. Ancient faiths embodied in ancient names; or, An attempt to trace the religious belief, sacred rites, and holy emblems of certain nations . rossignorance and degrading superstition common amongstthe masses who believed, and the prophets andteachers who ^promulgated, stories of Seirim, Lilith,Devils, &c., and to show how foolish it would he fora rational theologian to accept such idle tales as theso-called inspired effusions of the only wise God. LiNGA. This is the name given in Hindostan to the symbolwhich characterises the male creator. If we examinethe signijBication of the word by means o
. Ancient faiths embodied in ancient names; or, An attempt to trace the religious belief, sacred rites, and holy emblems of certain nations . rossignorance and degrading superstition common amongstthe masses who believed, and the prophets andteachers who ^promulgated, stories of Seirim, Lilith,Devils, &c., and to show how foolish it would he fora rational theologian to accept such idle tales as theso-called inspired effusions of the only wise God. LiNGA. This is the name given in Hindostan to the symbolwhich characterises the male creator. If we examinethe signijBication of the word by means of a SanscritLexicon, we lind that it is used as a mark, spot, orsign, the phallus, Siva, nature, or the creative powerand the primary body. Associated with the wordstrl, as in strilinga, it signifies the yoni, i. e., qucefacit arrigere. The means by which the Linga,Siva or Mahadeva are symbolised are obelises, pillarsof any shape, especially pyramids, upright stones,stumps of trees, trees denuded of boughs, any hightrees, especially palm trees, poles, &c. Sometimes itis represented by an union of four human heads, the Figure 221 Linga] whole bearing a cap as in Fig. 13, and by a pillarencircled by a serpent as in Fig. 9. In some instancesSiva is represented as an ordinary man. The fre-quency with which the Linga is associated with thecobra is very great, and evidently symbolises theactive condition of the thing signified. The pillar isoften of a red colour, as this is supposed to signifythe creative power (Moors Hindoo Pantheon, p. 6),equivalent also to Brahma, to the sun, and to fire, butthe colour is not an essential part of the emblem, forin the golden temple at Benares it is pure white. As far as I can learn from a study of MoorsHindoo Pantheon and the accounts of those who havebeen long resident in India, the symbol is regardedwith as great reverence, by men, women, and children,as is the cross in Papal Europe. Before it lampsare lighted in worship, and for it shrines
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