Guruji and GuruAmma in front of Devipuram

Image by Drdha Vrata Gorrick

Ardhanārīśvara is a deity that embodies the combined forms of Śiva and Śakti, commonly portrayed as half-male and half-female. The name is derived from the words ardha (अर्ध) meaning "half," nārī (नारी) meaning "woman," and īśvara (ईश्वर) meaning "lord," signifying the "Lord who is half-woman."

This representation serves as a potent symbol of the unity and inseparability of Śiva (Consciousness or Prakāśa/self-shining light) and Śakti (Energy, Vimarśa/self-reflection), illustrating the principle of non-duality. The union of these opposite principles is considered to be the source and cradle of all creation.

Ardhanārīśvara in Kulārṇava Tantra

The Kulārṇava Tantra is held in high esteem by Kaula tantriks. It focuses on the Ūrdvhāmnaya, or the Upper Tradition, representing one of the five faces of Śiva which looks upwards. This upper-facing form of Śiva is known as Ardhanārīśvara. The third chapter of this Tantra provides a eulogy about the magnificence of the Ūrdvhāmnaya and its mantra (hsauṁ shauṁ) along with the Ardhanārīśvara dhyāna (provided below):

“O Maheśani! After performing with concentrated mind the Mātṛkā Nyāsa as described above, Dhyāna of Ardhanārīśvara should be performed. One should in his Heart-lotus, first contemplate Ardhanārīśvara Lord Śiva in the following manner: In the middle of the ocean of Nectar embellished there is a raised Island. On it in the woodland of Kalpavṛksas there is a beautiful Maṇḍapa (canopy) made of Nine Rubies. In that Maṇḍapa there is a throne embellished with Nine Jewels. On that throne on a triangular seat in the pericarp of the Lotus, is seated Lord Śiva decorated with Moon and Sun and Devi Ambikā forming half of His body. The respective ornaments of both are glittering on their bodies separately. Beautiful as tens of millions of Kāma Devas and always young as a sixteen year old, the Locus-face of Lord Ardhanārīśvara is in a mildly smiling pose. He has three-eyes and Moon decorates His crest of hair. He is putting on Divine clothings, ornaments and flower garlands and His body is smeared with sandal paste. His three of the four hands are holding pāna-pātra (drinking vessel), triśūla (trident) and pustaka (book), and the fourth is in cinmudrā (mudrā of consciousness). Accompanied by Vidyā and Siddhis He is always Blissful. Innumerable Gods are waiting in His service. One should contemplate upon such a Form of Ardhanārīśvara Lord Śiva, in his heart-lotus.

One can contemplate upon Ardhanārīśvara either in a Masculine or in a Feminine Form, or in Saccidananda Attributeless Form which is full of allradiance and contains all the mobile and immobile creation.”

- Kulārṇava Tantra with translation by Ram Kumar Rai (Ullasa 4, vv. 107-112)

It’s interesting to note that the attributes (i.e. book and cin mudrā) held in left two hands of Ardhanārīśvara match the description of Goddess Parā as described in Paraśurāma Kalpa Sūtras.

Guruji on visualization of Ardhanārīśvara as our Guru


Guruji near his favorite spot with Guru Amma, by Sarvamantramayi Devi

Guruji considered Ardhanārīśvara to be the form of the Guru. Below is Guruji's abbreviated description of how we should visualize our Guru when we recite the Guru Pāduka mantra.

The Guru Pāduka - the Wheel of the Supreme Being; your Self - is located nine inches above your head. It is in the center pod of the Sahasrāra. The feet have the letters Hsauṁ and Shauḥ. They are surrounded by an eight-petal lotus. Each petal is abundance beyond measure, sometimes also called - Aṣṭa Lakṣmīs and also Sudarśana. They are filled with millions of round disks of all colors, arranged in the form of worlds in geometric patterns. By focusing your attention on any disk, you will be able to gain entry into that world, becoming its creator Brahma, sustainer Viṣṇu, and Dancer Śiva.

The half-female, half-male form of Śakti-Śiva - Ardhanārīśvara - is standing on top of your head, facing in the same direction as you; and the feet above your head belong to this form. In this form, the creator Śiva is eternally surrounded by its own Yoni, emitting an unending, life-giving stream called Gaṅgā. The divine form of this nectar is Time… It is called 'Brahma Ānanda', the Bliss of Creation.

The sound of this creation is like that of an ocean, Oṁ. Suppose there are a million people in a gathering, each talking to their neighbors. There is an ocean of sound rising from that communion. The sound of Oṁ is like that.

Your aim is to raise yourself above your head, merge into that form, and experience unending spiritual orgasm which you may call is the dance of the Galaxies, the dance of rising water falls, the divine light-and-sound show. The joy you experience will shower your whole body with a thrill you have never known before. The experience there is indescribable. You are literally taking bath in these nectarine waters of life… Stay in this state as long as you can; there can be no higher happiness than this.

What happens then? You are no longer in control. There is no you to be in control. You only experience a feeling, and visions… You are thoroughly satisfied; your body has lost all weight; it is floating away without walls and ceiling being obstacles; it is being carried by rainbows; you are rising above the city where you are dwelling, the country, the oceans, the earth, beyond the Moon, the Sun; you enter the star field, the constellation of Seven Sages (Great Bear), Dhruva (the pole star), go beyond Galaxies, the worlds, and enter the abode of Mother Goddess, an Island of Jewels…

You enter the Source of the Cosmos, Śrī Yantra, in the Womb of the Divine Mother. You become a part of Her, to live in waves of beauty - Saundarya Laharī.

Guruji on the Importance of Worshipping Śiva/Śakti Together

You can think of Devi in three ways—as a female, as a male, or as a loving couple in union, which all can be worshipped with the Khaḍgamālā Stotra.

  • Devi as Male: Devi is worshiped in a male form (the liṅgam). Because Śiva is said to be the Destroyer, who is inauspicious for materialistic gain, but auspicious for spiritual gain. Worshiping Devi as a male is considered the third-best method and helps us detach ourselves from this world.

  • Devi as Female: Devi is worshiped as a female (yoni = mother = source). This is our normal understanding of Devi, the Mother who gives us life, nourishes us with her milk and gives us knowledge. So this type of worship is considered auspicious because she is taking care of our material needs. It is considered the second-best method of worship.

  • Devi as Union of Male and Female: The very best method of worship is when Devi is worshiped in the form of a couple—the union of the male (seer) and female (seen). So it’s best at the outset to worship her as male and female in union, as this gets all forms of creativity invoked into us.

Source: Gifts from the Goddess: Selected Works of Sri Amritananda Natha Saraswati by Michael M Bowden

Some of Guruji's Quotes on Ardhanārīśvara

GOD AS ARDHANĀRĪŚVARA:

In God’s creation, 50 percent are male and 50 percent female. Accordingly, the form of God that extends across all creation is called Ardhanārīśvara—the deity who is Śakti on the left and Śiva on the right. Those who worship the female (Śakti, the Goddess) are said to follow the left-hand path, or Vāmācāra. Those who worship the male (Śiva, the God) follow the right-hand path, or Dakṣiṇācāra. And those who worship God in both female and male formas well as in the combined form of the female and male in union—are said to follow a mixture of both paths, which is called the Kaulācāra (or Kaula).

THE ĪŚVARA KALĀS AND THE ŚIVA-ŚAKTI KALĀS:

The Īśvara Kalās.
There are four kalās for Īśvara at the Anāhata Chakra…

In your body, imagine that the left portion is female and the right portion is male. This is called the Ardhanārīśvara form.

The Śiva-Śakti Kalās.
Imagine that the half-male, half-female Ardhanārīśvara is standing atop your head. Its right foot corresponds to Śiva, its left foot to Śakti. This is the form of the Guru, and it is his (or her) feet that are atop your head. Out of them, the nectar flowsone stream coming from the left foot, from Devi; and one stream from the right, from Śiva.

These are called hsauṁ (the yoga aspect) and shauḥ (the sthiti and siddhi aspects).

BRAHMĀNANDA AS ARDHANĀRĪŚVARA TATTVA:

That is union with God; that is yoga. Ordinary coitus is an imitation, a passing memory of the infinite coitus that God can offer to you, the maddening creative egoless bliss—the path of no return. Once one has known the taste of it, one doesn’t want anything else. That is Ardhanārīśvara tattva — the unending orgasmic bliss called brahmānanda.

ŚRĪ KRAMAM: PREPARING THE NECTAR:

Undertaking Sri Vidya upāsanā means you will eventually realize the truth of the statement “All that you see is yourself.” You see yourself, your body, your mind, your thoughts—and all these things are not only yours, they are also you. Not only that, you also see all the articles of worship (the yantra, the Devi mūrti and so on) as being yourself, too.

In order to establish the reality and truth of this concept in an integral way, imagine that you are looking at a plan view of the puja arrangements. Devi is at the circle; the left and right squares are the diagrams of the sāmānyārghya and viśēṣārghya. The square between them is the Sri Chakra. The triangle is where you are sitting. The whole set is called kāmakalā, with the Devi for a face, arghyās for breasts and your seat as the womb:

The total arrangement also looks like Devi, and you have become a part of the structure of kāmakalā (in fact, kāmakalā means “I am what I see”).

  • The Devi is in the Icchā Śakti sthāna (place);
  • Sri Chakra and the sāmānyārghya and viśēṣārghya are in the Jñāna Śakti sthāna. Note also that this whole structure is Ardhanārīśvara: the right breast (to the left in the plan view) corresponds with Śiva and is flat; the left breast corresponds to Devi and is full—that’s the viśēṣārghya.
  • You and the Mūlādhāra are in the Kriyā Śakti sthāna.

You are sitting on her yoni. The Ādhāra Śakti is her Mūlādhāra Chakra. You are yourself the Svādhiṣṭhāna Chakra.

Source: Gifts from the Goddess: Selected Works of Sri Amritananda Natha Saraswati by Michael M Bowden

Guruji as Ardhanārīśvara

Reading through Guruji’s talks and writings, we gain a very clear sense of both the man and the Guru. Like his beloved Ardhanārīśvara, Guruji presented a true union of opposites: empirical scientist yet intuitive mystic; formidable Tantric maverick yet respectful advocate of Vedic authority; enlightened yogi yet a responsible and conscientious householder; fiercely disciplined practitioner yet kindly and permissive teacher; unambiguously masculine in his person, yet undeniably feminine in his presence; a world-weary realist, yet almost naïvely optimistic in his idealism.

Source: Gifts from the Goddess: Selected Works of Sri Amritananda Natha Saraswati by Michael M Bowden

ARDHANĀRĪŚVARA REFERENCES IN GURUJI’S GURU NAMAVALI


#37 śiva śaktyaikya vidyārṇava kāraṇāya namaḥ
The One, Who Causes a Flood of Knowledge of Oneness of Śiva and Śakti

#40 śrī kāmeśvara kāmeśvarī aikya vidyā ṛṣaye namaḥ
The One, Who Is the Seer of the Knowledge of the Oneness of Kāmeśvara and Kāmeśvarī

Pañcadaśi & Śrī Cakra as Ardhanārīśvara in Lalitā Triśatī Stotra

Lalitātriśatīstotra was taught by Hayagrīva to Sage Agastya. It is lauded as the highest revelation - even higher than the venerable 1,000 names of Lalitā - primarily because it was conceived by both Devi and Kāmeśvara.

While giving the permission to teach the stotra to Agastya, Devi Lalitā says: “Composed by myself and Kāmeśvara jointly, it has been kept completely hidden. It was at my command that the [eight] goddesses of speech composed the [Hymn of the] Thousand Names. [But this] Hymn That Completes All, having been uttered by us two, is even greater.”

PAÑCADAŚI AS ŚIVA AND ŚAKTI

[Hayagrīva says] Thus I have taught you the three hundred names of the Goddess… The names with Śiva phonemes have been taught by the Goddess and the names with Śakti phonemes have been taught by Kāmeśvara. The names with phonemes of both have been taught by both.

The three KAs and the two HAs are declared to be the section of Śiva. Those that remain (E, Ī, three LAs, and two SAs) are the Śakti phonemes. The sound HRĪṀ [occurring thrice] embodies both. The Vidyā will not bestow success (Siddhi) on those who practise its repetition without knowing this classification [of its sounds], even if they persist for countless aeons.

ŚRĪ CAKRA AS ŚIVA AND ŚAKTI

The Śrī Cakra with its nine Cakras, four Śiva Cakras and five Śakti Cakras, embodies both Śiva and Śakti. The triangle, the octagon, the two decagons, and the fourteenspoked are the five Śakti Cakras; and the [central] dot, the lotus with eight petals, the lotus with sixteen petals, and the square, in that order, are the four Śiva Cakras. The [Cakra] of the dot is conjoined with the triangle; the lotus with eight petals is conjoined with the octagon; the two decagons with the sixteen-petalled and the enclosing square with the fourteen-angled. A person knows the [Śrī] Cakra if he understands how the two sets of Cakras, those of Śiva and those of Śakti, are inseparably connected with each other. Śakti takes the form of the triangle and Śiva takes the form of the dot. So the triangle and dot are inseparably connected. One who worships the Śrī Cakra without having learned how the Cakras are distinguished in this way does not gain the result of that [worship]. Mother Lalitā is not pleased [thereby].


Source: Lalitātriśatīstotra (The Hymn of the Three Hundred Epithets of the Goddess Lalitā), translated by Alexis Sanderson

Śrī Cakra as Ardhanārīśvara, Symbolized by Vārāhī & Śyāmā

Both Vārāhī and Śyāmā represent the two parts/sides of Lalitā Tripurasundarī and also two composite parts of the Śrī Yantra.

Vārāhī in Śrī Vidya is the Сommander-in-Сhief of Lalitā’s army and the right hand of the Goddess. While Śyāmā, who is the Prime Minister, is the left hand of the Goddess.

It is said in the Bhavanopanishad: «vārāhī pitṛdevatā kurukullā balidevatā mātā (Vārāhī is the image of the Father, Kurukulla, Bali devata (deity accepting sacrifices) — Mother)». Vārāhī is a masculine principle, representing the four upward triangles of Śrī Cakra, and Śyāmā is feminine, representing the five downward triangles, which when combined create the Śrī Yantra.

Since our body is also a yantra, these two Goddesses are the parents both to physical as well as subtle bodies. In other words, they are the cause for existence of our gross bodies as well as mind (subtle body). It is said that Vārāhī presides over bones and Kurukullā presides over other parts of the body.

Since bone is the toughest part of the body, Vārāhī is described as father and rest of the body compositions are subtler and soft and Kurukullā is described as mother. Both these names are referred in Lalitā Sahasranāma.


Source:

www.manblunder.com
medium.com/@kameshvarima/varahi-b2a793b5bfa4

Devipuram Meru Temple as Ardhanārīśvara

If one looks at the northern side of the Devipuram Meru Temple one may see the red column like shape extending from the bottom of the Temple all the way the top, ending with the golden dome. This dome resembles the ellipsoidal form of Śivaliṅga enclosed in an eight petalled lotus.

Guruji on Śivaliga as Ardhanārīśvara and its Symbolism

The Śivaliṅga represents the ascending energy of consciousness and life in nature. We see this in such forms as the mountain, the thundercloud, the tree, and the upright human being. Many liṅgas like that at Kedarnath - the most important Śiva site in the Himalayas - are rocks in the shape of small mountains. Many other liṅgas are associated with light, the liṅgas of the Sun, the Moon and Fire. There are the twelve famous Jyotirliṅgas or light forms of Śiva at twelve special temples throughout India.

The state of Tamil Nadu has special Śiva liṅga forms for the five elements with liṅgas of earth, water, fire, air and ether at special temples in the region. In this regard, each element has its Śiva liṅga or determinative force. The famous hill of Arunachala, where the great enlightened sage Ramana Maharshi stayed, is said to be the fire liṅga of lord Śiva.

Other Śiva liṅgas are associated with gold or crystal, the light powers in the metal kingdom. The Śiva liṅga is often described in terms of light, crystal or transparency. Śiva himself is said to be pure light or light in its primal undifferentiated state, Prakasha matra.

The Śiva liṅga is connected to the upward pointed triangle, which is also the symbol of fire. The liṅga is present in the male sexual organ both in plants and in animals. But we should not ignore its other forms in recognizing that. The worship of the liṅga is connected more generally to a worship of pillars, obelisks, standing stones and pyramids. Tantric liṅga worship is connected to Vedic pillar worship (the Vedic stambha, skambha, dharuna), which has parallels throughout the ancient world and in indigenous cultures in general who can still perceive the spiritual powers behind the formations of nature.

The Śiva liṅga is often a pillar of light. In special Vedic fire rituals, the fire could be made to rise in the shape of a pillar which could also then take the shape of a man! In fact, the term Dharma originally refers to what upholds things and can be symbolized by a pillar. The Śiva liṅga is the universal pillar of Dharma. The pillar is also an inner symbol indicating the erect spine and concentrated mind.

In terms of our human nature, there are several liṅgas or characteristic marks. The force of Prāṇa is the liṅga or pillar force upholding the physical body according to the currents that emanate from it. This is the inner ‘Prāṇa Liṅga’. Our deeper intelligence or Buddhi provides us the power of insight to discern higher realities, the ‘Buddhi Liṅga’. The Atman or higher Self is the ultimate liṅga or determinative force of our nature that remains steady and elevated (transcendent) throughout all of our life experience, the ‘Atma Liṅga’.

The liṅga and the yoni always go together, first of all on the level of opposites, as the upward and downward pointed triangles. The liṅga with the yoni below it, the standing stone and the ring base, show the union of male and female energies, not just in sexuality, but also as electromagnetic forces.

In addition, the liṅga in its movement creates a yoni, just as a point in its movement can create a circle. We can see this in the circular movement of the stars, planets and nebulae, as well as many other diverse phenomena in the world of nature. The central luminary is the liṅga and its field of revolution is the yoni. The planets form a yoni or circle as they revolve around the Sun as the liṅga, of the solar system, its central principle or axis. Yet the Sun itself is revolving around other stars and creating a yoni or circle of its own.

Stonehenge, and other similar sacred sites that have standing stones formed into great circles, show the union of the liṅga and the yoni, the cosmic male and female or Śiva-Śakti principles. The liṅga and the yoni are also united in the chakra or the wheel, with the liṅga as the axis and the yoni as the circumference. The Hindu usage of chakras in ritual and in art also reflects these two powers. Each chakra of the subtle body shows the union of the Śiva and Śakti energies operative at its particular level of manifestation.

The Śiva energy is the upward current running through the spine or Sushumna and the Śakti energy is the horizontal current through which it travels, forming the various lotuses of the chakras. Together they form a spiral of forces. Both forces are necessary to create this dynamic motion.

The experience of the Śiva liṅga in Yogic meditation is an experience of a pillar of light, energy, peace and eternity, expanding the mind, opening the inner eye and bringing deep peace and steadiness to the heart. From it radiate waves, currents, circles and whirlpools of Śakti spreading this grace, love and wisdom to all. To concentrate our awareness in the liṅga is one of the best ways of meditation, calming the mind and putting us in touch with our inner Being and Witness beyond all the agitation and sorrow of the world.

In Ayurvedic healing, the creation of the Prāṇa liṅga or concentration of Prāṇa at a subtle level is what allows deep healing and rejuvenation to occur. In Vedic astrology, the Śiva liṅga represents the power of light behind the Sun, Moon, planets and stars. In Vastu Śastra, the Śiva liṅga is used to stabilize the spiritual and vital energy in a house, as a conduit of cosmic forces.

To understand the ultimate secrets of life we must be able to look at the primal powers of existence, including the needs for sex and food, according to their broader connections and universal implications. Human sexuality is only one of the many manifestations of the cosmic forces of duality, of a greater Divine sexuality as it were, which transcends all creaturely existence.

We must learn to see the cosmic energy behind human sexuality rather than try to reduce spiritual polarities to our own physical and emotional inclinations. This is another aspect of Yoga in which we must look beyond human psychology to the universal consciousness.

Śivaliṅga/Ardhanārīśvara: 4 Levels of Understanding by Guruji

LEVEL 1 (LOWEST)


The lowest level at which we understand the Śivaliṅga is at the level of physical union. It is the male phallus which is called Śiva and the female yoni which is called Parvatī. It is their union that we are worshiping. There, the union is for procreation.

Symbolism: Physical Union

Liṅgam: Male genital

Yoni: Female yoni

Cakras: Mūlādhāra-Svādhiṣṭhāna

State of Consciousness: Jagrat


LEVEL 2:


At the next highest level, the fire in the navel center and the love in the heart center, their union is called Śiva and Śakti.

Symbolism: Śiva Śakti Union

Liṅgam: Fire in the navel

Yoni: Love in the heart

Cakras: Maṇipūra-Anāhata

State of Consciousness: Svapna


LEVEL 3:


In the next higher level still, space is considered the womb, and time is the liṅga which is moving. The universe of space and time is called the Śiva Liṅga. All the five elements, all the ways in which we perceive, all these are considered to be liṅgas.

Symbolism: Universe

Liṅgam: Time

Yoni: Space

Cakras: Viśuddhi-Ājñā

State of Consciousness: Suṣupti


LEVEL 4 (HIGHEST):


After these three levels, we reach the fourth and transcendent level where there is no distinction between the seer and the seen. They have become one. That is the highest form of the liṅga. It is called aliṅga. There is no liṅga there. There is no characteristic that differentiates one from the other. You are joined totally with the world. You have absorbed the whole world into yourself and there is nothing other than you. So, to reach that state is called mokṣa.

Symbolism: Transcendental

Liṅgam: Aliṅga (no liṅga), Oneness

Yoni: Aliṅga (no liṅga), Oneness

Cakras: Sahasrāra

State of Consciousness: Turia

Guruji on Namaskara Mudrā As Ardhanarīśvara

If you look at the Śiva Sūtram, na means “no”; ma is “touch”. “No touch.” But what could this mean, no touch? Are you not touching left and right hands together with namaḥ? A-ha! That is the meaning: the toucher and the touched are the same.

When can something be touched? Only when there is a difference—an interval—between it and the toucher. Can a finger touch itself? No. A finger can touch anything else but itself—yet it can be aware of itself. Similarly, when you are the object of your vision, the “touch” (that is, the interval between seer and seen) disappears, but awareness does not. When you say namaḥ there is no touch, no contact. It means that what I am meditating on has become myself. So I have become the Ocean of Nectar.

Again, when you say namaḥ, you join your left hand and right hand. If you know that your left hand belongs to the female part of you, and your right hand to the male part (again, Ardhanārīśvara), then you can understand that you’re joining the male and the female in namaḥ. Your left is vāma—what you see (vāma literally means what you vomited, what came out of you). The right is what you are. Thus, the joining of the left and right hands implies the joining of what you see with what you are. When you say namaḥ you are, in effect, affirming, “Though I see you as a separate being, I know that you and I are one.”

By the gesture of namaḥ, you also take on the qualities of the object upon which you are meditating. That’s what meditation is: you don’t stop seeing, you don’t stop knowing—but you are becoming what you see and what you know. This state of being, in which you are merged with (in yoga with) the object of perception, is called samādhi. This word is composed of two terms: sama = equal, and adhi = regarding.

Let me tell you about a nice custom we have here in India. When Hindu children are beginning to learn their letters, they practice by writing oṁ namaḥ śivāya siddham namaḥ. What does this mean? oṁ is the name of God. Namaḥ, as we have discussed, means “Nothing I see is not me.” This knowledge that “I am what I am seeing” is called śivāya; i.e., “for the good of everyone.” How do you attain this state? Siddham namaḥ—you go to a person who is a siddha, one who is enlightened, and gesture namaḥ: “You are me.” In this way you invoke the siddha into yourself, the siddha’s knowledge becomes your own, and thus you become enlightened. The transfer of power or grace occurs through identification, and identification happens through paying attention.


Source: Gifts from the Goddess: Selected Works of Sri Amritananda Natha Saraswati by Michael M Bowden

Ardhanārīśvara (Gods of Love and Ecstasy)

One of the principal aspects of Śiva is the Ardhanārīśvara, the hermaphrodite. In the process of creation, "the power to conceive (vimarśa) and the power to fulfil (prakāśa), when reunited, are immediately manifested as a limit point (bindu), or localization which is the starting point of space and time. From this point starts the vibration or sound (nāda) which is the substance of the universe. Space is a female principle, a receptacle, while time is an active, male principle. Their union, symbolized by the divine hermaphrodite, represents the Eros (Kāma), the creative impulse.” (Karpātrī, Shri Shiva tattva, quoted by Alain Danielou, Hindu Polytheism, p. 205.)

Primordial divinity is essentially bisexual. The division of this principle into two opposing poles which give life to the world is merely apparent. The divine is defined in the Upanishads as "that in which opposites coexist". “When Shiva and Shakti are united, their union is sensual delight. Delight is their reality; their separate existence is only a fiction." (Karpātrī, Lingopasana rahasya, quoted in Hindu Polytheism, p. 203.)

The reality of the world is therefore seen as sensual delight, the spark produced by the union of opposites. The hermaphrodite, the image of the non-division of opposites, represents sheer sensual delight, which is permanent, absolute, and thus divine nature itself. "Divine bisexuality is one of the many formulae for the totality-unity signified by the union of couples of opposites: masculine-feminine, visible-invisible, heaven-earth, light-darkness, as also goodness-wicked­ ness, creation-destruction, etc." (M. Eliade, Histoire des croyances et des idees religieuses. p. 178.)

"The first creation consisted of spirits, goblins, and demons, which issued from the mouth of the uncreated being, like a materialization of its vital breath (prana). Rudra appeared first, shining like the rising sun. He was androgynous... The immensity, seeing this divine hermaphrodite, said to him, 'Divide yourself. Thus, with the left side of the god was created a goddess, who became his companion. It was she who was later incarnate in the daughter of the priest-king Daksha. Taking the name of Sati (Fidelity), she became the lover of Rudra." (Linga Parana, chap. 41, 41-42, and chap. 99, 15-19.)

Thus, to create a world outside himself, the god divides himself, and the two poles diverge. The state of absolute bliss disappears and is only recreated by the union of opposites, by love. The divine hermaphrodite "divided his body into two halves, the one male, the other female; the male in this female procreated the universe". (Manu Smriti, I, 32.)

Source: Gods of Love and Ecstasy: The Traditions of Shiva and Dionysus

Ardhanārīśvara: An Androgynous Model Of God by Ellen Goldberg

The image of Ardhanārīśvara attests to the philosophical ideal of nonduality known as advaita. Masculine and feminine are not viewed as separate dimensions of the divine, rather they identify the belief in god as the absolute union (yoga) of god and goddess (or god/dess).

  • Śakti is portrayed as the dynamic-kinetic pole, the giver of life and the active principle of the universe from which all movement (karma, samsāra) arises.

  • Śiva is the imperturbable, static pole (akarma, nirvāṇa) into which Śakti is ultimately absorbed in the higher stages of yoga (wholeness).

Thus, it is often said in Indian philosophy that without Śakti, Śiva is merely a lifeless corpse (śava). It also explains why we read in the Saundaryalaharī, (1:1) ascribed to the monist philosopher Śaṅkara (c. 788-821), that without Śakti, Śiva is incapable of creation, movement and is devoid of life. In this context, Śiva is subordinate to Śakti in her emanation or causal role. But in the traditions of yoga, the roles are reversed and Śiva as cessation or quiescence (nirodha) is dominant.

Consequently, we see that the equanimity of diametrical polarities or contrary cognitive conceptual and intuitive notions represented by Ardhanārīśvara or the ardhanārī form is not only common among the various schools of Indian religion and philosophy, but is also considered the goal of self-realization. The central theme of sacred marriage (hieros gamos or hierogamy) between Śiva and Pārvatī offers a distinct model for divine-human relations, with the clear message that one’s own experience of wholeness (yoga or an inner hierogamy) is the goal of human knowledge and self-realization (ātma-vidya).


Source: Ardhanārīśvara: An Androgynous Model Of God by Ellen Goldberg

Realization of Ardhanārīśvara through Yoga by Ellen Goldberg

Broadly speaking, the practice of yoga aims at self-knowledge (ātma vidyā) or the realization that ultimate reality is one (advaita). In this model, Śiva represents the dissolution of the universe or the end of cognitive ignorance (vidyā), whereas Śakti is the life-giving, creative pole through which this realization is attained. Here yoga is understood as both the realization of knowledge (jñāna, bodhi, prajñā), as well as the disciplinary means to attain it called sādhanā. The goal of the adept is to merge his or her “self” (ātman, śakti) with Śiva-Śakti in a state of complete quiescence (nirodha) represented in Indian iconography as the form and figure of Ardhanārīśvara.

We also must stress that images of Ardhanārīśvara are neither “mortal” nor “human” but, rather, represent a model or cosmic blueprint of what is potentially possible for the human practitioner to realize in the context of yoga sādhanā (spiritual practice). Ardhanārīśvara is not simply a “picture” of ultimate reality. The image is used in the spiritual traditions of yoga to encode and explain subtle processes that are going on in the higher states of yogic realization (Goldberg 2002). As such, the image of Ardhanārīśvara provides yogins and yoginīs with a detailed chart outlining the evolutionary and experiential cosmic processes of yoga. This helps the yogin and yoginī  understand the esoteric (inner) dynamics of spiritual transformation. It is an applied philosophy providing a step-by-step theory of creation, as well as conveying the adept’s passage from form to formlessness (nonduality or advaita).

The image of Ardhanārīśvara speaks directly to the fragmentation and alienation that comes with the fact that a type of false consciousness arising from notions of subject-object duality is inscribed on every human consciousness. Ardhanārīśvara provides a subtle model of reality and thus an inner or esoteric guide for overcoming the fragmentation and alienation that human beings feel. Many cultures have developed approaches to the problem of suffering (duhkha) and alienation—Ardhanārīśvara is just one approach or model among many (Goldberg 2002).

Thus we see that in traditions of Śaiva yoga the body of the adept is conceived as a living model of the divine image of Ardhanārīśvara. The great yogis and yoginīs understood all too well that our bodies affect our experience of the world. If the adept is to attain some kind of all-pervading unity or realization of the nonduality of Śiva-Śakti, this cannot be accomplished “except from within a bodily experience of the world” (Miller 2010: 11). In the higher states of yoga referred to as sabīja and nirbīja samādhi, the adept witnesses (darśana) matter (Śakti) and consciousness (Śiva) in union (Ardhanārīśvara, yoga) directly in the central nervous system through a parallel physiology or subtle network of energy-infused channels (nāḍīs) and centers (cakras) within the human body.

Energy or the five vital breaths (udāna, prāṇa, samāna, apāna, and vyāna), variously referred to in yoga as prāṇa, śakti, and kuṇḍalinī, circulates in the yoga body through an intricate system of seventy-two thousand nāḍīs (channels). Three main nāḍīs—the iḍā (left), the piṅgalā (right), and the suṣumṇā (or central channel that runs along the interior of the spinal column)—are key to understanding this esoteric (inner) physiology and are depicted in subtle form by the image of Ardhanārīśvara.

With the assistance of advanced yoga techniques adept practitioners attempt to stimulate, harness, and unite the flow of vital energy (śakti) from the left and right channels located at the base of the spine (brahmādvāra) and raise it forcefully (haṭhayoga) through the central channel and the six primary cakras into the cranial vault located in the crown of the head (sahasrāra cakra) or brain. Through this process, the adept yogi or yoginī becomes aware of deeper and more penetrating levels of non-dual consciousness. It is this realization, or what we could call the binding (yoga) of Śiva (consciousness, puruṣa) and Śakti (matter, energy, prakṛti) that is said to occur over-and-over again in the lived bodies of self-actualized adepts.

This “binding” or unifying process identifies the underlying assumption behind numerous homologies and meditation practices in yoga literature between the body of the adept (microcosm) and the ideal of universal nonduality (macrocosm)—or Ardhanārīśvara—and reinforces the innate naturalness, that is to say, physicality or materiality of cognitive non-duality in schools of Indian philosophy.


Source: Ardhanārīśvara: An Androgynous Model Of God by Ellen Goldberg

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