignable to 10th century still under worship. Gaja-samhāra was also very popular in Mysore Karnataka region. The concept of eight Vīrasthānas in Tamilnad from 6th century, onwards (may be still earlier), shows that Bhairava cult was prevalent in the south as well.DakṣhiṇāmūrtiBut the emphasis was always on the Dakṣhiṇāmūrti Śiva, seated beneath a banyan tree, surrounded by wild animals like tigers, elephants and reptiles and at the same time with tender and domestic animals like deer and teaching Śiva dharma to sages, Kauśika, Kāsyapa, Bharadvāja, Gautama and Agastya. In some traditions the four sages are said to be Sanaka, Sanāndana, Sanatkumāra and Sanat sujāta. It seems to be a regional character to go in for knowledge (jñāna) than for annihilation of the wicked. Ignorance is considered the worst enemy that is found in one's own self. It gives rise to egoism that is the cause of wrong deeds. Conferment of knowledge is also a form of annihilation of blindness and hence Śiva the auspices removes that blemish.BIBLIOGRAPHY
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