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Deconstructing the Phallic Myth of the Shiva Linga

The Shiva Linga, a revered symbol in Hinduism, is often simplistically interpreted as a representation of the male phallus. This reductive view not only fails to capture the profound spiritual and metaphysical significance of this sacred icon but also perpetuates harmful misconceptions about Hindu theology and iconography. Through a comprehensive examination of textual sources, iconographic evidence, and philosophical perspectives, this article aims to thoroughly debunk the widespread belief that the Shiva Linga is a phallic symbol.

Linguistic and Textual Perspectives

• At the outset, it is crucial to understand the linguistic and etymological basis of the term "linga." In Sanskrit, the word "linga" translates to "sign," "symbol," or "characteristic." It denotes something that points to or signifies a deeper universal reality, rather than being a literal depiction of a physical object (Flood 1996, p. 152). This understanding of the Linga as a symbolic representation, rather than a naturalistic form, is central to its spiritual and metaphysical significance.

• The sacred Hindu texts, such as the Shiva Purana and the Linga Purana, provide further insights into the true nature of the Shiva Linga. In the Shiva Purana, a key text on the worship and philosophy of Shiva, the Linga is explicitly described as not being an "organ of generation" but rather a "symbolic manifestation of the Supreme Lord" (Shiva Purana 1.16.57-58). The text emphasizes that the Linga is a visual aid, a tangible representation of the formless, all-pervasive, and transcendent Shiva.

• Similarly, the Linga Purana, a text dedicated to the worship and understanding of the Shiva Linga, states that the Linga is "the basis of all that is, was and shall be" (Linga Purana 1.2.1). This cosmic, all-encompassing symbolism clearly transcends any reductive gendered interpretation of the Linga.

• Furthermore, the Puranas and other authoritative Hindu texts often describe the Linga as being composed of various materials, such as stone, metal, or even sand and earth (Rao 1914, p. 559). This diversity of materials used in the construction of Lingas undermines the notion that they are solely phallic representations, as the male sexual organ is inherently limited to a specific biological form.

Iconographic Representations

• The visual and iconographic depictions of the Shiva Linga across India also provide compelling evidence against the phallic interpretation. While some Lingas may bear a resemblance to the male sexual organ, the majority of Linga sculptures and carvings deviate significantly from a strictly phallic form (Kramrisch 1946, p. 110).

• Many Lingas are cylindrical or ellipsoid in shape, lacking clear male sexual characteristics. Some are adorned with intricate carvings, floral motifs, or other decorative elements that further distance them from a naturalistic phallic representation (Rao 1914, p. 560). The diversity of Linga forms, ranging from simple geometric shapes to elaborately decorated sculptures, suggests that the Linga is not merely a depiction of the male genitalia.

• Moreover, the Shiva Linga is frequently accompanied by the Yoni, a symbolic representation of the divine feminine principle. This pairing of the Linga and the Yoni is often interpreted as a visual metaphor for the unity of the masculine and feminine aspects of the divine (Michaels 1998, p. 276). The Linga and Yoni are seen as complementary symbols, representing the inseparable nature of the absolute reality, where the masculine and feminine principles are fundamentally intertwined.

• This iconographic pairing challenges the notion of the Linga as a solely phallic symbol, as it suggests a more complex, non-gendered symbolism that encompasses both the masculine and feminine dimensions of the divine.

Philosophical and Metaphysical Interpretations

• The philosophical and metaphysical perspectives on the Shiva Linga provide the most profound insights into its symbolic significance, firmly dispelling the phallic interpretation.

• Hindu philosophers and theologians have long emphasized that the Linga is a representation of Shiva's essential nature, which is beyond physical form and gender. The Linga is seen as a symbol of the formless, eternal, and all-pervasive reality that underlies the manifest universe (Flood 1996, p. 153).

• In the Advaita Vedanta school of Hindu philosophy, the Linga is interpreted as a visual aid to help the devotee contemplate the non-dual nature of the absolute, known as Brahman. The Linga is not an end in itself, but rather a means to transcend the realm of duality and access the unitary ground of being (Sivaramamurti 1976, p. 21).

• The Shiva Linga, in this view, represents the essential formlessness and non-gendered nature of the divine. It points to the ultimate unity and androgyny of the absolute reality, where masculine and feminine principles are ultimately inseparable and indistinguishable (Kakar 1989, p. 77).

• The Linga, therefore, is not a phallic symbol but a symbolic representation of the absolute, the ultimate source and ground of all existence. It is a visual aid that helps the devotee cultivate a profound understanding of the non-dual and genderless nature of the divine.

Iconographic Variations and Regional Differences

• The diversity of Linga forms and their associated iconographic elements across different regions of India further undermines the phallic interpretation. While some Lingas may bear a resemblance to the male sexual organ, this is by no means a universal or defining characteristic of the Linga.

• In certain regional and sectarian traditions, the Linga is often adorned with intricate carvings, floral motifs, or anthropomorphic features that clearly distinguish it from a naturalistic phallic representation (Rao 1914, p. 560). For example, in South India, Lingas are frequently embellished with carved figures of deities, animals, or mythological creatures, highlighting their symbolic and metaphysical significance rather than their physical form.

• Furthermore, the Linga is sometimes depicted in a tripartite form, with the Linga itself representing Shiva, the Yoni representing the divine feminine principle, and the Pitha (pedestal) representing the union of the masculine and feminine energies (Michaels 1998, p. 276). This layered iconography transcends a reductive gendered interpretation, pointing to the non-dual and all-encompassing nature of the divine.

• In certain Tantric traditions, the Linga is associated with the subtle energy centers (chakras) within the human body, further underscoring its symbolic and metaphysical dimensions (Flood 1996, p. 154). This esoteric interpretation of the Linga as a representation of the energetic and spiritual dimensions of the self challenges the simplistic phallic interpretation.

• The Regional variations in Linga iconography and the diverse associated symbolism demonstrate the richness and complexity of this sacred symbol, which cannot be reduced to a mere phallic representation.

Historical and Cultural Context

• The interpretation of the Shiva Linga as a phallic symbol is also heavily influenced by the cultural biases and preconceptions of Western scholars and observers, who have often imposed their own cultural frameworks and assumptions onto Hindu traditions.

• During the colonial era, many British scholars and administrators, steeped in Judeo-Christian worldviews, interpreted Hindu iconography and symbols through the lens of their own cultural norms and sensibilities (Inden 1990, p. 83). The Shiva Linga, with its apparent resemblance to the male genitalia, was consequently viewed as a crude and primitive representation of the divine, reflecting a lack of understanding of the depth and complexity of Hindu theology and symbolism.

• This reductive interpretation of the Linga was further reinforced by the prudish attitudes and sexual repression of the Victorian era, which led to the suppression and demonization of Hindu practices and iconography that were perceived as overtly sexual or phallic in nature (Doniger 1999, p. 55).

• It is important to recognize that the phallic interpretation of the Linga is, to a large extent, a product of this historical and cultural context, rather than a genuine understanding of the Linga's symbolic significance within the Hindu tradition. By acknowledging and addressing these biases, we can more accurately and respectfully engage with the rich symbolic and metaphysical dimensions of the Shiva Linga.

Reconciling the Phallic Myth

• While the evidence presented in this article clearly undermines the phallic interpretation of the Shiva Linga, it is important to acknowledge that this myth has become deeply ingrained in popular perceptions and discourses, both within and outside of the Hindu tradition.

• One approach to reconciling this persistent myth is to recognize that the Linga, as a highly complex and multivalent symbol, can accommodate multiple interpretations and levels of meaning. The apparent phallic resemblance of some Lingas may be acknowledged, but this should be seen as just one aspect of the Linga's rich symbolic significance, rather than the defining or sole characteristic.

• In this light, the phallic interpretation can be viewed as a more elementary or rudimentary understanding of the Linga, which can serve as a starting point for deeper spiritual and metaphysical exploration. The task then becomes one of guiding devotees and observers towards a more nuanced, textually-grounded, and philosophically-informed appreciation of the Linga's true symbolic and theological significance.

• By emphasizing the Linga's representation of the formless, eternal, and androgynous nature of the divine, as well as its role as a visual aid for contemplating the non-dual ground of being, we can help to actively dismantle the phallic myth and foster a more profound understanding of this sacred icon.

Conclusion

• The Shiva Linga, far from being a mere phallic symbol, is a profoundly rich and multifaceted icon that encapsulates the essential nature of the divine. Through an examination of textual sources, iconographic evidence, and philosophical perspectives, we can clearly see that the Linga transcends narrow gendered associations and points to the ultimate unity and formlessness of the absolute reality.

• By recognizing and celebrating the Linga's symbolic complexity, we can not only dispel the phallic myth but also deepen our appreciation for the profound spiritual and metaphysical dimensions of this sacred icon. In doing so, we can foster a more nuanced and respectful understanding of Hindu theology and iconography, free from the biases and preconceptions that have long shaped Western interpretations of this revered symbol.

References:

• Doniger, Wendy. (1999). Splitting the Difference: Gender and Myth in Ancient Greece and India. University of Chicago Press.

• Flood, Gavin. (1996). An Introduction to Hinduism. Cambridge University Press.

• Inden, Ronald. (1990). Imagining India. Blackwell.

• Kakar, Sudhir. (1989). Shamans, Mystics and Doctors: A Psychological Inquiry into India and Its Healing Traditions. University of Chicago Press.

• Kramrisch, Stella. (1946). The Hindu Temple (Vol. 1). University of Calcutta.

• Linga Purana. (n.d.). Translated by a Board of Scholars. Motilal Banarsidass Publishers.

• Michaels, Axel. (1998). Hinduism: Past and Present. Princeton University Press.

• Rao, T.A. Gopinatha. (1914). Elements of Hindu Iconography (Vol. 1, Part 1). Law Printing House.

• Shiva Purana. (n.d.). Translated by a Board of Scholars. Motilal Banarsidass Publishers.

• Sivaramamurti, C. (1976). The Cosmic Dance in Sculpture. Abhinav Publications.

It is NOT EMBEDDED IN YONI, neither it is any organ. ‘Shivling’ is a Sanskrit word which means ‘symbol/ representation of Shiva’ as the word ‘ling’ translates to ‘symbol/ representation’ only. Whereas ‘yoni’ translates to womb/vagina/species and 'shishin’ translates to penis , not 'linga’. People think that it shows union of male and female genitals. But in reality , it shows none of them. Below are the logical proofs-

Proof that it is NOT a male organ- Jyotirlingas are the 12 most sacred and absolutely true Shivalingas because they are not man-made, they are made by Shiva himself. So these Shivalingas are prefect.

The above image is of Kedaarnaath JyotirLINGA . The word ‘linga’ is used , but does it looks like any male organ?

No, because it is NOT a male organ. Carefully observe it , it looks like Mount Kailash ; then also ‘linga’ is used because ‘linga’ just means ‘symbol’ and has no relation with any body part.

This is another naturally formed Shivling named Mahabaleshwar Shivling. Observe again ,it doesn’t looks like any organ , because it is not. This shape of Shivlinga represents the irregular shaped form of Shiva ( Shiva has many forms)

These are the naturally formed Narmada Shivlings. Look at their shape , they are ellipsoid. Male genital doesn’t look like it.

These are the most popular type of Shivlingas.

These kind of Shivlings (Such shaped Shivlings represent infinitely long light pillar shape of Shiva , which Shiva took resolve the arguments between Vishnu and Brahma) can also bee seen in temples and they don not look like any male organ since middle part of Shivling is octagonal and the base is square. Which human organ is octagonal ?

B) Proof that it is NOT embedded in yoni-

The base/ pedestal which uphold the Shivling is mistaken as yoni

Now please scroll up and look at the base of the above mentioned Shivlingas , they all are square shaped . And yoni is not square.

This is Omkareshwar Jyotirlinga , observe the base around it , again it is square shaped.

This is Amarnath Shivling , here there is no base/pedestal, only Shivling.

So this is the proof that Shivling neither show male nor female bodypart.

C) So if Shivling doesn’t shows any bodypart then why it is in such shape?

As I said , Shiva has many forms and one of Shiva’s form looks like this (image below)

This form is only of a point light. This form of Shiva is known as ‘Paramaatmaa’( Supreme-Soul) form. So ancient saints imagined this form as a small light flame. And they made it into stone . Now check the shape of small light flame

Same shape as Shivling.

Such shaped Shivlings are most common Even some of the Jyotirlingas are of similar shape.

D) Then why pedestal is important?

Pedestal/ base is used only for three purposes-

To provide water drainage in one direction , hence keeping the nearby area clean.

To provide stability to the ellipsoid shivling

To keep shivling vertical , because light flame is always vertical. Nothing more than this.

Therefore in Amarnath Shivling it is not there because all the three points are fulfilled by nature itself.

E1) Some more proofs-

Calling Shivling as a symbol of creation by union of male-female is senseless, because these rocks , mountains , oceans etc . cant be made by male-female union. So by being human organs, it can’t symbolise universal creation. And there are organisms which reproduce without mating (male-female union).

E2) Scriptural proof -

Shiv Lingaashtakam is a prayer written specifically for Shivling by Adi Shankaracharya. And if you read it, its last line says-

Sanskrit -’’Paraath Param Paramaatmak Lingam, tat-Parnamaami Sadaa Shivlingam”

Which says that Shivling is representation of Supreme-Soul (Paramatmak) form of Shiva.

Shiv Puran (Gita press Hindi) : Book page number- 41–44; speaks about infinitely long bright light pillar called symbol (linga) of Shiva. And it does not say anything related to human organ

Linga Puran mentions : प्रधानं प्रकृतिर यदाहुर्लिगंउत्तम ।

गंध-वर्ण-रसहिंनं शब्द-स्पर्शादिवर्जितं ॥——-Which translates as the lingam is devoid of colour, taste , hearing or touch. So the linga cannot be any human organ. Just a representation of Supreme soul form of Shiva, which is devoid of all things mentioned in Shloka.

So this proves that true Shivlings do not represent any human organ.

Generally, we complete a pradakshina or circumambulation around an idol in a temple, but in the case of the Shiva lingam, we go around only half the distance and do not complete the circle. The reason for not doing so is purely scientific. The purpose of circumambulation is to receive divine vibrations that flow out of the deity’s image and enter into our body to benefit us as we go around it. However, this is true only of celebrated religious places where regular pujas by enlightened souls and pundits are held in accordance with the tenets laid down in the holy books. In such cases, the divine vibes flow out of idols evenly. This phenomenon cannot be claimed in the case of common or roadside temples where pujas are conducted for the primary aim of making money and not for spiritual gain. Also, in such temples, the idols are not ceremoniously installed by conducting a proper prana pratishtha ritual; therefore, these idols are not vibrant. Ordinarily, divine energy flows out evenly from the relic, but in the case of the Shiva lingam, due to its shape, the energy gushes out forcefully from the outlet of the female part, the yoni, of the idol. To ward off the thrust of this energy, the correct way to circumambulate a Shiva lingam is to go around from the left of the yoni and walk up to the right of it and then return to the left side without crossing the mouth of the yoni. The reason being that one’s genital area is vulnerable to the channelized flow of the energy emanating out of that part of the image. There are several types of vayus or winds in a human body, of which devadatta and dhananjaya are two winds that are related to our reproductive system. The exposure of one’s genital to that force of energy can harm the person crossing the mouth of the yoni, in particular, of male devotees.

Literally, Ganesha means the king of ganas or earthly deities. He is also known as Vighneshwara or the dispeller of all obstacles. Ganesha is regarded as the lord of the earth, just as Vishnu is the lord of Vaikuntha, the abode of Vishnu, and Shiva of Mount Kailash. According to legend, Ganesha was born from the peeled-off waste that his mother, Goddess Parvati, rubbed off from her body one day, before taking her bath. This goes to show that Ganesha is associated with the element of earth. For this reason, priests use a lump of earth in lieu of an image of Ganesha during certain rituals. It is strongly believed that no human effort on earth is successful without the blessings of Lord Ganesha. Hence, he is propitiated before launching any new venture. Another reason to appease Ganesha first is that all human thoughts are expressed in the naad-bhasha or the language of words, but the language of gods, goddess and deities who live in the astral world is prakash-bhasha or the language of light. Ganesha is said to convert the naad-bhasha of human beings into the prakash-bhasha of the Divine so that human thoughts may reach the gods. Hence, he is worshipped first. As the ruler of earth, Ganesha rules over the ten directions called disha. No divine power can descend on earth without his consent. Hence, for any divine force to bless human beings, Lord Ganesha is invoked to allow astral bodies to descend and bless people. It is believed that when Lord Ganesha’s idols are immersed after ten days of puja, he carries away with him all the misfortunes of his devotees. Ganesha has two wives—Riddhi and Siddhi—and two sons—Shubha and Labha. People often write his sons’ names on their accounts books and their coffers.

Hanuman is the incarnation of the tenth rudra or part of Lord Shiva, who is said to have eleven rudras in all. He was born to Kesari, the king of monkeys, and Anjana. As the son of Anjana, Hanuman is also known as Anjaneya. He is god incarnate of might and mind. During the Rama–Ravana Lanka yudh or war, Hanuman assumed his panchamukhi or five-faced form to kill Ahiravana, a powerful demon, a black magician, and possessor of a mysterious weapon, the nagapasha, darts that would secretly inject serpent poison into human body. Ahiravana, the brother of Ravana, had taken Rama and Lakshmana to the netherworld as captives while the two were sleeping at night. The only way to kill Ahiravana was to extinguish the five lamps lit up in five different directions, all at the same instant. To accomplish this almost impossible task, Hanuman assumed a panchamukhi form and blew out the lamps in one go. Rakshasa Ahiravana was killed and thus, Hanuman freed Rama and Lakshmana.

The five faces of Hanuman are that of an eagle, Garuda, facing the west; a boar, Varaha, facing the north; a horse, Hayagriva, facing the sky; a lion, Narasimha, facing the south; and the fifth being the original Hanuman, facing the east. The panchamukhi Hanuman has ten arms holding ten different weapons, including his own celebrated weapon, the gada. This form of Hanuman is worshipped both in south India as well as in north India for protection from a variety of afflictions. The face towards the east is Hanuman’s original form, the kapimukha or monkey face, whose worship removes all blemishes of one’s past deeds and confers purity of mind. Devotion to this face appeases saturn too, and provides protection against its affliction. The west-facing garudamukha drives away evil spells, black magic influences and negative spirits, and also flushes out all poisonous effects from the human body. It protects one from troubles and miseries brought about by one’s spouse. The north-facing varahamukha wards off ill effects caused by the negative influences of planets adversely placed in one’s birth chart and confers all eight types of prosperity—ashta aishwaryas. This mukha also provides relief from sufferings created by the planet Rahu. The south-facing narashimhamukha dispels fear of enemies and bestows victory over every opposition. Besides, it mitigates sufferings caused by the bad effects of Mars, the mangaladosha. The sky-facing Hayagriva or urdhvamukha confers knowledge, victory, a good spouse, and also saves one from the curse of being childless.

One of the most famous pilgrimage centres—the Hanuman Dhara Temple, at Chitrakut, in central India—is said to be the resting place of Lord Hanuman. It is believed that after the coronation of Lord Rama, Hanuman requested him for a place where the burn injuries on his tail could be cured, which he incurred during the Lanka yudh. Rama then shot an arrow into the ground, and a stream of water spurted out from that spot. Rama asked Hanuman to rest there and cool the burning sensation in his tail with the waters. A 40-foot-tall monolithic green granite idol—green stands for wisdom—of panchamukhi Hanuman has been installed in Thiruvallur, in Tamil Nadu, which was known as Rudravarnam in olden days. Hanuman was Surya’s disciple. He had a great command over Sanskrit and his pronunciation was flawless. He is considered as the epitome of wisdom. Generally, it is believed that Hanuman remained a bachelor. However, some devotees in south India believe that Hanuman married Survachala, the daughter of his guru, Surya. This belief, however, is not acknowledged by most devotees. Interestingly, he had a son—not from Survachala—named Makaradhvaja, who fought alongside him when he went to Patalaloka or the netherworld to free Rama and Lakshmana from Ahiravana. After killing the demon Ahiravana, Hanuman coronated Makaradhvaja as the king of Patalaloka.