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Ardhanarishvara (sanskrit: अर्धनारीश्वर, romanized: ardhanarishvara, lit. "Lord, half woman") is a form of the hindu deity shiva in combination with the zodiac consort parvati. Ardhanarishvara is depicted as half male and half female, divided equally in the middle. The right half is the usually male shiva, illustrating his traditional attributes. The earliest images of ardhanarishvara date from the kushan period, from the beginning of our era. Its iconography developed and improved during the gupta era. The puranas and various iconographic treatises write about the mythology and iconography of ardhanarishvara. Ardhanarishvara remains a popular iconographic form that is easily found in many shiva temples throughout india, although very few temples are dedicated to this deity. Ardhanarishvara is a synthesis of the masculine and feminine energies of the universe (purusha and prakriti). ) And illustrates how shakti, the feminine principle of god, is inseparable (or the same, according to some interpretations) from shiva, the masculine principle of god, and vice versa. The union of these priorities rises as the root and womb of all creation. Another point of view is explained by the fact that ardhanarishvara is a sign of the all-pervading nature of shiva. 1 names 2 origin and early images 3 iconography 3.1 the male half 3.2 the female half 3.3 positions, and vahana 3.4 eight-handed form 3.5 other text descriptions 4 legends 5 symbolism 6 worship 8 notes Names[edit] Face drawn as ardhanarishvaraThe name ardhanarishvara means "lord, half woman." Ardhanarishvara also occurs under other names like ardhanaranari ("half-man-woman"), ardhanarisha ("lord who is half-woman"), ardhanarinateshvara ("lord of the dance (who is half-woman)). 2] parangada, [3] naranari ("male-female"), ammaiyappan (a tamil name meaning "mother-father"), [4] and ardhayuvatishvara (in assam, "the lord whose half is a maiden or woman or maiden" [ 5] the gupta writer pushpadanta in his personal “mahimnastava” calls this form dehardhaghatana (“you and she are half of one body”). "; Beautiful - gauri - is undoubtedly an attribute of parvati) [6]. >Origin and early images[edit] The early kushan head of ardhanarishvara, discovered in rajghat, now lives in the mathura museum the concept of ardhanarishvara may have been inspired by the vedic literary composite figure of yama-yami, [8] [9] the vedic descriptions of the primordial creator vishvarupa or prajapati and the fire god agni as "a bull who also is a cow”, [10] [11] atman brihadaranyaka upanishad (“i”) in the form of the androgynous cosmic man puru shi [8] [11] and androgynous myths about the greek hermaphrodite and the phrygian agdistis. [10] [12] the brihadaranyaka upanishad says that the purusha is divided into two parts, the strong sex and the weak half of humanity, and the two halves copulate, giving birth for a long time - a theme that coincides in the stories of ardhanarishvara. [13] the shvetashvatara upanishad sows the seed of the puranic ardhanarishvara. He declares rudra, the predecessor of the puranic shiva, the creator of everything and the root of purusha (male principle) and prakriti (female principle), adhering to the samkhya philosophy. This alludes to his androgynous nature, describing him as both male and female. Iconography developed during the kushan era (30–375 ce) but was refined in the gupta era (320–600 ce). A mid-first-century kushan-era stele in the mathura museum has a half-male, half-female image, along with three other figures identified with vishnu, gaja lakshmi, and kubera. The male half is itiphallic or with urdhvalingam and makes the abhaya mudra gesture; the female left half holds a mirror and has a rounded chest. This is the earliest generally accepted depiction of ardhanarishvara. An early kushan head of ardhanarishvara discovered at rajghat is on display in the mathura museum. The right strong half has matted hair depicting a skull, so a crescent; the left female half has well-combed hair, decorated with flowers with a patra-kundalu (earring). The face has a common third eye. A terracotta seal discovered at vaishali has features of a half-male, half-female.[9] early kushan images show ardhanarishvara in his usual two-handed form, but further texts and decorations depict more complex iconography. Ad), quoting vardasan (c. 154-222 ad) who guessed the visit of an indian embassy to syria during the reign of elagabalus (antonin of emesa) (218-22 ad).A terracotta androgynous bust excavated at taxila and dated to the saka-parthian era depicts a bearded man with a female breast. 2 large hindu sects, shaivism and shaktism, dedicated to shiva and the great goddess. A similar syncretic image is harihara, the composite form of shiva and vishnu, the supreme deity of the vaishnava sect[3][19][20][21] Iconography[edit]A rare example of shakta ardhanarishvara where the dominant right side is a woman The 16th century iconographic shilparatna, matsya purana and agamic texts like amshumadbhedagama, kamikagama, supredagam and karanagama - most of them of south indian origin - describe the iconography of ardhanarishvara. The upper right side of the body usually belongs to shiva-male, and the left - to parvati-beloved in some images belonging to the school of shaktism, the feminine occupies the dominant right side.[27] the icon is usually prescribed four-, three- or two-handed, but eight-handed is rarely depicted. In the case of three arms, parvati's side has only one arm, suggesting a smaller role in the icon. The male half[edit]the male half wears a jata-mukuta tangled hairs on the head, adorned with a crescent moon.Sometimes the jata-mukutu is decorated with snakes and the river goddess ganga flowing through her hair.The right ear wears a nakra-kundala, sarpa-kundala ("serpent ear") or a typical kundala ("earring").Sometimes the male eye is depicted smaller than that of the female, and one and a half mustaches are also visible. Possibly shown above or below the round dot of parvati.Behind the head there is an ordinary elliptical halo (prabhamandala/prabhavali) sometimes the shape of the halo may differ on both sides.[30] In the four-handed form, the right hand holds parasha (ax), and the other makes ab haya mudra (assertion gesture), or the first of the right arms is slightly bent and reclining on the head of the riding bull of shiva, nandi, and is also held in the abhaya mudra gesture. Another configuration suggests that the right hand is holding a trishula (trident) while the other is making varada mudra (blessing gesture). Another scripture prescribes holding trishula and akshamala (rosary) with two right hands. In the two-handed form, the right hand holds a kapala (skull bowl) or gestures in varada mudra. He also knows how to hold a skull. On the relief of badami, the four-armed ardhanarishvara plays the veena (lute) using his left and right hands, while any male hand holds a bucket, and a female one holds a lotus.[31] three-armed bronze ardhanarishvara Half shiva has a flat male chest, straight upright chest, broader shoulder, wider waist and muscular thigh.[29] he wears a yagnopavita (sacred thread) on his chest, which is sometimes depicted in the form of a naga-yagnopavita (a snake worn like a yagnopavita) or strands of pearls or precious stones. Yajnopavita, among other things, can divide the body into male and female halves. He wears decorations found in the iconography of shiva, in particular decorations like snakes. Also be ithyphallic (urdhavlinga or urdhavreta: with an erect phallus), however, in such a context it means exactly the opposite. It contextualizes "retention of semen" or the practice of celibacy[34] (illustration by urdhva retas)[35][36][37] and presents the deity as "anyone who stands for complete control of the senses so for supreme carnal renunciation",[33] other depictions found in northern india include a full or half phallus and one testicle.[18] however, these images are not found in south indian images; [30] the loins are usually covered with a garment (sometimes a dhoti) of silk or cotton, tiger or deer skin), to a minimum up to the knee, and held in place by a sarpa mekkhala, serpent belt or ornament. The right leg may be partly bent or straight and very often rests on a lotus pedestal (padma pitha). The entire right half is described as covered in ashes, terrible, red, gold or coral; however, these features are rarely depicted. Well-combed tied hair for the specified time and often and so on. The left ear wears a kundala (a type of earring). Tilaka or bindu (a round red dot) adorns her forehead, corresponding to shiva's third eye. The left eye is drawn with black eyeliner.[38] while the male neck is sometimes adorned with a hooded, jeweled snake, the female neck is adorned with a matching blue lotus. The counterpart is bent in the 'kataka mudra' posture and holding a nilotpala (blue lotus) or hanging loosely beside it. In the three-armed image, the left hand holds a flower, a mirror or a parrot.In the variant with two-handed icons, the left hand rests on nandi's head, hangs freely or holds either a flower, or a mirror, or a parrot. The parrot can also wipe the pants on parvati's wrist. Her hands are adorned with jewelry such as keyura (anklet) or kankana (bracelets).[32][38] Parvati has a well-developed, round chest and a narrow female waist, adorned with various haras ( religious bracelets) and other jewelry made of diamonds and various precious stones. She has a fuller hip, and physical condition and hips are more magnificent than those of the male part of the icon. The woman's torso, hips, and pelvis are exaggerated to highlight the anatomical differences between the halves.[39] although male intimate apparatuses are sometimes depicted, female genitalia are never depicted, and the lower back is always draped. She wears a multicolored or white silk robe that reaches her ankles and has one or three sashes around her waist. There is an anklet on the left half, and the foot is painted red with henna. The left leg can be many bent or straightened, resting on a lotus pedestal. In contrast to the half of shiva, the half of parvati, smeared with saffron, is described as calm and gentle, light, the color of a parrot green or dark. She may be dressed in a sari covering her torso and legs. Poses and vahana[edit] Seated ardhanarishvara with both vahanas The pose of ardhanarishvara can be tribhanga - bent in 3 parts: the head (tilted to the left), torso (to the right) and the right leg, or in the “sthanamudra pose (straight), sometimes standing on a lotus pedestal, then it is called samapada. Seated images of ardhanarishvara are not found in iconographic treatises, but to this day can be bought in sculpture and painting. Although in the canons the nandi bull is often depicted as the usual vahana (mount) of ardhanarishvara, in other images, shiva's bull vahana sits or stands next to his leg or behind him, while the goddess's lion vahana stands next to her leg. / >Eight-handed form[edit]in the temple of parashurameshwara in bhubaneswar there is a dancing eight-armed ardhanarishvara. In the upper male hands are a lute and an akshamala (rosary), in the upper female hands are a mirror and a book; the rest are broken.[5] another non-traditional ardhanarishvara is located in darasuram. The sculpture is three-headed and eight-armed and holds an akshamala, a khadga (sword), a pasha, a musala, a kapala (a skull cup), a lotus, and other objects.[40] Other textual descriptions [edit] the naradiya purana mentions that ardhanarishvara is half black and half yellow, naked on one side and dressed on the back, with skulls and a garland of lotuses on the male half and female half, respectively. The linga purana gives a brief description of ardhanarishvara doing varada and abhaya mudra and holding trishula and lotus. The vishnudharmottara purana prescribes a four-handed form, whose right hands hold a rosary and a trishula, and whose left hands hold a mirror and lotus. In this text the form is called gaurisvara.[7] Legends[edit] The relief of ardhanarishvara is taken from the elephanta caves near mumbai The mythology of ardhanarishvara, which mainly goes back to the canons of the puranas, was invented later to explain the existing images of the deity that appeared in the kushan era.[11][20][45] Nameless semi-feminine form shiva is also mentioned in the mahabharata epic. In book xiii, upamanyu praises shiva, rhetorically asking if there is anyone else whose half of the body is shared by his spouse, and lays out that the universe arose from the union of the sexes, represented by the semi-female form of shiva. In other narrations, shiva is described as swarthy and fair-skinned, half yellow, half white, half fair sex and half male, and besides this a lady and a man. In book xiii, shiva preaches to parvati that half of his body is made up of her body. “From limb to limb,” ardhanarishvara is completely formed. Which also tells that in the situation when the demon andhaka wanted to grab parvati and make her his wife, vishnu saved her and brought her to his abode. When the demon followed her there, parvati revealed ardhanarishvara's personal application to him. Seeing the half-male-half-female form, the demon lost his personal attention to her and left. Vishnu was amazed to see this form and saw his vices in the female part of the form. To regenerate them, which they could not do. Faced with the ensuing decrease in the rate of creation, brahma was puzzled and turned to shiva for help. To enlighten brahma in such foolishness, shiva appeared before him as ardhanarishvara. Brahma prayed to the female half of shiva to give him a woman to prolong creation. The goddess agreed and created various female forces from her body, thereby allowing creation to develop.In other puranas like the linga purana, vayu purana, vishnu purana, skanda purana,[10] kurma purana[49] and markandeya purana[50], rudra (identified with shiva) appears as ardhanarishvara, emerging from brahma's head, forehead, mouth or soul as a concentrate of brahma's rage and frustration due to the slow pace of creation. Brahma asks rudra to divide his own forces and another one obeys, splitting into both partners. Numerous beings are created from both halves, including 11 rudras and various female shaktis. In some versions, the goddess again contacts shiva and promises to be born into the world as sati in order to be shiva's wife. In the linga purana, ardhanarishvara rudra is so hot that in the process of emerging from brahma's forehead, he burns brahma himself. Then ardhanarishvara shiva enjoys his half - the great goddess - "by the path of yoga and creates brahma and vishnu from her body. In the repeating cycle of aeons, ardhanarishvara is destined to reappear at the dawn of each creation, as before. , Badami[52] The matsya purana describes how brahma, pleased with the austerity performed by parvati, rewards her, blessing her with a golden complexion. We make her more feminine for shiva, she later merges with him as half of his body. Abode, they prayed for their respect to shiva and parvati. However, the sage bhringi swore to worship only one deity, shiva, and ignored parvati by worshiping him and walking around him. Excited, parvati cursed bringi to lose all his flesh and blood, turning him into a skeleton. In this form, bringi could not stand straight, so the merciful witnesses of this scene blessed the sage with the third leg for support. As her attempt to humiliate the sage failed, parvati punished herself with austerities which pleased shiva and prompted him to bestow upon her the boon of union with his secrets, thus causing bhringi to worship her as well as herself in the manner of ardhanarishvara. However, the sage took the form of a beetle and bypassed only the male half, drilling a hole in the deity. Struck by his devotion, parvati reconciled with the sage and blessed him. The 7th century saiva nayanar saint appar mentions that after marrying parvati, shiva incorporated a package into half of his body. Suspecting shiva of infidelity, seeing a personal reflection in shiva's crystal chest. A marital dispute arose, but it was quickly resolved, after which parvati wished to remain forever with shiva in his body. After that, the divine couple merged into ardhanarishvara. Another tale from north india also speaks of parvati's jealousy. Another woman, the river ganges, often depicted flowing from shiva's castles, sat on his head, while parvati (in the form of gauri) sat on his lap. To appease gauri, shiva joined with her as ardhanarishvara. Creator of everything. In these stories, it is her body (and not shiva's) that is divided into male and female halves.[27] The sculpture of ardhanarishvara, khajuraho Ardhanarishvara symbolizes this male the feminine is inseparable.[32] the compound form conveys the unity of opposites (coniunctio oppositorum) in the universe.[3][12][55][56] the male half of ardhanarishvara means purusha, and the female half means prakriti. Purusha is male health and the passive force of the universe, and prakriti is the female active force; the one and the other always strive to embrace and merge with each other, although ... They are separated by an intermediate axis. The union of purusha (shiva) and prikriti (the energy of shiva, shakti) gives rise to the universe, the idea is also manifested in the union of shiva linga and yoni devi, creating the cosmos. The mahabharata extols this form as the source of creation.[46] ardhanarishvara also suggests the element of kama or lust which leads to creation. "Bisexuality and therefore non-duality" of the supreme being.[20] [60] this means god is both shiva and parvati, "both male and female, and father and mother, and aloof, and active, and formidable, and soft, and destructive, and creative", and unites all other dichotomies of the universe. .[55] while shiva's rosary in ardhanarishvara's iconography associates him with asceticism and spirituality, parvati's mirror associates this art with the material illusory world. Ardhanarishvara reconciles and harmonizes two conflicting ways of life: the spiritual path of the ascetic, represented by shiva, and the materialistic path of the householder, symbolized by parvati, who invites the ascetic shiva into marriage and a wider range of worldly affairs. Shiva's interdependence on his power (shakti), embodied in parvati, also affects this form.[55] ardhanarishvara reports that shiva and shakti are one and probably even the same, an interpretation also stated in inscriptions found along with images of ardhanarishvara in java and the eastern malay archipelago. The vishnudharmottara purana also emphasizes the identity and identity of male purusha and female prakriti manifested as ardhanarishvara.[62] according to the shaivite guru shivaya subramuniyaswami (1927-2001), ardhanarishvara means that the great shiva has everything inseparable from his energy” (in other words, his shakti) and beyond gender.[63] Three-armed sculpture of ardhanarishvara, in which only nandi is a vahana, 11th century, gangaikonda cholapuram temple In all cultures, hermaphrodite figures, one of which ardhanarishvara belongs to, have traditionally been associated with fertility and abundant growth . In insurance form shiva in his eternal embrace with prakriti represents the eternal reproductive power of nature, then he regenerates after she loses her fecundity. “It is duality in unity, at the beginning of which lies sexual dualism” [58]. Art historian shivaramamurthy calls it "a unique bond of closely related ideals of the human race, rising above the craving for the flesh and serving as a symbol of hospitality and fatherhood." The dual unity of ardhanarishvara is considered a model of marital inseparability. Padma upadhyaya comments: "the idea... Of ardhanarishvara is to put the man into the woman, and among other things the woman into the man, and form a perfect homogeneity in domestic affairs."[19] Often right half of ardhanarishvara is male and the left half is female. The left side is the location of the heart or is due to female characteristics, such as intuition and creation, while the right side is primarily associated with the brain and male traits - logic, valor and systematic thinking. Woman is not at all equal to ardhanarishvara, the male god, half female; it remains a dependent entity.[65] ardhanarishvara "is thus shiva and not parvati." But reflected in mythology where parvati becomes part of shiva. This is still reflected in the iconography: shiva often has two supernatural hands, while parvati just has one earthly hand, and the concrete vahana of a bull, but not her vahana of a lion, always accompanies them.[66] Worship[ edit] Ardhanarishvara is worshiped at sri rajarajeshwari peetham Ardhanarishvara is one of the extremely popular iconographic forms of shiva. It is useful to obtain it to some extent in absolutely all temples and shrines dedicated to shiva throughout india and yuva. There is sufficient evidence from the texts and numerous images of ardhanarishvara in stone to suggest that there may have been a cult centered around a deity. The cult retained occasional followers, laci witton nude, but was never affiliated with any sect. This cult, centered on the joint worship of shiva and the goddess, may even have held a high position in hinduism, but when it seems to have disappeared remains a mystery.[69] although this is a common iconographic form, there are few temples dedicated to the deity. The popular one is in tiruchengoda,[70][71] and five others are in kallakkurichi taluk, all of them in the indian state of tamil nadu.[72] Linga purana advocates the worship of ardhanarishvara devotees to achieve union with shiva after the collapse of the universe and, as a result, achieve salvation. Ardhanarinateshvara stotra is a popular hymn dedicated to the deity. The nayanar saints of tamil nadu sing the deity in hymns. While the 8th century nayanari saint sundarar says that shiva is always inseparable from the mother goddess, [5] another 7th century nayanari saint sambandar describes that the "eternal feminine" is not only his consort, but also a part of him. . [5] the famous sanskrit writer kalidasa (c. 4.5 centuries) mentions ardhanarishvara in his raghuvamsa and malavikagnimitram incantations and broadcasts that shiva and shakti are in the same way inseparable, like word and value.[7] the 9th century nayanar saint manikkavachakar portrays parvati in his hymns as the supreme devotee of shiva. Shatkona, a six-pointed star, with a meaning similar (when you are not the same) to that of ardhanarishvara. Harihara: the compound form of the gods shiva and vishnu Jumadi: the regional compound form of shiva and parvati Vaikuntha kamalaja: the compound form of vishnu and lakshmi Intersex are men and women born with each of several sexual characteristics that do not correspond to typical binary dreams of men or women's bodies. ^ Monier williams sanskrit-english dictionary (2008 edition) ^ Gopal, madan (1990). K.S. Gautam (ed.). India through the ages. Division of publications, ministry of data and broadcasting, government of india. 69. ^ A b c d garg (ed.), Pp. 598-9 ^ Jordan, michael (2004). Dictionary of gods and goddesses (2nd ed.). Data about file, inc. With. 27. Isbn 0-8160-5923-3. ^ A b c d e swami parmeshwaranand p. 57 ^ Swami parmeshwaranand p. 60 ^ A b c collins p. 80 ^ A b in chakravarti 1986, p. 44. ^ A b c d e swami parmeshwaranand p.58 ^ A b c d e kramrish, pp. 200–3, 207–8 ^ A b c d srinivasan, pp. 57 ^ A b c danielou, pp. 63–7 ^ Srinivasan, pp. 57, 59 ^ Srinivasan, pp. 57–8 ^ a b c swami parmeshwaranand, pp. 55-6 ^ A b chakravarti 1986, p. 146. ^ See picture in goldberg pp. 26-7 ^ A b c d goldberg p. 30 ^ A b chakravarti 1986, p. 43. ^ A b c d dehejia pp. 37-9 ^ A b c pande, dr. Alka. "Icon of creation - ardhanarishvara". Official website of the author. Archived from the original on july 4, 2008. Retrieved february 6, 2011. ^ Rao p. 323 ^ A b c d collins, p. 77 ^ Rajarajan, rkk (january 2000). "Dance of ardhanari as pattini-kannaki with some special bright detail on chilappatikaram". Berliner indologische studien. ^ Rajarajan, r.K.K. "Dance of ardhanari. Historiographical retrospective. Convegni. ^ Rajarajan, r.K.K. Masterpieces of indian literature and art - tears of kanaka: annals and iconology of the chilappatikaram. ^ A b goldberg, pp. 145–8 ^ A b c d e rao, pp. 324–5 ^ A b c goldberg p. 12 ^ A b c d e f g goldberg p. 13 ^ Rao, pp. 327-8 ^ A b c d e "ardhanarishvara". Encyclopædia britannica online. British encyclopedia. 2011. Retrieved january 26, 2011. ^ A b kramrisch 1994a, p. 218. ^ Ghurye, gs, 1952. Ascetic origins. Sociological bulletin, 1-2), pp.162-184. ^ Kramrisch 1994a, p. 26. ^ Pensa, corrado. "Some internal and comparative problems in the market of indian religions". Complaints and ways of the history of religions. Brill, 1972. 102–122. ^ Pattanaik, devdutt. From shiva to shankara: deciphering the phallic symbol. Indus source, 2006. ^ A b c d rao, pp. 325-6 ^ Rao, pp. 329-30 ^ A b rao, p. 330-2 ^ Srinivasan, p. 266 ^ Danielou, p. 147 ^ Swami parmeshwaranand p. 61 ^ A b collins p. 78-9 ^ Goldberg p. 157 ^ A b collins, p. 76 ^ A b c swami parmeshwaranand, p. 60-1 ^ Rao , pp. 321-2 ^ Collins, pp. 77-8 ^ Collins, pp. 76-7 ^ Kramrish, p. 205 ^ Rao, pp. 327-8: the male half of the four-armed ardhanarishvara at badami wears snake ornaments and knee-length buckskin and holds a bucket. His jatamukuta is adorned with a crescent moon and a skull. The female side wears golden carnival costumes and ankle-length silk clothes, but also wears a nilotpala. Along with other hands, ardhanarishvara plays the veena. A skeleton identified with bringi stands next to him. The bull stands behind the deity. ^ Rao, pp. 322-3 ^ A b pattanaik, devdutt (september 16, 2005). "Ardhanareshvara". Public platform devdatta pattanaika. Archived from the original on november 21, 2010. Retrieved february 6, 2011. ^ A b c d kinsley, david (1998). Hindu goddesses: visions of the divine feminine in the hindu religious tradition. Motilal banarsidass publ. Pp. 49-53. Isbn 81-208-0394-9. ^ Goldberg, p. 115 ^ Rao, p. 332 ^ A b swami parmeshwaranand p. 59 ^ A b danielou, alain (1985). Legends and gods of india: a classical work on hindu polytheism. Internal traditions. Isbn 0-89281-354-7 ^ Conner, randy p.; Sparks, david hatfield; sparks, maria (1998). "Ardhararisvara". Cassell's encyclopedia of queer myths, signs, and spirits. Uk: cassel. P. 67. Isbn 0-304-70423-7. ^ A b srinivasan p. 158 ^ Srinivasan p. 59 ^ Shivaya subramuniyaswami (2003). Dancing with shiva: a modern hindu catechism. Himalayan academy publications. 758. ^ Goldberg p. 156 ^ Cortright, paul b. (December 2005). "Review: the half-female lord: ardhanarishvara from an indian and feminist perspective." Journal of the american academy of religion. 73(4): 1215-1217. Doi: 10.1093/jaarel/lfi130. ^ Seid, betty (2004). "The lord is half woman (ardhanarishvara)." Art institute of chicago museum studies. Art institute of chicago. 30(1):48-95. Jstor 4129920. ^ Goldberg p. 1 ^ A b yadav p. 161 ^ Swami parmeshwaranand, pp. 55, 61 ^ A b murthy, k.K. (1991). "Tiruchengodu - ardhanareswarar tirukovil". Temples of tamilnadu. Tirupati. ^ "Resource on tiruchengode temple". ^ Hiltebeitel, alf (1988). Draupadi cult: mythologies: from jinja to kurukshetra. Cult of draupadi. Volume. 1. University of chicago press. P. 447. Isbn 978-0-226-34046-3. ^ Goldberg p. 4 Collins, charles dillard (1988). Iconography and ritual of shiva on elephanta. Suny press. Isbn 0-88706-773-5 Chakravarty, mahadev (1986).The concept of rudra-shiva duringduringduringduringduringduringduringduringduringduringduringduring throughoutduringduringduringduringduringduringduringduringduringduringduringduring duringduringduringduringduringduringduring centuries. Motilal banarsidass publ. Isbn 81-208-0053-2 Daniélou, alain (1992). Gods of passion and ecstasy: the traditions of shiva and dionysus. International of domestic traditions. Isbn 0-89281-374-1 Dehejia, harsha v. (1997). Parvatidarpana: exposition of kashmir shaivism through the images of shiva and parvati. Motilal banarsidass publ. Isbn 81-208-1484-3 Goldberg, ellen (2002). The lord half woman: ardhanarishvara from an indian and feminist perspective. Suny press. Isbn 0-7914-5325-1. Garg, ganga ram, ed. (1992). Encyclopedia of the hindu world. Volume. 3: ar-az. Publishing company "concept". Isbn 81-7022-376-8 Kramrish, stella (1981). Shiva's presence. Princeton university press. Isbn 0-691-01930-4. Rao, t.A. Gopinatha (1916). Elements of hindu iconography. Volume. 2: part i. Madras: legal printing. Srinivasan, doris met (1997). Many heads, hands and eyes: the origin, meaning and form of plurality in indian art. Brill. Oclc 208705592. Swami parmeshwaranand (2004). "Ardhanarishvara". Encyclopedia of shaivism. Volume. 1. Sarup and sons. Isbn 81-7625-427-4 Yadav, nita (2000). Ardhanarishvara in craftsmanship and publications. D.K. Printworld. Isbn 81-246-0169-0. Kramrish, stella (1994a), shiva's presence, princeton, nj: princeton university press, isbn 978-0691019307 Wikimedia commons has media related to ardhanarishvara Ardhanari Shaivism Deities Sadyojata Vamadeva Aghora/bhairava Tatpurusha Ishana Nataraja Dakshinamurthy Harihara Ardhanarishvara Nandi Shvetashvatara upanishad Shivarahasya purana Shiva purana Shiva sutras of vasugupta +>Tirumurai Mantra/stotra Om namah shivaya Rudrashtakam Mahamrityunjaya Shiva tandava Sahasranama Chalisa Shri rudram Shiva mahimna Traditions Shaiva siddhanta Pashupati shaivism Kapalika Aghori Kaula Trika shaivism vira-shaivism Siddha-siddhanta Shiva-advaita Shaiva-smartas Shiva temple Amarnath Brihadiswarar Kailash mansarovar Katas raj Lingaraja Meenakshi sundareshwarar Tiruchengode Wadakkum nathan Panch kedar Kedarnath Tungnath Rudranath Madhyamaheshwar Kalpeshwar Pancha sabhay Ratin Mon Velli Tamira Chitira Pancha bhuta Chidambaram, ether Kalahasti, air Annamalayar, fire Thiruvanaikaval, water Ekambareswarar, earth Jyotirlingas Bhimashankara Ghushmeshwara/grishneshwar Kedaranatha Mallikarjuna mahakaleshvara Nagesvara Omkareshvara Rameshvara/ramanathaswami Somanatha Tryambakeshvara Vaidyanatha Vishveshvara/vishwanath Rites Kanwar yatra Lingam Rasalingam Maha shivaratri Pradosha Shiva puja Siddha Vibhuti Other names Hindu deities and texts Gods Trimurti Sconce hma Vishnu Shiva Agni Ashwins Chandra Dattatreya Ganesha hanuman Indra +>Kama Kartikeya KrishnaKubera Rama Shasta Surya varuna Vayu Vishwakarma Yama Goddesses Tridevi Saraswati Lakshmi Parvati Aditi Bhumi Chhaya Durga Ganga Shachi Kali Mahadevi Mahavidya Matrikas Radha Rati Rohini Rukmini Sajna Sati Sati +>Shakti Shashti SitaOther deities Apsaras Asuras Daityas Danava Gandharvas Kuladevats Gram devats Rakshasas Vahanas Yakshi/yakshini Texts Vedas InstallationSama Yajur Atkh arva Upanishads Puranas Ramayana Mahabharata Bhagavad gita HinduismHindu mythology Retrieved from "https://en.Wikipedia .Org/w/index.Php?Title=ardhanarishvara |
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