1 

CONTENT

1. INRODUCTION
2. ROOTS OF HINDUISM
3. SHIVA AND SHAKTI
4. TRACING THE PROGRESSION OF THE LINGAM AND
YONI THROUGH OUT THE HISTORY OF HINDUISM.
5. PHALLUS WORSHIPED AROUND THE WORLD IN
ANCIENT TIME.
a. PHALLIC REPRESENTATION IN THE CUCUTENI
CULTURE,2000 BC.
b. ROMAN AND GREEK.
c. IN INDONESIA AND INDIAN SUBCONTINENT( ACC.
TO MAHADEV CHAKRPVARTY)
6. THE HOLY SYMBOL OF LORD SHIVA- SHIVALINGA
7. ANALYSIS OF LINGAM
8. STRUCTURE OF SHIVLINGA
9. TYPES OF LINGA
10. FORMS OF LINGA
11. VARIOUS INTERPRETATION OF SHIVALINGA.
a. WORSHIP OF THE PHALLUS
2 
 

b. INTERPRETATION IN TANTRA
c. INTERPRETATION IN PURANAS
d. INTERPRETATION OF SHIVLINGA AS AN
ABSTRACT SYMBOL OF GOD
12. INTERPRETING THE SYMBOLISM OF LINGA:
BETWEEN FREUD AND EARLY INDIAN LINGA
CULT.
13. SYMBOLISM OF THE LINGA.
14. ATTRIBUTES
15. SIGNIFICANCE OF THE SIVLINGA
16. PANCH BHUTA LINGA
17. SHIVLINGA WORSHIP IN THIRUVANNAMALAI.
18. JYOTIRLINGA.
19. LINGRAJA TEMPLE IN BHUBNESHWARA
20. THE GUDDIMALLAM LINGAM
21. LINGODBHAVA SHIVA
22. CONCLUSION
23. BIBLIOGRAPHY
3 
 

INTRODUCTION:

The sexual symbolism of Tantra, like the subject of sexuality in

general, has always engaged the human mind. The modern mind
seems to be obsessed with it. Many people into Tantra, as well as
most of the scholars who write on it, seem unable to move beyond
the physical suggestions of these symbols to their spiritual
indications. This has kept the study and practice of Tantric Yoga at
a superficial level in which its deeper cosmic and creative energies
remain latent. There is an inclination to reduce the Siva linga and
Sakti yoni, the two main Tantric symbols of ascending and
descending forces - which are often represented by upright conical
stones for the Siva linga and ring stones or basis for the Sakti yoni
- to merely the male and female sex organs, which is but one of
their representations, and their erotic glorification. There is the
tradition of Tantric sexuality of mithuna which uses sacred sex as
part of Yoga practice. But it is not only practice of Tantric Yoga and
when done is integrated into a much larger array of practices. Other
Siva lingas are associated with gold or crystal, the light powers in
the metal kingdom. The Siva linga is often described in terms of
light, crystal or transparency. Siva himself is said to be pure light or
light in its primal indifferentiated state.
4 
 

THE ROOTS OF HINDUISM:

Hinduism is one of the world’s oldest religions. It has complex roots, and
involves a vast array of practices and a host of deities. Its plethora of forms
and beliefs reflects the tremendous diversity of India, where most of its one
billion followers reside. Hinduism is more than a religion. It is a culture, a way
of life, and a code of behavior. This is reflected in a term Indians use to
describe the Hindu religion: Sanatana Dharma, which means eternal faith,
or the eternal way things are (truth).

The word Hinduism derives from a Persian term denoting the inhabitants of
the land beyond the Indus, a river in present-day Pakistan. By the early
nineteenth century the term had entered popular English usage to describe
the predominant religious traditions of South Asia, and it is now used by
Hindus themselves. Hindu beliefs and practices are enormously diverse,
varying over time and among individuals, communities, and regional areas.

Unlike Buddhism, Jainism, or Sikhism, Hinduism has no historical founder.

Its authority rests instead upon a large body of sacred texts that provide
Hindus with rules governing rituals, worship, pilgrimage, and daily activities,
among many other things. Although the oldest of these texts may date back
four thousand years, the earliest surviving Hindu images and temples were
created some two thousand years later.

Hinduism developed over many centuries from a variety of sources: cultural

practices, sacred texts, and philosophical movements, as well as local
popular beliefs. The combination of these factors is what accounts for the
varied and diverse nature of Hindu practices and beliefs. Hinduism
developed from several sources:
5 
 

Prehistoric and Neolithic culture, which left material evidence including

abundant rock and cave paintings of bulls and cows, indicating an early
interest in the sacred nature of these animals.

The Indus Valley civilization, located in what is now Pakistan and

northwestern India, which flourished between approximately 2500 and 1700
BCE, and persisted with some regional presence as late as 800 BCE. The
civilization reached its high point in the cities of Harrapa and Mohenjo-Daro.
Although the physical remains of these large urban complexes have not
produced a great deal of explicit religious imagery, archaeologists have
recovered some intriguing items, including an abundance of seals depicting
bulls, among these a few exceptional examples illustrating figures seated in
yogic positions; terra-cotta female figures that suggest fertility; and small
anthropomorphic sculptures made of stone and bronze. Material evidence
found at these sites also includes prototypes of stone linga (phallic emblems
of the Hindu god Shiva). Later textual sources assert that indigenous peoples
of this area engaged in linga worship.

According to recent theories, Indus Valley peoples migrated to the Gangetic

region of India and blended with indigenous cultures, after the decline of
civilization in the Indus Valley. A separate group of Indo European speaking
people migrated to the subcontinent from West Asia. These peoples brought
with them ritual life including fire sacrifices presided over by priests, and a
set of hymns and poems collectively known as the Vedas.
The indigenous beliefs of the pre-Vedic peoples of the subcontinent of India
encompassed a variety of local practices based on agrarian fertility cults and
local nature spirits. Vedic writings refer to the worship of images, tutelary
divinities, and the phallus.
6 
 

SHIVA AND SHAKTI:

Shiva means the good hearted or the kind . He is one of the three main gods
of the Hindu pantheon; the others being Vishnu and Brahma. Shiva is the
god of destruction of those who are ignorant and of what is impure. He can
also be an infinite beneficial force as he often removes avidya, the shroud
of ignorance which produces sufferance. Shiva is the god of yogis and
renunciants who wish to transcend samsara and achieve moksha. He lives
as an acsetic hermit in the Himalayas and is often depicted when not in the
lingam form as sitting on a tiger skin with snakes coiled around his neck with
a crescent moon in his hair. Although he can take on this iconic form, the
form of Shiva most commonly seen is the aniconic lingam. The lingayats, a
Shaiva sect, acknowledge no human icon of Shiva and instead carry a linga
in an amulet box with is hung around the neck. In a temple it is common to
find a single linga although sometimes there are rows of them, especially in
groups of 108, which is a number that is sacred to Shiva.
Shiva is not an all-powerful God without his counterpart. His
counterpart, Shakti, is sometimes attributed to different Goddesses.
Sometimes to Kali, sometimes Parvati who is his wife, but most commonly
to Devi, which is a wide term that just means mother Goddess which includes
all Goddesses. This variation of attribution of the specific Shakti comes with
different branches of Hindu thought. Shivas Shakti constitutes half of his
body. He is thought to be powerless without his Shakti. In the
Saundaryalahari it says, "Only when Shiva is united with Shakti does he
have the power to create." Shiva is thought to be the unchanging
consciousness called nirguna, that which has no form or shape. This
unchanging consciousness becomes saguna, with form, when his Shakti
joins with him. So the yoni, Shakti, manifests the intangible power of Shiva,
the lingam, grounding it and giving it to the adherents of Shiva.
7 
 

TRACING THE PROGRESSION OF THE LINGAM AND

YONI THROUGHOUT THE HISTORY OF HINDUISM:
Art has always had the ability to transmit information in this way, and this
method of communication can be considered a superior way of transmitting
information when contrasted with other mediums. One of these reasons is
that art is able to transcend time, since it is a fixed image. While texts, written
history and stories can change, once a specific image is made and preserved
it does not change but remains frozen in time. Information that is outside of
temporal evolution is extremely helpful for understanding history. Art is also
able to transcend many learning barriers, such as literacy. This is of major
importance, especially for Hindus, because the majority of Indians are still
not literate. Anyone can learn from these images, even children, as long as
they are taught the iconography of the image. The third major reason why
art is important as an information source, and to the Hindu people, is
because images can be made of the Gods and Goddeses and used as
devotional images. These images are used to meditate on, as a place to
focus ones attention; these images are called icons.
If a Hindu practitioner has an icon of Vishnu then they can make a
connection to Vishnu through this image. This method of connecting is called
darshan. Darshan means seeing, but can sometimes be translated as the
auspicious sight of the divine . The divine sees the devotee through this
image just as the devotee sees the god within the image, and they exchange
darshan; this magical glance which transmits each others essence. In this
respect, the idol is animated and the divine is thought to live within this icon
where it gives the darshan to the person while they simultaneously receive
it. In Hinduism the sacred is seen as present in the visible world. A western
mindset may find this practice odd, but its best to summarize the concept by
realizing that the icon, once made, gathers a life-force of its own; gaining the
ability to make a spiritual connection with the devotee. Its important to note
that the God or Goddess does not live in the icon as if it were trapped inside
8 
 

the image, but through the icon. The icon becomes one of the many
manifestations of the God or Goddess.
These animated and living icons have two main forms or classes,
aniconic and iconic. Iconic images are images which have a form. This form
may be human, anthropomorphic or theriomorphic. Aniconic images are
those which do not take a form; this might be the aniconic instance of a rock
or a cave. The image of the lingam is typically depicted as aniconic, as well
as the many images of the yoni, although sometimes the yoni and lingam are
depicted as attached to a God or Goddess and then they become iconic
because they take a form.
The lingam is a representation of the phallus. Lingam, (occasionally
referred to as linga) according to the Encyclopedia Britannica, comes from
the Sanskrit root and means sign or distinguishing symbol. The lingam
represents the Hindu god Shiva in almost every instance of the image. The
yoni is a stylized vagina, which (according to Britannica) means holder. The
word yoni has many etymological connections in Sanskrit, relating to the
words source, origin and lair. Its derived from the root yu, which is to join or
to harness. Interestingly enough, the word yoni comes from the same root
as yoga, signifying yogas tie to the feminine principle. The depiction of the
yoni commonly signifies the Goddess in many forms of the Devi, and also
Shakti, Shivas lover.

There are many common forms of the lingam and yoni. Lingams are
sometimes shown with a single face, other times four or five faces. Each of
these heads is presumed to convey a particular characteristic of the deity
such as wrath, beauty, ascetic power etc. However the lingam is usually
fashioned as a plain standing pillar which is circular. They are usually carved
of stone, but can be made of almost any material, such as large rock
formations, stalagmites or other natural features. Sometimes the lingam can
even be made temporarily, such as out of sand on a shore. The simplest
example of the yoni is the downward pointing triangle, and the lingam at its
simplest form is the upward pointing triangle. This specific image has been
9 
 

used conjoined as well as in a hexagram to represent the everlasting sexual

conjunction between Shiva and his Shakti. Their sexual union is thought to
maintain the existence of the Universe. The most common depiction of the
yoni is as a round base in which the lingam cylinder sits, projecting outward
and upward from it, not penetrating it. Another Hindu image which relates to
the yoni is the yantra. Yantras are geometric designs which are used by
some in the worship of the Goddess and they are often made of rock or
crystal. They are the visual versions of aural mantras and are thought to
embody supernatural power. The symbols on them are generally a series of
circles, most commonly two, surrounding a triangle with the triangle inside
representating the vulva. These icons can be dressed with garlands and
flowers, and are sometimes bathed in sweet things such as milk and honey.
10 
 

PHALLUS WORSHIPED AROUND THE WORLD IN

ANCIENT TIMES:
Hinduism is not alone in its representation of sexual symbolism. Sexual
organs, especially the phallus, have had religious significance throughout
many different traditions. An example of this would be the Greek mythos
such as when Chronos castrated his father and threw the phallus into the
sea, resulting in the birth of Aphrodite. Another example is with the Egyptian
myth of Set destroying Osiris. He cut up Osiriss body and Osiriss allies
were able to find all the pieces to put him back together, except for his
phallus, which was eaten by a fish. He couldnt be brought back to life
until Isis made him a new phallus out of clay and gave it life through magical
incantations. Only then was his power renewed. Much of this religious sexual
imagery may be simply be referring to base level sexuality, such as
reproduction, fertility, and prowess but perhaps there is another level to it.
Within the Greek and Egyptian myths the phallus functions as a creative
source of life and spiritual creative power

PHALLIC REPRESENTATION IN THE CUCUTENI

CULTURE, 2000 BC
Phallic representation is also seen in the Cucuteni-Trypolye Culture dated
to around 3000 BC. Figurines with a phallic aspect are said to be like their
Anatolian, European or Mediterranean counterparts, representative of male
deities are marked with M or W signs with lines, dots, a sun or a pillar.

From the Balkans, comes the veneration of Kuker is a divinity personifying

fecundity, sometimes in Bulgaria and Serbia it is a plural divinity. In Bulgaria,
a ritual spectacle of spring (a sort of carnival performed by Kukeri) takes
place after a scenario of folk theatre, in which Kuker’s role is interpreted by
a man attired in a sheep- or goat-pelt, wearing a horned mask and girded
with a large wooden phallus. During the ritual, various physiological acts are
interpreted, including the sexual act, as a symbol of the god’s sacred
marriage, while the symbolical wife, appearing pregnant, mimes the pains of
11 
 

giving birth. This ritual inaugurates the labours of the fields (ploughing,
sowing) and is carried out with the participation of numerous allegorical
personages, among which is the Emperor and his entourage.

ROMANS AND THE GREEKS:

The Romans are famous for their mystery cults, among whom very popular was
the worship of the god Bacchus, whose symbol was the phallus. Once
accepted into the cult devotees were expected to castrate themselves as
offering of their fertility in exchange for the fertility of the world. Cults for Isis and
Osiris and Mithras were popular with traders and soldiers.

Roman ladies proceeded in state to the Quirinal, where stood the temple of the
Phallus, took possession of this sacred object, and escorted it in procession to
the temple of Venus Erycina, where they placed it in the bosom of the goddess.
A cornelian gem,* with a representation of this cerernony upon it, has been
engraved in the ” Culte Secret des Dames Romaines.” A triumphal chariot bears
a kind of altar, on which rests a colossal Phallus. A genius hovering above this
object holds a crown of flowers suspended over it. The chariot and genius are
under a square canopy, supported at the four corners by spears, each borne by
a semi-nude woman. The chariot is drawn by goats and bulls, ridden by winged
children, and is preceded by a group of women blowing trumpets. Further on,
and in front of the car, is an object characteristic of the female sex, representing
the sinus veneris. This emblem, the proportions of which correspond to those
of the Phallus on the chariot, is upheld by two genii. These appear to be pointing
out to the Phallus the place it is to occupy. The ceremony accomplished, the
Roman ladies devoutly escorted the Phallus back to its temple. The mysteries
of Bacchus were celebrated at Rome in the temple of that god and in the sacred
wood near the Tiber.
Altars for Hercules Roman initiation ceremonies depicted in a painting at the
Villa of Mysteries in Pompeii, showed devotees who read liturgy, made
offerings, symbolically suckled a goat, unveiled the mystic phallus, whipped
themselves (symbolic of ritual death), danced to resurrection and prepared for
holy marriage.”
12 
 

The city of Tyrnavos in Greece holds an annual Phallus festival … on the first
days of Lent (which has a Japanese counterpart in the Kawasaki phallus
festival, the Hounen Fertility Festival or the Mara Kannon Shrine festival (said
to go back over 400 years). Hermes, the god of boundaries and exchange
(popularly the messenger god) is considered to be a phallic deity by association
with representations of him on herms (pillars) featuring a phallus.

IN INDONESIA AND INDIAN SUBCONTINENT:

According to Mahadev Chakravarti:

“The Concept of Rudra-Siva Through the Ages presents the”Linguistic

evidence indicates that the post-Vedic Hindus not only adopted the tradition/
cult of the linga from the pre-Vedic non-Aryans, but even the term itself is
of Austric origin. The word “linga”, while ubiquitous in the Austro-Asiatic
world, cannot be seen originally to be occurring in the Indo-European
languages.He further says that when these two words entered Sanskrit, they,
along with another word “langula” (tail) were derivations of the same root
syllable “lang” or “lng”. If this correlation is accepted on the basis of the
obvious phonetic proximity between the three words linga ~ langala ~
langula, then it is not hard to recognize the semantic evolution of the words
— because the usage of the phallus or the male generative organ in human
procreation and the usage of a tool/implement like the ploughshare (langula)
to till the earth for its fertility to bring forth life-supporting vegetation have a
natural and spontaneous symbolical parallel and similarity to each other.

Stone lingams have been found in several Indus Civilization sites, found to
be of steatite, sandstone and burnt clay. Phallic worship was prevalent in
India and it was closely associated with magical rites based religion of that
time. According to Gayatri’s “Interpreting symbolism of the linga“, the
famous Harappan seal depicting a seated yogi with an erect phallus
suggests that the phallic Saivism cult could have originated at least 5,000
years before. The earlier iconography was far more ornate and often
anthropomorphic than the abstract “formless” forms of the later medieval
13 
 

periods. Clear associations with Siva worship arise by 2nd c. B.C. The earlier
myth on the origin of lingam worship emphasizing fecundity, goes as follows:

“One version of the Dâruvana myth occurs in the Kûrma Purâna, a work
compiled around the eighth century ce. It tells of how Siva was once
wandering as an ascetic through a pine forest, when he sexually aroused
and tempted the wives of a group of formidable sages. In retaliation, the
sages cursed Siva, causing his penis to fall to the ground. When it fell, it
erupted into flames and threatened to destroy the entire universe. In order to
appease Siva and halt the impending doom, the sages began to worship the
phallus; it is said that they were ordered to this fate as a punishment for their
transgression against Siva. According to this popular medieval tale, this was
how linga worship first originated. ” -- The Form and Formlessness of Siva.
14 
 

THE HOLY SYMBOL OF LORD SHIVA – SHIVLINGA:

Shiva Linga is the holy symbol of Lord Shiva that is considered sacred by
the devotees of Lord Shiva – Shaivaites. Siva Linga has been worshipped
in Hinduism since ages. It is most prevalent icon of Shiva and virtually found
in all Shiva temples. By some believes sivalinga represent the formless
Nirguna Brahman or the formless Supreme Being.

Shiva Linga is a rounded, elliptical, an-iconic image that is usually set on a

circular base – peetham. According to some scholars the Peetham
represents Parashakti, the manifesting power of God. Shiva Lingas are
usually made of stone that may either be carved or naturally existing –
svayambhu, such as shaped by a swift-flowing river. Shiva Lingas may also
be made of metal, precious gems, crystal, wood, earth or transitory materials
such as ice. Some scholars say that transitory Shiva Linga may be made of
12 different materials such as sand, rice, cooked food, river clay, cow
dung, butter, rudraksha seeds, ashes, sandalwood, darbha grass, a
flower garland or molasses.

Religious scholars have given various interpretations of Shiva Linga. Here is

the brief description of some of the popular theories and interpretations
related to Shiva Linga and its origin: As per various Puranas, especially the
Vamana Purana, Shiva Purana, Linga Purana, Skanda Purana, Matsya
Purana and others attribute the origin of Shiva Linga to the curse of sages
leading to the separation of and installation of the phallus of Lord Shiva on
earth.
According to some scholars, worship of Shiva Linga in effect means worship
of the reproduction function. They believe that the base of the Lingam
corresponds to the Yoni which mean vagina or the female reproductive
organ. Correspondence of Linga and Yoni in a Shiva Linga is therefore
interpreted as the representation of the process of copulation. According to
Tantra, the lingam contains the soul-seed within which lies the essence of
the entire cosmos. The lingam arises out of the base – Yoni which represents
Parvati according to some or Vishnu, Brahma in female and neuter form
according to others.
15 
 

Some scholars of the Hindu scriptures believes that Linga is merely an

abstract symbol of the God. It is also in agreement with with philosophies
that hold that God may be conceptualized and worshipped in any convenient
form. The form itself is irrelevant, as the divine power that it represents is all
that matters.

ANALYSIS OF LINGAM:
The meaning of Shiva Ling or Lingam has become a subject of controversy
in recent times. Hindu reveres the Shiv Ling, They use Shiv Ling’s photo on
their vehicles, shops and houses for blessings. Hindu god Shiva is
considered ”The Destroyer” part of Trimurti and he is also considered the
Ascetic god. The early scholars of Hinduism didn’t emphasize the meaning
of Shiv Linga, it was only in recent time when Hinduism was exposed to
foreigners that some Hindu scholars started giving their own definitions.
When dealing with such issues we have to look deep into it’s history. Shiva
Linga actually a Phallic (male erected generative organ) emblem is
considered a symbol by today’s Hindu scholars. We can find traces of
Phallus or Shiva Lingam worshipers in the Rig Veda which is the oldest
scripture of Hinduism, however we read that the ancient Aryans were hostile
towards these worshipers,

Rig Veda …Let our true God subdue the hostile rabble

The Sanskrit word here is Shishan+Deva which means Penis Worshipers.

The word Shishan (also spelled Sisna) means Penis. Maharshi Yaska
explains this verse in his book Nirukta,
16 
 

Now who else could this Phallus worshippers be other than the Shiva Lingam
worshippers.

Unlike some modern Hindu scholars who refuse to give the actual meaning
of Shiva Linga, the Tantra or Tantric tradition of Hinduism maintains that Shiv
Ling represents the male sexual organ and is worshiped for virility (and for
some other reasons also), they quote this passage as proof for Penis
worship,

”Mahadeva [Shiva] said: A Sadhaka wishing to worship a yoni, which is

the form of the cosmos, should cause an erection and insert it into that
thing which is Sakti Herself. The vagina is Mahamaya and the penis is
Sadasiva. Worshipping them, one becomes liberated while still alive;
there is no doubt off it. One should offer bali, flowers and so forth. If
incapable of this, worship with wine, O Durga. One should do
pranayama and my six limbed puja in the yoni region. After reciting the
mantra 108 times at the base of the yoni, one should rub the linga and
the yoni together.”

Yoni (Vagina) worship can also be found in the Upanishad, it is mentioned,

Brihadaranyaka Upanishad - “Prajapati said to Himself: “Well, let Me make

a firm basis for it (semen).” So He created woman. Having created her ,He
worshipped her bottom portion. Therefore one should worship the bottom
portion of a woman. He (Prajapati) extended His organ that projects and with
it impregnated her.”

Now let’s have a look at Mahabharata,

बहु पाः परजा वा िववद्ध

ृ ाः सवेन तेजसा चुक्रॊध भगवान द्रॊ िलङ्गं सवं चा य
अिव यत
तत परिवद्धं तदा भूमौ तथैव पर यित ठत तम उवाचा ययॊ बर मा वचॊिभः शमय न इव
िकं कृतं सिलले शवर् िचरकालं सिथतेन ते िकमथर्ं चैतद उ पा य भूमौ िलङ्गं परवेिरतम

Mahabharata Sauptika Parva- ”After the creatures had multiplied and the
Grandsire had become well pleased, the first-born rose from the water and
17 
 

beheld the living creation. He saw that diverse kinds of creatures had been
created and that they had multiplied by their own energy. At this sight ,Rudra
[Shiva] became angry and caused his procreative limb [Lingam] to disappear
in the bowels of the Earth. The unfading Brahma, soothing him by soft words,
said unto him, “O Sharva, what wert thou doing so long within the water? For
what reason, also hast thou caused thy limb of generation [Lingam] to
disappear in the bowels of the Earth?” Thus questioned, that lord of the
universe wrathfully answered the lord Brahman, “Somebody else has
created all these creatures! What purpose then would be served by this limb
of mine? I have by my austerities, O Grandsire, created food for all these
creatures. These herbs and plants also will multiply like those that will subsist
upon them!” Having said these words, Bhava went away, in cheerlessness
and rage, to the foot of the Menjavat mountains for practising severer
austerities.”

( By art historian Kisari Mohan Ganguly.)

The purpose of quoting this passage from Mahabharata is to show that the
word Linga/Lingam associated with Shiva represents his sexual organ.

STRUCTURE OF SIVA LINGA:

Most prevalent icon of Siva and virtually found in all Siva temples,
Siva Linga is a rounded, elliptical, an-iconic image that is usually
set on a circular base or Peedam. According to some scholars the
Peedam represents Parasakti, the manifesting power of God. Siva
Lingas are usually made of stone that may either be carved or
naturally existing - suyambu, such as shaped by a swift-flowing
river. Siva Lingas may also be made of metal, precious gems,
crystal, wood, earth or transitory materials such as ice. Some
scholars say that transitory Siva Linga may be made of 12 different
materials such as sand, rice, cooked food, river clay, cow dung,
18 
 

butter, rudraksha seeds, ashes, sandalwood, darbha grass, a

flower garland or molasses. The Sivalingam is generally mounted
on a circular or quadrangular receptacle called the Auvudaiyar.
This pedestal is designed so as to drain off the water offered during
ablution ceremonies. The bottom of the pedestal represents
Brahma, the octagonal middle represents Vishnu and the upper
circular portion represents Siva. The upper portion of the
Sivalingam may be of various shapes, cylindrical, elliptical,
umbrella shaped. Images may also be (rarely) carved on a
Sivalingam.

KINDS OF LINGAM:

1. Sama kandam  - Siva pagam, Vishnu pagam and Brahma

pagam are all equal propositions
2. Varthamanam – Varthamanam means Vishnu pagam
exceeding all part over the Brahma pagam and also Rudra
pagam exceeding one part over the Vishnu pagam.
3. Saivathitheiyam – means Vishnu pagam and Brahma
pagam are equal and also Rudra pagam exceeding the other
two.
4. Thiriracigam- means total height of the linga is divided in to
nine parts other parts have been made equal proposition
 .

TYPES OF LINGA:
Siva is worshipped in the symbol of Linga. The chief image in the
central of a Siva temple is, in a large majority of instances, Lingas
are broadly divided into two classes, namely, the Chala - lingas
and the Achala lingas that are movable and the immovable
19 
 

Lingas. The large and heavy stone Lingas which are set up in the
central shrines of Siva temples are Achala lingas.

Chala lingas – 

The Chala lingas are divided into Mrinmaya (these made of

earth), lohaja (of metals), ratnaja (of precious stones), daruja (of
wood), sailja (of tone) and Kshanika lingas, (those made for the
occasion and disposed of immediately after there is over).

Achala lingas ‐ 

The achala lingas are classified under nine heads, namely, the
Suyambu, the Purva, the Daivata, the Ganapatya, the Asura,
the Sura, the Arsha, the Rakshasa, the Manusha and the Bana
lingas. Of these, the Suyambu belongs to the uttamottama (most
superior) variety of the uttamamadhayama (middling superior)
variety; whereas the Asura, the Sura and Arsha lingas belong to
the uttama adhama (lowest among the superior) variety. The
Manusha lingas belong to the madhayamadhama (middling
among the inferior) variety. The most authoritative of all the Saiva
Agamas, the Kamikagama states that the achala lingas are
divided into six classes, the Suyambu, the Daivika, the
Arshaka, the Ganapatya, the Manusha and the Bana lingas . 

Suyambu linga – 

The suyambu linga is one which rose up and came in into

existence by itself and had existed from time immemorial. A
Suyambu linga is considered as sacred that it is above all the rules
laid down in the Agamas for him other classes of Lingas . 

Daivika linga-  
20 
 

The Daivika lingas are recognized by their characteristic shapes.

They may be of the shape of a flame or resemble a pair of hands
held in anjali pose; they may have rough exterior with elevations
and depressions, deep hollows and scars resembling tanka
(chisel) and trisula (trident)

Ganapa lingas- The Ganapa lingas are those set up by ganas. They
are of the shape of the fruits of cucumber, citron, wood – apple or palm

.Arsha lingas‐  

The Arsha lingas are those set up and worshiped by Rishis; they are
spheroidal in shape, with the top portion less broad than the lower portion.

Manusha lingas- 

The Manusha lingas are the largest number of achala lingas. They are set
up by human hands. They are sculptured in accordance with rules laid down
in the Agamas. The Manusha lingas consist of three parts, namely, the
lowest square section known as Brahma bhaga, his middle octagonal section
known as Vishnu bhaga and the top of circular portion called the Rudra
bhaga . The Mukha linga is one of the varieties of Manusha lingas and
distinguished from all other Lingas as it bears one or more human faces
sculptured on it.

FORMS OF SHIVALINGA  
In Saivism, Siva, the supreme and immanent reality, of His own volition
becomes the determinate for the sake of the salvation of millions of soul.
The determinate forms of Siva are three, namely Sakala (form), Nishkala
(formless) and Sakala Nishkala (form and formless).

Sakala (form)‐ 

In the Sakala aspect, Siva manifests Himself in Man’s bodily form. The
forms, such as, Natarajar, Anugrahamurtis, Samharamurties,
21 
 

Chandrasekaramurtis are Siva’s different Sakala forms. In Sakala, Siva is

worshipped in the embodied form .

Nishkala (formless)-

 Siva alone is glorified as Nishkala. He manifests Himself in the form Linga

in Nishkala aspect. In Nishkala, He is worshipped in the Linga form.

Sakala Nishkala (form and formless) ‐MISHRA : 

 It
is the state of blended togetherness of Siva’s Sakala and Nishkala form.
In this aspect, Siva is worshipped in ‘Mukalinga’ (mixture of Sakala and
Nishkala) form . Broadly speaking linga is of two kinds namely Andalinga
which means the world and Binda linga which means the human body
according to Tirumandiram.

VARIOUS INTERPRETATION OF SHIVA LINGA:

Besides regarding Shiva Linga as the symbol and form of Lord Shiva,
religious scholars have given various interpretations of Shiva Linga. Here is
the brief description of some of the popular theories and interpretations
related to Shiva Linga and its origin:

WORSHIP OF THE PHALLUS:

According to some scholars, worship of Shiva Linga in effect means worship
of the reproduction function. For, they say that the other meaning of the
Sanskrit word ‘Linga’ is gender in general and phallus (the male reproductive
organ) in particular. They believe that the base of the Lingam corresponds
to the Yoni which mean vagina or the female reproductive organ.
Correspondence of Linga and Yoni in a Shiva Linga is therefore interpreted
as the representation of the process of copulation. Scholars further opine
that the Kalash (container of water) that is suspended over the Shiva Linga
from which water drips over the Linga also correspond to the idea of
intercourse.
22 
 

Connecting the origin of Shiva Linga to the early Indus Valley civilization,
scholars opine that tribes of the Indus Valley took to the togetherness of
Lingam and Yoni in a Shiva Linga as the point of energy, creation and
enlightenment.

INTERPRETATION IN TANTRA :
According to Tantra, Lingam is a symbol of Shiva′s phallus in spiritual form.
They say, the lingam contains the soul-seed within which lies the essence of
the entire cosmos. The lingam arises out of the base (Yoni) which represents
Parvati according to some or Vishnu, Brahma in female and neuter form
according to others.

INTERPRETATION IN PURANAS :
Puranas, especially the Vamana Purana, Shiva Purana, Linga Purana,
Skanda Purana, Matsya Purana and Visva-Sara-Prakasha attribute the
origin of Shiva Linga to the curse of sages leading to the separation of and
installation of the phallus of Lord Shiva on earth. Some also refer to the
endlessness of the lingam to be linked to the egos of Lord Vishnu and Lord
Brahma.

INTERPRETATION OF SHIVA LINGA AS AN ABSTRACT

SYMBOL OF GOD :
Some scholars of the Hindu scriptures say that Linga is merely an abstract
symbol of the God. They point towards several legends in Hinduism where
a sundry rock or even a pile of sand has been used by as a Lingam or the
symbol of Shiva. Citing a particular instance they say, Arjuna once fashioned
a linga of clay when worshipping Shiva. Scholars of Puranas, thus argue that
too much should not be made of the usual shape of the Lingam. Scholars
say that the interpretation of Shiva Linga as an abstract form of God is also
consonant with philosophies that hold that God may be conceptualized and
worshipped in any convenient form. The form itself is irrelevant, as the divine
23 
 

power that it represents is all that matters. Scholars thus say that Sivalinga
represent the formless Nirguna Brahman or the formless Supreme Being.

INTERPRETING THE SYMBOLISM OF THE

LINGA: BETWEEN FREUD AND EARLY INDIAN
LINGA CULTS

Interpreting symbolism of the Linga:Contrasting Freudian

analysis with ideas of the Indian Linga CultByManola K. Gayatri
This Topic is a comparative study in myth, imagery, and ritual of
the Linga cult in India between the third century BC and third
century AD with Freudian theory of the twentieth century AD. It
contrast Freudian phallocentric theory with the ideas that
emerged with in the linga cult in India from about the third century
BC up to about the tenth century AD,but focusing mainly on the
visual evidence from the third century BC to the third century AD

Freud penetrated the 20th century psyche and world with his theories of the
phallus, its meaning, symbolism and domination of human behaviour,
while for centuries, the linga had remained an everyday sight that was
worshipped in India with many
ritualsand practices and beliefs around it. Freud’s most significant contributi
on to
understanding behaviour was the emphasis he placed on how sexuality co
ntrolled people’s lives unconsciously.
Phallus from the western imagination, in the twentieth century Freud br
ought back attention to this powerful symbol, in his theories of how the
psyche functions. The importance of the reclamation of this powerful symbol
24 
 

has been important. Whether people agreed with Freud’s theories or not, he
is the reason behind the phallus and phallic symbolism being such an
important part of modern discourse. It has influenced all fields of art and
critical theory. Freud brought back the phallus from when it had been
castrated from the Western imagination and discussed it in terms of sexual
repression and later as a symbol of power. His theories on sexuality were
notably dominated by an emphasis on the phallus. Men were analysed in
terms of their complexes with it, women by their lack of an organ symbolising
the phallus. Finally an often glossed over statement he made is that
the phallic object that was such a focus of desire was one that could never be
possessed. His theories have impacted the reading of visual art and cultural
symbols. To Freud all kinds of objects that were verticular and elongated
(umbrellas, pendants, the cross, pens, snakes etc) were all phallic symbols.
He propagated the Oedipus Complex theory, which he then said boys dealt
with by developing of Castration Anxiety and girls with Penis Envy.The
phallic symbol has also dominated the Indian imagination. From the
Harappan seal that depict a seated yogi with an erect phallus and the
discovery of many objects that could have been lingas in the Indus Valley
Civilisation, to the Gudimallam linga and Bhita linga in the second century,
phallic worship has had an ancient following continuing on to this day. That
the phallic object is representing a penis maybe read in the carvings of many
of the free standing
lingas because they have carved on them very anatomically clear phallic fe
ature.The linga came to be definitively associated with Siva by at least the
second century BC,where the earliest Siva linga from Gudimallam has
been identified. He is a deity that is worshipped in an aniconic form, the linga,
and even other images of him also depict him as having an erect phallus.
Perhaps it is this crucial differentiation that is at the heart of the difference of
phallic symbolism in Freudian and Indian thought even as we will see how
intricately woven into spiritual practice and imagery is the sexual. Contrasting
Freudian phallo-centric theory with those of the Linga cult, show us how
phallic symbolism in the Linga cult, which in its earliest form was perhaps
mainly a part of fertility cults developed and got invested with different
powerful metaphysical ideas with time.
25 
 

PROTO and PRE-HISTORIC ORIGINS OF THE LINGA CULT:

Numerous linga like objects have been found at the sites, and scholars have
speculated that this is evidence of what they say must be linga worship.If we
acceptthese conclusions we might say that as early as in the Indus Valley
Civilisation adivine figure, with an erect phallus, was venerated, and objects
that might have been phallic symbols were also considered sacred.

Vedic Antecedents:

In the Rig Ved Indra is prayed to not allow those, whose God is
Sisna(phallus), to disturb the rites of the singers. A second reference to
these followers of
the phallic God, is when they, the singers, recount how they conquered the
riches of a city after killing those whose God was Sisna. Both these
references point out
to the definite existence of a phallic cult in the Vedic times.
Siva has also been linked with the Vedic god Indra, with whom he is said to
share his aspect as the phallic god of fertility. The Vedic Rudra is also said
to be a precursor of Siva. A comparison with the Vedic Agni and Siva is made
on the basis of them both bringing fire into the world. The following a tribal
myth.

Agnisur Dano (the demon god of fire) lived in a cave in the d

epth of a forest. A Baigawoman fell in love with him, for he
was beautiful and light came from all parts of him.She slept
with him and wanted to take fire from his mouth. When she
bathed, he opened his mouth and fire issued forth from it.
Thenceforth there was fire in the world
.
Siva’s linga after Siva is castrated by the Pine Forest sages is said to have
burnt through the world destroying it. Or alternately, when as Rudra he
castrates himself, his linga fall sand then becomes a fiery column of light.
Thus not simply Siva, but his fiery linga as well is associated with the Vedic
26 
 

Agni. As Vedic religion did not invest or theologically believe in the making
of idols, visual evidence of these gods is hard to come by.

Upanisadic Reference

The Svetasvara Upanisad speaks of the god Isana

as presiding over every yoni. (Svetasvara Upanisad ). The lord presides ov
er all formsand yonis. (Svetasavara Upanisad )

FREUD’S PHALLUS THEORIES CONTRASTED WITH THOSE OF

THE LINGA CULT:
Freud first speaks about phallic symbols in his book,
The Interpretation of Dreams
.
Phallic symbol is used purposefully to describe objects that appear in
people‟s dreams. If these objects could be identified as phallic symbols, then
to Freud it indicated a repressed sexual desire. As this desire might be for
an unattainable object, Freud speaks of the impossibility of either a man or
a woman ever possessing the phallic symbol. He found the origins of this
desire in the Oedipus Complex.
 

SYMBOLISM OF THE LINGA:

The Shiva linga represents the ascending energy of consciousness and life
in nature. We see this in such forms as the mountain, the thunder cloud, the
tree, and the upright human being. Many lingas like that at Kedarnath – the
most important Shiva site in the Himalayas – are rocks in the shape of
small mountains. Many other lingas are associated with light, the lingas of
the Sun, the Moon and Fire. There are the twelve famous Jyotirlingas or
light forms of Shiva at twelve special temples throughout India.

The state of Tamil Nadu has special Shiva linga forms for the five elements
with lingas of earth, water, fire, air and ether at special temples in the region.
In this regard, each element has its Shiva linga or determinative force. The
famous hill of Arunachala, where the great enlightened sage Ramana
Maharshi stayed, is said to be the fire linga of lord Shiva.
27 
 

Other Shiva lingas are associated with gold or crystal, the light powers in the
metal kingdom. The Shiva linga is often described in terms of light, crystal or
transparency. Shiva himself is said to be pure light or light in its primal
undifferentiated state, Prakasha matra.

The Shiva linga is connected to the upward pointed triangle, which is also
the symbol of fire. The linga is present in the male sexual organ both in plants
and in animals. But we should not ignore its other forms in recognizing that.
The worship of the linga is connected more generally to a worship of pillars,
obelisks, standing stones and pyramids. Tantric linga worship is connected
to Vedic pillar worship (the Vedic stambha, skambha, dharuna), which has
parallels throughout the ancient world and in indigenous cultures in general
who can still perceive the spiritual powers behind the formations of nature.

The Shiva linga is often a pillar of light. In special Vedic fire rituals, the fire
could be made to rise in the shape of a pillar which could also then take the
shape of a man! In fact, the term Dharma originally refers to what upholds
things and can be symbolized by a pillar. The Shiva linga is the universal
pillar of Dharma. The pillar is also an inner symbol indicating the erect spine
and concentrated mind.

In terms of our human nature, there are several lingas or characteristic

marks. The force of Prana is the linga or pillar force upholding the physical
body according to the currents that emanate from it. This is the inner ‘Prana
Linga’. Our deeper intelligence or Buddhi provides us the power of insight to
discern higher realities, the ‘Buddhi Linga’. The Atman or higher Self is the
ultimate linga or determinative force of our nature that remains steady and
elevated (transcendent) throughout all of our life experience, the ‘Atma
Linga’.

The linga and the yoni always go together, first of all on the level of opposites,
as the upward and downward pointed triangles. The linga with the yoni below
it, the standing stone and the ring base, show the union of male and female
energies, not just in sexuality, but also as electro-magnetic forces.

In addition, the linga in its movement creates a yoni, just as a point in its
movement can create a circle. We can see this in the circular movement of
the stars, planets and nebulae, as well as many other diverse phenomena in
the world of nature. The central luminary is the linga and its field of revolution
is the yoni. The planets form a yoni or circle as they revolve around the Sun
28 
 

as the linga, of the solar system, its central principle or axis. Yet the Sun itself
is revolving around other stars and creating a yoni or circle of its own.

Stonehenge, and other similar sacred sites that have standing stones formed
into great circles, show the union of the linga and the yoni, the cosmic male
and female or Shiva-Shakti principles. The linga and the yoni are also united
in the chakra or the wheel, with the linga as the axis and the yoni as the
circumference. The Hindu usage of chakras in ritual and in art also reflects
these two powers. Each chakra of the subtle body shows the union of the
Shiva and Shakti energies operative at its particular level of manifestation.

ATTRIBUTES:
A Shivpindi has the capacity to attract and emit the Shiv principle, three
gunas (sattva,raja,tama) and subtle frequencies from active Nirgun-Sagun
(unmanifest-manifest) principle of Lord Shiva. Shivpindi attacts 10%
Nirgun Shivtattva and 30% active Nirgun-Sagun Shiva tattva. This active
Nirgun-Sagun tattva contains 30%Tarak (saviour) and 70% Marak
(destroyer).Shivapindi emits 60% marak energy and 40 % tarak energy
constantly. This percentage changes as per the requirement.
The energy may be unbearable to the Jiva (embodied soul), hence
Shivapindi is usually located parallel to the ground or under the ground. The
temperature around the area of Shivapindi is high and heat is experienced
because of its constant emission of radiance and energy. For this very
reason constant flow of water is maintained on the top of it. Some proportion
of this water is absorbed in the Shivapindi.

SIGNIFICANCE OF THE SIVA LINGAM:

The non anthropomorphic Linga form of Siva is seen in reverence in all
temples all over the sub continent. The Lingam is a symbol. It is a symbol of
that which is invisible and yet omnipresent. It is hence a visible symbol of the
Ultimate Reality which is present in us (and in all objects of creation). The
Sivalingam denotes the primeval energy of the Creator. It is believed that at
the end of all creation, during the great deluge, all the different aspects of
God, find a resting place in the Lingam; Brahma is absorbed into the right,
29 
 

Vishnu to the left and Gayatri into the heart. The Sivalingam is also a
representation of the infinite Cosmic Column of fire, whose origins, Vishnu
and Brahma were unable to trace.

PANCHA BHUTA LINGAM:

The following forms or forces of nature are worshipped in their primal form
only without any special idols representing them.

Sarva :- Bhoomi Linga, of Kancheepuram, in Tamil Nadu. It is in Siva

Kanchi Kshetra, where the Lord is in the form of Kshiti Linga in the
Ekambra tree (Aamra (Mango in Sanskrit) tree, which yield only one fruit in
a year). Parvathi worshipped this form first. There is no Abhisheka
performed with water at this shrine and jasmine oil is used instead. The
Devi’s name here is Kamakshi. All the desires of the devotees are fulfilled
with her gracious eyes.

Bhava :- Jala Linga, of Thiruvanaikoil, (Jambukeswaram) in Tamil

Nadu. This temple is located on the outskirts of Trichy, where Lord
Jambukeswara is seated and showers all his blessings to his devotees. This
Kshetra is called Jambhukeswara Kshetra, also known as Jala Linga. The
devotees can see from the outside of Garbhagraha the water bubbles
coming out from Palipedam. There is a Jambu tree, which is the oldest and
the biggest. The legends say Lord Siva wanted to stay here along with the
Jambu tree. So the devotees treat this tree as sacred as the Lord.

Rudra:- Agni or Theo (Divine Light) Linga, of Thiruvannamalai, in

Tamilnadu – Arunachaleswara. In Thiruvannamalai, Lord Siva is seated in
the form of Thejolinga. The whole mountain appears to be a Linga. As a
result of Parvathi’s great penance, a sharp spark of fire came from
Arunachala and took the shape of Arunalinga.
30 
 

Ugra:- Vayu Linga, of Sri Kalakhasti, in Andhra Pradesh. The Sri

Kalahasteeswara temple is situated on the banks of Swarnamukhi River in
Sri Kalakhasti. Spiritually elevated souls only can see that there is a strong
wind blowing around the Linga. Bhakta Kannappa Nayanar’s story is
connected to this temple. Even animals got salvation by worshipping this
Lord. Three animals – Cobweb (Sree), Kala (snake), Hasthi (elephant)
prayed to God with utmost faith and devotion and attained Moksha. One can
see the symbols there on the Siva Linga even today

Bheema:- Akasha Linga, of Chidambaram, in Tamil Nadu. This

Kshetra is on the banks of Cauvery. We don’t see any Murthy in the temple
Garbhagraha. The puranas speak of this Kshetra very highly. No one can
see the Lord’s Murthy, excepting the highest spiritual souls. There is a space
in the Garbhagraha and many Abharanas are decorated and the devotees
assume that the Lord is seated there. A very beautiful Nataraja murthy is in
outer Garbhagraha for worship and for the satisfaction of the devotees . The
cult of linga worship evolved from two basic principles—the cult of the pillar
and phallic worship. The cult of the pillar seems to be primarily based on the
concept of the Axis of the Universe, which is indestructible and eternally
spiritual and which represents cosmic columns in the corridor of space and
time. The eternal quest of early thinkers concerned the realization of the
existence of one god. This led to the principle of Divine Support responsible
for the sustenance of the Universe.

SHIVALINGA WORSHIP IN THIRUVANNAMALAI

At Thiruvannamalai, the hill is piously believed to be the Linga. The hill is
known as Arunamalai (red hill). The hill as Linga has legendary basis.
Several millions of years ago, when the earth was young and the Himalayas
did not yet exist, Arunachala was already there. About the origin of the hill
the following legend is found in Puranas. This happened in the remote past,
when the Gods roamed freely on the surface of the planet. Many years ago,
before our forebears existed, during the first Kalpa of the world, an egotistical
argument arose between Brahma and Vishnu, as who was the greatest.
31 
 

Brahma the creator and Vishnu the sustainer were once disputing, each
claiming to be the supreme Lord. Steeped in ignorance, they were shouting
at each other and a terrible fight ensued between them which plunged the
entire universe into confusion, put all living beings to great distress. When
Lord Siva saw this, He was filled with compassion and spontaneously
understood that this happened due to their delusion. He decided to make
them overcome their delusion and suddenly arose as a column of effulgent
light that reached infinitely into the sky. The Lingam in Thiruvannamalai is
Suyambu linga. The Suyambu linga is one which rose up and came into
existence by itself and had existed from time immemorial. A Suyambu linga
is considered as sacred that it is above all the rules laid in the Agamas for
the other closses of Lingas. This happened when Dhanus (the moon) was in
the constellation of Ardra (orion) in the month of Kumba (December) millions
of years ago54 .And the legend hold that as a token of gratitude and worship
to Siva, Brahma and Vishnu had a remarkable temple built at the foot of the
mountain.

JYOTIRLINGA –
(Jyoti means a flame and linga means form) are the Shivlinga that are
evolved on its own thus are called swayambhu, It emits radiance of Shiva
principle and the energy on a greater scale, because these lingas are created
with the resolve of Lord Shiva. They manifested before the devotee and after
their discovery their worship begins. On the day of Maha shivratri, the
emission of Lord Shiva frequencies increases by 30%. There are twelve
Jyotirlingas in India at Somanath, Mahakal, Kedarnath, Kashi Vishweshwar,
Omkareshwar, Trayambakeshwar, Ghrushneshwar, Bhimashankar,
Naganath, Vaijanath, Mallikarjun and Rameshwar.
32 
 

Function of Shivalinga- Shivapindi:

1. Shivapindi emits frequencies of Knowledge (dnyan), devotion (bhakti)

and detachment ( vairagya).

2. Emission of subtle frequencies of divine consciousness

(chaitanya), bliss (ananda) and peace (shanti):
33 
 

Shivapindi emits subtle frequencies of divine consciousness, bliss and

peace. This leads to purification of the subtle body of the individual to
Shivapindi on this day and helps in activation of sun channel or sushumna
(middle) channel as per the requirement. This helps in increase in the sattva
guna and divine consciousness.
Due to nirgun (unmanifest) principle of Lord Shiva emitting from Shivapindi
and also due to emission of peaceful frequencies, the area around the
shivapindi remains cool and the mind becomes peaceful.

In the Shivapindi all the principles of Lord Shiva namely Nirgun, Nirgun-
Sagun, tarak and marak co-exist. Therefore the jiva-paying obeisance,
receives the particular principle as per his requirement. When one gains the
marak energy emitted from Shivapindi, the temperature increases and one
experiences bliss. Similarly when one gains the nirgun (unmanifest) principle
of Lord Shiva emitting from Shivpindi one feels cool and experiences bliss
and peace.

LINGARAJA TEMPLE AT BHUBANESHWAR

The Lingaraja temple is said to have been built first by the ruler Yayati Kesari
in the 7th century who shifted his capital from Jaipur to Bhubaneshwar.
Bhubaneshwar remained as the Kesari capital, till Nripati Kesari founded
34 
 

Cuttck in the 10th century. Inscriptions from the period of the Kalinga King
Anangabhima III from the 13th century are seen here.

Structurally, the Parasurameswara temple at Bhubaneshwar is the oldest,

dating back to the middle of the 8th century, and the Lingaraja is temple is
assigned to the 10th century. The nata mandir and the bhog mandirof the
Lingaraja temple are of later origin.

Legend has it that Shiva revealed to Parvati that Bhubaneshwar - or Ekamra

thirtha was a resort favoured by him over Benares. Parvati in the guise of a
cowherd woman, decided to look at the city herself. Two
demonsKritti and Vasa desired to marry her. She requested them to carry
her upon their shoulders, and crushed them under her weight. Shiva, then
created the Bindu Saras lake to quench her thirt, and took abode here as
Krittivasas or Lingaraja.

The Temple: The vast Bindu Sagar lake is the center around which are
located the multitude of temples of Bhubaneshwar. The Lingaraja temple is
located in a spacious courtyard covering over 250000 sq feet and is
bounded by fortified walls. Its tower rises up to 180 feet and is elaborately
carved.

The Shivalingam in the sanctum of the Lingaraja temple rises to a height of

8 inches above the floor level, and is 8 feet in diameter. The Bhagawati
temple is located in the northwest corner of the courtyard. There are several
other shrines and temples in this vast courtyard.

THE GUDIMALLAM LINGAM:

The Gudimallam Lingam completely resembles penis while the Lingam
found at Kannada district is smaller than Gudimallam. Details on Shiv Ling
can mainly be found in the Puranas. Bottom support base of Gudimallam
lingam. The iconic form of Siva stands on the shoulders of a dwarf, a
member of the gaNa. Bauddham friezes refers to them as Yakshas. The
dward gaNa is also explained as Apasmara who symbolizes ignorance.
35 
 

The worship of Shiv’s Ling started after one of the Sage of Pine forests
named Bhrigu cursed Shiva to be worshiped as Linga (Penis) in anger
after he was dishonoured by Shiva. It is mentioned in Padma Purana.

LINGODBHAVA SIVA:
God Siva appears as in an infinite Linga fire-pillar, as Vishnu
as Varaha tries to find the bottom of the Linga while Brahma tries to find its
top. This infinite pillar conveys the infinite nature of Siva. "Stone statue of
Siva as Lingodbhava".

CONCLUSION –
( SHIVLINGA- A GLORIOUS WORSHIP)
The Puranas like Sivamahapuranam talks about the superiority of linga
worship. (The Indus valley excavation is an example for the presence of this
worship in olden times) 43 God is formless, attribute less and omnipresent.
This state is called arupa (formless). For the benefit of the pashus, He took
the form of Siva lingam which is neither form nor formless but is a symbol.
This symbol of Him is called aruparupam (formless form). He took many
forms out of His mercy to bless all, which are called rupams. Saivaite
worships the God in all these three states. The oldest form that the formless
God took namely the Siva lingam is called sadasiva murtam and is
worshipped in the altar of His abodes (temples). The forms that He later took
which are called Maheswaramurtam and they are worshipped in the outer
circles in a temple. The Sivalinga is also the symbolic representation of the
Supreme Self. It is verily Maheswara Himself, the Highest Self and the Lord
of the universe. In this aspect it has three parts. The lower part represents
Brahma. The middle part, which is octagonal in shape, represents Vishnu.
36 
 

BIBLIOGRAPHY

“An image of Aditi Uttanapada”, Artibus Asiae,.

Stella Kramrisch, 1956
 
https://sarasvatihieroglyphs.wordpress.com/2007/06/28/mlecchita-vikalpa-
1/

, A Survey of Hinduism 2007

Klaus Klostermaier,

Shiv Purana (2006 ed.).

.Chaturvedi.
Diamond Pocket Books,Press

"http://indiatemple.blogspot.in/2004_12_01_archive.html

History of Indian and Eastern architecture, Volume 3. London: Harvard

University.)
Fergusson James (1876).
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India through the ages.

Publication Division, Ministry of Information and Broadcasting, Government
of India. p. 175.)
Gopal, Madan & K.S. Gautam, (1990).

 
37 
 

“DEVELOPMENT OF LINGA IN
IMAGES OF INDIAN PAINTING
AND SCULPTURE”

-SHWETA SRIVASTAVA
-RELIGIOUS AND TEXTUAL SOURCES
-M.F.A 2ND SEM.
-ART HISTORY AND ART APPRECIATION
-SUBMITTED TO – MRS SANHITA BHOWAL
38