Lost in the ancient sands of the Thar, dotted with the ruins of a great fort that once held the mirror of Rani Padmini, offers an exquisite temple, that is scarcely noticed in this historical wonder. Born into the rich temple fortress of the Mewar dynasty at the seat of Chittor, surrounded by the victory tower on one side and Mahasati (royal cremation ground) on the other, Shiva is presented in mind blowing splendor in the Sammidheshwar temple.
Rajasthan speaks of poetry, and Mewar speaks valor, self respect and death with honor. Mewar, the name, makes one breathe in deep, to just listen to the galloping horse hoofs of Rana Kumbha who dashed down the fort to meet the Mughals at the bottom of the plateau. In the air, one can still listen to the bhajans of Mira Bai as she sang her heart out to Krishna. Mewar also echoes the shrikes of women who burnt themselves in Jauhar. Within these very fort walls, in the exquisitely carved temple of Sammidheshwar lies this form of Adbhutanata Shiva.
Adbhutanath Shiva can be perceived in a few ways. This depiction of a three headed deity was last heard of as Shiva Trimurti at Elephanta where the Vakatakas had sculpted Him out exquisitely early in the 5th century AD. Later He has been profusely sculpted in another varient with the same symbolism as Trimurti embedded within the Nataraja by the Cholas in the 8th cen AD, with the creator, preserver and the destroyer appearing as the Damaru (creation) held in the left hand and the fire bowl (destruction) in the right, on either side of the Lord Nataraja. Trimurthi is the name given to any form of Lord Shiva that displays Vamadeva (feminine, endearing), Isana Shiva and Aghora(fierce) simultaneously but these representations are also numbered. Alternatively he is depicted with Brahma and Vishnu. He appears in the Sammidheshwar temple in the 6th cen A.D as Adbhutanata alias Trimurthi possibly.
Another way to perceive Him is to realize his essence as a epitome of perfection in the temple within which He resides. The outside of the Sammidheshwar temple is laced in marble with exquisite shikharas rising up to the Kalash (pot). As the walls rise high, finely carved with sculpture of Gods, Goddesses and Kanyas, the inside of the temple is a passage opening into a cool, hollow dimly lit room open to the roof rising high up. This is a well lit interior, the walls of which appear strong and solid unlike their delicate appearance on the outside.
Read about the awe inspiring form of the deity on the Next Page
Rajasthan speaks of poetry, and Mewar speaks valor, self respect and death with honor. Mewar, the name, makes one breathe in deep, to just listen to the galloping horse hoofs of Rana Kumbha who dashed down the fort to meet the Mughals at the bottom of the plateau. In the air, one can still listen to the bhajans of Mira Bai as she sang her heart out to Krishna. Mewar also echoes the shrikes of women who burnt themselves in Jauhar. Within these very fort walls, in the exquisitely carved temple of Sammidheshwar lies this form of Adbhutanata Shiva.
Adbhutanath Shiva can be perceived in a few ways. This depiction of a three headed deity was last heard of as Shiva Trimurti at Elephanta where the Vakatakas had sculpted Him out exquisitely early in the 5th century AD. Later He has been profusely sculpted in another varient with the same symbolism as Trimurti embedded within the Nataraja by the Cholas in the 8th cen AD, with the creator, preserver and the destroyer appearing as the Damaru (creation) held in the left hand and the fire bowl (destruction) in the right, on either side of the Lord Nataraja. Trimurthi is the name given to any form of Lord Shiva that displays Vamadeva (feminine, endearing), Isana Shiva and Aghora(fierce) simultaneously but these representations are also numbered. Alternatively he is depicted with Brahma and Vishnu. He appears in the Sammidheshwar temple in the 6th cen A.D as Adbhutanata alias Trimurthi possibly.
Another way to perceive Him is to realize his essence as a epitome of perfection in the temple within which He resides. The outside of the Sammidheshwar temple is laced in marble with exquisite shikharas rising up to the Kalash (pot). As the walls rise high, finely carved with sculpture of Gods, Goddesses and Kanyas, the inside of the temple is a passage opening into a cool, hollow dimly lit room open to the roof rising high up. This is a well lit interior, the walls of which appear strong and solid unlike their delicate appearance on the outside.
Read about the awe inspiring form of the deity on the Next Page
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