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MANIFESTATIONS OF SHIVA MAHADEV: Form, Symbol and Iconography

MANIFESTATIONS OF SHIVA MAHADEV: Form, Symbol and Iconography

By :- Maruti Nandan Prasad Tiwari , Kamal Giri , Pinak Pani Pd. Sharma , Shanti Swaroop Sinha

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Type: English

Pages: 200

Format: Hard Bound

ISBN-13: 978-81-7305-757-1

Edition: 1st

Publisher: ARYAN BOOKS INTERNATIONAL

Size: 16 cm x 24 cm

Product Year: 2026

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  • Book Description
  • Table Of Content
  • Authors Details


Manifestations of Shiva Mahadeva: Form, Symbol and Iconography explores the concept and meaning of Shiva, tracing his evolution into Mahadeva through his cosmic roles of creation, preservation and dissolution, expressed through his Shanta, Anugraha and Samhara forms. As Panchanana, Shiva embodies the five basic elements – Jala, Akasha, Prithivi, Agni and Vayu – through forms such as Vamadeva, Ishana, Sadyojata, Aghora and Tatpurusha, magnificently represented at iconic sites such as Elephanta, Ellora and elsewhere. He is worshipped as the Great Teacher in the form of Dakshinamurti, as the supreme exponent of Yoga, Jnana and Sangita. As Natesha or Nataraja, Shiva embodies the very essence of dance, with the 108 dance forms described in Bharata Muni's Natyashastra finding eloquent expression in temple art.

Shiva's diverse manifestations – Pashupati, Vaidyanatha, Nilakantha, Mrityunjaya and Naganatha, among others – reflect his infinite nature and benevolence towards humanity. The linga-yoni-pitha symbolises the union of Purusha and Prakriti as Shiva and Shakti, embodying the principle of creation, as explained in the Linga Purana. This aniconic conception further evolved into iconic forms such as Umamaheshvara and the composite Ardhanarishvara. The divine marriage of Shiva and Parvati, represented in art as Kalyanasundara or Parvati-Parinaya, sanctifies marriage (vivaha) as an essential social institution.

Through textual and visual examples, the book presents a holistic and inclusive study of Shiva's multifaceted nature and forms, while highlighting their enduring relevance and universal appeal in the modern world.

 




Preface           

                        List of Illustrations      

 

            1.         Introduction  

            2.         Forms of Shiva and Linga Vigraha    

            3.         Shanta or Saumya and Anugraha Forms of Shiva

                        A.         Shanta or Saumya Forms of Shiva – Uma-Maheshvara;
Lakulisha; Dakshinamurti or Mahayogeshvara; Kalyanasundara or Parvati-Parinaya; Gangadhara.

                        B.         Anugraha Forms of Shiva  – Ravananugraha; Kiratarjuna or Arjunanugraha; Chandeshanugraha; Vishnvanugraha or Chakradana-murti; Vighneshvaranugraha; Ravana Beheading Himself; Nandishanugraha.

            4.         Samharaka or Ugra Forms of Shiva

                        Yamantaka or Kalari; Tripurantaka or Tripurari; Andhakari; Gajantaka or Gajasura-Samhara; Kamantaka or Kamadahana; Sharbhesha; Brahma-Shirachchhedaka; Bhairava; Virabhadra; Jalandhara-hanta; Bhikshatana.

            5.         Sanghata (Composite) and Other Forms of Shiva   

                        A. Sanghata (composite) Forms of Shiva  –
Ardhanarishvara; Hari-Hara, Hariharapitamaha; Hariharahiranyagarbha; Rudrabhaskara; Hariharak; Hariharasuryabuddha.

                        B. Others Forms of Shiva  – Vishapayi-murti; Ajaikapada Shiva; Sadashiva; Nataraja or Natesh.

                        Glossary of Terms       

                        Important Archaeological Sites, Texts and their Dates          

                        Bibliography   

                        Index

 


Prof. Maruti Nandan Prasad Tiwari (b. 1949) is an eminent art historian and former Professor and Head of the Department of History of Art, Banaras Hindu University, Varanasi. A prolific scholar of Indian and especially Jaina art, he has authored numerous books and research papers and presently serves as Chairman of the Indian Art History Congress (IAHC).

Prof. Kamal Giri (1940–2024) was Professor in the Department of History of Art, Banaras Hindu University, and also served at the Bharat Kala Bhavan, Varanasi. She authored several acclaimed works on Indian art and sculpture.

Pinak Pani Prasad Sharma (b. 1951) is a scholar of Sanskrit and Indian culture with experience in field archaeology, defence administration and the Indian Police Service, from which he retired as Additional Director General in the Maharashtra cadre. He writes on Indian philosophy, art and iconography.

Prof. Shanti Swaroop Sinha (b. 1967) is Professor of History of Visual Arts & Design, Faculty of Visual Arts, Banaras Hindu University, Varanasi. His publications primarily focus on ancient Indian art, iconography and Jaina art.

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