View source for Iconography of Shiva temples in Tamil Nadu

[[File:Temple Tangore 1.jpg|250px|thumb|[[Thillai Nataraja Temple, Chidambaram|Chidambaram Nataraja temple]] considered the foremost of all Shiva temples in Tamil Nadu]]
{{Hinduism small}}
{{Use dmy dates|date=July 2020}}
{{Use Indian English|date=July 2020}}
'''Iconography of Shiva temples in Tamil Nadu''' is governed by the [[Shaiva Agamas]] ([[IAST]]:Āgama) that revere the ultimate reality as the [[Hindu deity]], [[Shiva]]. [[Āgama (Hinduism)|Āgama]] ([[Sanskrit]]: आगम, [[Tamil language|Tamil]]: ஆகமம்) in the [[Hindu]] religious context means a traditional doctrine or system which commands faith.<ref>
[https://books.google.com/books?id=j4SOIISR9PUC&dq=%22a+traditional+doctrine,+or+system+which+commands+faith%22&pg=PP11  Siva sutras: The Yoga of Supreme Identity By Vasugupta, Jaideva Singh]</ref>  Temple worship according to Āgamic rules can be said to have started during the [[Pallava dynasty]] (551-901 A.D.) in [[South India]], but they were fully under establishment during the [[Chola dynasty]] (848-1279 A.D.)<ref>[[#Vasudevan|Vasudevan 2003]], p. 26</ref>  The temples during the Chola period expanded to [[Sri Lanka]] and islands in [[South East Asia]]. The temple complex was expanding with niches for various deities on the stipulated sides of the sanctum. ''[[Lingam]]'' was universalised and ''[[prakarams]]'' (precincts) with subsequent deities came up.  The temple ''parivara'' (deities related to primary deity) expanded considerably during the Chola period.  The niches of following Āgamic rules for building Shiva temples in [[Tamil Nadu]], a [[South Indian]] state continues even in the modern era. Some of the prime images like that of ''lingam'', [[Ganesha|Vinayagar]] and [[Parvati]] are present in all the Shiva temples. Almost all the temples follow the same custom during festivals and worship methods with minor exceptions. Most of the Shiva temples in [[Tamil Nadu]] and [[Sri Lanka]] (like [[Munneswaram temple]], [[Koneswaram temple]], [[Tennavaram temple]], [[Ketheeswaram temple]], [[Naguleswaram]]) are built in [[Dravidian architecture]].

==Symbolism behind the structure of a Shiva Temple==
[[File:Tiruvannamalai Temple.jpg|thumb|200x200px|right|The Annamalaiyar Temple in [[Thiruvannaamalai]], India, an ideal example of Dravidian Architecture]]
The temple structure resembles the human body with all its subtleties.<ref>Rao 1989</ref><ref>[[#Subramuniyaswami|Subramuniyaswami 2003]], p. 810</ref> The five walls encircling one another are the ''koshas'' (sheaths) of human existence.<ref name="Chakrabarti">Chakrabarti 1998, p.36</ref>
The outermost is the ''[[Kosha#Kosha|Annamaya kosha]]'', symbolizing the material body.<ref name="Chakrabarti"/> The second is ''[[Pranamaya|Pranamaya kosha]]'', symbolizing the sheath of vital force or ''[[prana]]'' (breath).<ref name="Chakrabarti"/> The third is ''[[Kosha#Manomaya kosha|Manomaya kosha]]'', symbolizing the sheath of the thoughts, the ''mana''.<ref name="Chakrabarti"/> The fourth is the ''[[Vijnanamaya|Vijnanamaya kosha]]'', symbolizing, the sheath of the intellect.<ref name="Chakrabarti"/> The fifth and innermost is the ''[[Anandamaya|Anandamaya kosha]]'', symbolizing the sheath of bliss.<ref name="Chakrabarti"/>

Dravidian Shiva temples invariably follow the structure, arranged in differing manners, but differing in themselves only according to the age in which they were constructed:<ref name=Fergusson>{{cite book |last= Fergusson |first= James|title= History of Indian and Eastern Architecture |orig-year= 1910 |edition= 3rd |year= 1997 |publisher=Low Price Publications |location= New Delhi|page= 309}}</ref>
* The principal part of the temple is called the ''[[Vimana (tower)|Vimana]]m'', which is the roof of the sanctum sanctorum.
* The porches or ''[[mandap|Mantapams]]'' (halls), which always cover and precede the door leading to the sanctum.
* Gate-pyramids, ''[[Gopurams]]'' is the principal feature of the temple seen from outside.
* Pillared halls (''Chaultris'' or ''Chawadis'') are used for festivals and daily gatherings.

A temple always contains [[temple tank]]s or wells for water called ''[[theertham]]'' used for sacred purposes of ablution.<ref name=Fergusson/>

==Common terminologies==
These terminologies are not specific to Shiva temples in Tamil Nadu, but common across all temples built in [[Tamil Architecture|Tamil architecture]].

=== Moola Sannidhi or Garbhagriha ===
{{main|Garbhagriha}}
'''Garbhagriha''' or '''garbha gṛha''' (Devanagari: गर्भगॄह) is a Sanskrit word meaning the interior of the [[sanctum sanctorum]], the innermost sanctum of a Hindu temple where resides the [[murti]] (idol or icon) of the primary [[deity]] of the temple. Literally the word means "womb chamber", from the Sanskrit words ''garbha'' for womb and ''griha'' for house. Only ''[[pujari]]'' (priests) are allowed to enter the sanctum.<ref>{{cite web
|url=http://www.indoarch.org/arch_glossary.php
|title=Architecture of the Indian Subcontinent - Glossary
|access-date=2007-01-24
|archive-date=6 March 2012
|archive-url=https://web.archive.org/web/20120306200130/http://www.indoarch.org/arch_glossary.php
|url-status=usurped
}}</ref><ref>{{cite web
|url=http://www.templenet.com/glossary.html
|title=Templenet - Glossary
|access-date=2007-01-29
}}</ref>

=== Vimanam ===
{{main|Vimana (architectural feature)}}
[[File:Madurai Meenakshi temple shikhara.jpg|200x200px|thumb|right|Golden vimana of [[Madurai Meenakshi Temple]]]]
'''Vimana''' (Tamil:விமானம்) is a term for the tower above the ''[[garbhagriha]]'' or Sanctum sanctorum in a Hindu temple.<ref>{{cite web
 |url         = http://www.art-and-archaeology.com/india/glossary1.html#vimana
 |title       = Glossary
 |publisher   = art-and-archaeology
 |access-date  = 2007-02-10
 |url-status     = dead
 |archive-url  = https://web.archive.org/web/20070112141553/http://www.art-and-archaeology.com/india/glossary1.html#vimana
 |archive-date = 2007-01-12
}}</ref><ref>{{cite book
|title=Indian temple architecture: form and transformation : the Karṇāṭa Drāviḍa
|author=Adam Hardy
|year=1995
|isbn=9788170173120
|url=https://books.google.com/books?id=aU0hCAS2-08C&q=vimana+architecture&pg=PA17}}</ref>  The towering roof of the other deities is also called the ''vimanam''. These do not assume as much significance as the outer ''gopurams'' (gateway towers), with the exception of a few temples where the ''vimanams'' are as famous as the temple complex - ''Kanka sabai'' (Golden stage) at [[Thillai Nataraja Temple, Chidambaram]] covered with golden plates and the [[Ananda Nilayam]] ''vimanam'' of the [[Tirumala Venkateswara Temple]] are examples.

===Prakaram===
{{main|Prakaram}}
[[File:Sri Ramanatha swamy Temple Carridor.jpg|200x200px|left|[[Ramanathaswamy Temple]] ''prakaram''|thumb]]
[[File:Prakaram Passage.jpg|thumb|[[Mayuranathaswami Temple, Mayiladuthurai|Mayiladuthurai]] Prakaram |233x233px]]
A '''Prakaram''' (Tamil: பிரகாரம், Sanskrit: प्राकारम), also spelled ''Pragaram'' or ''Pragaaram'') in [[Indian architecture]] is an outer part around the Hindu temple sanctum.  These may be enclosed or open and are typically enclosed for the inner most ''prakaram''.  Typically a Hindu Temple<ref name="ching"/>  prayer hall is built  in front of the temple's  sanctum sanctorum (''garbhagriha'') in the first ''prakaram''.<ref name="glossary">{{cite web
|url=http://www.indoarch.org/arch_glossary.php
|title=Architecture of the Indian Subcontinent - Glossary
|access-date=2007-01-08
|archive-date=6 March 2012
|archive-url=https://web.archive.org/web/20120306200130/http://www.indoarch.org/arch_glossary.php
|url-status=usurped
}}</ref>

=== Gopuram ===
{{main|Gopuram}}
[[File:Arunchaleshvara Temple - Tiruvannamalai - India 02.JPG|thumb|right|200px|[[Annamalaiyar Temple]] ''gopurams'']]
[[File:Gopura of the Mayuranathaswamy Temple.jpg|thumb|Gopuram of the [[Mayuranathaswami Temple, Mayiladuthurai|Mayuranathaswamy Temple, Mayiladuthurai]]|233x233px]]
A '''Gopuram''' or '''Gopura''', is a monumental tower, usually ornate, at the entrance of any temple, especially in [[Southern India]].  This forms a prominent feature of [[Koil]]s, [[Hindu temple architecture|Hindu temples]] of the Dravidian architecture.<ref name=ching2>{{cite book
| first=Francis D.K.
| last= Ching| year= 2007
| title= A Global History of Architecture
| url=https://archive.org/details/globalhistoryofa0000chin
| url-access=registration
| publisher=John Wiley and Sons
| location=New York
| isbn=  978-0-471-26892-5
| page= [https://archive.org/details/globalhistoryofa0000chin/page/762 762]|display-authors=etal}}</ref>  They are topped by the ''kalasam'', a bulbous stone or metal [[finial]]. The ''gopurams'' function as gateways through the walls that surround the temple complex.<ref name=ching>{{cite book
| first=Francis D.K.
| last= Ching
| year= 1995
| title= A Visual Dictionary of Architecture
| publisher=John Wiley and Sons
| location=New York
| isbn=  0-471-28451-3
| page= 253}}</ref>

The gopuram's origins can be traced back to early structures of the Pallava dynasty. By the twelfth century under the [[Pandya]] rulers these gateways became a dominant feature of a temple's outer appearance, eventually overshadowing the inner sanctuary obscured from view by the gopuram's colossal size.<ref name=mitchell>{{cite book
| last =Mitchell
| first =George
| title = The Hindu Temple
| publisher =University of Chicago Press
| year =1988
| location =Chicago
| pages = 151&ndash;153
| isbn = 0-226-53230-5}}</ref> It also dominated the inner sanctum in amount of ornamentation. Often a shrine has more than one gopuram.<ref>{{cite web
|url=http://www.britannica.com/eb/article-9037402/gopura
|title=gopura
|publisher=Encyclopædia Britannica
|access-date=2008-01-20
}}
</ref>  The gopuram raises from a square or rectangular granite or brick base to a pyramidal structure with multiple storeys.  A temple may have multiple gopurams, typically constructed into multiple walls in tiers around the main shrine.  ''Rajagopuram'' indicates the prime one of all the ''gopurams'' within the temple.  It is typically the most commonly used gateway and the tallest of all.

==Main Deities==
===Lingam===
{{main|Lingam}}
[[File:Lingaico.png|200x200px|left|thumb|Image of structure of ''Lingam'']]
[[File:Siva Lingam at Jambukesvara temple in Srirangam.JPG|200x200px|thumb|right|Decorated form of Shiva Lingam]]

The '''Lingam''' (also, '''Linga''', '''Ling''', '''Shiva linga''', '''Shiv ling''', Sanskrit लिङ्गं {{IAST|liṅgaṃ}}, meaning "mark" or "sign") is a representation of the [[Hinduism|Hindu]] deity Shiva used for worship in Hindu temple.<ref name="Fowler">Hinduism: Beliefs and Practices, by Jeanne Fowler, pgs. 42-43, at [https://books.google.com/books?id=RmGKHu20hA0C&dq=Hinduism+murtis+shiva+linga&pg=PA42 Books.Google.com]{{Dead link|date=January 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>  The ''lingam'' is the principal deity in most Shiva temples in South India.  The lingam is often represented with the [[Yoni]], a symbol of the goddess or of [[Shakti]], female creative energy.<ref name="zimmer">[[Heinrich Zimmer]], [[Joseph Campbell]], ''Myths and symbols in Indian art and civilization'', 127 [https://books.google.com/books?id=PTfNMQP81nAC&dq=lingam&pg=PA127]</ref> The union of lingam and yoni represents the "indivisible two-in-oneness of male and female, the passive space and active time from which all life originates".<ref name = "eva">{{cite book|last=Jansen|first=Eva Rudy|title=The book of Hindu imagery: gods, manifestations and their meaning|year=2003|publisher=Binkey Kok Publications|isbn=90-74597-07-6|pages = 46, 119|orig-year = 1993}}</ref> A complementary theory suggests that the Lingam represents the beginning and ending ''[[Stambha]]'' pillar symbolizing the infinite nature of Shiva.<ref name="E.U.Harding">
{{cite book
  | last = Harding
  | first = Elizabeth U.
  | title = Kali: The Black Goddess of Dakshineswar
  | chapter = God, the Father
  | publisher = Motilal Banarsidass
  | year = 1998
  | pages = 156–157
  | isbn = 978-81-208-1450-9
}}</ref><ref name="paris_congress">
{{cite book
  | last = Vivekananda
  | first = Swami
  | title = The Complete Works of Swami Vivekananda
  | chapter = The Paris Congress of the History of Religions
  | chapter-url = https://www.ramakrishnavivekananda.info/vivekananda/volume_4/translation_prose/the_paris_congress.htm
  | volume = 4
}}</ref>
The propagation of ''linga'' worship on a large scale in South India is believed to be from Chola times (late 7th century A.D.), through ''[[Rig veda]]'', the oldest literature details about worshipping Shiva in the form of ''linga''.<ref name="Vasu">[[#Vasudevan|Vasudevan 2003]], p. 105</ref>  Pallavas propagated Somaskanda as the principal form of worship, slightly deviating from the ''Shaiva agamas''; Cholas being strict ''shaivas'', established ''lingams'' in all the temples.<ref>[[#Vasudevan|Vasudevan 2003]], p. 106</ref>  The relation between Shiva and the ''lingam'' extends to the [[Indus Valley civilization]], where several remains, such as the round stone caps at [[Harappa]] and the well-known seal of polycelphalic ''[[yogi]]'' (saint), have led scholars to attribute the primordial native origin.<ref>[[#Darian|Darian 2001]], pp. 100-102</ref>  ''Svayambu lingam'' indicates a ''lingam'' that comes into existence on its own accord and not erected by human beings.<ref>[[#Anand|Anand 2004]], p. 177</ref>  Some of the temples are built around the lingam, with its position maintained as the sanctum.

The temple structures is divided into five ''lingams'' with the main one at the sanctum supplying power to the rest.  The others are ''dhvaja lingam'' or flag ''lingam'' (signifying flag pole), ''bhadra lingam'' or prosperous ''lingam'' (signifying the ''[[Bali Pitha|bali pitha]]''), ''stupa lingam'' (signifying ''vimana'' tower) that raises over sanctum and the sacrificer or officiating priest.<ref>[[#Hiltebeitel|Hiltebeitel 1991]], p. 134</ref>

===Parvati===
{{main|Parvati}}
[[File:Sri Ganga Parvathi Sametha Ramalingeswara Swamy Temple - Parvathi Devi.jpg|200x200px|thumb|Parvati Shrine within a Shiva temple]]
'''Parvati''' (Sanskrit: {{lang|sa|[[wikt:पार्वती|पार्वती]]}}, [[IAST]]: Pārvatī) is a Hindu [[Devi|goddess]]. ''Shaiva'' tradition is replete with a number of form of goddesses and all of the consorts, Parvati is the most celebrated and artistic.<ref>[[#Dehejia|Dehejia 1999]], p. 4</ref> Parvati is nominally the second consort of Shiva, the [[Hindu deities|Hindu god]] of destruction and rejuvenation. However, she is not different from [[Dakshayani|Satī]], being the reincarnation of Shiva's wife. Parvati is the mother of the gods and goddess, [[Ganesha]] and [[Murugan|Skanda (Kartikeya)]]. Some communities believe her to be the sister of [[Vishnu]]. Parvati, when depicted alongside Shiva, generally appears with two arms, but when alone, she is shown having four or eight arms, and astride a tiger or lion. Generally considered a benevolent goddess, Parvati also has wrathful incarnations, such as [[Durga]], [[Kali]],<ref>[[#Dehejia|Dehejia 1999]], p. 30</ref> [[Shitala Devi]], [[Tara (Devi)|Tara]], [[Chandi]], and the [[Mahavidyas]] as well as benevolent forms like [[Kathyayini]], Mahagauri, [[Kamalatmika]], [[Bhuvaneshwari]], and [[Tripura Sundari|Lalita]].

=== Ganesha ===
{{main|Ganesha}}
[[File:Ganesha, Brihadeeswarar Temple.jpg|The shrine of Ganesa inside a temple|200x200px|left|thumb]]
'''Ganesha''' (Sanskrit: {{lang|sa|गणेश}}; IAST: {{IAST|Gaṇeśa}}; {{Audio|Ganesha.ogg|listen}}), also spelled '''Ganesa''' or '''Ganesh''', also known as '''Ganapati''' (Sanskrit: {{lang|sa|गणपति}}, IAST: {{IAST|gaṇapati}}), Vinayaka (Sanskrit: {{lang|sa|विनायक}};  IAST: {{IAST|Vināyaka}}), and Pillaiyar (Tamil: {{lang|ta|பிள்ளையார்}}), is one of the deities best-known and most widely worshipped in the Hindu pantheon.<ref>[[#Rao|Rao]], p. 1.</ref>  Ganesa is the first son of Shiva and is given the primary importance in all Shiva temples with all worship starting from him.  Local legend states the Tamil word Pillayar splits into ''Pillai'' and ''yaar'' meaning who is this son, but scholars believe it is derived from the Sanskrit word ''pulisara'' meaning elephant.<ref>[[#Brown|Brown 1991]], p. 25.</ref>  K. A. Nilakanta Sastri (1963:57-58) thinks that Pallavas adopted the Ganesa motif from [[Chalukyas]].<ref>[[#Clothey|Clothey 1978]], p. 221</ref>  During the 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by
Paranjothi, the general of Pallavas who defeated Chalukyas.<ref>
{{cite web
|title=Vatapi Ganapati
|url=http://www.templenet.com/Tamilnadu/vatapi.html
|access-date=2010-03-28}}
</ref>

=== Skanda ===
{{main|Kartikeya}}
[[File:Murugan, National Museum of India, New Delhi.jpg|200x200px|right|thumb|Image of Skanda, the six faced God]]
'''Murugan''' ({{langx|ta|முருகன்}}, Sanskrit:सुब्रह्मण्य, {{langx|sa|कार्तिकेय}}) also called  '''Kartikeya''', '''Skanda''' and '''Subrahmanya''',  is more popular in South India especially among Tamil people famously referred as ''Thamizh Kadavul'' (God of Tamils).  He is the patron deity of the Tamil land (Tamil Nadu).<ref name="Cage of Freedom">[[#Cage|Cage of Freedom By Andrew C. Willford]]</ref> Like most Hindu deities, he is known by many other names, including {{IAST|Senthil (Smart)}}, {{IAST|Saravaṇa}}, {{IAST|Kārtikeya}} (meaning 'son of [[Krittika]]' ), Arumugam, Sanmuga(from Sanskrit '' {{IAST|Ṣaṇmukha}}''), Shadanana (meaning 'one with six faces'), {{IAST|Kumāra}} (meaning 'child or son'), {{IAST|Guhan}} or ''Guruhuha'' (meaning 'cave-dweller'), {{IAST|Skanda}} (meaning 'that which is spilled or oozed, namely seed' in Sanskrit),<ref>[[#Clothey|Clothey]], p.49 Skanda is derived from the verb {{IAST|skanḍr}} meaning "to attack, leap, rise, fall, be spilled, ooze"</ref> {{IAST|Subrahmaṇya}}, {{IAST|Vēlaṇ}} and Swaminatha.<ref>Many Faces of Murakan: The History and Meaning of a South Indian God By Fred W. Clothey p.1 [https://books.google.com/books?id=0AevljBmCRQC&dq=Skanda&pg=PA49 M1]</ref>  ''[[Tolkappiyam]]'', possibly the most ancient of the extant Sangam works, dated between the 3rd century [[BCE]] and 5th century [[Common Era|CE]] glorified Murugan, " the red god seated on the blue peacock, who is ever young and resplendent," and " the favoured god of the Tamils.".<ref>Kanchan Sinha, Kartikeya in Indian art and literature, 1979, Delhi: Sundeep Prakashan.</ref>  The Sangam poetry divided space and Tamil land into five allegorical areas and according to the ''[[Tirumurugarruppatai]]'' (circa 400-450 A.D.) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity of the Kurinci region (hilly area). ''Tirumurugaruppatai'' is a deeply devotional poem included in the ten idylls (''[[Pattupattu]]'') of the age of the third Sangam.<ref>[[#Krishnan|Krishan 1999]], p.59</ref>  The cult of Skanda disappeared during the 6th century and was predominantly expanded during late 7th century Pallava period - Somaskanda sculptured panels of the Pallava period stand as a testament.<ref>[[#Krishnan|Krishan 1999]], p.60</ref>

==Other images==
Shiva is worshipped in nine forms: Lingam, Lingodbhava, Chandrashekhara, Somaskanda, Bhairava, Virabhadra, Nataraja, and Dakshinamurti.<ref>[[#Cuppiramaṇiyan|Cuppiramaṇiyan 1985]], p. 224</ref>

===Lingodbhava===
{{main|Lingodbhava}}
[[File:lingothbhavar.jpg|200x200px|thumb|right|Lingodbhava or emergence of the lingam]]
'''Lingodbhava''' or emergence of ''lingam'', found in various ''[[Puranas]]'' as a symbol of Shiva, augments the synthesis of the old cults of pillar and phallic worship.<ref>[[#Anand|Anand 2004]], p. 132</ref> The idea emerged from deity residing in a pillar and later visualised as Shiva emerging from the ''lingam.''<ref name="Vasu"/> The lingodbhava image can be found in the first precinct around the sanctum in the wall exactly behind the image of Shiva. [[Appar]], one of the early Shaivite saint of the 7th century, gives evidence of this knowledge of ''puranic'' episodes relating to Lingodbhava form of Shiva while [[Campantar|Sambandar]] refers this form of Shiva as the nature of light that could not be comprehended by [[Brahma]] and Vishnu.<ref>[[#Parmeshwaranand|Parmeshwaranand 2001]], p. 820</ref>

=== Nataraja ===
{{main|Nataraja}}
[[File:Shiva as the Lord of Dance LACMA edit.jpg|thumb|200x200px|left|Shiva Nataraja, the Lord of the Dance]]
'''Nataraja''' or '''Kuththan''' (Tamil: கூத்தன்) is a depiction of the [[Hindu]] god Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for god Brahma to start the process of creation. A Tamil concept, Shiva was first depicted as Nataraja in the famous [[Chola art|Chola bronzes]] and sculptures of Chidambaram. The dance of Shiva in Tillai, the traditional name for [[Chidambaram]], forms the motif for all the depictions of Shiva as Nataraja.<ref name="Singh">[[#Singh|Singh 2009]], p. 1079</ref><ref name="National">[[#NGC|National Geographic 2008]], p. 268</ref><ref name="Soundara Rajan">[[#Soundara|Soundara Rajan 2001]], p. 263-264</ref> He is also known as Sabesan, which means "The lord who dances on the [[dais]]".  The form is present in most Shiva temples in South India, and is the main deity in the famous temple at [[Chidambaram Temple|Chidambaram]].<ref>G. Vanmikanathan. (1971). Pathway to God through Tamil literature, Volume 1. A Delhi Tamil Sangam Publication.</ref> The sculpture is usually made in bronze, with Shiva dancing in an [[aureole]] of flames, lifting his left leg (or in rare cases, the right leg) and balancing over a demon or dwarf ([[Apasmara]]) who symbolizes ignorance.

=== Dakshinamurti ===
{{main|Dakshinamurti}}
[[File:Dakshinmurthy.jpg|thumb|upright|Dakshinamurti]]
'''Dakshinamurti''' or '''Jnana Dakshinamurti''' (Tamil: தட்சிணாமூர்த்தி, Sanskrit: {{lang|sa|दक्षिणामूर्ति}} IAST: {{IAST|Dakṣiṇāmūrti}})<ref>.  For iconographic description of the {{IAST|Dakṣiṇāmūrti}} form, see: Sivaramamurti (1976), p. 47.</ref> is an aspect of Shiva as a [[guru]] (teacher) of all fields. This aspect of Shiva is his personification of the ultimate awareness, understanding and knowledge.<ref>''Dictionary of Hindu Lore and Legend'' ({{ISBN|0-500-51088-1}}) by Anna Dallapiccola</ref> The image depicts Shiva as a teacher of [[yoga]], music, and wisdom, and giving exposition on the ''[[Shastras]]'' to his disciples.<ref>For description of the form as representing teaching functions, see: Kramrisch, p. 472.</ref> He is worshipped as the god of wisdom, complete and rewarding meditation.<ref>Magick of the Gods and Goddesses: Invoking the Power of the Ancient Gods By D. J. Conway p.284</ref> This form of Shiva is popular in the Southern states of India especially Tamil Nadu. ''Dakshina'' indicates south and this deity is south facing usually depicted in the wall of first precinct around the sanctum.

=== Somaskanda ===
{{main|Somaskanda}}

[[File:Somaskanda thirunageswaram.jpg|200x200px|left|Murti of Somaskanda - Shiva accompanied by Skanda the child and Parvati|thumb]]

'''Somaskanda''' derives from Sa (Shiva) with Uma (Parvati) and Skanda (child Murugan).<ref>[[#Pal|Pal 1988]], p. 271</ref>  It is the form of Shiva where he is accompanied by Skanda the child and Paravati his consort<ref name="Smith">[[#Smith|Smith 1996]], p. 203</ref> in sitting posture. Though it is a Sanskrit name, it is a Tamil concept and Somaskandas are not found in North Indian temples.<ref>[[#Ghose|Ghose 1996]], p. 3</ref> In the [[Thyagaraja Temple, Tiruvarur|Tiruvarur Thygarajar Temple]], the principal deity is Somaskanda under the name of Thyagaraja.<ref name="Smith"/>  All temples in the Thygaraja cult have images of Somaskanda as Thyagarajar - though iconographically similar,  they are iconologically different. Architecturally when there are separate shrines dedicated to the ''utsava'' (festival deity) of Somaskanda, they are called Thyagaraja shrines.<ref>[[#Ghose|Ghose 1996]], p. 11</ref>  Unlike Nataraja, which is a Chola development, Somaskanda was prominent even during the Pallava period much earlier to Cholas.<ref>[[#Smith|Smith 1996]], p. 205</ref>  References to the evolution of the Somaskanda concept are found from Pallava period from the 7th century A.D. in carved rear stone walls of Pallava temple sanctums.<ref name="Ghose">[[#Ghose|Ghose 1996]], p. 12</ref>  There are 40 such images of Somaskanda found in different temples including the [[Kanchi Kailasanathar Temple|Kailasanthar temple]] at [[Kanchipuram]].  Most of the images are attributed to [[Narasimhavarman II|Rajasimha Pallava]] (700-728 A.D.), [[Mahendravarman I|Mahendra Pallava]] (580-630 A.D.), [[Narasimhavarman I|Narasimha Pallava]] (630-668 A.D.) and [[Paramesvaravarman I|Parameswara Pallava]] (670-700 A.D.).<ref name="Ghose"/><ref>[[#Williams|Williams 1981]], p. 61</ref>  Somaskanda was the principal deity during the Pallava period replacing ''lingam'', including the temples at [[Group of Monuments at Mahabalipuram|Mahabalipuram]], a UNESCO world heritage site. But the cult was not popular and Somaskanda images were relegated to subshrines.<ref>[[#Vasudevan|Vasudevan 2003]], pp. 39-40</ref> [[Sangam literature]] does not mention Somaskanda and references in literature are found in the 7th century ''[[Tevaram]]''.<ref name="Ghose"/> Somaskanda's continuing importance is highlighted by the fact that the deity takes prominence in all the prime festivals.

=== Chandeshvara Nayanar ===
{{main|Chandeshvara Nayanar}}
[[File:Chandekeshwara sculpture at Ramalingeshvara temple at Narasamangala.jpg|thumb|200x200px|right|Image of Chandeshvara Nayanar with an axe]]
'''Chandeshvara Nayanar''' is one of the 63 [[Nayanars]], Shaiva saints of the 7th-10th century.  According to legend, there once lived a young boy Chandesa who offered the milk given to him for sale to the ablution of ''lingam'' he made of sand. His father kicked the ''lingam'' in anger, whereupon the boy cut off his father's leg with an axe.  Shiva appeared and appointed him as the chief of ''ganas'' (attendants), and decreed that Chandesa must also be worshipped daily in Shiva temples.<ref>[[#Pal|Pal 1988]], pp. 283-284</ref>  The image of the Nayanar with an axe in his hand is present in the first precinct around the sanctum in all Shiva temples in Tamil Nadu.

=== Bhairava ===
{{main|Bhairava}}
'''Bhairava''' (Sanskrit: {{lang|sa|भैरव}}, "Terrible" or "Frightful",<ref>For {{lang|sa|भैरव}} as one of the eight forms of Shiva, and translation of the adjectival form as "terrible" or "frightful" see: Apte, p. 727, left column.</ref>), sometimes known as Bhairo or Bhairon or Bhairadya or Bheruji (In Rajasthan), is the fierce manifestation of Shiva associated with annihilation.<ref>For Bhairava form as associated with terror see: Kramrisch, p. 471.</ref>  He is depicted ornamented with a range of twisted serpents, which serve as earrings, bracelets, anklets, and sacred thread ([[yajnopavita]]). He wears a tiger skin and a ritual apron composed of human bones.<ref name="ASIA-SI">[http://www.asia.si.edu/collections/singleObject.cfm?ObjectId=27267 Bhairava statuette] {{Webarchive|url=https://web.archive.org/web/20110130031628/http://www.asia.si.edu/collections/singleObject.cfm?ObjectId=27267 |date=2011-01-30 }} in copper from 15th-16th century Nepal, in collection of [[Smithsonian Institution]]. Accessed 11 August 2007.</ref>  Bhairava has a [[Dogs in religion|dog]] (''[[Shvan|Shvana]]'') as his divine [[vahana]] (vehicle). Bhairava is known as Vairavar in Tamil where he is often presented as a [[Gramadevata|grama devata]] or village deity who safeguards the devotee on all eight directions.  In Chola times, Bhairava was referred to as [[Bhikshatana|Bhikshatanar]], a mendicant, and the image can be found in most Chola temples.<ref name="Dehejia">[[#Dehejia|Dehejia 1990]], p. 21</ref>

=== Navagraha ===
{{main|Navagraha}}
[[File:Navagraham.jpg|thumb|left|200px|The traditional arrangement of the ''Navagraha'']]
'''Graha''' (from Sanskrit ग्रह gráha—seizing, laying hold of, holding<ref>Sanskrit-English Dictionary by Monier-Williams, (c) 1899</ref>) is a 'cosmic influencer' on the living beings of mother [[Bhumidevi|Bhumi]] (Earth). In [[Hindu astrology]], the [[Navagraha]] (Sanskrit: नवग्रह, ''nine seizers'' or ''nine influencers'') are some of these major influencers.  All the navagraha have relative movement with respect to the background of fixed stars in the [[zodiac]]. This includes the planets:  [[Mars]], [[Mercury (planet)|Mercury]], [[Jupiter]], [[Venus]], and [[Saturn]], the [[Sun]], the [[Moon]], as well as positions in the sky, [[Rahu]] (north or ascending [[lunar node]]) and [[Ketu (mythology)|Ketu]] (south or descending lunar node).

As per Hindu customs, the Navagraha are typically placed in a single square with the [[Surya|Sun (Surya)]] in the center and the other deities surrounding Surya; no two of them are made to face each other. In [[South India]], their images are generally found in all important [[Saivism|Shiva]] temples. They are invariably placed in a separate hall, on a pedestal of about three feet in height, usually to the north-east of the ''sanctum sanctorum''.

There are two kinds of installation of the planets when arranged in this fashion, known as ''Agama Pradishta'' and ''Vaidika Pradishta''.  In ''Agama Pradishta'', Surya occupies the central place, [[Chandra]] on Surya's east, [[Budha]] on his south, [[Brihaspati]] on his west, [[Shukra]] on his north, [[Mangala]] on his south-east, [[Shani]] on his south-west, Rahu on north-west and Ketu in the north-east. Temples such as [[Suryanar Kovil|Suryanar temple]], Tiruvidadaimarudur, Tiruvaiyaru and Tirucchirappalli follow this system.  In ''Vaidika Pradishta'', Surya is still in the centre, but Shukra is in the east, Mangala in the south, Shani in the west, Brihaspati in the north, Chandra in the south-east, Rahu in the south-west, [[Ketu (mythology)|Ketu]] in the north-west and Budha in the north-east.

=== Durga ===
{{main|Durga}}
[[File:Durga Deity in Tiruvannamalai.JPG|200x200px|thumb|right|Image of Durga in sculpture]]
'''Durga''' ({{langx|sa|दुर्गा}}); (listen: {{audio|Durga_pro.ogg|Durga}}); meaning "the inaccessible"<ref>{{cite web |title= Durga |url= http://www.britannica.com/EBchecked/topic/174252/Durga  |publisher= Encyclopædia Britannica Online |access-date=31 October 2011}}</ref> or "the invincible";  "one who can redeem in situations of utmost distress"<ref>{{cite web|title=Article on Durga About.com Hinduism|url=http://hinduism.about.com/od/hindugoddesses/a/durga.htm|access-date=2 October 2011|archive-date=1 October 2011|archive-url=https://web.archive.org/web/20111001064600/http://hinduism.about.com/od/hindugoddesses/a/durga.htm|url-status=dead}}</ref>  is a form of [[Devi]], the supremely radiant [[goddess]], depicted as having eighteen arms, riding a [[lion]] or a [[tiger]], carrying weapons and a [[lotus (plant)|lotus]] flower, maintaining a meditative smile, and practicing [[mudra]]s, or symbolic hand gestures. The name is made of Sanskrit ''dur-'' = "with difficulty" (compare Greek δυσ- (''dys''-)) and ''gā'' ("come", "go").  The buffalo sacrifice depiction transposes into ritual Durga's feat killing the buffalo demon.<ref>[[#Hiltebeitel|Hiltebeitel 1988]], p. 62</ref>  The deity is north facing usually depicted in the wall of first precinct around the sanctum.  In Tamil Nadu Shiva temples, she stands gracefully on the severed head of buffalo and lion is rarely included.<ref name="Pal 1988, p. 37">[[#Pal|Pal 1988]], p. 37</ref>

=== Saptamatrika ===
{{main|Matrikas}}

The '''Sapthamatrika''' are a group of seven [[Hinduism|Hindu]] [[Hindu deities|goddesses]] who are always depicted together.<ref>[[#Kinsley|Kinsley]], p.151</ref> Since they are usually depicted as a heptad, they are called ''Saptamatrikas'' (Sanskrit: {{IAST|saptamātṝkās}}, {{lang|sa|सप्तमातृका}}, "seven mothers"): [[Brahmani (Matrika)|Brahmani]], Vaishnavi, Maheshvari, Indrani, Kaumari, [[Varahi]] and [[Chamunda]] or Narasimhi. In Tamil Nadu temples, the saptamatrika are rarely represented in the dancing form compared to their northern counterparts.<ref name="Pal 1988, p. 37"/>

==Other structurals==
=== Dvajasthamba and Pali Peedam ===
{{main|Dwajasthambam}}
[[File:Pali peedam.jpg|thumb|200x200px|right|Image of Pali peedam with lotus petals]]
[[File:Dvajasthamba.jpg|200x200px|left|thumb|The ''Dvajasthamba'' (''kodi maram'' or flag staff) of a temple]]
Near the main entrance of the temple are situated the ''Dvajasthamba'', sacrificial altar called ''pali peedam'' and vehicle called ''vahanam'' facing the main deity.<ref name="Rampal">[[#Rampal|Rampal 2008]], p. 60</ref>  ''Pali Peedam'' or altar is for offering - Shiva temples being vegetarian, the offering is usually flowers and cooked rice.  Most Shiva temples in South India have one in each direction and some have as many as 8 for the 8 directions.  The usual shape of the altar is a stone of masonry on a platform topped by lotifarm altar, called the ''lotus altar''.  The lotifarm altar has a base, a cup shaped upside down over it and lotus like petals from the frills that widen towards the base.  The lotifram shape is considered a symbole of prosperity and hence this is considered ''bhadra linga'' or the prosperour ''lingam''.<ref>[[#Hiltebeitel|Hiltebeitel 1991]], p. 135</ref> ''Dvajasthamba'' is the flag tree of flag pole.  It is a cylindrical structure usually located after the first ''gopuram'' behind the ''vahana'' in ''Agamic'' temples.<ref name="Rampal"/><ref>[[#Subramuniyaswami|Subramuniyaswami 2003]], p. 233</ref>  The flag staff can have a three-part division with the top representing Shiva, middle Vishnu and lower half Brahma.<ref>[[#Hiltebeitel|Hiltebeitel 1991]], pp. 134-135</ref>

{{Clear}}

=== Nandi ===
{{main|Nandi (bull)}}
[[File:Nandi at Gangaikonda Cholapuram.jpg|200px|thumb|right|Image of Nandi]]
Each main deity of the Shiva temple has a vehicle associated with them - Shiva has ''Nandi'' (sacred bull), Parvati has lion, Muruga has peacock and Vinayagar has mice. Nandi or Nandin ({{langx|ta|நந்தி}} {{langx|sa|नंदी}}), is now universally supposed to be the name for the [[bull]] which serves as the mount (Sanskrit: ''{{IAST|vāhana}}'') of Shiva and as the gate keeper of Shiva and Parvati in Hindu mythology.  Temples venerating Shiva and Parvati display stone images of a seated Nandi, generally facing the main shrine.  There are also a number of temples dedicated solely to Nandi.

But the application of the name Nandin to the bull (Sanskrit: ''vṛṣabha'') is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha".<ref>Gouriswar Bhattacharya, "Nandin and Vṛṣabha", ''Zeitschrift der Deutschen Morgenländischen Gesellschaft'', Supplement III,2, XIX. Deutscher Orientalistentag, 1977, pp. 1543-1567.</ref>

=== Nayanmars ===
{{main|Nayanars}}
[[File:Sri Kokarneshvarar Temple in Tirukokarnam.JPG|thumb|left|200px|The 63 Nayanars]]

Some of the large Shiva temples in Tamil Nadu have the shrines of the 63 ''Shaivite'' saints called ''[[nayanars|nayanmars]]'' or Arubathimoovar, belonging to the 6th to 9th century A.D.  Some smaller temples carry the images of the 4 prime ''nayanmars'' namely Appar, Tirugnana Sambandar, Sundarar and Manickavasagar.  [[Paadal Petra Sthalam]] are 275<ref>{{Cite web
 |url= http://www.templenet.com/Tamilnadu/shivlist.html
 |title=A comprehensive description of the 275 Shivastalams glorified by the Tevaram hymns
 |work=templenet.com
 |access-date=11 January 2011
}}</ref> temples that are revered in the verses of ''[[Tevaram]]'' by the three ''nayanmars'' in the 6th-9th century CE and are amongst the prime Shiva temples of the continent.  The ''[[Vaippu Sthalangal]]'' are places that were mentioned casually in the songs in ''Tevaram''.<ref>''International review for the history of religions, Volumes 15-17''.  International Association for the History of Religions, CatchWord (Online service)</ref>  A posture or symbol was associated with each saint, and every generation of sculptors has followed the convention without any individual identity.<ref>[[#Aravamuthan|Aravamuthan 1992]], p. 61</ref>

===Utsava deities===
Each of the main deity has a festival image called ''[[utsavar]]''  associated with them.  These ''utsavars'' are usually made of bronze and stored in the respective shrines of the deities.  ''[[Panchaloha]]'' (Sanskrit Devanagari: पञ्चलोह; [[IAST]]: pañcaloha) (also called ''Panchaloham'' - literally, "five metals") is a term for traditional five-metal alloys of sacred significance used for making Hindu temple icons. The tradition started from the Chola era from the 7th century and continues during the modern era.<ref>[[#Varghese|Varghese 2008]], p. 53</ref>  These festival deities are taken out of the shrines in processions during festivals.

===Village deities===
[[File:Ayyanar idols near Gobichettipalayam.jpg|thumb|Ayyanar idols near Gobi|200px|right]]
{{Main|Village deities of Tamil Nadu}}
The village deities are not part of Shiva temples, but are located outside some of the Shiva temples or outside the village where the Shiva temple is located.  Most of the male deities are considered forms of Shiva and are treated as guardian deities.

* [[Ayyanar]] ({{langx|ta|ஐயனார்}}) is worshipped as a guardian deity predominantly in Tamil Nadu and [[Sri Lankan Tamil people|Tamil villages]] in [[Sri Lanka]]. The earliest reference to ''Aiynar-Shasta'' includes two or more [[hero stone]]s to hunting chiefs from the [[Arcot|Arcot district]] in Tamil Nadu. The hero stones are dated to the 3rd century C.E. It reads "Ayanappa; a shrine to Cattan." This is followed by another inscription in [[Uraiyur]] near [[Tiruchirapalli]] which is dated to the 4th century C.E.<ref name=Kala67>[[#Williams|Williams]], p.67</ref> Literary references to ''Aiyanar-Cattan'' is found in [[Silappatikaram]], a [[Tamil language|Tamil]] [[Buddhist]] work dated to the 4th to 5th century C.E.<ref name="Kala66">[[#Williams|Williams]], p.66</ref> From the [[Chola]] period (9th century C.E)  onwards the popularity of ''Aiyanar-Shasta'' became even more pronounced.<ref name="Kala62">[[#Williams|Williams]], p.62</ref>
* [[Madurai Veeran]] ({{langx|ta|மதுரை வீரன்}}, ''Maturai Vīraņ'' lit. Warrior of [[Madurai]]) is a [[Tamil people|Tamil]] folk deity popular in southern Tamil Nadu. His name was derived as a result of his association with the southern city of Madurai as a protector of the city.<ref>[[#Stephanides|Stephanides 1994]], p. 146</ref>
* [[Muneeswarar]] (Tamil: முனீஸ்வரன்) is a [[Hindu]] god. 'Muni' means 'saint' and 'iswara' represents 'Shiva'. He is considered as a form of Shiva, although no scriptural references have been found to validate such claims. He is worshiped as a family deity in most Shaivite families.
* [[Karuppu Sami]] ({{langx|ta|கருப்புசாமி}}) (also called by many other names) is one of the regional [[tamil language|Tamil]] male deities who is popular among the [[rural]] social groups of [[South India]], especially [[Tamil Nadu]] and small parts of [[Kerala]]. He is one of the 21 associate folk-deities of [[Ayyanar]] and is hence one of the so-called [[Kaval Deivam]]s of the Tamils.
* [[Sudalai Madan]] or Madan, is a regional Tamil male deity who is popular in South India, particularly Tamil Nadu. He is considered to be the son of Shiva and Parvati. He seems to have originated in some ancestral guardian spirit of the villages or communities in Tamil Nadu, in a similar manner as Ayyanar.

==Notes==
{{Reflist}}

==References==
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{{Refend}}

[[Category:Shiva temples in Tamil Nadu|*]]
[[Category:Hindu temple architecture]]
[[Category:Cultural history of Tamil Nadu]]
[[Category:Hindu iconography]]
[[Category:Shiva in art]]