Bhikshatana

Expiatory wandering Temple (1025 AD) The Kurma Purana narrates that during a particular council of rishis (sages), the god Brahma arrogantly declared that he was the Supreme Creator of the Universe. Shiva appeared at the assembly as an infinite pillar of light and challenged Brahma's statement. After deliberation, the council accepted Shiva as the true Creator, but Brahma remained obstinate. Angered by Brahma's vanity, Shiva—as the terrifying Bhairava—cut off one head of the five-headed Brahma with a mere flick of his fingernail (an act iconographically depicted as Brahmashirascheda-murti). As a consequence Brahma died, but the spiritual credit he had accumulated over a lifetime of devout asceticism pulled him immediately back from death. Upon his resurrection, Brahma accepted Shiva's superiority. However, all Puranas (Kurma, Varaha, Shiva, Skanda, and Vamana) agree that the head of Brahma stuck to Bhairava-Shiva's left palm due to the sin of killing Brahma, the most learned Brahmin – Brahmahatya or Brahminicide. To expiate the sin of brahmahatya, Shiva had to perform the vow of a Kapali: wandering the world as a naked beggar with the skull of the slain as his begging bowl. In the Kurma and Vamana Puranas, Shiva's sin takes corporeal form, becoming a ghoulish woman called Brahmahatya who follows Bhikshatana everywhere he goes. The encounter with Vishnu's gatekeeper is also retold with some variation in the Vamana Purana and the Matsya Purana. All Puranas agree that upon reaching Varanasi, Brahma's skull falls off Bhikshatana's palm at a place now called Kapala-mochana ("liberating from the skull") and Vishaksena's corpse disappears. The sin, personified by Brahmahatya, vanishes into hell. Vishaksena is resurrected and the sanctified Bhairava-Shiva, having bathed in the sacred pond in Varanasi, casts off the appearance of Bhikshatana and returns to his abode. Other scriptures describe other visits by Shiva to Deodar Forest in his Bhikshatana form. The Vamana Purana mentions Shiva entering the Deodar Forest twice as a beggar. Maddened by the death of his first wife Sati but chased by the love-god Kamadeva, Shiva escapes to the Deodar Forest and lives as a mendicant. The sages' wives who come to grant him food become sexually excited at the mere sight of him. The sages curse his Linga to fall off and it becomes the infinite pillar. Brahma and Vishnu propitiate him and Shiva reabsorbs the Linga into his body. In another instance, while passing the Deodar Forest, Parvati notices sages who worship Shiva and have emaciated their bodies with fasts and severe vows. Parvati requests Shiva to save them from further pain, but Shiva declares that the sages are simply foolish and have not restrained their passion and anger. He enters the forest as a handsome man, wearing only a garland of sylvan flowers. He entices the sages' wives, who give him alms. As before, the Linga of the cursed Shiva falls off, but eventually the sages realise their folly and worship the Linga. Similar accounts of Bhikshatana-Shiva's visit to the Deodar Forest to humble and enlighten the false sages, Bhikshatana-Shiva's emasculation and establishment of Linga worship also appear in the Mahabharata, the Shiva Purana, and the Bhagavata Purana. The Linga Purana also mentions the visit of Bhikshatana-Shiva to Deodar Forest to entice the wives of sages, who had taken up austerities "detrimental to the perpetuation of a healthy social order." The scripture mentions Bhikshatana-Shiva's deformed but attractive nude black-red form, his seduction of the sages' wives, and the sages' resulting curse. However, the curse proves fruitless in this version. The confused sages ask Brahma for guidance, who tells them the truth about the beggar and informs them of the proper way to propitiate Shiva. Returning to the forest, they please Shiva, who had returned to beg for alms. Finally, he enlightens the sages, revealing his true form. In the Padma Purana, the curse of the sages fails. In retribution, Shiva casts a curse on the sages so that they, like Bhikshatana, will become beggars with matted hair and be devoid of knowledge. Those who would still worship him would gain knowledge, wealth, and progeny, and be reborn into good families. In the Skanda Purana, the sages of the Deodar Forest are performing rituals and start to think of themselves as gods. To humble these arrogant sages, Shiva takes the form of Bhikshatana—an attractive young beggar—and Vishnu becomes Mohini, his wife. While the sages fall for Mohini, the women wildly chase Shiva. When the sages regain their senses, they perform a black magic sacrifice, which produces a serpent, a lion, an elephant (or tiger), and a dwarf, all of which attack Shiva, who overpowers them. Shiva then dances on the dwarf and takes the form of Nataraja, the Cosmic Dancer. The same legend is retold in the Tamil Kovil Puranam and Kandha Puranam with some differences. This legend is also told in the Sthala Purana related to the Chidambaram Temple dedicated to Shiva-Nataraja. The ceiling of the Shivakamasundari shrine in the Nataraja temple complex illustrates this legend in a series of frescos, where Bhikshatana is depicted as a white naked mendicant accompanied by a scantily-scad Mohini. Kapaleshvara legend The Skanda Purana narrates that Bhikshatana-Shiva appears on another occasion as a naked, fierce Kapali beggar. Once, at a sacrifice hosted by Brahma, Bhikshatana appears and begs for food. The Brahmins performing the sacrifice try to drive him away, considering a hungry beggar unfit for sacrificial rites. Bhikshatana throws his skull begging-bowl on the ground and the Brahmins throw it out, but another skull bowl appears in its place. Consequently, hundreds of skulls appear, polluting the sacrifice, which compels Brahma to promise Shiva that no sacrifice will be deemed complete without an invocation to him, Kapaleshvara—the Lord of the skulls. ==Iconography==

. Like many other bronzes, the separately-cast trishula is missing from the hand. The iconography of Bhikshatana is discussed in all Shaiva Agamic texts, including Amshumadbhedagama, Kamikagama, Supredagama, Karanagama and the iconographic work Shilparatna; the texts are mostly South Indian in origin. The iconography is quite similar to that of the Kankala-murti aspect who, like Bhikshatana, is associated with the legend of Shiva's atonement for severing Brahma's head. The chief difference is that Bhikshatana is nude and Kankala-murti is clothed. Bhikshatana is depicted with jatabhadra (dishevelled matted locks) or with jatamandala (matted hair arranged in a circle). A serpent may be depicted in his matted hair, which is also adorned by the crescent moon. His forehead bears a tripundara, the Shaiva tilaka composed of three horizontal lines of sacred ash with a red dot in the middle representing the third eye. He wears a patta (ornamental head band)—sometimes adorned with a human skull motif—on his forehead. Snake ornaments adorn his body, and bronze images often depict multiple necklaces, a waist-band, armlets, elbow bands, bracelets, anklets, and rings on all his toes and fingers. A snake is also tied around his waist and a white yagnopavita (sacred thread) is worn across the chest. The back right arm is raised and holds a damaru (drum). The front left hand holds a kapala (skull-cup), used as a begging bowl. The back left hand holds a trishula decorated with peacock feathers. The left leg is firmly rooted in the ground while the right one is slightly bent, suggesting walking. Sometimes Bhikshatana's iconography is amalgamated with that of Bhairava, in which case he displays Bhairava's attributes in addition to his own. In bronzes, the deer and the trishula were generally cast separately and positioned later in the icon, but since many of these separate pieces have been lost over time, bronzes often appear without them. are variously pictured as enamoured of Shiva, eager to embrace him, blessing him, or serving him food in his begging bowl with a ladle. The clothes of some of these women are slipping from their loins, symbolising their lust. In some scenes, the sages are depicted as angry and trying to beat Bhikshatana, alluding to the Deodar Forest legend. ==Development and adoration==

The theme of Shiva as a beggar is not unique to the Bhikshatana icon and his legends. Shiva is often described as wandering the universe as a homeless beggar-ascetic with his consort Parvati's raison d'être being to bring him back to his marital and home life. Shiva is also depicted as asking for alms from the goddess Annapurna, a form of Parvati as the goddess of food. Though Shiva is commonly described as a beggar, the specific theme of the expiatory wandering—which is the core of the Bhikshatana tale—originates uniquely from the ascetic traditions of the Kapalika sect and its precessor Pashupata sect. Images of Bhikshatana are found throughout Shaiva temples of South India, Sculpted in stone adorning the temple walls of every other South Indian temple, images of Bhikshatana are also cast in bronze as processional icons. In South Indian temples, Bhikshatana is prescribed to be enshrined as an avarana-devata (a deity depicted on the circumambulatory path encircling the central shrine). Similarly in Orissan temples, Bhikshatana may be worshipped and depicted as parshva-devata (an attendant deity) or avarana-devata. In the Mylapore temple festival, the Bhikshatana icon is paraded in the streets along with four dogs signifying the Vedas and gana attendants. Shiva is described as sent by his consort Parvati (Karpagambal) to beg as he has lost her ring. Repentant for her harsh treatment of Bhikshatana and jealous of the glances of the women in the streets, who attracted are by his appearance, Parvati's icon rushes behind Bhikshatana and "dances" to win him back. Shiva relents and they travel together to the temple. , Chennai, originally from Bhikshandarkoil, Tiruchirappalli district. About 10th century AD. Tamil works transform the terrible Kapali form of Shiva to a more lovable form. South Indian devotional literature portrays Bhikshatana in the Deodar Forest of the sages, but the Tevaram by the Nayanar poet-saints also describes rural women following him and calling out to him. Several poet-saints describe the sensuous nature of Bhikshatana and the love-sick emotions of the women who came to give him alms. However, the references to Shiva seeking alms had reduced to only three or four by the time of Manikkavacakar (9th century AD). The poems of Campantar, Appar, and Cuntarar focus on two forms of Shiva: Nataraja and Bhikshatana. The 7th-century Nayanar saint Campantar mentions that Bhikshatana wanders from door to door asking for alms with the beggar's call "Ladies, give me alms" and places his verses on the lips of women, who become enamoured of Bhikshatana. In a verse, Campantar rhetorically asks why the giver of all things and one who ends all troubles of devotees—Shiva—is wandering begging for food with a disgusting white skull. In another verse a woman comments on his strange appearance and describes how she is frightened by the serpent that wraps around his body when she approaches to give him alms. Another 7th-century Nayanar saint, Appar, talks about the handsome beggar Shiva, seducer of married women. He speaks of women allured by Bhikshatana's speech and his glance. The women tell that the handsome beggar wearing tiger-skin and smeared with ash had come riding a white bull and holding an axe, and used a skull as his begging bowl. Although he begged for alms, he would not accept any from the woman, deeming them "petty". He did however warn the women of deceptions and cunning. Appar adds a strong erotic element in most of his verses, where the women directly desire physical contact with Bhikshatana. A woman in Appar's poetry sings: As he gazed at me my garments slipped, I stood entranced, I brought him alms but nowhere did I see the Cunning One – If I see him again I shall press my body against his body never let him go that wanderer who lives in Ottiyur. The 8th-century saint Cuntarar described Bhikshatana as having matted hair and skin smeared with ash, and wearing bark clothes and a tiger skin around his waist. He added that Bhikshatana would roam begging for food by day and dance at night in front of a fire, in company of his wife and several jackals. In more recent times the poet Papanasam Sivan (1890–1973) composed four songs which describe Bhikshatana. In "Picchaikku Vandiro", Sivan wonders why Shiva roams as beggar and muses that it may be because Parvati is asking for jewels or his son Ganesha is asking for modak (sweets), or perhaps just to show the world that he looks fabulous, even as a mendicant. The "Saundarya Vellantanil" tells of a love-struck maiden describing Bhikshatana's beauty from head to toe and her longing for him. == Citations ==