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Rudra's identification with Shiva was put in writing for the first time in Shvetashvatara Upanishad and later in Yajurveda linked Taittiriya Samhita (S.4.5.1), in the Shata Rudriya section. The Vajasneya samhita (S. 3.63) also co-equals Shiva with Rudra by citing the mantra, “ tam Shiva namasi”, meaning “I bow to you, Shiva”.
Nijaguna Shivayogi was an Indian poet and a prolific writer in the Kannada language. He lived in the 15th century. He lived in the 15th century. He was a follower of the Veerashaiva faith (devotee of the Hindu god Shiva ), which he attempted to reconcile with the Advaita Hinduism of Adi Shankaracharya . [ 1 ]
Shivakotiacharya (also Shivakoti), a writer of the 9th-10th century, is considered the author of didactic Kannada language Jain text Vaddaradhane (lit, "Worship of elders", ca. 900). A prose narrative written in pre-Old-Kannada (Purva Halegannada), Vaddaradhane is considered the earliest extant work in the prose genre in the Kannada language.
The Shiva Sahasranama, which is also found in the Anushasana Parva (13.17) of the Mahabharata. [12] Seven other versions also exist. [16] The Lalita Sahasranama, which is a Shaktist stotra. [17] This Devi-related work is found in the Brahmāṇḍa Purāṇa. [18] The Ganesha Sahasranama, found in the Ganesha Purana. [19] [20]
Somanatha was the protagonist of a 16th-century Kannada purana ("epic religious text") written by the Vijayanagara poet Tontadarya. [10] Sanskrit language. Important among his Sanskrit language writings are the Somanathabhashya, Rudrabhashya, Vrushabhastaka, Basavodharana, Basavashtaka, Basava panchaka, Ashtottara satanama gadya, Panchaprakara ...
The union of Purusha (Shiva) and Prikriti (Shiva's energy, Shakti) generates the universe, an idea also manifested in the union of the Linga of Shiva and Yoni of Devi creating the cosmos. [57] [58] [59] The Mahabharata lauds this form as the source of creation. [46] Ardhanarishvara also suggests the element of Kama or Lust, which leads to ...
The Śiva·sūtras, technically akṣara·samāmnāya, variously called māheśvarāṇi sūtrāṇi, pratyāhāra·sūtrāṇi, varṇa·samāmnāya, etc., refer to a set of fourteen aphorisms devised as an arrangement of the sounds of Sanskrit for the purposes of grammatical exposition as carried out by the grammarian Pāṇini in the Aṣṭādhyāyī.
The chronology of Shvetashvatara Upanishad, like other Upanishads, is uncertain and contested. [6] The chronology is difficult to resolve because all opinions rest on scanty evidence, an analysis of archaism, style and repetitions across texts, driven by assumptions about likely evolution of ideas, and on presumptions about which philosophy might have influenced which other Indian philosophies.