The Sacred Ganga Talao - Mauritius

Destroyer versus benefactor

In the Yajurveda two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here."^[115] In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance.^[116] The duality of Shiva's fearful and auspicious attributes appears in contrasted names.

The name Rudra (Sanskrit रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud- which means "to cry, howl."^[117] Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means wild, of rudra nature, and translates the name Rudra as "the Wild One" or "the Fierce God".^[118] R. K. Sharma follows this alternate etymology and translates the name as "Terrible".^[119] Hara (Sanskrit हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "One who captivates", "One who consolidates", and "One who destroys."^[120] Kramrisch translates it as "The Ravisher".^[121] Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "Time", and as Mahākāla (Sanskrit: महाकाल   ), "Great Time", which ultimately destroys all things.^{[122][123][124]} Bhairava (Sanskrit: भैरव), "Terrible" or "Frightful"^[125] is a fierce form associated with annihilation.^[126]

In contrast, the name Śaṇkara (Sanskrit शङ्कर), "Beneficent" ^[127] or "Conferring Happiness"^[128] reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788-820 CE), who is also known as Shankaracharya.^[129][130] The name Śambhu (Sanskrit: शम्भु), "Causing Happiness", also reflects this benign aspect.^[131][132]

Ascetic versus householder

He is depicted as both an ascetic yogin and as a householder, roles which are mutually exclusive in Hindu society.^[133] When depicted as a yogin he may be shown sitting and meditating.^[134] His epithet Mahāyogin (The Great Yogi: Mahā = great, Yogin = one who practices Yoga) refers to his association with yoga.^[135] While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that concepts of tapas, yoga, and asceticism, became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts.^[136]

As a family man and householder he has a wife, Parvati (also known as Umā), and two sons, Ganesha and Skanda. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama.^[137] Umā in epic literature is known by many names, including Pārvatī.^[138][139] She is identified with Devi, the Divine Mother, and with Shakti (divine energy).

Shiva and Parvati are the parents of Karthikeya and Ganesha. Karthikeya is worshipped in southern India (especially in Tamil Nadu and Karnataka) by the names Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in northern India, is better known by the names Skanda, Kumara, or Karttikeya.^[140]

Nataraja

The depiction of Shiva as Nataraja (Tamil: நடராஜா, Sanskrit: naṭarāja, "Lord of Dance") is popular.^[141][142] The names Nartaka ("Dancer") and Nityanarta ("Eternal Dancer") appear in the Shiva Sahasranama.^[143] His association with dance and also with music is prominent in the Puranic period.^[144] In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu (in southern India) in particular.^[145]

Dakṣiṇāmūrti

Dakṣiṇāmūrti (Sanskrit: दक्षिणामूर्ति               )^[146] literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom, and giving exposition on the shastras.^[147] This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu.^[148] Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.^[149]

Mruthyunjaya

Literally translated as 'victor over death', this is an aspect of Shiva worshipped as the conqueror of Death as manifested in the Hindu lord of death, Yama. The particular legend in question deals with the sage Markandeya, who was fated to die at the age of sixteen. On account of the sage's worship and devotion to Shiva, the Lord vanquished Yama to liberate his devotee from death. Shiva is often worshipped as Mruthyunjaya by the aged or ill, to ward off death and mitigate its harshness when it does occur. He is worshipped as such at the temples of Thirupainyeeli, near Trichinopoly, and at a shrine in Thirukadaiyur, near Chidambaram.

Ardhanarishvara

An iconographic representation of Shiva called Ardhanarishvara shows him with one half of the body as male, and the other half as female.^[150] According to Ellen Goldberg, the traditional Sanskrit name for this form, (Ardhanārīśvara) is best translated as "the lord who is half woman", and not as "half-man, half-woman".^[151]

Tripurāntaka

Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras.^[152] Shiva's name Tripurāntaka (Sanskrit: त्रिपुरान्तक), "Ender of Tripura", refers to this important story.^[153]

Lingam

Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam is also important.^{[154][155][156]} These are depicted in various forms. One common form is the shape of a vertical rounded column.

REFERENCES: http://en.wikipedia.org/wiki/Shiva