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IMPORTANCE OF FIVE FACES OF PARAMESHVARA

September 3, 2011 at 1:34pm

1. SADYOJATA - WEST FACE

West is called as Paschima or Pratyak. The soul is called as
Pratyagaatma. Hence the west face of Shiva enters the Jeevi and causes
JEEVANA (life) to be led. SADYOJATA is a compound of two words.
Sadyaha which means just now and Jataha means now born. Shiva makes
his presence felt through the countless souls being born. Hence the apt name
SADYOJATA. This shows the creative aspect of Parameshvara. The well
known Pancha Brahma Mantra in the Vedas contain five stanzas and the
first stanza Is about SADYOJATA aspect of Lord Shiva. Since the very
existence of any being starts from its birth, the SADYOJATA aspect of Lord
Shiva is prayed first.
Probably because of this aspect that the tradition in Nepals Pashupatinatha
temple is to show the western side of the Shiva Linga named as SADYO
JATA. It is only during Abhisheka to the Shiva Lingam that the other three
faces are allowed for Darshana.
The essence of the SADYO JATA Mantra is : O! Lord ! Sadyojaata, never
give me desires which are the reason for this countless births and deaths.
Please Bless me with the passion for liberation. My prayers to SADYO
JAATA.
This SADYOJATA aspect is correlated with the following
To SHI Beekakshara in Panchakshara Mantra
To Mano Maya Kosha amongst the five Koshas
To AGNI principle among five principles Pancha Bhuta.
To MANIPURAKA CHAKRA among six Chakras
To PANCHAMA Swara among the seven Swaras
To MA in OMKARA

Let us pray that SADYOJATA face of Lord Shiva.

SHIVAM SHAANTAM JAGANNATHAM
LOKAANUGRAHA KAARANAM
SHIVAM EKAM PARAM VANDE
SHIKAARAAYA NAMO NAMAHA
2.VAAMA DEVA NORTH FACE
The term VAMA means Left or innocent. If we stand facing east, North
direction is to our left. Hence the north facing Shiva is worshipped as Vaama
Deva. The left of a person is representative of the Shakti aspect. It represents
Maya and the feminine strength and beauty, Hence in ARDHA
NAREESHWARA aspect, we find the goddess on the left side.
The beautiful VAAMA DEVA is more ancient that the worlds creation. Hence
he is the eldest. Since he is more worthy than others, he is the best. In
catastrophic times, he is Rudra. He is KAALA in creation and causes the
erosion of ones age.
KAM means Sukha or enjoyment. KALA means receiving the enjoyment.
It means to receive enjoyment and be happy.
Since VAAMA DEVA makes the life live-able by giving happiness, he is called
as KALA VIKARANA
Since he un-energizes the demons, he is called as BALA VIKARANA
Since he is the essence of all energies, he is called as BALA
Since he exhibits his energy in all living beings, he is called as BALA
PRAMATHA"
Since he controls all living beings, he is called as SARVA BHUTA DAMANA
Since he cleanses and betters the mind, he is MANONMANA
He is also called as UNMANI meaning one who causes SAMADHI state.

He removes demonic nature, give liberal and charity mind.

This VAAMA DEVA aspect is correlated with the following
To VAA Beekakshara in Panchakshara Mantra
To VIJNAANA Maya Kosha amongst the five Koshas
To VAAYU principle among five principles Pancha Bhuta
To ANAHATA CHAKRA among six Chakras
To DAIVATA Swara among the seven Swaras
To BINDU in OMKARA.
Let us offer prayers to such VAMADEVA
VAAHANAM VRUSHABHO YASYA
VASUKIHI KANTHA BHUSHANAM
VAAME SHATI DHARAM VANDE
VA KAARAAYA NAMO NAMAHA
3. AGHORA - SOUTH FACE
If we stand facing east, south is our right. Hence right side is called as
BALA. As important as right hand is for humans, The South face is
important to Lord Shiva. This is also famously known as DAKSHINA
MURTHY. In Kathmandus Pashupatinatha Temple, This southern face of
Shiva Lingam is decorated as Buddha, the Jnana Swarupa of Lord Narayana
on every 14th day of fortnight. On full moon night, a heap of freshly cooked
rice is poured on the southern side and decorated as a Shiva Linga. The
minimally dressed temple staff enthusiastically do this even in dreaded winter
chill.
To know about the essence of the AGHORA principle of Lord Shiva, one has
to understand the meaning of the AGHORA MANTRA among the PANCHA
BRAHMA MANTRA.

GHORA means dreaded. One gets dreaded because of Rajas and Tamas
qualities. AGHORA means a raw state of being without the feelings of RAJAS
and TAMAS qualities. This is raw energy. Pure knowledge is Pure energy.
Hence Lord Shiva in the form of DAKSHINA MURTHY gives this pure
knowledge to the seeker. But in Lord Shiva, along with this pure knowledge
face exists the dreaded TAMAS and RAJAS forms. Lord Shiva displays the
relevant nature of his being depending on the Karma cycle of a person. At the
times of annihilation, Lord Shiva assumed the raw powers of nature and
removes the living beings. Our prayers to that energy which assumes the form
as needed.
Those who worshipped the AGHORA form of Shiva were called as
AGHORIS. Their main belief is that there is no such thing called
inauspicious in this world because all that exists if Shiva himself. They
generally live in graveyards and are naked. They use those things which the
world has branded as inauspicious. They perform harsh penance. Those
who worship AGHORA form of Shiva are saved from natural catastrophe,
water hardships and life threats.
This AGHORA aspect is correlated with the following
To MA Beekakshara in Panchakshara Mantra
To Prana Maya Kosha amongst the five Koshas
To JALA principle among five principles Pancha Bhuta
To SVADHISHTHANA CHAKRA among six Chakras
To MADHMAYA Swara among the seven Swaras
To U in OMKARA.
Our prayers to such AGHORA form of Shiva
Mahadevam Mahatmanam
Maha Paataka Nashanam
Maha Paapa Haram Vande
Makaaraaya Namo Namaha

4. TATPURUSHA EAST FACE

The word TAT represents Paramatma. TATPURUSHA means Saguna
filled Para Brahma form. This is a important face of Parama Shiva. The form
of Shiva that is in meditation and Blessing the world is this face. Hence this
eastern face is considered as the first face. The word TATPURUSHA means
his person. One who is always behind a person to protect is TATPURUSHA.
This TATPURUSHA aspect is correlated with the following
To NA Beekakshara in Panchakshara Mantra
To Anna Maya Kosha amongst the five Koshas
To EARTH principle among five principles Pancha Bhuta
To MULADHARA CHAKRA among six Chakras
To SHADJA (sa), RUSHABHA (ri) AND GANDHARA (ga) Swaras among
the seven Swaras
To A in OMKARA.
Our prayers to this TATPURUSHA form of Lord Shiva
Namaste Deva Devesha
Namaste Parameshvara
Namaste Vrushabharuudha
Na Kaaraaya Namo Namaha
5. EESHANA - SKYWARD FACE
The word ISHVARA is form the root IiSHA AISHWARYE. Total wealth
means the total control and ownership of all the fourteen worlds. Such form of
Shiva, who is the total owner of the fourteen worlds, is called as EESHANA.
This face is skywards. Which means it is on top of the other four faces which
face the four directions. This fifth face of Shiva represents the creation
balance annihilation energies and control and chaos energies. EESHANA
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face of Shiva which is skywards indicates the total encompassing energy of

Lord Shiva. This EESHANA aspect is correlated with the following
To YA Beekakshara in Panchakshara Mantra
To Ananda Maya Kosha amongst the five Koshas
To AAKASHA (ether) principle among five principles Pancha Bhuta
To VISHUDDHA, AJNA & SAHASRARA CHAKRA among six Chakras
To NISHADA (ni) Swara among the seven Swaras
To Nada aspect in OMKARA.
Let us pray such EESHANA form of Lord Shiva.
Yatra Kutra Sthitam Devam
Sarva Vyaapi Namishvaram
Yallingam Puujayeennithyam
Ya Kaaraaya Namo Namaha
Some say that on the base of this PASHUPATINATHA Shiva Linga in
Kathmandu is the bottom nether world facing aspect of Lord Shiva called as
KAALA AGNI RUDRA face. This face is known for Tantra practices.
Because Nepals Pashupatinatha has this face, Tantra practices are still
believed in Nepal.
I urge you all to single mindedly pray for the Blessings of this five faced Shiva
aspects of Pashupatinatha on this auspicious MAHA SHIVARATRI night.
Lord Shiva is called as ASHUTOSHA in North India. Ashu means quick,
Tosha means happy person. Hence the term BHOLENATH for Lord
Shiva.
Chant the Shiva Panchakshari OM NAMAH SHIVAAYA

Shiva Nataraja, the Lord of the Dance. Tamil Nadu, Chola Dynasty, India
Tn d ava() or Tn d ava nr tya( ) is a divine dance performed by the Hindu god
Shiva. Shiva's Tandava is described as a vigorous dance that is the source of the cycle of
creation, preservation and dissolution. While the Rudra Tandava depicts his violent nature, first
as the creator and later as the destroyer of the universe, even of death itself; the Ananda
Tandava depicts him as enjoying. In Shaiva Siddhanta tradition, Shiva as Nataraja (lit. "Lord of
dance") is considered the supreme lord of dance.[1]
The Tandava takes its name from Tandu ( tan d u), the attendant of Shiva, who instructed
Bharata (author of the Natya Shastra) in the use of Angaharas and Karanas, modes of the
Tandava at Shiva's order. Some scholars consider that Tandu himself must have been the author
of an earlier work on the dramatic arts, which was incorporated into the Natya Shastra.[2] Indeed,
the classical arts of dance, music and song may derive from the mudras and rituals of Shaiva
tradition.

Some of the 108 Karanas of Nataraja at Kadavul Hindu Temple, on Kauai, Hawaii. It is one of
the few complete collections in existence, commissioned by Satguru Sivaya Subramuniyaswami
in the 1980s. Each sculpture is about 12 inches tall. Chidambaram Temple is also known to have
a complete set.
The 32 Angaharas and 108 Karanas are discussed by Bharata in the 4th chapter of the Natya
Shastra, Tandava Lakshanam.[3] Karana is the combination of hand gestures with feet to form a
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dance posture. Angahara is composed of seven or more Karanas.[4] 108 karanas included in
Tandava could be employed in the course of dance, fight, and personal combats and in other
special movements like strolling.
The dance is a pictorial allegory of the five principal manifestations of eternal energy:[5]

'Srishti' () - creation, evolution

'Sthiti' () - preservation, support

'Samhara' () - destruction, evolution

'Tirobhava' () - illusion

'Anugraha' ( ) - release, emancipation, grace

Thus Tandava symbolizes the cosmic cycles of creation and destruction, as well as the daily
rhythm of birth and death.

Rudra Tandava: A dancer depicting Shiva kicking Yama, the god of Death.
Tandava, as performed in the sacred dance-drama of southern India, has vigorous, brisk
movements. Performed with joy, the dance is called Ananda Tandava. Performed in a violent
mood, the dance is called Rudra Tandava. In the Hindu texts, at least seven types of Tandava are
found: Ananda Tandava, Tripura Tandava, Sandhya Tandava, Samhara Tandava, Kali (Kalika)
Tandava, Uma Tandava and Gauri Tandava.[4] However, some people believe that there are 16
types of Tandava.
"How many various dances of Shiva are known to His worshipers I cannot say. No doubt the root
idea behind all of these dances is more or less one and the same, the manifestation of primal

rhythmic energy. Whatever the origins of Shiva's dance, it became in time the clearest image of
the activity of God which any art or religion can boast of." - Ananda Coomaraswamy[6]
The dance performed by Shiva's wife Parvati in response to Shiva's Tandava is known as Lasya,
in which the movements are gentle, graceful and sometimes erotic. Some scholars consider
Lasya to be the feminine version of Tandava. Lasya has 2 kinds, Jarita Lasya and Yauvaka Lasya.
The Hindu scriptures narrate various occasions when Shiva or other gods have performed the
Tandava. When Sati (first wife of Shiva, who was reborn as Parvati) jumped into the Agni Kunda
(sacrificial fire) in Daksha's Yajna and gave up her life, Shiva is said to have performed the
Rudra Tandava to express his grief and anger. The Shivapradosha stotra says when Shiva
performs the Sandhya Tandava, the other gods like Brahma, Vishnu, Sarasvati, Lakshmi and
Indra play musical instruments and sing Shiva's praises.[4] Ganesha, the son of Shiva, is depicted
as Ashtabhuja tandavsa nritya murtis (Eight armed form of Ganesha dancing the Tandava) in
temple sculptures.[7] The Bhagavata Purana talks of Krishna dancing his Tandava on the head of
the serpent Kaliya.[8] According to Jain traditions, Indra is said to have performed the Tandava in
honour of Rishabha (Jain tirthankar) on the latter's birth.[9]

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