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1. Rudra Shiva of Devrani Temple
He is the uniquegigantic monolithic Sculptureof
6th CenturyAD created during rule of Sarabhpuri
Dynasty that ruled the region after Samudragupta.
He is almost 2.7 metre or 8 feet high and weighs

2. more than 5 tonnes, and is popularlyknown as
Rudra-Shiva. He is found in Devrani Jathani Temple
in present Talagaon (21°54'24"N 82°1'33"E) alias
Ameri Kampa village on the bank of Maniyari River
in Chhatrisgarh. Acording to S N Mishra, the temple
was probablyconstructed by the king Jayaraja (550-
560 CE) of SarabhpuriDynasty; while. L S Nigam
opines that it was constructed during the rule of
Prasanna (525-550 CE) or one of his predecessors.
Jana, my betterhalf, found Him on the net, and our
tour plan included a whole day with Him in X-Mass
vacation 2016. the chief reason of attraction:He is
unique, unexplainedeven to this date, His name
Rudra-Shiva is debated, and therefore, He is
mysterious.
During archeological excavations at the site (1967-
88), He was found in 1988 near the entranceSouth-
East to Devrani Temple lying Head downwards in a
10 x 4 metre trench. Interestingly, there were stone
slabs at the bottomon which He was found, and
mud had been poured on Him – as if someone had
buried Him with some definite purpose. the
excavation work was doneby the Department of
Archaeology and Museums, Madhya Pradesh by
G.L Raikwar, Rahul Kumar Singh, A.P Singh and
C.L Gupta under the supervision of K.K

3. Chakravarty and V.K Bajpai.
The possibility that He was deliberatelyburied has
led some scholars to believe that He was originally
created as a traditional Temple Demon with the
purposeof warding off evil eyes when the temple
was under construction. Once the constructionwas
completed, He was no more needed, and therefore,
discarded. Some archaeologists opine that another
similar sculptureshouldbe found – as it was
customary to have two Temple Demons.
We reached Bilaspur at 5.30 am on 30th December
2016 from Manendragarh by Bilaspur-Chirimiri
passenger which has only sleeper coaches. The night
was chill as we were warming up to visit Tala next
morning. Our train for Howrah being at 5.30 pm on
the same day, we had the whole day in hand. Our
booking at the Bilaspur Railway Retiring Room
(booked onlineat IRCTC site) was from 8 am, so we
had to wait for sometime to find shelter for our
luggage and launch our visit to Tala and to Him.
After freshening up and breakfast, we hired an auto
for Rs. 550/-from the auto stand outsidethe railway
station, and started for Talagaon. We packed up
snacks and water.

4. Tala drew academic attention first in 1878 courtesy
J.D. Wrangler and His associate Major General
Cunningham. the Madhya Pradesh Government
declared the temples protectedmonuments in 1984
long after excavation started. the temples, located
within a single complex and situated side-by-side,
are in dilapidatedstate and only the exquisite
sculpturesremain – though not all intact. Sculptures
includegods and goddess, Demi gods, animals,
mythical figures, floral depictionsand variety of
geometrical and non-geometrical motifs.
Legend is that Devrani Jethani temples were built by
SarabhpuriDynasty for the wives of two royal
brothers. Jethani literally means elder sister-in-law,
and Devrani means younger sister-in-law. Another
explanationof the names is that the temples owe
their names to their dimensions. The somewhat
larger one was christened Jethani by the local
populacewhile the smaller one came to be known as
Devrani – as if they, like two sisters-in-law, were
competitive in splendorand glory as in a typical
Indian household.
It can be inferred from the period and location of the
temples that they had been constructedin Nagar
style, though the Shikhara or superstructuresof the
temples are no more. Besides, the sculpturesalso

5. defy known paradigm of style – like Gaandhaaraor
Gupta or Mathuraa. According to one scholar, the
style found at Sisdevri ruins of BalodaBazar Tahsil
in Raipur district of Chhatrisgarh is the closest
match. Our He is thus one paradigm-defying gem.
We reached Tala in about one hour. From the car
park to the Devrani Jethani temples is a short walk.
As we entered the temple premise, we were greeted
by scattered sculptures. Our first search was for
Him, and we went straight to Him. So, our
exploration of the Temples started in an
unsystematic way as if in rhythm with His
paradigm-defying uniqueness.
We found Him in lock and Key behind iron bars in a
small cell on the right side of Devrani Temple. We
were dejected. We came all the way for Him; how
would we meet Him?
Devrani Temple and the little cell with bars on the
right
It is very difficult to take shots that way through
bars. So, I started taking shots in parts from outside
the bar. My initial plan was to take shots thus, and
then join them in photoshop. then I thought, why not
approach the caretaker with a humblerequest?

6. When I requested the caretaker to open the lock, He
refused initially, saying that we needed permissions
because unlockingwas prohibited. However, with
repeated requests, and a polite eulogy that only he
could let us face Rudra-Shiva and take shots if He so
wisHed, he finally relented but with the caution to
hurry.
That was enough. the man made our day. For him,
we could now be Face to Face with Him.
After meeting Him, and taking shots to my Hearts’
full, I thanked the caretaker and shook his hand. His
grin is unforgettable. Sadly, I cannot mention his
name to express my gratitude for him; after all, he is
a government servant.
1. His unique features
My first impression of Him is that He cannot be the
creation of a mere sculptor, but of a Sculptor-Poet.
At first glance, He is a form whom I can only regard
– “Human-Form-defying-Human-Form.” His Image
is like poetry – ambiguous, defying any grand
narrative, and it may be interpreted in various ways.
No doubt, the Sculptor-Poetwas well versed in
ancient traditionalscriptures; indeed, he poured out

7. his intellect and heart in creating Him.
He is two-armed and has a disproportionatestout
body – the Bengali colloquial Gantta-Gonttaaptly
suits Him; His large head is without neck; His hands
and legs are rotund,thick, and short in proportionto
His head; He has a potbellywith further potential for
expansion. He appears like an obstinatedwarf
standing in an alpha-male type posture - technically
known as SampadaPosture in Urdhvamedhra
Mudraa (erect penis) - wearing an expression of
disgust and anger for the world around Him. It
appears that one of His hands was resting over a
club - a part of the handleof the club is probably
still there – while, anotherhand is akimbo. How can
He be pleased being locked?
If His angry look justifies His being called Rudra; if
presence of snakes over His Head and by His Foot
and His being ithyphallicjustifies His being called
Shiva, then, so many human and animal faces and
figures all over Him surely points to His being
something more.
Eleven heads adorn different parts of His Body; and
includingHis Head, there are 12 Heads. Of them,
four are animal faces, and the rest are human.
CountingHis head, we have 8 human heads. Now,

8. these numbers – "8", “11” and "12" – all appear to
me as Mystic Numbers – and given the fact that
Devrani Temple’s base is 75 m x 32 m (= multiple
of "8"), and He is about 8 feet high, I indeed find
reason to explorethe Mystic Numbers. I will come
to that.
Let us look at His head and face.
His Face
Pair of Snakes forms His turban or hair; a pair of
serpent hood figures on either side above shoulders
– their tails are not visible; two peacocks form His
ears; a lizard/chameleonwith tail like a scorpion
sting forms His eyebrows and nose, and the tail
forms the tilaka; the body of the lizard forms His
tear trough and nasal bridge; its head forms the
domes and philtrumof the nose; its forelimbs form
the ala; a crab forms His chin and the cheliped and
pincer of the crab forms the lower lip; open mouth
of frogs form His upperand lower eyelids; and two
fishes form His moustache. The eyeballs resemble
eggs or as spheres, they may be the Sun and the
Moon.
The hind legs of the lizard, forming a conic curve of
His eyebrows, the round eyeballs and the wide open

9. staring eyes, the fish-moustache and the appearance
of scratch or stains on either side of the chin formed
by the crab’s legs – together gives a terribleand
angry look to the face. One snake slipping down His
turban/hairto His forehead adds further life. This
terribleness is indeed one good reason to call Him
Rudra – as per our common idea of Rudra.
The depiction of the Shouldersis interesting. What
are these beasts? Some say that the shouldersdepict
crocodiles; however, I do not find any resemblance
with crocodilesparticularlywith such distinct ears.
their nozzleis somewhat like elephanttrunk;
however, it is difficult to call them elephantsjust for
that because elephantsdo not have such set of teeth.
It is better to identify them as mythical beings – a
somewhat blend of elephantand crocodile.
His Shoulderand Chest
His waistband belowthe human face on His
abdomen, hand and fingernails are snake-like; and
He has anothergiant snake hanging beside His left
leg. THis snakes head is erect and stands on the
ground as if angered but unableto raise his hood to
vent venomous spleen.
He is ithyphallic. the erect phallusis a tortoise

10. raising head out of its shell. The forelimbs of the
tortoise form the bell-like testicles. His legs
resemble that of an elephant.
His Lower Parts
1.1. Human Faces on Him
Let us now look at the different Faces on His Body.
the violence and anger evident in His face is
contrasted in the other faces. It creates a visual
drama of rasas.
If His face is terrible, the other faces are not. The
terribleness is tempered by the contentlooking
belly-face and further by the smiling faces on the
thigh and buttock. If His face evokes Biibhatsa-
Rasa or BhayaanakaRasa or Raudra-Rasa, then it
dramatically contrasts with the AdbhutaRasa of the
belly-face and Shrngaara Rasa or Haasya Rasa of
the Thigh-Faces. The two human faces on His
breast, the two mustached faces, and the two
frowning lion faces below His knee evoke Viira
Rasa. Alternatively, one may find RaudraRasa in
His face, ViiraRasa in the breast-faces, Adbhuta
Rasa in the belly-face, HaasyaRasa on the left
thigh-face and Karunaa-Rasaon His right thigh-

11. face, ShrngaaraRasa on the buttock-face,
and Biibhatsa-Rasa and BhayaanakaRasa on the
lion-faces. The faces as part of the whole play on the
Whole, and the Whole plays on the Part. Viewing
and contemplatingon the Whole, our mind indeed is
filled with Shaanta Rasa – all passion spent!
The face on the belly has a large rotundappearance.
It is expressionless, though the moustache –
undifferentiated from the upperlip gives the
semblance of a slight smile and expression of
content.the size of this face is larger than His head –
and I suggest, this is one significant point to
understandHim. I will come to that.
The Face on the belly
Profile of two faces on the buttockcan be seen.
They too – particularlythe one on our right side with
swelled cheek appear to be smiling.
Face on Buttock and left Thigh
The smiling left thigh-face is more probablywoman
– the only female depiction in the Idol. These two
thigh-faces have hands too – joined as in Pranaama.
Unfortunately, the details of the fingers are broken.
It is as if they have attained bliss by submitting to

12. Him – and their closeness to the Phallussuggests
that their submission is to the Linga. their ears are
long – as is often found in depictions of Rshis, great
men and the Buddha. they, and the buttock-faces
may be ascetics with shaven hairs and elongated
ears.
If the thigh-faces are meditating ascetics (male and
female), or braahmanas, or bhaktas, or spiritual
beings, then we have a subverted hierarchy down
His torso as follows:
His Head – Collage of animals – that is, beasts or
lower beings at the top
His Breast – Human beings with social power –
Raajanya/Kshatriya figures
His Belly - Human being at the centre of His body
His Thigh – Human beings with spiritual power
His Leg (below knee) – Beasts
Animals at top and animals at the bottomcomplete
the circle with human beings between. What was in
the Sculptor-Poet’smind? Was He trying to convey
a different vision of the human reality?
Erect Linga and the two faces on the thigh
1.2. Alternative Reading of Him

13. Are the human and animal faces part of His body, or
are they ornamentationsand decorationson His
armour? What was in the Sculptor-Poet’s mind?
Yes, there are at least some indicationsthat the
human and animal faces are not part of His body –
they are His armour – Kavaca.
The way the elephant-crocodile’smouth and teeth
hold over the shoulders, make them appearlike
armour; that is, they are shoulder-guards, gardbrace,
or spaulder. These shoulder-guardsplus the two
human faces on the breasts may together be the
pauldron. This idea is reinforced by the fact that the
two human faces on the breasts have earrings, and
such metallic earrings cannot be part of His body.
This idea of armour is further bolsteredby the fact
that when we look at the lion faces depicted below
His knee, their ears appearlike two button-like
structureson topsideof each.
Lion Faces below the Knee
This alternative reading of course takes away much
of His charm; however, fortunately, there are
enough indications again, that the human and animal

14. faces are part of His body, and not His armour.
If we go by the idea of armour, how do we explain
His face and head then?How do we explain His
tortoise phallusand the slipping snake on His
forehead? Indeed, if we view Him from the side, we
clearly see that the Sculptor-Poet has imagined Him
as One from whose body different human beings and
animals emerge. In that case, the ornamentsworn by
the Faces are the external embellishments. In short,
the human beings and animals are part of His body;
and I will go with this reading.
2. Mystic Numbers "8", ‘11” and “12”
As I mentioned before, there are "8" human faces
includingHis head, a total of “11” heads adorn
different parts of His body; and including His head,
there are “12” heads.
These numbers cannot be accidental;and I am sure
the Sculptor-Poetdeliberatelyused the mystic
numbers as integral part of His artistic vision.
“12” definitely represents Kaala-Time – 12 months
of a year. This is indeed one strong reason to
identify Him as the Mahaakaala,one epithet of
Shiva.

15. “12” might also be the number of astrological signs.
Some astrological signs, at least, like crab
(Cancer/Karkat), fish (Pisces/Meena), Pair of Male
and Female – the thigh-faces (Gemini/Mithun),
female face on thigh (Virgo/Kanyaa), Pair of
balanced male faces on chest (Libra/Tula); belly-
face resembling Kumbha (Aquarius), lions below the
knee (Leo/Simha); crocodileon shoulder
(Capricorn/Makara), scorpion-liketail of the lizard
(Scorpio/Vrishchik)– may be detected. However, we
do not find the other signs. therefore, I am aware
that this theory of astrology is rather shaky.
“11” is the number of Rudras(e.g. Yajurveda–
1.4.11;3.4.9; 3.5.2 etc.), and also the number
of indriyasincludingmana. Thus, the “11” heads
represent the integrated human being.
The number "8" is the most significant mystic
number, and Shiva – like Vishnu – has significant
connectionwith "8"; and in Mahabharata, Shiva and
Vishnu are merged in the mystic number "8".
Shiva presides over the “eighth lunation of the dark
fortnight (krshnaashtam irataaya ca, 13.14.152c).”
He has 8 flowers on His head
(vicitramanimuurdhaaya kusumaashtadharaaya ca,

16. 13,014.153d@006_0026).
While doing penance, Krshna passes 8 days
speaking on Shiva – that passes like an hour
(dinaanyashtau tato jagmur muhuurtamiva
bhaarata, 13,015.003d*0140_02). Then on the 8th
day, he undergoes Diikshaa(dine'shtameca viprena
diikshito'ham yathaavidhi, 13.15.4a). Shiva appears
with Umaa and asks Krshna to ask for 8 boons
(vrniishvaashtauvaraan krshnadaataasmi tava
sattama, 13.15.51a). Uma refers to Shiva’s giving
Krshna the boon of a son named Shaamba (datto
bhagavataaputrah saambonaama tavaanagha), and
she too grants him 8 boons(matto 'py ashtau varaan
ishtaan grhaana tvam dadaamite, 13.16.5c).
One Rshi Jaigiishavya tells Yudhishthirathat
Mahadeva conferred upon Him 8 attributesof
sovereignty (ashtagunamaishvaryam,13.18.24a),
Garga says, “the great God bestowed upon me, on
the banks of the sacred stream Saraswati, that
wonderful science of the knowledge of Time with its
four and sixty branches(catuhshashtyangam
adadaatkaalajnaanammamaadbhutam, 25a).”
Now, “64” is “8” x “8”.
In Upamanyu’s narrative, Rshi Tandi praises
Mahaadeva as having "8" forms:

17. “Having created all the worlds beginning with Bhu,
together with all the denizens of heaven, that
upholdest and cherishest them all, distributing
thyself into thy well-known forms numbering Eight
(bhuur aadyaansarvabhuvanaan utpaadya
sadivaukasah/ vibhartidevas tanubhirashtaabhish
ca dadaatica, 13.16.35).”
Rshi Tandi further praises Mahaadeva as follows:
“Thou art the eight Prakritis.Thou art, again, above
the eight Prakritis(ashtauprakrtayaShcaiva
prakrtibhyash ca yat param, 54a). Everything that
exists represents a portion of thy divine Self
(13.16.50-55).”
Now, "8" is also the number of Rasas in Bharata
Muni's Naatyashaastra – Shrngaaram,Haasyam,
Raudram, Kaarunyam,Biibhatsam,Bhayaanakam,
Viiram, Adbhutam; and as I have discussed, the "8"
human Faces on His body, may represent the
"8" Rasas too.
3. He, the unique Purushain the Sculptor-Poet’s
mind
If the beings all over His body are not just
ornamentationsand decorationsof His armour

18. (Kavaca), then they suggest the birth of beings from
Him, or His Creative Self.
Birth from body-part may not conform with our
common idea of birth; however, in ancient mythical
narratives we have different birth-myths – that is,
narratives of birth – in which one is born of head,
breasts, ears, nose and leg (specifically, thigh) of
anotheror male or God. Such birth-myths are
transcultural. One will remember Athena’s birth
from Zeus’ forehead.
For example, Mandhatriwas born in the stomach of
the high-souled Yuvanaswa (Shaanti-Parvan-29);
Kshupa was born from Brahma’s nose when Brahma
(who had conceived the foetus in his brain) sneezed
(Shaanti-Parvan-122);Nishaada was born from
Vena’s right thigh (Shaanti-Parvan-59);and
Dharma was born from Brahma’s right breast -
stanamtu dakshinambhittvaabrahmano
naravigrahah /
nihsrto bhagavaandharmahsarvalokasukhaavahah
// (1.60.30)
Now, in Him too, there are Beings springing from
those organs - breasts, ears, nose and leg
(specifically, thigh), indicating His fertility as

19. creator of beings.
Numerous Faces all over the body imply numerous
eyes. I cannot but find some resemblance with the
RgVedic Purusha-
“A thousandHeads hath Purusha, a thousandeyes, a
thousandfeet.
On every side pervading earth He fills a space ten
fingers wide.” (RV- 10.90.1)
At Rk 10.90.7-8of RgVeda, the Rshi says –
“they balmed as victim on the grass Purusa born in
earliest time.
With Him the Deities and all Sadhyas and Rsis
sacrificed. (7)
“From that great general sacrifice the dripping fat
was gathered up.
He formed the creatures of-the air, and animals both
wild and tame. (8)”
Similarly, we find “creatures of-the air, and animals
both wild and tame” all over His body.
In the RgVedic Purusha, human beings are born
from His mouth, arms, thigh and feet -
“the Brahmanwas His mouth, of both His arms was
the Rajanya made.

20. His thighs became the Vaisya,from His feet
the Sudra was produced.”(RV-10.90.12)
Our Him, though not exactly the RgVedic Purusha,
surely had been the Sculptor-Poet’sone inspiration
in imagining Him.
Surya is born from the RgVedic Purusha’sEyes
(10.90.13), and here, His eyes really resemble Surya.
Anotheraffinity I find with the RgVedic Purusha,is
in the depiction of His belly. the RgVedic Rshi says
about Purusha-
“This Purusa is all that yet hath been and all that is
to be;
the Lord of Immortality which waxes greater still by
food.” (10.90.2)
He “waxes greater still by food” – as evident from
the depiction of His belly-face. Food and stomach
are of much significance. His mouth as crab adds to
that significance.
In Upanishadik Philosophy, Anna (Food)
and Praana are the two highest Gods. For example,
the Rshi of Brhadaaranyaka Upanishadsays -
“Food and Life are the foremost Gods” (annam
caiva praanashceti; 3,9.8),and the Rshi

21. of ChaandogyaUpanishadsays - “Everything is
established in food” (annehiidam sarvamsthitam;
1,3.6).
How to be the “eater of food”is one central concern
of Upanishads (Brhadaaranyaka Upanishad.1.3.18,
1.4.6, & 2.4.24;ChaandogyaUpanishad. 1.3.7,
1.8.4, 2.8.3, 3.8.1,3, & 4.3.8; TaittiriiyaUpanishad.
3.7.1, 3.8.1, & 3.9.1; KaushitakiiBraahmana
Upanishad.2.9).
One will notice that His stomach’s face is larger
than His head. Vyasa describes Maheshvara as one
with vast stomach and vast body (Drona Parvan-
202). This description conforms to Him.
Food and ‘eating’ as metaphor for power is
prominentlyevident in the Indra-Vrtra myth
of ShatapathaBraahmanathat gives a very mystic
description of Indra-Vrtra combat in terms of ‘food’.
Vrtra, once an ‘eater’, becomes victorious Indra’s
‘food’. On Vrtra’s plea, Indra does not kill Vrtra, but
divides him in two. From that part of Vrtra which
belonged to Soma Indra makes the moon, and that
which is demonic, Indra puts into creatures as their
stomach. “And whenever these creatures get hungry
they pay tributeto this Vrtra, the stomach (SB
1.6.3.17).”Yajnavalka, in ShatapathaBraahmana,

22. sees Vrtra in the waxing moon.
Here, His stomach resembles the Moon – and may
signify the enemy within - Hunger.
Shiva as Mahakala is Kaala-Time, and the
conceptionof Kaala is expressed in food-Imagery:
“When this has been effected, the condition reached
is said to be of high Knowledge. Then Time
swallows up this Knowledge, and as
the Sruti declares, Time itself, in its turn, is
swallowed up by might, or energy. Might or energy,
however, is (again) swallowed up by Time, which
last is then brought under her sway by Vidya.
Possessed of Vidya, Iswara then swallows up non-
existence itself into His Soul”(12.225.12-14)…
“Without doubt,Time assumes diverse shapes. It has
neither beginning nor end. It is Time which
producesall creatures and again devours them.”
(12.230.19)
The large belly-face, therefore, points to His being
the great devourer – Kaala-Time.
3.1. Can we identify Him with Rudra?
The animal and human faces all over His body

23. suggests multiple eyes. Indeed, in Atharva Veda,
like the RgVedic Purusha, Rudrais “thousand eyed”
(Atharva Veda – 11.2.3,17).
Our He clearly appears in conformity
with Pashupati – Lord of animals. In Atharva Veda,
Rudra is different from Pashupati (AtharvaVeda-
11.6.9);however, in Yajurveda, Rudrais “overlord
of animals” (e.g. Yajurveda – 6.2.3). the
identification of Shiva, Rudra and Pashupati as One
is later; however, the oneness is established in later
tradition of Hinduism.
In RgVeda, at the Rk 1.64.3, the Rshi Nodhas
Gautama describes the Rudras as -
“Young Rudras, demon-slayers, never growing old,
they have waxed, even as mountains, irresistible.
they make all beings tremble with their mighty
strength, even the very strongest, both of earth and
Heaven.”
So, even if the Sculptor-Poet originally conceived
Him to ward off evil; that too goes well with Him as
“demon-slayer” Rudra.
At Rk 1.114.1, Rshi Kutsa Angiras regards Rudra
“strong” and “the Lord of Heroes with the braided

24. hair”, and at Rk-5, the Rshi prays to Rudra as -
“Him with the braided hair we call with reverence
down, the wild-boarof the sky, the red, the dazzling
shape. May He, His hand filled full of Sovran
medicines, grant us protection,shelter, and a home
secure.”
Our Him sculpted in red sandstonefits with the
coloursand with the “dazzling shape.”
At Rk 2.1.6, Rshi Grtsamada Saunahotra(later
Grtsamada Saunaka) regards Rudra as “the asura of
mighty heaven” and “the Lord of food.” I have
already discussed how our He is Lord of food with a
gigantic belly.
However, the description that most aptly fits with
Him, is the one by Rshi Grtsamada Saunahotraat Rk
2.33.9,in which the Rshi regards Rudra as -
“With firm limbs, multiform, the strong, the tawny
adorns Himself with bright gold decorations:the
strength of Godhead never departs from Rudra, Him
who is Sovran of this world, the mighty.”
The “firm limbs” and “multiform” undoubtedlygoes
a long way to establish Him as Rudra; and as we

25. shall see, Mahabharatafurther provides us with
information on how Rudraand Shiva become one in
their “multiform” aspect.
There are other affinities too. Our He is turbaned
with serpents, and in Yajurveda, Rudrais “turbaned
wanderer on the mountains”(Yajurveda – 4.5.3h).
Our He appears dwarfish (despite the 8 feet size of
the sculpture), and in Yajurveda, Rudra is “short”
and “dwarf” (Yajurveda– 4.5.5h)
Now, Rudra is not all-destructive; Rshi Vasistha
Maitravaruni regards Him “beneficent Rudra” (RV-
7.40.5).Rudra is also fertility God. For example,
Rshi Bharadvaja Barhaspatyaregards Him as “rain-
pouring Rudra”(RV- 6.66.3).
As we shall see, the animals on Him – frog, fish and
tortoise – are fertility symbols.
Just as our He is ambiguous, we find the same
ambiguity in Rudra’s Birth Narrative.
Apparently, Rudraindicating Raudra Rasa is
oppositeto Karunaa-Rasa;however, Rudra’s birth
is through Karunaa – and that shows the unique
message of Vedic Philosophy– that, oppositeis
born in oppositeto co-exist.

26. The Yajurveda narrates Rudra’s origin thus –
“The gods and the Asuras were in conflict; the gods,
in anticipation of the contest, deposited
in Agrni their desirable riches (thinking), 'This will
still be ours, if they defeat us. Agrni desired it and
went away with it. The gods having defeated
(the Asuras)pursued (Agni)desirous of recovering
it. they sought violently to take it from Him. He
wept; in that He wept (arodit), that is why Rudra has
His name.” (1.5.1)
In ShatapathaBraahmana, Rudra’s birth is as
follows –
“By His mind He (Prajaapati)entered into union
with Speech (Vaak): He became pregnant with
eleven drops. They were created as those eleven
Rudras: He placed them in the air.” (6:1:2:7)
Again,
“He said to Him, 'Thou art Rudra.' And because He
gave Him that name, Agni became suchlike (or, that
form), for Rudra is Agni:because He cried (rud)
therefore He is Rudra. He said, 'Surely, I am
mightier than that: give me yet a name!'”

27. (ShatapathaBraahmana-6:1:3:10)
There is again a different version in Mahabharata.
Krshna tells Arjuna –
“Salutationsunto Naaraayana …FromHis grace
hath arisen Brahmanand from His wrath hath arisen
Rudra (krodhaavishtasyasamjajnerudrah
samhaarakaarakah”(CE 12.328.16c).
In the uniqueVedic Philosophy, thus, Rudra’s Birth
Narrative carries the message that tear and anger are
the two sides of the same coin. Nothing bears
testimony to this more than our real life experience.
In the TaittiriyaSamhita4.5.8, both Soma and
Rudra are ‘the dread’ and ‘the terrible’ (ugraaya ca
bhiimaaya ca); both are ‘slayers’ (agrevadhaaya ca
dhuurevadhaaya;hantreca haniyaseca); both are
naturemanifest as trees and greenery (vrukshebhyo
harikeshebhyo); both are ‘in’ the tender grass, in
foam, in the sand, and in the stream (sashpyaayaca
phenyaaya ca; sikatyaayaca pravaahyaayaca);
both are the source of health, the source of delight,
the maker of health, and the maker of delight
(Sambhaveca mayo bhaveca; Sankaraayaca
mayaskaraaya ca); both can ‘cross’ over
(prataranaya)and back (uttaranaya);both are

28. manifest in ‘crossing’ (ataryaya).
Our Him was probablynot sculpted to be the central
deity; however, even if He was sculptedto be at the
door of the Devrani Temple, indeed He is Rudra,
because He helps in “crossing over” – which is one
significance of Tiirtha (Pilgrimage).
4. Animal Symbolism
Now let us try to understandthe animal symbolism
on His body.
Fish bear the significance of Maatsyaavataara; it is
also metaphorfor power. The tortoise bears the
significance of Kurmaavataara. The lions bear the
significance of NrsimhaAvataara. Other than that,
alligators, crabs, and fishes – are signs of fertility;
they indicate life of river, and the river’s life (=
Biodiversity in modern parlance, and with perennial
source of water) not only protectsenvironment but
also human life. Who knows not that river is the
Motherof Civilization?
In Mahabharata,I find, alligators, crabs, and fishes
are hailed as God’s blessings as also indicative of
good governance – properimplementation
of Raajadharma.

29. For example, in Mahabharata,Narada praises King
Suhotra’sreign, and says –
“The deity of the cloudsshowered on his kingdom
large number of alligators and crabs and fishes of
diverse species and various objects of desire,
countlessin number, that were all made of gold. The
artificial lakes in that king's dominions each
measured full two miles. Beholdingthousandsof
dwarfs and humpbacks and alligators and makaras,
and tortoises all made of gold, king Suhotra
wondered much.” (Drona Parvan-56)
Krshna too praises King Suhotra’sreign and tells
Yudhishthira after the war –
“The rivers, during the sway of that king, bore
golden tortoises, crabs, alligators, sharks, and
porpoises, for the adorableIndra, O king, had
showered these upon them.” (Shaanti-Parvan-29)
However, river can also have her destructive aspect
when flooded. In rhythm with this reality, crocodiles
and tortoises are also war imagery and metaphors.
For example,
“And the loud uproarmade by the elephantsand the

30. chargers of those kings rushing to the combat,
mingled with the leonine shouts of the combatants
…And the uproarof that ocean having arrows for its
crocodiles, bows for its snakes, swords for its
tortoises, and the forward leaps of the warriors for
its tempest, resembled the din made by the (actual)
ocean when agitated.” (Bhiishma Parvan-44)
“Sword” itself can assume a phallic symbol; and
sword as tortoiseprovides us with another
significance in understandingHis tortoise-phallus.
The animal symbolism in the animals depicted on
Him, therefore, establishes Him in both His creative
and destructive aspect – like Rudra. That is to say: if
He is Rudra, He is not so only for His destructive
aspect, but creative aspect too – an aspect manifest
in Shiva.
I have mentioned that the fertility symbols are
related to properimplementation of Raajadharma;
implying King’s role as Dandadhara.He is
thus Dandadhara too.
4.1. Lizard
Why does a Lizard form His Nose?

31. The nose relates to Praana – we breathethrough our
nose. The BrhadaaranyakaUpanishadconnects
lizard/chameleon and Praana in a mystic mantrain
which lizard/chameleon assumes the symbolic
representationof Praana of all beings:
“This Prajapati (Hiranyagarbha)has sixteen digits
and is represented by the year. the nights (and days)
are His fifteen digits, and the constant one is His
sixteenth digit. He (as the moon) is filled as well as
wasted by the nights (and days). Through this
sixteenth digit, He permeates all these living beings
on the new-moon night and rises the next morning.
Therefore, on this night one should not take the life
of living beings, not even of a chameleon, in
adoration of this deity alone(tasmaadetaam raatrim
praanabhrtahpraanamna vicchindyaad api
krkalaasasyaitasyaaeva devataayaa
apacityai; 1.5.14)
4.2. Crab
Crab is a recurrent metaphorfor one who brings
about one’s own destruction.For example, Kanika
in His advice to Dhrtaraashtrasays -
“He who trusteth in a foe who hath been brought
undersubjection by force, summoneth his own death

32. as a crab by her act of conception.”(Adi Parvan-
142)
For example, Sudeshna(King Viraata’s wife) tells
Draupadi –
“Even as a person that climbs up a tree for
compassing his own destruction,even as the crab
conceives for her own ruin, I may, O thou of sweet
smiles, bring destructionupon myself by harbouring
thee.” (ViraataParvan-9)
For example,
“Home-keeping men of littleunderstandinghave to
put up with termagant wives that eat up their flesh
like the progeny of a crab eating up their dam.”
(Shaanti-Parvan-139)
His mouth as Crab therefore, opens up multiple
layers of meaning.
Through mouth, one takes food – and taking food
implies survival of the one who takes the food, but
destruction of the one or thing who is taken as food.
Vyasa says about Shiva, “the mouth which that God
has is in the ocean.” (DronaParvan-202). Food and

33. mouth therefore, suggests the simultaneity of
Creation and Destruction. Crab as His mouth
reinforces that symbolic meaning of the
simultaneity.
4.3. Tortoise and the Phallus
In Mahabharata,Shiva is called - uurdhvaretaa
uurdhvalinga uurdhvaShaayii
nabhastalah(13.17.45c).Shiva in Purana as
“IthyphallicYogii” represents both “chastity and
sexuality” (Brahmanda Purana- 2.27.12;Padma
Purana - 5.5.45).
His phallusas tortoise is the most fitting imagery;
and this is one reason for me to believe that the
Sculptor-Poet had surely Mahabharatain mind.
Shiva is ithyphallic;however, Shiva’s Kaama is
tamed, that is, He can withdraw at will. Now,
in Mahabharata, tortoiseis a recurrent symbol of
controlledKaama.
For example, Krshna says to Arjuna –
“When one withdraws his senses from the objects of
(those) senses as the tortoiseits limbs from all sides,
even his is steadiness of mind.” (Bhiishma Parvan-

34. 26)
For example, Brhaspati tells Indra –
“When one draws away all his desires like a tortoise
drawing in all it limbs, then the natural resplendence
of his soul soon manifests itself.” (Shaanti-Parvan-
21)
Again -
“When a person succeeds in withdrawing all his
desires like a tortoise withdrawing all its limbs, then
his soul, which is self-luminous, succeeds in looking
into itself.” (Shaanti-Parvan-174)
Fish and tortoise are also auspicious signs on palms.
For example, Vyasa says about Karna –
“The son of Radhathen, pursuing Yudhishthira, the
son of Pandu, cleansed himself by touchinghim in
the shoulderwith his own fair hand (the palm of
which was) graced with the auspicious signs of the
thunderbolt, the umbrella, the hook, the fish, the
tortoise, and the conchshell, and desired to seize him
by force.” (Karna Parvan-49)
Now, Tortoise is also the symbol of creation and

35. destruction/dissolution.
Vyaasa tells Shuka –
“Like a tortoise stretchingout its limbs and
withdrawing them again, the great entities, by
dwelling in numberless small forms, undergo
transformations called creation and destruction.”
(Shaanti-Parvan-247)
Thus, His phallusas tortoise – depicting Him as
ithyphallic – not only signifies
ControlledKaama, but also signifies His potency of
creation and destruction/dissolution.
5. MultipleBrains
Let us imagine our human body as a Rashtra – the
different organs as different administrative units,
and each cell as a worker/employee.
Like every system, this human body system is also a
power-system – involving hierarchy. So, who is the
Central Government in this system?
While predominant Western philosophyteaches us
that brain is the centre, our Upanishadik Philosophy
teaches us that Hrdaya (heart)is the centre. The

36. higHest principleof Buddhi as per Saamkhya
Darshana (and as stated in the Gita)is in fact more
related to the heart than brain. Or, better to put it
thus that Buddhi stems from harmoniousexistence
of the different componentsof the Self with heart as
the centre.
Modern scientific knowledge has learnt to
acknowledge that the brain, which we call brain, is
not the only brain and therefore, not the only
decision making or controllingorgan.
Vertically split, we have in fact three Brains – the
reptile brain or R-Complex (centre of reptile-like
behaviour manifest in instinct and desire to control –
the Pravrtti in raw), the mammal brain (centre of
emotional behaviour and Pravrtti manifest as
emotion), and the cerebrum – the brain unique to
human – which has two parts, the Left-Cortex and
Right-Cortex. So, our brain is in actuality four
brains, and together they form the Central
Government. According to Paul MacLean, “each of
the four is like a separate brain, each having its own
special intelligence, its own subjectivity, its own
sense of time and space, and its own memory,
motor, and other functions.”
In certain situations, our heart can function

37. independentlywithout instruction from the brain,
and so our heart too merits to be called brain.
As if that is not enough, our enteric nervous system
is also capableof taking independent decisions
without the intervention of the brain, and therefore,
it too merits to be called brain.
In the opinion of Kalen Hammann, “virtuallyall
human-causedproblems, from individual
tragedies to global disasters, stem from a single
cause. The different parts of our brains stop
working together. We get disconnected.”
Looking at our Him, I find this wisdom of the brains
depicted in Him. His belly-face is the largest,
implying the centrality of Jiiva-Dharma, because
with hunger in the appetiteevery luxury of brain and
heart vanishes. It is remarkable that
in Mahabharata, Vyasa regards Jiiva-
Dharma(survival) as the highest and most important
of all manifestations of Dharma.
6. Who is He?
No doubt, His form jolts our conception of the
human form, and the insects and reptiles on His face
and head even repulses.

38. Interestingly, in Puranik Narratives of Mahabharata,
we have description of human forms that do not
conform to our known human form; that I have
regarded –
“Human-Form-defying-Human-Form”. For
example, Karttika’s companions given to Him by
Brahma, are such “Human-Form-defying-Human-
Form”.
“Some had Faces like those of snakes... Some had
large limbs protrudingstomachs …the necks of
some were very short and the ears of some were
very large. Some had diverse kinds of snakes for
their ornaments... Some had mouths on their
stomachs …and the mouths of many were placed on
otherparts of their bodies. …Some had noses like
those of tortoises, some like those of wolves.”
(ShalyaParvan -45)
Doesn’t our Him conform to that?the Karttika
theme is further reinforced by the presence of
peacocks on Him.
Vyasa describes to Arjuna, Shiva’s companionsas
Human-Form-defying-Human-Form -

39. “That Lord hath for His companions celestial beings
of diverse forms, some of whom are dwarfs, some
having matted locks … some with short necks, some
with large stomachs, some with huge bodies, some
possessed of great strength and some of long ears.
All of them, O Partha, have deformed faces and
mouths and legs and strange attires. That Supreme
Deity, called Mahadeva,is worshipped by followers
that are even such.” (Drona Parvan-202)
Shiva’s Ganas are also described as Human-Form-
defying-Human-Form -
“And the Faces of some were like those of mighty
snakes …And the Faces of some were like those of
… tortoises and alligators …and elephants... Some
had …a 1,000 eyes, some had very large stomachs
…!” (Sauptikaparvan-7)
So, is our He a companion of Karttika or Shiva's
companion/Gana?
NO! Not necessary to think so.
If Shiva’s companions are Human-Form-defying-
Human-Form, Shiva Himself is so.
In Sauptikaparvan(section-7), we find a eulogy to

40. Shiva in Ashvatthaamaa’s voice – in which He is
described as one with multifarious forms -
“I seek the protectionof Him called Ugra, Sthanu,
Shiva, Rudra, Sharva, Ishana, Ishvara, Girisha
…whose form is the universe, who hath three eyes,
who is possessed of multifarious forms … who
swells with energy, who is the lord of diverse tribes
of ghostly beings, and who is the possessor of
undecaying prosperityand power; of Him who
wields the skull-toppedclub, who is called Rudra,
who bears matted locks on His Head, and who is a
brahmacari.”
Vyasa says, “Brahmanas versed in the Vedas say
that He hath two forms. these are the terrible and the
auspicious. these two forms, again, are
multifarious.” (DronaParvan-202)
Our Him is therefore, no doubtShiva’s Form-
defying-Form.
Vyasa explains Shiva’s various names thus –
“… since also He is the lord of all creatures,
therefore is He called Pasupati. And since His
phallicemblem is always supposed to be in the
observance of the vow of Brahmacharya, and since

41. He always gladden the world, thereforeHe is
called Maheswara. the Rishis, the gods, the
Gandharvas, and Apsaras, always worship His
phallicemblem which is supposed to stand
upright……And since with respect to the past, the
future, and the present, that God has many forms, He
is, on that account, called Vahurupa (many-formed).
…And since He always increaseth all kinds of
wealth and wisheth the good of mankind in all their
acts, He is for that reason called Siva. He possesseth
a thousandeyes, or ten thousand eyes, and hath them
on all sides. And since He protecteththis vast
universe, He is for that reason called Mahadeva.
And since He is great and ancient and is the source
of life and of its continuance, and since His phallic
emblem is everlasting, He is for that reason
called Sthanu. And since the solar and the lunar rays
of light that appear in the world are spoken of as the
hair on the Three-eyed one, He is for that reason
called Vyomakesa. And since, afflicting Brahma and
Indra and Varuna and Yama and Kuvera, He
destroyeth them ultimately, He is for that reason
called Hara. …He who adoreth any image of the
phallicemblem of that high-souled God, always
obtainethgreat prosperity by that act. Downwards
fiery, and half the body, that is auspiciousness is the
moon. …With that other terrible form He as
supreme Lord devoureth everything. And since He

42. burneth, since He is fierce, since He is endued with
great prowess, and since He devoureth flesh and
blood and marrow, He is for tHis called Rudra.
“(DronaParvan-202)
Shiva is the God who subverts establisHed and
conventional Structureand Form. His occasional
assumption of Human-Form-defying-Human-Form
and companions who are “Differently Formed” (I
make tHis coinage in tunewith “Differently Abled”)
– signify His preference for the socially
marginalized and ostracized.
Our Sculptor-Poet’sprioritizing animals over human
beings – in disrupting the hierarchy in evolutionary
scale, where animals come at the top and bottom
entwining human beings (- that I discussed at 1.1
above) – is perhapsa very scientific and philosophic
vision that human being is only an animal species in
the overall nature’s scheme of beings.
Our He – in His human-form-defying-human-form
and being “Differently Formed” – therefore,
embodies Shiva and specifically symbolizes Shiva’s
role in subversion of power. For example,
in Mahabharata, we always find Shiva arming and
empowering the small-fish in the scheme
of KshatriyaMaatsyanyaaya.When the Pandavas

43. are small-fish (having lost to Kauravas), Shiva arms
Arjuna with the Paashupata;when Jayadratha (after
His failed abductionof Draupadi) is humiliated by
Pandavas and therefore, is small-fish to Pandavas,
Shiva grants Jayadratha a boon that ultimately
culminates in AbHimanyu’s death; when the
Kauravas are devastated in KuruksHetra, Shiva arms
Ashvatthaamaa to annihilatethe Panchalas.
The repulsion that we may initially feel on seeing
slimy animals forming His face and head is perhaps
our Sculptor-Poet’sdesired effect to tightly slap our
content cheek of considering human beings superior
to other Animals – while, it is for those animals that
human beings survive. To me, He is our Sculptor-
Poet’s message on environment; and I find tHis
similar to Vyasa’s idea of the superiority of Jiiva-
Dharmaover othermanifestations of Dharma.
In view of all above discussion, and keeping my
mind open to all possibilities, my opinion on the
sculptureis that, He is an interpreted form of
RgVedic Purusha, in which the Sculptor-Poet
imagined Shiva-Maheshvara as the Purushain His
three aspects – Mahakala, Pashupatiand Rudra. I
thus find no reason to differ with the popularidea
that He is Rudra-Shiva; however, I would like to add
only one epithet to that and regard Him –

44. Rudra Shiva Purusha
Having said all that about Him, nothingwill be said
if I say nothingabout the anonymous Sculptor-Poet
who created Him. Ultimately, He remains not only
as His immortal creation, but also as the symbol of
the Shilpii’sfreedom of expression. And in tHis
regard, I consider Him not only modern but also Pre-
“Post-Modern”.
The way our Sculptor-Poetimagined His face is
collage-art, rather “Concept-Collage”, which, even
the so-called modern mainstream cultureof our time
is occasionallyhesitant to accept as an artistic form
of expression unless nudged by post-modern
democracy. And Here, our Sculptor-Poet, surely
aware that tradition was not on his side or aid to
encourage him to create such a sculpture, dared to
interpret tradition and create Him. He dared to
experiment with collage-art with animals with none
otherthan Shiva’s face and head. Most importantly,
He had the boldnessto place the animal kingdom at
the top of hierarchy in the kingdom of human
beings. This may be surely taken as his environment
consciousness.
Of all the scriptural references I have given above, I

45. certainly do not believe that our Sculptor-Poethad
read all those scriptures to create Him; however,
whether he had read them or not, his Cultural
Memory must have played role because a Shilpii-
Kavi knows to read cultureand tradition – not just
‘read’ (like we read newspapers); and for Shilpii-
Kavi like him, culturalmemory is accessible in its
deeper layers..
My Pranaamato the genius anonymous Sculptor-
Poet …
Om Namah Shivaya…
How to Meet Him?
1) Talagaon is 90 km from Raipur on NH 130 on
Raipur-BilaspurRoad. Right turn after Maniyari
River Bridge from BhojpuriVillage. the village
properis located on Bhojpur-Dagauri road.
2) Talagaon is 29 km by road South-West from
Bilaspur railway station
3) Nearest Rail Station to Talagaon is Dagri; from
there – 7.5 km
4) No eatery in Talagaon; so, betterto carry food
and water
5) Auto fare from Bilaspur railway station – Rs.
550/-(back and forth plus waiting charge)

46. 15-Jan-2017
by : Indrajit Bandyopadhyay