PDA

View Full Version : Regarding Symbols ...



yajvan
04 December 2009, 10:43 AM
hariḥ oṁ
~~~~~


Namasté

this post could be considered a continuation of http://www.hindudharmaforums.com/showthread.php?t=4837 (http://www.hindudharmaforums.com/showthread.php?t=4837)
It is on symbols. Since the post mentioned above was more on nama (names) , it seemed reasonable to begin a new post for symbols (saṃketa - hint, intimation or to allude to ).

Symbols are vast and wide within sanātana dharma. They are a way to communicate and depict deeper ideas, behaviors and truths.

The 1st ( which is most appropriate) is to start with some symbols of gaṇeśa.

oṁ gaṇeśvarāya namaḥ
ॐ गणेश्वराय हमः

Many have read how gaṇeśa gained his elephant head… yet I thought a reasonable question to ask is what is the meaning/symbol of this gajāsya ? And perhaps what is the symbol/meaning (saṁketa) regarding other objects like the rope (pāśa) and perhaps the goad (aṅkuśa ) ? Others are welcome to add additional items as they wish to the list.

gajāsya or gajamukha - elephant headed or elephant faced.
pāśa - noose
aṅkuśa - a hook, especially and elephant driver ( the mahout sometimes called the gajājīva) hook

gajāsya or gajamukha - elephant headed or elephant faced.
The elephant is associated with memory and hearing… The notion of 'an elephant never forgets' is the idiom used. And his big flopping ears gives this gentle animal excellent hearing ability.

What is memory and what is hearing? Śruti is what is heard, directly cognized. The veda-s are considered śruti and considered the Divine Word, revelation of the Infinite revealed to the ṛṣi or one in possession of ṛta¹ consciousness.

And what of what is remembered ( memory) ? It is smṛti - recollection. What śāstra-s are considered smṛti? The vedāṅga-s ( limbs of the ved), dharmaśāstra-s ( law books), the pūraṇa-s , the ithihāsa-s.

So with gaṇeśa-ji, He possesses and is the home of all knowledge. His head represents wisdom and the source of wisdom at the same time.

More could be said about His tusk (dantin) or trunk-snout (tuṇḍa), yet appreciating symbolism of gaṇeśa-ji-s
elephant head with wisdom is the first offer. We can look at tuṇḍa and dantin in a future post if there is interest.

pāśa - noose
This noose on its own carries a symbol of capturing or roping. In gaṇeśa-ji's hands it offers ( IMHO) a few suggestions.
He uses this noose to capture obstacles. Yet it is also used to rope paśu-s and pull them in the right direction.
This could be out of the way of obstacles, or onto the right path. Now what are paśu-s ? Any tethered animal.
Five kinds are considered: a domestic animal (as opposed to mṛga or wild animal), humans, cows, horses/mules , goats and sheep.
Why are humans considered paśu-s? We are tethered to the senses - dragged here and there by them. Once mokṣa arrives, the we graduate from this grouping. Yet this noose is also used to pull one closer to the Divine, closer to gaṇeśa-ji.
Now what if a gentle tug on this rope/noose is not sufficient? Then what does gaṇeśa use? The aṅkuśa - a hook.

aṅkuśa - a hook
The aṅkuśa may be used for stubborn obstacles. Ones that require a bit more force/śakti. Both an obstacle and a person may fall into this category of 'stubborn' , stiff or inflexible. This sticking point could be a knot or granthi.

This word granthi is defined as 'a knot tied closely and therefore difficult to be undone ' . It is also defined as 'crookedness'. Some consider the ego ( ahaṁkāra is 'I maker' and māmakāra is 'mine or me maker') as one of the major knots.

I have seen in others ( and at times in me) that some of these blemishes drop with maturity, knowledge and the expansion of awareness. Perhaps only the 'rope' was needed for many of the afflictions to be removed. For other ingrained blemishes the aṅkuśa is needed for some (people), and not for others. Other blemishes were reviewed in post 20 here: http://www.hindudharmaforums.com/showpost.php?p=35875&postcount=20

There are other symbols we can review e.g. mūṣaka ( mouse), thought to be tamo-guna, petty (small) desires that nibble away (like the mouse) and reek havoc quietly yet with impact over time. Gaṇeśa-ji sitting on-top of the mouse suggests subduing these negative tendencies and is pati ( Lord) over the mouse. Yet there are other views on this matter, and we can leave it for another post.

Perhaps if you know of a symbol that gaṇeśa-ji uses, you may wish to share it with the HDF reader.

tat puruṣāya vidmahe
vakratuṇḍāya dhīmahi
tanno dantī pracodayāt

taittirīya āraṇyaka 10.1.5

praṇām

words
ṛta or ṛtam - as a noun divine truth ; sacred or pious action; this word ṛtam is rooted (√) in i , 'to go the right way, 'virtuous'

yajvan
05 December 2009, 11:42 AM
hariḥ oṁ
~~~~~

namasté

I mentioned,


There are other symbols we can review e.g. mūṣaka ( mouse), thought to be tamo-guna, petty (small) desires that nibble away (like the mouse) and reek havoc quietly yet with impact over time. Gaṇeśa-ji sitting on-top of the mouse suggests subduing these negative tendencies and is pati ( Lord) over the mouse. Yet there are other views on this matter, and we can leave it for another post.


mūṣaka vāhana
Gaṇeśa-ji is called adhasthān mūṣakāvitam -whose mount (sthāna) is a mouse (mūṣakā) or mūṣaka (mouse) vāhana (riding, driving). We must note that mūṣaka is defined as a mouse or rat. I choose mouse.


It (mūṣakā) is also defined as a thief. The association (to me) is interesting. Like a mouse, a 'theif' gets into places where others cannot or dare not, hidden and hiding. This is one way to look at gaṇeśa-ji is like the thief, hidden within humanity. Some call Him the dweller in the secret cave… This is the symbol of 'cave' , that of the space (ākāśa) in the heart (hṛdaya).


praṇām

yajvan
06 December 2009, 11:17 AM
hariḥ oṁ
~~~~~
namasté

oṁ namo bhagavate vāsudevāyaḥ
dvādaśākṣara mantra - 12 syllable (or ākṣara) mantra

symbols of viṣṇu

śeṣa- We know viṣṇu rests on śeṣa, that is the symbol. Śeṣa , as a noun, is the king of all naga-s (serpents) . Some say vāsuki is king - we find this in the Mahābhārata. Yet there is no need to debate who is 1st. Note that serpents are considered different then snakes. In a future post we can talk of this difference.

Both words śeṣa and naga are worthy of review as it helps us understand symbols a bit better. Also śeṣa is called out as ananta-śeṣa and for good reason. Lets look at a few words to see the insight or saṃketa that is offered.

Śeṣa as noun is the thousand-headed serpent, regarded as the emblem of eternity. Śeṣa is also called an-anta ; 'an' is a substitute for 'a' meaning not + 'anta' is end. So, ananta= is endless , boundless a.k.a. infinite,eternity. And the 1,000 heads? The symbol of being everywhere simultaneously e.g. infinite in time, space.

If we go a bit deeper on this śeṣa and look at its root ( roots are called dhātu - constituent part , ingredient ), śeṣa is rooted (√) in śiṣ meaning remainder , that which remains or is left , leavings , residue. How does this apply?

During intervals ( or rest periods) of creation what is left? The infinite, the ever present existence. The ~substance~ ( i.e. sattā or existence Itself) on which all of creation rests.

naga - one definition is that of a serpent. Yet it is also considered ' not moving'. 'na' is not + 'ga' is moving 'ga' has dhātu in 'gam' which is going, moving. So this naga also means 'not moving'. How does it apply?
If śeṣa is endless, without bounds, where is it not? And if it is everywhere, where does it need to move? Where would it be going? It is naga, not moving ( for there is no need).

Now we can see how nicely this fits with viṣṇu. Viṣṇu's dhātu √ is viṣ; this viṣ is defined as 'all pervader' hence He is all prevading.
If He is all-pervading , then he is naga + śeṣa + ananta combined. His perfect symbols ( beautiful).

What else can we perhaps look at with viṣṇu in a future post?

His vāhana or vehicle is garuḍa
su-darśana or a cakra missile-weapon
His jewel on his wrist called syamantaka or another on his breast called kaustubha
A sword called nandaka
viṣṇu holding a conch-shell (śaṅkha) called pāñcajanya

praṇām

yajvan
06 December 2009, 04:39 PM
hariḥ oṁ
~~~~~

namaste

ॐमहेश्वरायनमः
oṁ maheśvarāya namaḥ

Much has been written here on HDF on śiva's symbols.
Rather then duplicate this information, let me offer the HDF posts below:

liṅgaṃ means 'mark' or 'sign' consider HDF Post:

1. http://www.hindudharmaforums.com/showpost.php?p=26160&postcount=2 (http://www.hindudharmaforums.com/showpost.php?p=26160&postcount=2)
2. http://www.hindudharmaforums.com/showpost.php?p=26186&postcount=11 (http://www.hindudharmaforums.com/showpost.php?p=26186&postcount=11)



śiva's triśula

3. http://www.hindudharmaforums.com/showpost.php?p=23583&postcount=11 (http://www.hindudharmaforums.com/showpost.php?p=23583&postcount=11)
4. http://www.hindudharmaforums.com/showpost.php?p=23124&postcount=5 (http://www.hindudharmaforums.com/showpost.php?p=23124&postcount=5)
5. http://www.hindudharmaforums.com/showpost.php?p=23124&postcount=5 (http://www.hindudharmaforums.com/showpost.php?p=23124&postcount=5)


108 names of śiva, from śiva aṣṭottaraśata nāmāvali, with insights to each name

6. http://www.hindudharmaforums.com/showthread.php?t=3411&highlight=names (http://www.hindudharmaforums.com/showthread.php?t=3411&highlight=names)

praṇām

yajvan
08 December 2009, 11:12 AM
hariḥ oṁ
~~~~~

Namasté

In various śāstra-s we hear of people standing on one toe for long periods of time e.g. Mahābhārata , with Arjun and Amba performing this tapas. I am not certain of the symbol and wondered if someone had a POV on this matter?

What comes to my mind is perfect balance, one-pointedness, and this is attained in deep meditation. Could this be the symbol? I do not know.

Vyāsa-ji (kṛṣṇa dvaipāyana) could have said deep in samādhi vs. standing on one toe Any one have ideas?


praṇām

yajvan
06 October 2015, 05:19 PM
hariḥ oṁ
~~~~~

namasté

How often have you heard that śiva roams the śmaśāna-s¹ ( some like to write smasham) ?
For the casual observer it is very easy to get the wrong picture of śiva on this matter. In fact
this can cause some consternation (viṣama¹) and fright .

There must be more to this than meets the eye, no ?

iti śivaṁ



śmaśāna - crematorium , cemetery or burial-place for the bones of cremated corpses

viṣama - painful , dangerous , adverse , vexatious; some say fright.


http://www.exoticindia.com/hindu/goddess_tara_with_a_pair_of_scissors_in_her_hand_hj66.jpg

yajvan
07 October 2015, 09:35 AM
hariḥ oṁ
~~~~~

namasté



There must be more to this than meets the eye, no ?
Śiva is sometimes called the śmaśānavāsin¹, or śiva-agni or śmaśānāgni. There is no doubt that this cremation/cemetery site is
where the body goes as its final stop. Yet there is another more hidden view on this body of ours ,the śarīra which is defined as that which is easily destroyed.

We sometimes hear the body called the kalā śarīra – embodiment of doing. This body is a bundle of flesh, bones, organs and senses. The body becomes
animated by energy (śakti) and is existing due to Being, sattā, pure awareness (śiva).
We know that both śiva and śakti are one and the same. Just as flame is light, or heat is to fire, they are inseparable. Over time the body erodes as it resides within the field of action,
of doing, time and space. Due to this the body has a beginning and end. We know it to be transitory.

The body is always coming to its end as time (kālá¹) leans into it; due to this fact we know this body as a house (kāya – house) of death.
Because this house is dying with time it is called symbolically a cremation ground. From this point of view one then can say śiva roams from cremation
ground to cremation ground. That is, he resides there becase this house or body has Being and energy. But one knows just because the body may fall ( pass on)
that does not suggest that Being, śiva is altered or destroyed. It is not destroyed because it was never born. The cause of death is birth and Being, essence, sattā
is nirantara = having no interval (in space or time) ,uninterrupted , perpetual , constant.

That (above) is one view on this… there is a few others. Another is more yogic, more esoteric in nature. There is another cremation ground where the awareness of wake-dream-sleep (some call trailoka or 3 worlds) is consumed in the fire. But if wake-dream-sleep is consumed what then remains? The 4th turīya and that is where śiva roams. It is called the 4th by the unaided just because it’s the next number in line 1,2,3 ( wake-dream-sleep) 4th is turīya, seems simple enough. Yet to the jñāna-s that live this level of Being they consider it pracaya - a heap , mass . But of what ? Pure being, consciousness, of śiva, the absolute fullness of Self.


iti śivaṁ

words


śmaśānavāsin = śmaśāna+vāsin : śmaśāna = cremation grounds + vasin = staying , dwelling; it also is defined as ‘clothed or dressed in’ – we will use this second notion for this post.



kālá – the 2nd derivative definition is of it is time

yajvan
14 October 2015, 11:22 AM
hariḥ oṁ
~~~~~

namasté

Is there something more to the notion of śiva as tryambaka ? That is, Him with a 3rd eye. Is there greater significance
as a symbol for this 3rd eye ? The right eye is considered sūrya (sun), the left candramā ( moon) and the 3rd is agni.

iti śivaṁ

yajvan
15 October 2015, 12:44 PM
hariḥ oṁ
~~~~~

namasté



Is there something more to the notion of śiva as tryambaka ? That is, Him with a 3rd eye.
It is said the eye of candramā ( moon) is filled with joy and the right eye sūrya (sun), has destructive power or light (prakāśa¹).
It’s said if you look at that light (prakāśa) you will go blind. So everyone runs away scared and comes up with various tales of one’s demise.

Yet on further review one must ask what is ~destructive~ here? That of destroying the ignorance of differentiated (fractured, diversity) awareness (bhinnavedyatā¹).
Then one becomes ‘blind’ to the world of opposites, the world of diversity. That is the destruction that occurs.
One sees wholeness. And this is where the 3rd eye enters in significance.

The 3rd eye is one, only one eye. It only sees one-ness, wholeness. From śiva’s point of view there is only undifferentiated consciousness.
All is seen none other than an extension of HimSelf. There is no two anywhere.
That is why when one is aligned to this level being of our own core existence there is nothing but this totality of Being everywhere.
Where then can their be grief? Even the grief is seen as an expansion of wholeness; of how the Supreme expresses itself.


http://media.radiosai.org/journals/Vol_08/01FEB10/images/13_TestYourSQ/discourse/Third-eye-shiva-DSC04730.jpg

iti śivaṁ

words


note that prakaśa is defined as ‘hurting,killing’ ; yet prakāśa ( note the long ā) is defined as ‘light, shining, bright’ , also ‘before the world’, ‘open to all’
bhinnavedyatā= bhinna+vedyatā bhinna = distinct , different from or other, ~differentiated~ + vedyatā = restrained or held ( yata) knowledge (veda) Differentiated Awareness or knowledge

yajvan
16 October 2015, 06:04 PM
hariḥ oṁ
~~~~~~
namasté

Lets look at another symbol...

Ash (bhasma) on the forehead

Bhasma = bhasman = consuming, devouring; ‘ that which is pulverized by fire’ = ash. We know this bhasma is also called vibhūti
which has a few definitions , one being the ashes of cow dung. And with this ash there is the tilaka - a mark on the forehead.

The term vibhūti also means expansion , plenty , abundance; with this ‘expansion’ the notion of great power is erected and the term ‘siddhi’ can be exchanged with the term
vibhūti as needed. Even patañjali-muni uses this term vibhūti for his chapter that outlines siddhi-s i.e. vibhūti pada.

When this bhasma is worn on the forehead 3 lines or tripuṇḍra are drawn. People following\adoring\worshiping śiva are the usual recipients.
Now why would this be ? We know the ash (bhasman) usually comes from a homam or sacred performance ( homam, havan, yajña , etc) where agni
( tejas or fire) is present and it produces this ash for our use.

What is the significance of on the forehead?
Here is one idea that captures one’s heart of the bhakta ( faithful, devotee), that of praṇāma - bowing , a bow , respectful salutation , prostration.
When one bows (namra) in praṇāma the body goes to the ground, the knees touch the ground. That dust from the ground is found on the knees.
Yet too that same dust that is on the knees is to be found on the head when bowing and touching one’s head (also) to the ground.
With bhasma on the forehead it is like that, the notion of a perpetual bow, the dust remaining on one’s forehead from bowing to the Supreme.
It is the notion of humility (amānitā¹). It is our reminder on our heads of this simplicity, of one's bowing to the Supreme.

If you recall the term vibhūti was used above and that aligns to the term siddhi which means perfection ( and yes various powers).
This bhasma and vibhūti is to groom the siddhi of aṇimā. We know this term from a worldly point of view to mean reduce the size of the body,
sometimes even to the size of the atoms. Yet from the spiritual point of view , it is the following:
aṇimā - is aṇi + mā ; aṇi = the point of a needle + mā = measure. This is humility. One is humble, one is nirahaṃkāra or without pride;
‘Me-ness’ is brought down to a smallest point of a needle, to not exist. If it is there it is minute (aṇi) and is no more than the leftovers or remains called leśāvidya.
For more on this notion see this HDF post: http://hindudharmaforums.com/showthread.php?14231-a%E1%B9%A3%E1%B9%ADasiddhi-daivata

Yet one cannot pretend with this aṇimā, but the simple reminder for us is tripuṇḍra on the forehead.


http://www.slokakids.com/templates/Orange/images/categoryimages/bhasma.jpg



iti śivaṁ

1. amānitā grows and develops vinayayogin; vinayayogin = possessing humility

yajvan
17 October 2015, 12:30 PM
hariḥ oṁ
~~~~~~
namasté

from the last post above,


When this bhasma is worn on the forehead 3 lines or tripuṇḍra are drawn.

What is your opinion on this? Why is it tripuṇḍra and not pañca-puṇḍra or 5 marks ( lines).
If some one came to me and asked my advice I would say yes, pañca-puṇḍra is my recommendation.
Yet we use tripuṇḍra ( 3 lines). Why so ?

https://qph.is.quoracdn.net/main-qimg-d879aa253d864471e6799642b562835e?convert_to_webp=true



iti śivaṁ

yajvan
18 October 2015, 12:26 PM
hariḥ oṁ
~~~~~~
namasté
I wrote,


When this bhasma is worn on the forehead 3 lines or tripuṇḍra are drawn, why so ?

According to the the śiva mahāpurāṇa (vidyeśvara saṃhitā section) tripuṇḍra is the essence of
brahma visnu and śiva and in aggregate this stands for maheśvara.

Now within this same subsection of the vidyeśvara saṃhitā, sūta-ji¹ the narrator informs us that there’s
2 types of bhasma: mahā-bhasma and svalpa-bhasma i.e. great and small. I will let the reader review
chapter 24 of vidyeśvara saṃhitā section to define the differences. Yet the differences are there
for various varṇa-s ( groupings, orders, etc).

iti śivaṁ
words


A sūta is a a charioteer, a story-teller whose business to proclaim/reveal/recite the heroic actions, and the knowledge of the great epics. The recitation of these epics is considered jñāna-yajña. In our case the celebrated sūta is romaharṣaṇa ; his name (romaharṣaṇa) means causing the hairs to bristle or stand erect (through excessive joy). He also was called loma-harṣaṇa also with the same meaning, causing the hair to bristle , exciting a thrill. That infers his story telling abilities and the responses from the listeners.

His son (suta =son, a child , offspring which is different then sūta just mentioned) was ugraśravā (ugra= the one with the powerful mighty + śrava = sound , therefore his voice). Ugraśravā is best known as the narrator of the mahābhārata. He is first mentioned in the ādi parvan’s introduction starting the whole mahābhārata.
ugraśravā is also named sauti meaning son of sūta or romaharṣaṇa just mentioned.

yajvan
29 October 2015, 03:15 PM
hariḥ oṁ
~~~~~~
namasté

There is a delightful story within the śrīmad bhāgavatam (10.25) where kṛṣṇa-jī protects the people
of vraja¹ from a tumultuous rain, filled with hail and extreme winds. This was all caused by indra’s
anger of which we will not go into.

So, within this story kṛṣṇa-jī with little effort picks up this mountain ‘like a child uprooting a mushroom’
we are told with one hand. This is govardhana mountain. All the people and cattle in the area then seeks the shelter underneath the mountain from
the wind, rain and hail that is thrown by indra for seven days no less. Now pending who is telling the story some add the following (which does
not appear within the śrīmad bhāgavatam).

Once the various villagers are underneath the mountain some have brought sticks to help support the mountain and assist kṛṣṇa-jī, even though kṛṣṇa-jī
is supporting the total mountain with one hand, some say with one finger as in the graphic below ( for the 7 days); yet the villagers provide help ,
with smiles coming from kṛṣṇa-jī.

Is there a deeper meaning to this story ?

http://srimadbhagavatam.org/images/krishna/10.25govardhan.jpg


iti śivaṁ


words


vraga – name of the district around agra and mathurā (the abode of nanda , of kṛṣṇa's foster-father )


​Not to be confused with vi+raja for rajas = free from dust , clean , pure



govardhana mountain - celebrated hill in vṛndāvana (some write bṛndāvan) near mathurā
govardhana go+vardhana go = cow , or anything coming from or including and ox or cow + vardhana = ‘town’ yet also increasing ,
growing , thriving Hence the town thriving with cows. Also go = rays of light. Hence the city thriving in light.

yajvan
30 October 2015, 02:02 PM
hariḥ oṁ
~~~~~~
namasté

Here’s a few ideas on this matter for one’s reflection (guñjā¹).

First consider the mountain. Note that earth ( earth = pṛthvī) is the sum total of all the tattva-s below it i.e. the elements (officially called mahābhūta-s)
and these with a few other things make up prakṛti¹ loosely meaning nature. So earth is the sum total or contains space, water, air, fire and finally earth.
We can call this visible creation. Kṛṣṇa-jī holds up (supports) all of this creation ( the mountain) with little effort. He only uses one finger to support all of ~this~.

Now come the villagers as the seek shelter under the mountain – note kṛṣṇa-jī invites them to do this. Please enter the space under the hill along with your cows if you wish.
His grace of helping and still giving each person a choice to do this is worth noting.

Now the residents of vraja enter yet some bring their supports ( sticks) to help hold the mountain; another rendition of this is various villagers help by
using their arms. The point to be made is the villagers are there helping to support this massive structure.

Here is one insight
Kṛṣṇa-jī, without the least amount of effort as indicated by doing this feat with one finger, holds the mountain. Yet the villagers think they can help.
Why ? They as embodied beings (kalā śarīra – embodiment of doing) think they are actually the doers of actions.

We are told within the bhāgavad gītā (3.27) by kṛṣṇa-jī, in every case actions are performed by the 3 guna-s of prakṛti¹. He whose mind is deluded by
the sense of 'I' and 'mine' holds 'I am the doer'.

So, why doesn't kṛṣṇa-jī stop scold the villagers and give them a lesson ? The answer is in the 26th śloka¹ of chapter 3 of the the bhāgavad gītā:
Kṛṣṇa-jī informs us, let not the wise man create a division in the minds of the ignorant, who are attached to action.
Established in Being he ( the wise) should direct them ( the ignorant) to perform their actions, duly engaging in them himself.

There are a few other ideas we can review ( your ideas are welcomed) :


why indra ?

what was his ‘issue’ and how does it relate to the story ?
other questions – if the ignorant remain so, what is our responsibility to help or assist them? Do we have an obligation?
what actions make sense and what do not ?
why does it 'feel' like I am the doer ?
how then should one perform actions ?


http://www.starsai.com/wp-content/uploads/govardhan-krishna.jpg


iti śivaṁ


words


guñjā meaning humming; yet an additional meaning is meditation, reflection.
prakṛti we know as nature , character , constitution, yet too it is defined as making or placing before or at first " , the original or natural form or condition of anything. Hence here, this symbol of Kṛṣṇa-jī holding the mountain suggests his is the origin of the ‘original or natural form of any and all things’.
na buddhibhedaṃ janayed ajñānāṃ karmasaṃginām
joṣayet sarvakarmāṇi vidvān yuktaḥ samācaran ||bhāgavad gītā 3.26

yajvan
20 June 2016, 05:31 PM
hariḥ oṁ
~~~~~~
namasté

How many times have I seen this pose ( and perhaps you) ? That is, a mūrti representing devatā. On closer inspection one can see 3 angles of their body-form in this stance. Is this on purpose or just happenstance that the sculptor chose these angles? From my vantage point ( as I have learned over the years ) nothing is done by chance when it comes to these matters.
From my vantage point i.e. my opinion , there is a strong resemblance to the number 1 written in devanāgarī , it looks like this : १ which 3 changes in direction can be viewed. It seems we are being told there is 3 in 1, or that there is only 1.


https://s-media-cache-ak0.pinimg.com/736x/bb/40/c0/bb40c0b8414c2edf8f4f25d624e92761.jpg https://s-media-cache-ak0.pinimg.com/736x/c8/d5/50/c8d55061e65899c2848dc06d31ae8edf.jpg



इतिशिवं
iti śivaṁ