In Śaiva Tantra, meditation on the form of the manifest Lord is a very important ritual. It involves visualization of the form which crystallizes to reality with the recitation of a dhyāna śloka.
The dhyāna śloka describes the form in detail.
Sadāśiva mūrti dhyāna ( Used for āvāhana ):
इन्दुनिभ पञ्चमुख हस्तदशयुक्तं
शूलमृगटङ्कमसि वज्रमभयम्स्यात्।
पाशवरदाङ्कुश मणिज्वलनवामे
श्वेतकमलासन सदाशिव स्वरूपम्॥
indunibha pañcamukha hastadaśayuktaṃ
śūlamṛgaṭaṅkamasi vajramabhayamsyāt।
pāśavaradāṅkuśa maṇijvalanavāme
śvetakamalāsana sadāśiva svarūpam॥
Word to word meaning and breakdown:
indu = moon
nibha = resembling
Pañcamukha = 5 face
hasta = hands
dasha = 10
yuktam = together
shuula = trident
Mṛga = deer
Ṭaṅka = axe
asi = sword or dagger
vajra = thunderbolt
a-bhayam = without-fear
syaat = possession
paasha = noose
varadaa = gesture of granting boons
aṅkuśa = goad
Maṇi = gem
jvalana = shining / flaming
vaame = on the left
shveta = white
kamala = lotus
aasanam = seat
sadaashiva = sadaashiva
svaruupam = embodiment
Meaning and commentary:
The one with a complexion like the moon (indicating illumination or luminosity) and with five faces, equipped with ten hands.
These hands hold the trident, an antelope, a goad, a sword, a thunderbolt, a noose, and a radiant jewel, with one hand showing a protective gesture and another granting boons.
Seated on a white lotus, thus is the form of Sadashiva.
Why does He sit on a white lotus? Answer in my previous article here
This is another dhyana shloka which is recited and utilised during the praNa pratishTha of a linga. The form of Sadashiva is visualized as per this shloka.
Liṅga Sadāśiva mūrti dhyānam:
शाक्तेनानेन सकलो विज्ञेयो निष्कलश्शिवः।
क्षित्यादिकुटिलाप्रान्त मन्त्रसिम्हासन स्थितम्॥
शुद्धस्फटिक सङ्काशं द्वात्रिम्शल्लक्षणान्वितम्
पद्मासनस्थं पञ्चास्यं प्रतिवक्त्रं त्रिलोचनम्॥
दृक् क्रियेच्छा विशालाक्षं ज्ञानचन्द्र कलान्वितम्।
धवल्ēशानवदनं पीततत्पुरुषाननम्॥
कृष्णाघोर मुखोपेतं रक्ताभोक्तर वक्त्रकम्।
सुश्वेतपश्चिमास्यैकं सद्योजातं सुमूर्तिकम्॥
नागोपवीतिनं शान्तं जटाखण्डेन्दु मण्डितम्।
शक्त्यासीशूलखट्वाङ्ग वर व्याघ्र कराम्बुजं |
दक्षिणैरथ वामस्थैः डमरुं बीजपूरकम्।
नागाक्ष सूत्र नीलाब्ज बिभ्राण पञ्चभिः करैः॥
दिव्यगन्धानु लिप्ताङ्गं दिव्यपुष्पैरलङ्कृतम्।
हार कङ्कण केयूरैः मुद्रिताभिर् अलङ्कृतम्॥
संचिन्त्य मूर्तेरुपरि शक्तिमात्र विजृम्भनम्।
लिङ्गाकारोपमर्देन भावने लिङ्गतां त्यजेत्॥
śāktenānena sakalo vijñeyo niṣkalaśśivaḥ।
kṣityādikuṭilāprānta mantrasimhāsana sthitam॥
śuddhasphaṭika saṅkāśaṃ dvātrimśallakṣaṇānvitam
padmāsanasthaṃ pañcāsyaṃ prativaktraṃ trilocanam॥
dṛk kriyecchā viśālākṣaṃ jñānacandra kalānvitam।
dhavalēśānavadanaṃ pītatatpuruṣānanam॥
kṛṣṇāghora mukhopetaṃ raktābhoktara vaktrakam।
suśvetapaścimāsyaikaṃ sadyojātaṃ sumūrtikam॥
nāgopavītinaṃ śāntaṃ jaṭākhaṇḍendu maṇḍitam।
śaktyāsīśūlakhaṭvāṅga vara vyāghra karāmbujaṃ |
dakṣiṇairatha vāmasthaiḥ ḍamaruṃ bījapūrakam।
nāgākṣa sūtra nīlābja bibhrāṇa pañcabhiḥ karaiḥ॥
divyagandhānu liptāṅgaṃ divyapuṣpairalaṅkṛtam।
hāra kaṅkaṇa keyūraiḥ mudritābhir alaṅkṛtam॥
saṃcintya mūrterupari śaktimātra vijṛmbhanam।
liṅgākāropamardena bhāvane liṅgatāṃ tyajet॥
śāktenānena sakalo vijñeyo niṣkalaśśivaḥ
shaaktenaanena = through shakti
sakalaHa = everything
vij~neyaHa = to be cognized
niShkalaHa = niHi ( without ) + kala ( aspect ) = without any attributes
shivaHa = Shiva
Meaning and commentary:
Through Shakti, the entirety of the cosmos is realized as the very form of the attributeless, formless Shiva.
In Shaiva Tantra, Sadashiva is verily seen beyond form, beyond attributes. We condense Him to a form as a facilitation to our worship and rituals.
So we have a clarity that the absolute reality is beyond attributes. We cognize this through shakti ( prakriti ), creation. Only when we experience creation, can we cognize the existence of an attributeless entity. For example, when we experience the grandeur of the world with our 5 senses, it sparks the internal contemplation within on the source behind this creation. The cognition on this attributeless, formless source comes from perceiving the manifest Universe ( shakti ). Hence, through shakti, Devi, we cognize the absolute reality.
kṣityādikuṭilāprānta mantrasimhāsana sthitam
kṣityādi = kShiti ( earth ) + aadi ( beginning )
kuṭilā = kuTila shakti is the highest energy point in the panchasana which is occupied by the deity
praanta = end
mantra = mantra
simha-asana = the lion throne
sthitam = establised
Meaning and commentary:
In the tantric scriptures, we have a very important verse which goes as '
śaktyādi śaktyantam āsanam'
Meaning: the āsana begins with śakti ( energy ) and ends with energy.
ādhara śaktyādi kuṭilā śaktyantam
Meaning: the energy begins as ādhara śakti and ends as kuṭilā śakti ( on which the deity is made to literally sit ).
This is the concept of Panchasana ( a five dimensional throne which we create for the deity to sit ).
In Shaiva Tantra, the panchasana is constructed with mantras and visualization and Sadashiva is made to sit at the summit of this asana ( seat ).
Sound energy ( mantras ) and light energy ( visualization ) when combined in a proper manner, cystrallizes a reality that we want to manifest. This is the science of Tantra.
śuddhasphaṭika saṅkāśaṃ dvātrimśallakṣaṇānvitam
shuddha = pure
sphaTika = crystal
saṅkāśaṃ = resembling
dvaatrimshat = 32
lakShaNaanvitam = lakShaNa ( features ) + anvitam ( endowed with )
Meaning and commentary:
So, when we decide to crystallize the attributeless absolute reality into the seat ( asana ), we need to fix a form. A form takes space. The form acts as a reference point to the attributeless absolute reality. So, we crystallize this attributeless aspect into a form as described:
Sadashiva is white in colour and shines like a pure crystal. In the Indian tradition, there are 32 ideal qualities for a perfect male. Sadashiva possesses all these 32 features.
In Minsara Kanna song from Padayappa, you can hear the female lead describing the stated qualities for a perfect male she finds in the protagonist.
ஒரு ஆணுக்கு எழுதிய இலக்கணம் உன்னிடத்தில் கண்டேன்
oru āṇukku eḻutiya ilakkaṇam uṉṉiṭattil kaṇṭēṉ
padmāsanasthaṃ pañcāsyaṃ prativaktraṃ trilocanam
dṛk kriyecchā viśālākṣaṃ jñānacandra kalānvitam
padmāsanasthaṃ = padma ( lotus )+ asana ( seat ) + stham ( situated
pañca = 5
asyam = face
prati = every
vaktram = mouth
tri = three
lochanam = eyes
dṛk = in reference to jñāna shakti ( power of wisdom )
kriyaa = power of action ( kriyaa shakti )
ichchhaa = will power ( ichchhaa shakti )
vishaala = vast
akSham = eyes
jñāna = wisdom
chandra = moon
kalaanvitam / kalaadharam = kala ( art ) + anvitam ( endowed with ).
Kalaadharam is often used to denote Lord Shiva who bears Mother Ganga on His head.
Meaning and commentary:
He sits in padmāsana ( lotus posture ). He has 5 faces and a corresponding mouth for each face. He has three eyes. The three eyes are the embodiments of the power of wisdom, power of action and power of will. Such are the vast and large eyes of sadāśiva. The moon which adorns His head is the very form of wisdom ( jñāna ). He bears Mother Ganga on His head.
dhavalēśānavadanaṃ pītatatpuruṣānanam
dhavala = white
iishaanaa = The face of Lord Shiva who has the role of liberation
piitaa = yellow
tatpuruShaanam = of tatpuruSha, the face of Lord Shiva who has the role of obscuration
Meaning and commentary:
Sadashiva runs the cosmos through his five-fold action:
(1) creation ( Sadyojata, western face )
(2) preservation ( Vamadeva, northern face )
(3) dissolution ( Aghora, southern face )
(4) obscuration ( TatpuruSha, eastern face )
(5) liberation ( Ishana, upward facing face )
The īśāna face ( the facet of Sadāśiva involved in the role of liberation) is white in colour. The tatpuruṣa face is yellow in colour.
kṛṣṇāghora mukhopetaṃ raktābhoktara vaktrakam
kṛṣṇa = black
aghora = The face of Sadashiva involved in dissolution
mukha = face
upetam = possessing
raktaabha = having reddish appearance
uttara = north
vaktrakam = face
Meaning and commentary:
The aghora face is black in colour. The vāmadeva face is red in colour.
suśvetapaścimāsyaikaṃ sadyojātaṃ sumūrtikam
sushveta = su ( excellent ) + shveta ( white )
pashcima = western
asya = this
aikam = ekam = one
sadyojaatam = The face of Sadashiva involved in creation
sumuurtikam = su ( excellent ) + muurtikam ( form )
Meaning and commentary:
The face of sadyojāta who is involved in creation is auspiciously white in colour.
nāgopavītinaṃ śāntaṃ jaṭākhaṇḍendu maṇḍitam
naaga = serpent
upaviitinam = someone wearing the upaviita ( the sacred thread )
shaantam = peaceful
jaTa = matted hair
khaNDa = portion ( a crescent )
indu = moon
maNDitam = adorned
Meaning and commentary :
He wears the serpent as His sacred thread. In śaiva tradition, the serpent is Vāsuki. His form is peaceful and calm, unaffected by anything. His state is beyond anger, happiness, joy, sorrow etc. He has a portion of the moon ( crescent ) adorning His matted hair.
śaktyāsīśūlakhaṭvāṅga vara vyāghra karāmbujaṃ
shakti = a lance
aasii = sword
shuula = trident
khaṭvāṅga = a type of staff
vara = boon-bestowing
vyaaghra = tiger
kara = hand
ambuja = ambu ( water ) + ja ( jananam + born out of ) = lotus
Meaning and commentary:
sadāśiva with 10 arms holds the shakti āyudha, the sword, the trident, the boon bestowing gesture and the staff. He is dressed up with tiger skin and sits on a lotus.
dakṣiṇairatha vāmasthaiḥ ḍamaruṃ bījapūrakam
dakṣiṇaiḥ = with the right side
vāmasthaiḥ = with the left side
ḍamaruṃ = a small two headed drum
biijapuurakam = filled with seeds
Meaning and commentary:
The stated elements are held in the right-sided arms. On His left-sided arms, He holds a ḍamaru, a pomegranate ( filled with seeds )...
nāgākṣa sūtra nīlābja bibhrāṇa pañcabhiḥ karaiḥ
naaga = serpent
akSha = eyes pertaining to rudraakSha )
suutra = thread
niila = blue
abja = lotus
bibhraaNa = holding
pañcabhikaraiḥ = five hands
Meaning and commentary:
.. a serpent, a rudrākṣa māla and a blue lotus. Like this, He holds these five things on His five hands ( of His left side ).
divyagandhānu liptāṅgaṃ divyapuṣpairalaṅkṛtam
divya = divine
gandhaa = smell
anulipta = smeared
aṅgaṃ = body
puṣpaiḥ = flower
alaṅkṛtam = decorated
Meaning and commentary:
He is anointed with divine fragrances over His body and decorated with divine flowers.
hāra kaṅkaṇa keyūraiḥ mudritābhir alaṅkṛtam
hāra = necklace
kaṅkaṇa = bracelet
keyūra = armlet
mudritābhiḥ = with rings
alaṅkṛtam = decorated with
Meaning and commentary:
He is adorned with necklace, bracelets, armlets and rings.
saṃcintya mūrterupari śaktimātra vijṛmbhanam
saṃcintya = reflecting upon
mūrterupari = above the image
śaktimātra = only energy
vijṛmbhanam = expanding
Meaning and commentary:
Sadashiva's form constitute 38 kala mantras which are derived from the 5 faces. These 38 mantras make up His form. One shall reflect upon Sadashiva who is atop this expanding, pure energy who is Parashakti.
Sadashiva's body is a body which constitutes mantras. It is called a 'vidya deha'. His body is made up of these 38 kala mantras which are all derived from 5 mantras which describe the 5 faces of Sadashiva. These 5 mantras appear in the Taittiriiya AraNyakam of the Yajur Veda.
Video: My student and I reciting the Yajur Veda portion from which the kala mantras are derived.
liṅgākāropamardena bhāvane liṅgatāṃ tyajet
liṅga = Shiva linga
ākāra = form
upamardena = by destroying
bhāvane = in the heart
liṅgatāṃ = the state of linga
tyajet = should abandon
Meaning and commentary:
When meditating upon Sadāśiva on the Linga, the form of the Linga should disappear from our vision and only the form of Sadāśiva ( as described so far ) should persist ( The linga that we want to consecrate must be replaced with the image of Sadāśiva alone, in our heart and vision ).
The last two verses serve as an instruction to the śivācārya who is consecrating and performing pratiṣṭha to a Linga. Visualization is an important aspect of tantra. A good acharya is one who can manifest a reality with his bhāva, visualization and mantra.
As per Shaiva tantra, a qualified śivācārya has control over weather and nature with his mantra-siddhi alone.
The dhyana shloka describing Sadāśiva is recited and finally the visualization puts this form into the place of the Linga, literally, thus establishing Sadāśiva as a living deity in the temple or altar.
READ MORE:
In many depictions of Sadāśiva, I often see him holding a triśūla, vajrāyudha, khaḍgam, an axe and Abhayadamudra on the right and a nāga, pāśa, a bell, fire, ankusha, on the left. From what dhyanaśloka is this? Is it found in the śaivāgamas or is it just from the Rudrakavacham.
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