In the Hindu tradition, a murti (, ) is a devotional image, such as a statue or icon, of a deity or saint used during puja and/or in other customary forms of actively expressing bhakti or reverence – whether at Hindu temples or shrines. A mūrti is a sacred image or embodiment of a deity and is worshipped for devotional activities. Thus, not all icons of gods and saints are mūrti; for example, purely decorative depictions of divine figures often adorn Hindu temple architecture in intricately carved doorframes, on colourfully painted walls, and ornately sculpted rooftop domes. Different Hindu traditions understand the nature of the murti differently. Some regard it as a symbolic representation or embodiment of the divine, while others hold that, following consecration (prāṇa pratiṣṭhā), god is truly present in the murti and receives worship directly through it.
Murti are also found in some nontheistic Jain traditions, where they serve as symbols of revered mortals inside Jain temples, and are worshiped in murtipujaka rituals.John Cort (2011), Jains in the World, Oxford University Press, , pages 80-85Murtipujakas, Overview of World Religions, University of Cumbria (2009)
A murti is typically made by carving stone, wood working, metal casting or through pottery. Ancient era texts describing their proper proportions, positions and gestures include the Puranas, Agamas, and Samhitas.Klaus Klostermaier (2010), A Survey of Hinduism, State University of New York Press, , pages 264–267 The expressions in a murti vary in diverse Hindu traditions, ranging from ugra () symbolism to express destruction, fear, and violence (Durga, Kali and Chandi/Chamunda) to saumya () symbolism to express joy, knowledge, and harmony (Saraswati, Lakshmi, Parvati and Ganesha). Saumya images are most common in Hindu temples. Other murti forms found in Hinduism include the lingam and shaligram.
A murti is an embodiment of the divine, the ultimate reality or Brahman, to some Hindus. In a religious context, they are found in Hindu temples or homes, where they may be treated as a beloved guest and serve as a participant of puja. On other occasions, they serve as the centre of attention in annual festive processions; these are called utsava murti. The earliest murti are mentioned by Pāṇini in the 4th century BCE. Prior to that, the agnicayana ritual ground seemed to serve as a template for the temple.Subhash Kak, Time, space and structure in ancient India. Conference on Sindhu-Sarasvati Valley Civilization: A Reappraisal, Loyola Marymount University, Los Angeles, February 21 & 22, 2009.
A murti may also be referred to as a vigraha, pratima or simply deity.
Hindu devotees go to the mandirs to take darshan, bringing prepared offerings of naivedya to be blessed at the altar before the deity, and to perform puja and aarti.
Etymology and nomenclature
Meaning of murti Murti is a Sanskrit term for an image or representation of a deity in Hinduism. It can refer to anything with a distinct shape or form, but in a religious context it usually means a sacred image or embodiment of a deity. Religious studies scholar Rita D. Sherma describes a murti as "visual theology" that presents scriptural narratives in a visible form that can be. Anthropologist Gilles Tarabout states that physical images can support mental imagery, prayer and ritual practice.Gilles Tarabout. Theology as History. Divine Images, Imagination, and Rituals in India. Phyllis Granoff, Koichi Shinohara. Images in Asian Religions: Texts and Contexts, University of British Columbia Press, pp.56-84, 2004. <hal-00524452>
Murti literally means any solid body or form with a definite shape or limits produced from material elements. It contrasts with the mind, thought, and immaterial in ancient Indian literature. The term also refers to any embodiment, manifestation, incarnation, personification, appearance, image, idol, or statue of a deity.Monier Monier-Williams, Sanskrit English Dictionary, Oxford University Press, (Reprinted in 2011), page 824
Early uses of the word The earliest mention of the term murti occurs in primary Upanishads composed in the 1st millennium BCE, particularly in verse 3.2 of Aitareya Upanishad, verse 1.13 of Shvetashvatara Upanishad, verse 6.14 of Maitrayaniya Upanishad and verse 1.5 of Prashna Upanishad.G. A. Jacob, A concordance to the principal Upanishads, Harvard University Press, Reprinted Motilal Banarsidass, page 750 For example, the Maitrayaniya Upanishad uses the term to mean a "form, manifestation of time". The section sets out to prove Time exists, acknowledges the difficulty in proving Time exists by Pramana (epistemology in Indian philosophy), then inserts a theory of inductive inference for epistemological proof as follows,
The section includes the concept of Time and non-Time, stating that non-Time existed before the creation of the universe, and time came into existence with the creation of the universe.Paul Deussen (2010 Reprint), Sixty Upanishads of the Veda, Volume 1, Motilal Banarsidass, , pages 355–358 Non-time is indivisible, time is divisible, and the Maitri Upanishad then asserts that the "year is the mūrti of time".Diana L. Eck (1986), Darshan of the Image, India International Centre Quarterly, Vol. 13, No. 1, Images (March 1986), pages 43–53 Robert Hume translates the discussion of "mūrti of time", in verse 6.14 of the Maitri Upanishad, as "form".Robert E Hume, The Thirteen Principal Upanishads, Oxford University Press, page 434;Sanskrit: कालात्स्रवन्ति भूतानि कालाद्वृद्धिं प्रयान्ति च । काले चास्तं नियच्छन्ति कालो मूर्तिरमूर्तिमान् ॥ ॥ १४॥, Source: Archive, Archive2 Wikisource
Murti in the Vedic period Western scholarship on Hinduism emphasizes that there was neither murti nor temples nor idol-facilitated worship in the Vedic era.Noel Salmond (2004), Hindu Iconoclasts, Wilfrid Laurier University Press, , pages 15–17 The Vedic Hinduism rituals were directed at nature and abstract deities called during yajna with hymns. However, there isn't a universal consensus, with scholars such as AC Das, pointing to the word Mūradeva in Rig Veda verses 7.104.24, 10.87.2 and 10.87.14. This word may refer to "Deva who is fixed" or "Deva who is foolish".
The former interpretation, if accurate, may imply that there were communities in the Vedic era who had Deva in the form of murti, and the context of these hymns suggests that the term could be referring to practices of the tribal communities outside of the Vedic fold.
Early evidence for murtis One of the earliest firm textual evidence of Deva images, in the sense of murti, is found in Jivikarthe Capanye by the Sanskrit grammarian Pāṇini who lived about 4th-century BCE. He mentions Acala and Cala, with former referring to images in a shrine, and the latter meaning images that were carried from place to place. Panini also mentions Devalaka, meaning custodians of images of worship who show the images but do not sell them, as well as Jivika as people whose source of livelihood was the gifts they received from devotees. In ancient Sanskrit texts that follow Panini's work, numerous references are found to divine images with terms such as Devagrha, Devagara, Devakula, Devayatana and others.Noel Salmond (2004), Hindu Iconoclasts, Wilfrid Laurier University Press, , pages 18–20 These texts, states Noel Salmond, strongly suggest that temples and murti were in existence in ancient India by about 4th century BCE.
Recent archaeological evidence confirms that the knowledge and art of sculpture was established in India by the Maurya Empire period (~3rd century BCE).
Other terms for murtis By the early 1st millennium BCE, the term murti meant cult image, both painted images or statues, in various Indian texts such as Bhavishya Purana verse 132.5.7, Brihat Samhita 1.8.29, and inscriptions in different parts of India. The term murti has been a more generic term referring to an image or statue of anyone, either a deity, of any human being, animal or any art.John Cort (2011), Jains in the World, Oxford University Press, , pages 250–251 Pratima includes murti as well as painting of any non-anthropomorphic object. In contrast, Bera or Bimba meant only "image of god", and Vigraha was synonymous with Bimba.PK Acharya, An Encyclopedia of Hindu Architecture, Oxford University Press, page 426
Forms and meanings of murtis Some scholarly and religious texts distinguish murti from related Sanskrit terms like pratima, which may refer to an image or sculpted likeness used as an aid to worship. Some philosophical traditions view physical images as symbols or teaching aids that help worshippers focus on a formless divine reality beyond the image itself. In some philosophical interpretations, a murti is a symbolic or educational tool that help worshipers focus on a formless divine reality beyond the image itself. In active temple rituals, however, a murti serves as a direct support for inviting and interacting with the divine presence, a practice specifically known as murti-puja.
Some interpretations of Hindu scriptures like the Bhagavad Gita, distinguish between avyakta-murti, the unmanifest divine presence, and vyakta-murti, the visible form of the divine. In addition to this, in some Hindu philosophical traditions, divine reality is understood as nirguna, without form or attributes, or saguna, with form and qualities. In some traditions, murtis are understood as physical representations of ultimate reality that support worshippers in their spiritual practice.
Although murti is often associated with human-shaped statues, Hindu worship includes both human-shaped figures,which are known as iconic forms as well as objects without human or animal form, which are known as aniconic forms. In some shrines and temples, objects without human or animal form serve as the main physical focus (ālambana) for the divine presence. These include sacred salagrama stones, swords, tridents, trees, metal mirrors and earthen mounds.
Types
A murti in contemporary usage is any image or statue. It may be found inside or outside a temple or home, installed to be moved with a festive procession (utsava murti),James Lochtefeld (2002), The Illustrated Encyclopedia of Hinduism: A-M, The Rosen Publishing Group, , page 726 or just be a landmark. It is a significant part of Hindu iconography, and is implemented in many ways. Two major categories include:
Ferocious forms: Raudra or ugra are images that were meant to terrify, induce fear. These typically have wide, circular eyes, carry weapons, have skulls and bones as adornment. These idols were worshipped by soldiers before going to war, or by people in times of distress or errors. Raudra deity temples were not set up inside villages or towns, but invariably outside and in remote areas of a kingdom.Gopinath Rao, Elements of Hindu Iconography Madras, Cornell University Archives, pages 17–39 Some murtis portray the divine in fierce forms described as ghora or ugra. These include Krishna’s all-devouring cosmic form in the Bhagavad Gita and fierce forms of goddesses. Murtis like these have been interpreted as representing divine power overcoming evil, protecting devotees, and restoring order (dharma). Peaceful forms: Other murtis represent benign, gentle, and peaceful divine aspects. These forms are associated with compassion, grace and love and may provide a focus for prayer, devotional worship and contemplation. Shanta and saumya are images that were pacific, peaceful and expressive of love, compassion, kindness and other virtues in Hindu pantheon. These images would carry symbolic icons of peace, knowledge, music, wealth, flowers, sensuality among other things. In ancient India, these temples were predominant inside villages and towns.