Shiva is known as “The Destroyer” within the Trimurti, the Hindu trinity which also includes Brahma and Vishnu. In the Shaivite tradition, Shiva is the Supreme Lord who creates, protects and transforms the universe. In the goddess-oriented Shakta tradition, the Supreme Goddess (Devi) is regarded as the energy and creative power (Shakti) and the equal complementary partner of Shiva. Shiva is one of the five equivalent deities in Panchayatana puja of the Smarta tradition of Hinduism.
Shiva has many aspects, benevolent as well as fearsome. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash as well as a householder with his wife Parvati and his three children, Ganesha, Kartikeya and Ashokasundari. In his fierce aspects, he is often depicted slaying demons. Shiva is also known as Adiyogi Shiva, regarded as the patron god of yoga, meditation and the arts.
The iconographical attributes of Shiva are the serpent around his neck, the adorning crescent moon, the holy river Ganga flowing from his matted hair, the third eye on his forehead (the eye that turns everything in front of it into ashes when opened), the trishula or trident as his weapon, and the damaru drum. He is usually worshipped in the aniconic form of lingam.
Shiva has pre-Vedic roots, and the figure of Shiva evolved as an amalgamation of various older non-Vedic and Vedic deities, including the Rigvedic storm god Rudra who may also have non-Vedic origins, into a single major deity. Shiva is a pan-Hindu deity, revered widely by Hindus in India, Nepal, Sri Lanka and Indonesia (especially in Java and Bali).
The depiction of Shiva as Nataraja is a form of Shiva (literally, “Lord of Dance”). The names Nartaka (“dancer”) and Nityanarta (“eternal dancer”) appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nrtyamurti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Shiva does it by the Tandava, and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.
Dakshinamurthy is a form of Shiva (literally, “[facing] south form”). Dakshinamurthy is depicted as a figure seated upon a deer-throne surrounded by sages receiving instruction. This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu.
Bhikshatana is a form of Shiva (literally “wandering about for alms, mendicancy”. Bhikshatana is depicted as a nude four-armed man adorned with ornaments who holds a begging bowl in his hand and is followed by demonic attendants. The nudity and begging bowl are associated with the kapali tradition.
This form of Shiva is associated with his penance for committing brahmicide, and with his encounters with the sages and their wives in the Deodar forest.
Tripurantaka is a form of Shiva (literally “ender of Tripura”). Tripurantaka is depicted with four arms, the upper pair holding an axe and a deer, and the lower pair wielding a bow and arrow. This form of Shiva is associated with his destruction of the three cities (Tripura) of the Asuras.
Ardhanarishvara is a form of Shiva (literally “the lord who is half woman”). Adhanarishvara is depicted with one half of the body as male and the other half as female. Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how Shakti, the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God, and vice versa.
Kalyanasundara-murti (literally “icon of beautiful marriage”) is the depiction of Shiva’s marriage to Parvati. The divine couple are often depicted performing the panigrahana (Sanskrit “accepting the hand”) ritual from traditional Hindu wedding ceremonies. Agamic texts like the Amsumadbhedagama, the Uttara-kamaikagama and the Purva-Karanagama prescribe the iconography of the Kalyanasunadara icon. The most basic form of this murti consists of only Shiva and Parvati together, but in more elaborate forms they are accompanied by other persons, sometimes including Parvati’s parents, as well as deities (often with Vishnu and Lakshmi standing as Parvati’s parents, Brahma as the officiating priest, and various other deities as attendants or guests).
Somaskanda is the depiction of Shiva, Parvati, and their son Skanda (Kartikeya), popular during the Pallava Dynasty in southern India.
Panchanana, also called the panchabrahma, is a form of Shiva depicting him as having five faces which correspond to his five divine activities: creation, preservation, destruction, concealing grace, and revealing grace. Five is a sacred number for Shiva. One of his most important mantras has five syllables (namah shivaya).
Shiva’s body is said to consist of five mantras, called the panchabrahman. As forms of God, each of these have their own names and distinct iconography: These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes.
Maha Shivaratri is a Hindu festival celebrated annually in honour of the god Shiva. The name also refers to the night when Shiva performs the heavenly dance called Tandava. There is a Shivaratri in every lunar month on its 13th night/14th day, but once a year in late winter (February/March) and before the arrival of spring, marks Maha Shivaratri which means “the Great Night of Shiva”.
Maha Shivaratri theologically marks a remembrance of “overcoming darkness and ignorance” in life and the world, and meditation about the polarities of existence, of Shiva and a devotion to humankind. It is observed by reciting Shiva-related poems, chanting prayers, remembering Shiva, fasting, doing Yoga and meditating on ethics and virtues such as self-restraint, honesty, noninjury to others, forgiveness, introspection, self-repentance and the discovery of Shiva.
During the Vigil Night of Shiva, Mahashivaratri, we are brought to the moment of interval between destruction and regeneration; it symbolizes the night when we must contemplate on that which watches the growth out of the decay. During Mahashivaratri we have to be alone with our sword, the Shiva out of us. We have to look behind and before to see what evil needs eradicating from our heart, what growth of virtue we need to encourage. Shiva is not only outside of us but within us. To unite ourselves with the One Self is to recognize the Shiva in us.