The document summarizes a talk on Hinduism given by Surya Tahora. It explains key concepts from the Upanishads using the representation of Lord Shiva as the teacher Dakshinamurti. It describes how Dakshinamurti conveys that all names and forms in the universe, including individuals, are not separate from the ultimate cause or reality. It also discusses how the teachings of the Upanishads regarding oneness are still evident in modern Indian culture.

1. 64th Introductory Lecture Series - National Museum
Introduction to Hinduism
The Vision of Vedas explained through the representation of the Lord Shiva as a teacher (Daksinamurti)
A talk on 19th November 2009 by Surya Tahora, teacher of Indian philosophy
The Vedas can be divided into two parts: karma kanda (section about actions, prayers and rituals) and jnana kanda
(section of knowledge) also called Upanishads (texts situated at the end of the Vedas). The basis of its vision on
profundity of human existence are found in the final portion of the Vedas (Vedanta or Upanishads).
I have chosen to speak about representations of Lord Shiva as a teacher (Daksinamurti). Why this choice? Because it
conveys in a condensed and visual manner the entire philosophy and vision of Upanishads. Thus it will make us have
access and understand the Indian psyche and culture, as it is lived throughout the ages, from the ancient times to
today. Also, Daksinamurti as a Teacher brings into the picture the teaching element, which is missing in the well known
figure of Shiva as a Dancer. Indeed the relationship between teacher and student is a key to understand Hinduism as it
was and is lived today, since it is essentially a teaching tradition.
The Upanishads start by our sense of inadequacy, dissatisfaction, limitation at various levels since as human beings, we
are confronted to the vastness, powerfulness, unpredictability and complexity of the universe. Our helplessness and
thirst for meaning is represented by the Banyan tree as the background. The banyan tree stands for an endless life of
becoming with secondary roots perpetuating further this human predicament. Its roots are getting more and more
entrenched, making us unable to find any lasting satisfaction in life. What we want is to find our way out of this thick
forest and put an end for good to this sense of limitation.
The palm leaves in the left hand represent the sacred texts (Upanishads) which are capable of giving us knowledge of
the reality of ourselves and the universe. They reveal to us that the conclusion about myself, that I am limited, is wrong
and comes from the ignorance of my real nature. In their vision I am already free from any limitation. Teaching is done
for me to discover this fact. Nature of the individual, the universe and its cause are inquired into very systematically
with the help of an evolved methodology of teaching, handled by a teacher. The student who desires to put an end to
his sense of inadequacy and limitation chooses to expose himself to the words of a teacher, reflect upon them with the
help of reasoning and contemplate upon their meaning.
The gesture of knowledge (cin mudra) expresses the content of the teaching : ‘you are that’, you are the limitlessness
you have been endlessly seeking through all your pursuits. It reveals the identity between you, the individual (index
finger) and that, the cause of the universe (thumb). Just like wave and ocean when they are equated are found to be
essentially nothing but water, all that is here is one limitless being, and that you are.
However, my experiences seem to suggest that I am distinct from everything else and hence I am small. If each name
and form in the universe that I see is different from me and from each other, then there can not be oneness and I can
not be limitless. Again, the representation of Daksinamurti shows how these apparent differences in names and forms
resolve into one as Daksinamurti (the cause of the universe) is containing the whole universe. According to the Vedic
model, this universe, with all its varied forms and characteristics, is in fact made of five elements— space, air, fire,
water and earth. Space is represented by a drum, in his right hand, which encloses empty space. Next air is
represented by the ‘bandana’ holding Daksinamurti’s hair in place against the wind. In his left hand, the torch
represents fire. Water is shown by sacred river Ganges, in the form of a Goddess, on Daksinamurti’s head. Earth is
represented by the material of which Daksinamurti is made.
Further, the universe consists also of the sun, moon and stars. Sun (all luminous bodies) and moon (all planets) which
are seen above the head of Daksinamurti are also not-separate from the cause. Then there are people, who are the
disciples of Daksinamurti, sitting at the base of sculpture.
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2. Finally, Daksinamurti wears a male earring in the right ear and a female earring in the left ear. This is a way to suggest
that the cause of the universe is both maker and material, the intelligent and the material cause. Both female and male
implies also he/she/it is neither male nor female.
The vision indicated here is that all these are non-separate from its cause. The whole universe including me, —the one
who is looking at the world, with all its galaxies, planets, stars and all things unknown to me, are not separate from
their cause. In other words, ‘all that is here, is one Isvara [all knowledge and power]‘ (Isha Upanishad). Manifested in
the various forms of the universe, it pervades, permeates, sustains and supports the whole universe. All different
names and forms in universe are in fact not separate from Isvara (the cause). Just like in Ocean, all the different waves
are not separate from the cause (Ocean).
The teaching goes one step further, by resolving the equation ‘you are that’ shown in the gesture of knowledge. The
truth of ocean is water, that is why truth of every wave which is part of ocean is also water. With this analogy, we can
understand how truth of cause of the universe is one limitless being. And the truth of every form which is part of
universe (including me, the individual) is also one and limitless being. There is only one limitless being, and that you are.
Three other elements in the form of Daksinamurti (rosary of beads, bull and dwarf) represent the areas in which we
have to grow, some of the various ways to become prepared for this knowledge and see it intimately. The bull stands
for dharma, justice and virtue. To be able to assimilate and understand this vision, I have to be in harmony with the
ethical universal order and live a life of values, compassion, giving, non violence. The dwarf who is shown under the
right foot is Apasmara holding a sharp knife that can tear off our being. It stands for the ego who is trying to preserve
its reality. It can also be seen as the unconscious which keeps on interfering in our life and which needs to be
processed and neutralized. Mala of beads which usually evokes religious disciplines indicates a life of relating to Isvara
(the cause), to what is, to be alive to the grand order which is manifest in the form of various orders such as the
physical, biological, psychological, epistemological orders, etc.
To conclude, the form of Daksinamurti presents us in a very complete manner the human quest of freedom from
limitation and inadequacy. The essence of the teaching of Upanishads is that essentially there is non-difference
between you and the cause of the universe. Both are manifestation of one limitless being. Finally it reveals the ways to
achieve this knowledge through exposing to the teaching of the texts, inquiring into their meaning, leading an ethical
life, relating to the total and mastering our body and mind, which help me to gain ultimate freedom (moksa).
How are the teachings of the Upanishads evident in today’s Indian Culture? One can find temples in south India where
Space, Water, Wind, etc. are worshipped. The common greeting gesture of Namaste acknowledges the presence of the
One (cause) in the other. A tilaka, the colored dot or more complex patterns on the forehead indicates that one’s own
body and mind is also a manifestation of this One. Morning prayers or rituals will remind the person of the
acknowledgement of the three debts ie to the elements, ancestors and teachers. Before ploughing the land, which is
seen as the body of the Mother Earth Goddess, or before any new construction, the Earth is worshipped and asked for
forgiveness in a ritual. Similarly, before any classical dance or music performances, the artist will touch the stage
before stepping on to it. The Bollywood songs often have lyrics about the struggle to live a life of values (dharma), the
longing to be reunited with ‘God’, the quest for freedom, and the need for grace, etc. Indian children grow up with
knowledge of the Mahabharata and the Ramayana. New serials on Krishna and Shiva are aired at primetime on TV.
Further examples will be given in literature and poetry to illustrate how this spiritual tradition centered upon the quest
for freedom and a vision of oneness pervades Indian contemporary culture.
To explore further the vision of Vedanta, you can visit:
The website, Vedanta, Being alive to what is http://www.discovervedanta.com/
Bridges to Oneness, a blog on Wordpress http://discovervedanta.wordpress.com/
A Series of Videos on Youtube http://www.youtube.com/DiscoverVedanta1
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