penance and married once again Uma, who had now incarnated

as ParvatI, the beautiful daughter of Himavat (the Himalayas). This is the story of Dakshinamurti. 1 He is always conceived to be a youthful teacher, seated beneath a banyan tree, teach- ing aged pupils and removing their doubts by his very silence.

The general posture of the images of Dakshinamurti show him with his right leg bent vertically at the knee and placed on the body of the dark demon Apasmara 2 and the left leg bent across so as to rest upon the right thigh. He has a calm countenance, indicative of perfect peace within. His matted locks are either dishevelled or are formed into ajataniakuta tied together by a serpent (fig. 54). The body is besmeared with ashes and all the usual ornaments of Siva decorate him) The sages Narada, Jamadagni, Vasishtha and Bhrigu sit at his feet on the right side, receiving instruction, while Bharadvaja, Saunaka, Agastya and Bhargava sit on the left. The bull- vehicle of the god, the denizens of the forest, Kinnaras and other demi-gods are also seen on the Kailasa mountain on which the god is seated. 3 [His right fore-arm points the jnann- mudra (the pose conveying philosophical knowledge) and the back arm holds the rosary (or, the serpent) ; the left fore-arm shows the boon-conferring (varada) attitude or is sometimes freely stretched, the back of the palm resting in either case on the left knee/ Some illustrations show a book in the place of the varada posture. The remaining hand on the left side holds the fire-pot, the deer, the kettle-drum or the rosar^J When Dakshinamurti holds in his fore-arms the lute (vina) and changes the posture of his left leg apparently for keeping the vina

position he is called Vlnadhara-Dakshinamurti 

DAKSHINA- (fig re). / Jnanamurti is another form of the same god in which MURTI ^ JNANAMURTI the symbol jndiia-mudrd of the right fore-arm is raised close and YOGA- to the heart with the palm of the hand turned inwards. The name Yogamurti (or Yoga-Dakshinamurti) is applied when the legs crossing each other from the root of the thigh are held in position by the belt yogapatta, passing round the waist and the

1 Havell, Ideals of Indian Art, p. 83!".

2 The Silpasangraha mentions a serpent playing by the side of Apasmara.

3 The description of Dakshinamurti given in the Tanjore inscriptions is very interesting and instructive. They say that the mountain on which the god is seated " had two peaks on which there were two Kinnaras and two Kinnarls. Under the foot of the god was Musalagan. On the mountain vere four rishis, a snake, two A'arvapravrilas (i.e., devotees of Siva (?) mentioned in htRamayaita, who had ear-lobes with holes big enough to allow their hands to be passed through in the act of worshipping) and a tiger. A banyan tree was also on the mountain and had nine main branches and forty-two minor ones. A wallet was suspended from the tree and a bunch of peacock's feathers was one of the accompaniments of the god " ; S.LI., Vol. II, Introduction, p. 33.