21. NANDIKEŚVARA IN INDIAN ART, THOUGHT AND LITERATURE ________________________________________ 21.1. Nandikeśvarā's birth The story of Nandikeśvara as told in the liṅga-purāṇa is not only interesting but also important from the point of view of Indian thought. The story is as follows. Once Indra advised the saint Śilāsani to do penance towards Śiva and seek a boon, which would bestow on him a child - Ayonija (not born of any womb), since even Brahma (Hiraṇyagarbha) born of the golden womb met with death.
The story goes that Śilāsani did severe penance to gain the. grace of Śiva. As times passed his body was covered with anthill. Soon only his skeleton remained, the flesh was completely eaten up by worms and insects. Pleased with the severe penance of Śilāsani, Śiva appeared before him and granted him a child, as per his request. Śiva himself agreed to be born as his child, Ayonija. Śilāsani very pleased with this great boon and went to the sacrificial place, where the child was born like a Kāla Surya. The child had Jatāmakuṭa, three eyes and four hands in which it held śūla, taṅka, gadā and vajra. He also had vajra-kuṇḍalās. The sages and others praised the new born child. Brahmā, Viṣṇu, Rudra, the Dikplās and other gods and goddesses like Lakṣmi, Devi, Sarasvati, Jyeṣṭha, Aditi, Diti and others took the child and fondled him. Śilāsani named him Nandi since he gave him delight (Nandana). When Śilāsani came to his hut with the child, the divine nature of the child vanished. It became an ordinary child with two gave hands, and forgot all its divine powers. Śilada greatly disappointed, however taught him all the sciences, such as the Vedas, Ayurveda, Dhanur-veda, Gandharva-veda, Aśva-veda and Gajasastra. Two ṛṣī kumāras, named Mitra and Varunṇa came to the Āśrama and seeing the boy Nandi, told his father that within a year the boy would die. Śilada was overtaken with grief. Nandi then worshiped Mahādēva on the banks of a Sarit. Pleased with the worship of Nandin, Śiva appeared before him, took him in his arms and relieved him from ageing and death and conferred the power of Gaṇeśa, the leader of his gaṇas, and made him remain always by his side. Śiva took a garland of flowers he was wearing and tied it around the head of Nandi. Nandi got the third eye, ten arms and a divine form like that of Śaṅkarā. The water from the jaṭa of Śiva fell on him and took the form of a river. Lord Śiva took the name jaṭodaka as it fell from his Jata. Śiva gave the boy to Pārvati and told her that henceforth Nandiśa was their son. She took him in her hand and embraced him. Three joyous tears fell on his head, hands and body as if anointing him. The three tears transformed themselves into a river of three streams and hence were called Trisrotas. On seeing the Trisrotas, the Vṛṣabha of Śiva gave a yell of joy, which became a rivulet and came to be called Vṛṣadhvani. Then Śiva decorated the boy with golden jewels. Śiva himself crowned him with a crown made by Visvakarma. Sūrya sent clouds and rained over the young boy and as it fell through the golden jewels, it came to be called Svarnodaka and the water that came through the golden crown came to be called Jambunadi. These five rivers thus came to be known as Pañcanāda. 21.2. Nandikeśvara, Cōḻā Period, 12th Century Lord Śiva with the consent of Goddess Pārvati ordered the coronation of Nandīśa as the lord of all the world and leader of the gaṇas, (sarva lokādhipati and Gaṇeśa). The Rudra-gaṇas were directed to do the necessary preparation for the coronation ceremony, lord Brahma himself anointed him followed by Viṣṇu, Indra and other Lokapālas. Nandikeśvara was then married to Suyasā, the daughter of Marut. Lord Śiva with Pārvati, Nandi and his relatives departed. Śiva taught Nandi the Pasupata Jñāna which in turn was imparted by Nandi to the Ṛṣīs. From then on Nandi assumed the most important position in the Śaiva hagiology. A few points of interest in this legend are as follows. Nandi is described as the son of sage Śilada and went by the name Śailada. The liṅga-purāṇa states that Śiva himself was born as Nandi, the son of Śilada, as an avatara. The never born Śiva is born as the son of Śilāda, as an ayonija. The legend interestingly omits all reference to Silada’s wife. When the boy was born at the place of Yajña, it had four arms three eyes and a divine countenance, but when it was brought to the hut it became a mortal child. Śilada taught his son all branches of knowledge. Both in the life of Śilada and that of Nandi great event is mentioned except that both worshipped Śiva. It seems to us, that Nandikeśvara was a historic person, a sage of the Śālaṅkayana family, a great Śivabhakta and an exponent of Śaiva faith. Soon he came to occupy such an exalted position, that the myths began to grow around his personality and that he came to be regarded as the incarnation of Śiva himself. Later, Nandi is seen not only as the exponent of Śaiva faith but also as the giver of all branches of knowledge. 21.3. Nāṭyāchārya Nandikeśvara is held identical with the sage Taṇḍu, who was responsible for teaching Tāṇḍavā to Bharata. The Nāṭya Śāstra states that Śiva asked Nandi to teach the prayogas of aṅgāhāras - the use of movements of limbs to saint Bharata. There seems to have been variant readings for verse 17, even at the time of Abhinavagupta (the celebrated commentator of Nāṭya Śāstra), who says that in all readings, the word ‘Taṇḍu’ is correct as it recalls the connotation ‘Tāṇḍava’. Abhinavagupta further states that Taṇḍu and Nandi are identical. Also, Muni and Bharata are identical (N.S. Pt.I. P.236). Thus, the 108 dance Karaṇās were taught by Nandi / Taṇḍu. Nandikeśvara who emerges as the greatest exponent of Bharata’s Nāṭya. Since this is found in the Nāṭya Śāstra itself, Nandikeśvara should be earlier than the current era.
Sāraṅgadeva in his Saṅgītaratnākarā records the same tradition and states that Taṇḍu was the foremost among Śiva’s gaṇas, Gaṇāgrani. Jaya, the author of Nṛtta-ratnāvali who flourished in 13th cent refers to Taṇḍu as the exponent of Tāṇḍava and that Bharata learnt the same from him. In a number of places, Jaya calls him “Bhaṭṭa Taṇḍu. The prefix Bhaṭṭa points to a historical figure and this is further strengthened by his being mentioned with and quoted frequently together with “Kīrtidhāra”. The Tamiḻ version of Abhinayadarpaṇa holds that Tāṇḍava was first taught by Śiva to Brahma from whom Taṇḍu learnt it and in turn passed it on to Bharata. 21.4. Nandikeśvara as a dancer The most striking example of Nandikeśvara as a dancer comes from the Kailāsanātha temple of Kāñchipuram, circa 700 C.E at the back of the main temple, is Śiva portrayed in ūrdhva-tāṇḍava pose. Śiva’s lifted leg pointing up goes beyond the jatāmakuṭa, and indicates that what the lord dances is a vigorous Tāṇḍava. To his left is shown Nandi with a human body and a bulls head. His legs are bent in delightful swastika pose. The right arm is thrown across in karīhasta pose, the left arm is in abhaya pose. To the right of Śiva is a gaṇa, also dancing. To the right is Brahma and the left is Viṣṇu adoning the Tāṇḍava. Behind them are sages. According to all accounts, the Tāṇḍava form of dance was taught by Śiva to Taṇḍu, who imparted it to Bharata, whereas the lasya form of nṛtta was taught by Pārvati to Uṣā, the daughter of Bāṇāsura. Śiva’s dance here is the ūrdhva-tāṇḍava, the vigourous form, which Nandisa/Taṇḍu learnt. That Nandīśvara, is shown with the bull’s head confirms the tradition that Nandi and Taṇḍu are held identical as early as 700 CE. Abhinavagupta assigned to 10th cent. C.E as mentioned earlier, holds Taṇḍu is another name of Nandi. The treatise ‘Abhinayadarpaṇa’ which is followed now by most of the Tamiḻ Bharata Nāṭya exponents is ascribed to Nandikeśvara. That work is fairly an early text has been accepted by Scholars. In the same Kailāsanātha temple, there is another panel portraying the ūrdhva-tāṇḍava pose of Śiva. To Śiva’s left is Pārvati witnessing the dance and to his right is a divine figure in human form playing on Kudamuḻa. Obviously, this human figure is Nandikeśvara. There is another panel also form of the same temple, where the sage Taṇḍu is learning dance from Śiva, Taṇḍu is shown dancing and Śiva playing on vīnā. Taṇḍu, in this panel appears with jatābandha, with human head and body, Within the same period and in the same temple, the tradition of portraying Taṇḍu/Nandi, with either bovine or human head was thus in vogue. There are three sculptures of great interest all, in the Dharmaraja Ratha at Māmallapuram. One is identified by C. Śivaramamurti and also K.R. Srinivasan, as Śiva teaching dance to Taṇḍu. It is convincing as Śiva stands with one of his arm holding cin-mudra, and watching Taṇḍu, learning dance certainly indicates, Śiva as Nāṭyāchārya. Taṇḍu in human form, human face, and jaṭābandha is shown with his left pāda raised in añcita, undoubtedly a dance pose. It is a fine representation indeed. Another sculpture of Śiva, leaning on a human figure standing nearby, is identified with Candeśa by KRS which Śivaramamurti suggests that the panel might represent teaching principles of Nāṭya to Bharata. The suggestion of K.R. Srinivasan is more convincing for two reasons. First, there is no suggestion of dance in the sculpture and the second, more important, according to all treatises it was Nandikeśvara who taught Nāṭya to Bharata directly. Srinivasan points out that a piece of cloth falling on the left shoulder of Śiva, might suggest Śiva tieing a paṭṭa around the head of Candeśa to signal his appointment as Gaṇeśa. Nandikeśvara, as a dancer, is also illustrated in bronzes. In one of the most fascinating bronze of Śiva as Nṛtteśvara, assignable to the 10th cent. C.E and coming from Bengal, now in the Amṛtagaṭeśvara temple, Mēlakkaṭambūr, Tamiḻnāṭu shows the lord dancing on the back of the bull. Many figures are shown dancing on the pedestal. One is certainly Nandikeśvara with his bovine head, dancing (CS.Nat. F.180-181 P.302-303). This bronze coming from Bengal, would indicate that Nandikeśvara as an exponent of dance was an all Indian concept, and certainly earlier than 10th cent. C.E. Nandīsa is seen in a painting at Tiruvalañcuḻi in Śiva’s dance; Viṣṇu plays on mṛdanga and Brahma cymbals. At the back is shown a four armed figure, with human face, playing on Kudamuḻā the Pañcamukha-vādya. In another panel portraying Śiva, dance, Bhṛngi is shown dancing and behind him is Nandiśvara. Following Nandīśa, are Viṣṇu, Brahma, and Indra. Nandīśa here is shown with the bull’s head and four arms. The rear arms carry parasu and mṛga. The lower right is in suci and the left carries what looks like a stick. That Nandīśa in this panel is given precendence over, Viṣṇu, Brahma, Indra and other god’s deserve notice. That he has the human body and bull’s head in 17th cent. painting is to be studied in association with modern Adhikāranandi Vāhana - shown with human body and bull’s head. In the same painting in one panel, the drummer of a muraja is shown with human head. In Kerala paintings of the same age, figuring Naṭarājā, three different persons are shown playing on Kudamuḻā. In one is shown Viṣṇu, playing on the drum shown with his emblems Śaṅkha and Cakra. In another, the drummer is shown with human face, and four arms. Śivaramamurti identifies the figure with Vaiśravana. The third shows, Nandīśa with bull’s head and human body playing on the drum. In most of the sculptures, portraying lord Śiva as a dancer, a divine figure with human face and body is shown playing on mṛdaṅga. Such representations are seen in sculptures coming from all parts of India. In some, the musical instrument is either a drum or a mṛdaṅga. In all these instances, the portrayal of Nandīśa as at Ellora, Badami, Paṭṭadakkal, Aihole, Elephanta, and other places, speaks of his role in dance. Śiva himself is a great exponent of musical instrument mṛdaṅga - Two early illustrations, one from Kaḻugumalai and the other from Kailśa, Ellora. Both assignable to 8th century and great pieces of art, show, that not only Tāṇḍavā, but also vādya, was given to the world by Śiva through Nandīśa, the later being himself an incarnation. Nandīśa playing on mṛdaṅga, as Śiva dances is popular also in Nepal. Nandīśa in these instances is shown with the head of a bull and human body. A point of interest is that around the dancing Śiva, a number of figures with human body and animal heads are shown and among them a good number are shown probably representing Bhairavas with bull’s head. Nandīśa, as an instrumentalist was also popular in the fareast. Even as Nandi plays on the drum, he dances in ecstacy as may be seen from a number of illustrations both in strone and other media. In some of the Cōḻā bronzes of Naṭarājā, Nandīśa is shown playing on Kudamuḻā. Occasionally he also appears with beard, emphasising that he is a human sage. Nandīśvara is an adept in the drum, has all the three varietes the aṅkya, and the ūrdhva before him. Ratnākara in Haravijaya gives Nandīśa extraordinary skill in playing on mṛdaṅga. (C.S.P.77) The Mahābhārata states that Śiva imparted 64 arts to sage Nandi on the banks of Sarasvati. Nandīśa’s important role is pointed out in Nāṭya Śāstra as well. Describing Piṇḍibandhas, Nāṭya Śāstra mentions Pattasa as the Piṇḍibandha of Nandi. The mode of expressing time, space, body etc. either separately or together is called Piṇḍibandha. For example, lord Iśvara (Śiva) is suggested in dance by liṅga; for Nandikeśvara, the Piṇḍibandha is Pattasa. Commenting on this, Abhinavagupta states Nandi is the most important personality and hence, Nandīsa’s Piṇḍibandha is listed. Pattasa is a weapon with both its sides of resembling trident, says Abhinavagupta. In some of the representation of Dvārapālas, Nandikeśvara is shown with this weapon, which is also called vajra in some texts. Abhinavagupta also refers to the school of Nandi as Nandimata (P.405). 21.5. Nandi as Hanuman The most outstanding character in the Rāmāyaṇa epic, is Hanuman, a great hero, the perfect ambassador, the master of language and literature, the giver of hopes, the wisest councilor, and above all, the symbol of devotion, service and sacrifice. According to Vanmiki Rāmāyaṇa, Hanuman is none other than Nandikeśvara the attendent of Śiva. The very destruction of Rāvaṇa is attributed to Nandikeśvara, Rāvaṇa is said to have gone to Kailāśa once where he was stopped at the gate by Nandikeśvara. Rāvaṇa ridiculed his face and said that it resembled that of a monkey. Insulted thus by the Rākṣasa, Nandikeśvara cursed him. “There will be born in the world, a race of monkeys having my look and also my strength in order to kill you and your whole family”. When Hanuman was caught and brought to the court by Indrajit, Rāvaṇa exclaimed whether the same Nandikeśvara, whom he ridiculed at Kailāśa has come in the garb of a monkey to wreak vengeance. Rāvaṇa remembered this curse when he was thoroughly beaten by Rāmā in the battle field. Hanuman destroyed the Caitya Prāsāda at the Aśokavana and killed Rāvaṇa’s son Akṣakumāra, with several thousand Rākṣasās. These references in Vālmiki’s work show that even by the time the epic was composed, the importance of Nandikeśvara as Śiva’s attendent was recognised. Hanuman owes all his greatness of Nandikeśvara. In the later p eriod there are two interesting aspects of Hanuman that deserve special attention. Rāma is conceived as Para Brahman and it is through Hanuman, that the Para Brahma Tattva is taught to the world. Hanuman is said to carry the palm leaf manuscript, reading the text and Rāma himself expounding the truth to the sages. It is a parallel of lord Śiva imparting knowledge to the sages through Nandikeśvara, As recorded in several Āgamic and puraṇic, works, aspect of Hanuman reading manuscript is portrayed sculpture and in paintings. Such illustrations occur from 16th - 17th century in the South. The second aspect that deserve notice is Hanuman as a great exponent of music. He is shown in art sometimes carrying a vīna. There is a separate school, known as Hanumat mata in Music.
21.6. Nandikeśvara as a teacher of Kāmaśastra Vatsyāyana’s Kāmasūtra ascribes Dharma to Manu, Artha to Brahaspati and Kāma to Nandi. Obviously, Nandin is considered the originator of the science of Kāma, like Manu, the author of Dharma. The Ratirahasya of Kokkoka dated earlier than 1200, employs elaborate metres, and claims to have used the work of Nandikeśvara. This would also show that Nandi was a great exponent of Kāmaśāstra. A doubt may arise whether this Nandikeśvara is identical with Nandi of Śaiva faith. As mentioned earlier, tradition lists the originators like Manu as the authorities and as such it is not unlikely that the two are identical.
21.7. Tamiḻ Purāṇās dedicated to Nandi Most of the Sthalapurāṇās, in Tamiḻ, include a special dedication to Nandikeśvara. The Tiruvārur purāṇam by maṟai jnanasambanda, has a separate stanza for Nandikeśvara. In this work, Nandikeśvara is given precedance over Candeśvara. The work is assigned to the 16th cent. C.E. An 18th century work Tiruk-kuṟṟāla Stalapurāṇa, by the famous poet, Trikūṭarāsappa Kavirāyar, has a benedictory verse, which also precedes a verse on Candeśa. It gives the iconography of Nandīśvara, four aṟṟis, mṛga, parasu and a bamboo stick, jatāmakuṭa, three eyes, tiger’s skin on body etc. and resembling Śiva in every aspect. A point of interest is that his head is said to represent a bull. In another verse it is said that Śiva imparted the highest knowledge to Nandikesvara on Kailāsa, which he transmitted to Sanatkumāra and from him Vyāsa learnt the same (P.10. verse 10). Another great writer Kacciyappa Śivāccāryar, who lived in the later half of 18th cent. composed a poem on Porur Sthala - near Coimbatore. He sings the praises of Nandikeśvara as the one with Vetra (stick). According to this work, Śivajñānabodha was was composed by Nandikeśvara and translated into Tamiḻ. The tiru-viḷaiyādar-purāṇam by Parañjyōti has a verse on Nandi, but the earlier work, tiru-alavāy-uṭaiyār-purāṇam by Perum-baṟṟap-puliyūr Nanti has no benedictory verse on Nandi.
Sēkkiḻār in his Periya purāṇam gives interesting details about Nandi. Sēkkiḻār was a minister to the Chola ruler Kulōttuṅga II, who had the title Anapāya. The king is identical with Kulōttuṅga II who ruled in the middle of 12th cent. The Tamiḻ work dealing with the lives of 63 Śaivite saints is one of the most outstanding work among the Purāṇā works in Tamiḻ. Unlike other Tamiḻ Purāṇās, which say that they are translation of Sanskrit works, Sēkkiḻār does not state that it is a transiation but states it follows the traditions of Sundarar’s Tirut-toṇḍat-tokai and Nambiandar nambi. While describing the greatness of Kailāya mountain in the 2nd sarga Sēkkiḻār states that
Nandi is the Koil nāyaka of Lord Śiva in the mountain. Brahma, Viṣṇu, Indira and countless Devas approach Lord Śiva with devotion in Kailāya. They wait at the gate or Śiva’s residence which is beautified by a resplendent gopura and there stands Nandi, the Nāyaka of Śiva. Brahmā, Viṣṇu and other gods can enter the abode of Śiva only after obtaining permission from Nandi. This would show that the tradition of Nandikesvara guarding the outer gopura of Śaivite temple is well established before Sēkkiḻār. It is to be noted that in the Chidambaram temple Nandikeśvara is seen in all the four outer gopuras that were built in 12th cent., when Sēkkiḻār’s Periya-purāṇam was written. There are many devotees of Śiva who almost attain Śiva Swarupa, the form of Śiva. They have attained the stage of Śiva Gana by the grace of Śiva, Nandikeśvara became the leader nayaka of all such Śiva gaṇas and is the Ganānāyaka. Sēkkiḻār also states that Nandikeśvara holds his hands the dagger and vetra (kol). At another place Sēkkiḻār refers to Tiruvaiyāru as the sacred kṣetra where Nandikesware obtained the grace of Lord Śiva. The term Tiruvaiyāru means the sacred five rivers; the village is called Aiyāru, the place of five rivers. It is also called Pañcānadam in Sanskrit. It is known that the name Pañcānada is associated with the history of Nandikešvara Sēkkiḻār’s reference indicates that this legend was associated with the village of Tiruvaiyāru even from very early times. Another point of interest is that Nandi is called Naṅgal nādan, i.e., our leader, by Upamanyu muni in this text. Upamanyu by his tapas became a Śivagaṇa; he recognises Nandi as the leader of Śivagaṇas. Tirukkurrāla Talapurāṇam, in Tamiḻ on the sports of the lord Śiva of Tirukkuralam in Tirunelveli District is by the famous poet Trikutarasappa kavirayar who lived in the beginning of 18th C.E.. (1725 C.E.). He is the celebrated author of Kurralak Kuravañci, the famous Kuravanci dance-drama. In this Talapurāṇam the poet pays obeisance to Nandideva, immediately after invoking the blessings of Śiva in his various forms, at the beginning of the work.
Meenakshisundaram pillai, the celebrated teacher of Dr.U.V. Swaminatha Iyer was an eminent poet. He has composed many Tamiḻ works of great merit. Among them the sthala purāṇa on the presiding deity of Nāgappaṭṭinam, written in the year 1869 C.E, is considered his best creation. In this work, he has also obeisance to Nandideva at the beginning, immediately after saluting Lord Śiva in his various forms. He states that in the Śaivite tradition Nandi is considered the second Śiva (i.e., incarnation of Śiva). Nandi is also praised as the originator of the line of Guru i.e. (first Guru) of the Tiruvāṭuturai Ādhinam. Nandi is said to have swallowed weapons like vajra, gada and sudarsana (wielded by opponents) and wielded the vetra stick. (Verse 16). The text called nāgai-tala-purāṇa consists of 61 chapters. It is said that the author learnt the original purāṇa of this patala, which was in Sanskrit, from one Mahadeva Śāstri and got it through him written in prose form. Basing his version on this prose he composed this text in verses. It is also said that his admirers wanted him to enlarge the original text with suitable and difficult poetic compositions. Obviously, the present text has two layers one based on the original Sanskrit version, and the other enlarged by the poet himself. A point of interest is that from the 6th chapter to the 21st chapter, the author makes it a special point to mention Nandideva in the first verse of every chapter. He states that Sanatkumara learnt it from Nandideva. The 6th chapter in which he starts this tradition is captioned Ādipurāṇa. It is possible that the original Sanskrit text mentions this fact that the legends were taught by Nandi to Sanatkumara in every verse and probably the 6th to 21st chapters constituted the Sanskrit text. The 21st chapter is interesting as it gives a legend connected with Nandi. Once the sage Durvasas entered the antahpura, at Kailāsa where Śiva was in the company of Pārvati in loneliness. Nandi, Mākāla and gaurdians of other quarters did not prevent the sage from such entry. When the sage left the hill, Śiva cursed Nandi and others to be born in the world, for their failure. When they pleaded forgiveness the lord directed them to be born in Nāgappaṭṭinam and worship the lord of Karōṇam after taking bath in the sacred pond, which came to be known as Nandi tirtha. After performing worship at the Karonam temple, Nandi and others went back to their original abode. 21.8. Nandikeśvara - as a philosopher The most widely followed system of Saiva faith in Tamiḻnāṭu and known as Śaiva siddhanta is based on the Tamiḻ text “Śiva-jñāna-bodham” by Meykaṇṭar, who lived in the 13th cent. This text consists of 12 sūtras and was enlarged by Meykaṇṭar’s disciple, Aruḷnandi Śivācārya in his text Śiva-jñāna-siddhi. Another prolific writer of this school was Umapati Śivam, who lived in the 14th cent. The three great maṭhas in Tamiḻnāṭu, Tiru-vaṭu-turai, Dharmapuram, and Tirup-panantāl are the followers of this school. Meykaṇṭar’s school and is considered the Tamiḻ school excellence, which traces its origin to Nandikeśvara. According to the Tamiḻ work Śiva-jñāna-bodham is held by the great commentator Śivāgrayōgi as a translation of as the Sanskrit work of the same name found in the chapter Paśavimocana patalam, of Rauravāgama. In his introduction, Śivagrayogi states, that Nandikeśvara requested Śrikaṇṭa-parameśvara, to teach the Śaiva system. Pleased at the quest of Nandi Śrikanta-parameśvara (who is identical with Dakṣināmūrti) placed his hand on the head of Nandikeśvara and told him that this knowledge was taught to him by Ānanteśwara and it consisted of twelve sūtras s in anuṣtup chandas, beginning with sūtra, stri pum napumskāditvāt and that he was so pleased to teach the same to Nandi. Nandikeśvara thus received Śiva-jñāna-bodham; his disciple Aruḷnandi, composed his magnum opus, Śiva-jñāna-siddhi which to this day is the most outstanding exposition of Śiva-jñāna-bodham school, in Tamiḻ language. Śivāgrayōgi is said to have lived in 1564 C.E. A certain Sadaśiva Śivāccārya who lived in 1510 has written a brief commentary on the Sanskrit Śiva-jñāna-bodha sūtras. Thus, the tradition that Śiva-jñāna-bodham school - the fundamental base of present day Tamiḻ Śaivism is held to have been taught by Nandikeśvara. There are some scholars who consider that Meykaṇṭar’s work in Tamiḻ is not a translation from Sanskrit text but is original. Whatever the case may be, it is indisputable that the present Tamiḻ Śaivism belongs to the Nandikeśvara Santana. From the commentary of Śivāgrayōgi it is seen that the two followers of Nandikeśvara school, Satya-jñāna-darsi and Paramjyoti in all likelihood lived in northern India and that the later came down south and taught the Suddha-dvaita-Śaiva siddhanta school to Meykaṇṭar. All the later works of the Meykaṇṭar school clearly state that they are the followers of the Nandi school. An imprecatory verse of an old Tamiḻ commentary on Tamiḻ Śiva-jñāna-bodham the date of which is not known, states that Meykaṇṭar expounded the Tamiḻ Śiva-jñāna-bodham taught by Nandikeśvara to Munigaṇa. 21.9. Tirumandiram A work of great merit in Tamiḻ’s is the Tirumandiram written by Tirumūlar. According to tradition he came to south from Kedara via Vāranāsi and entered into the body of a cow. Mūlaṉ composed this work consisting of three thousand verses. Tirumūlar is mentioned by saint Sundaramūrti who lived in the 8th century. In all probability Mūlar lived in 6-7th cent., and was a contemporary of the two great Śaiva saints Appar and Sambandar. He says in many of his verses that he was a follower of Nandikeśvara. He records that Nandi learned Suddha Saiva system also called śiva-dhanma from Śiva. The Tirumandiram is based on nine Āgamas viz. Karaṇam, Kāmikam, Vīram, Chintam, Vātulam, Yāmaḷam, Kālottaram, Suprabhedam and Makuṭam. The work also says that this Suddha Saiva school is the culmination of Vedanta Siddhanta, thereby meaning that it is the vedic school. Tirumular giving his geneology states that Nandikeśvara had 8 disciples, Sanaka, Sanatkumāra, Sanandana, Sanatsujāta, Patañjali, Vyāgrapada and Mūlar. This system is slightly at variance with the Saiva siddhanta system according to some scholars. However, this is one of the greatest school and a very early school greatly respected by all the Śaivas and it is interesting to see that the schools also originated from Nandikeśvara. The study of the life of Tirumūlar seems to suggest that his life is akin to that of Gorakṣnatha of Northern tradition. Mūla himself assumed the title Nātha and his disciples were also given the title Nātha. In many places Mūla refers to Lord Śiva as Nandi which seems to confirm the tradition that Nandi is an incarnation of Śiva. 21.10. Āgamas According to Rauravāgama, the “Śiva tattva” was received by Nandikeśvara from Anantesa and Nandi taught it to Brahma. That the Śiva tattva of the Raurava school was taught by Nandīśa is attested by the Ajitāgama. The Ajita divides the 28 Āgamas into two broad categories as Saumya and Raudra groups, the benign and wild group. Each Āgama is said to have been learnt by one god or the other. In this context says that Rauravāgama which belongs to the Raudra group was learnt by Nandīśa from Brahmaneśa. Brāhmaṇesāt tu samprapta Ruravam Nandikeśvarah. This tradition is interesting in that the Tamiḻ Saiva Siddhanta school based on Śiva-jñāna-bodham owes its origin to Nandikęśvarā. Also the Śiva-jñāna-bodham is found in the Rauravāgama. The same idea is repeated in Kāmikāgama as well. 21.11. Nandi as Katyakāra of the Tamiḻ dramas In the Tamiḻ classical dance drama tradition, a charater named “kattiyak-kāraṉ” appears at the beginning. He is identical with sūtra-dhara of Sanskrit dramas and announces the prologue. His significant emblem is the sparkling stick - vetra. He always enters the stage with colourful dance. A kuravañji dance drama, composed in the reign of Ekoji, son of Tulaja in the 18th cent., identifies the katyak-kāra with Nandi.“Nandivahanam Katyakāra]” (the Kumbhēśar Kuravañci - Pub. U.V. Swaminatha Iyer library, Madras 1961. Verse 11. P.9). Nandīśvara holds vetra the stick - so the katyak-kāra. According to Sanskrit traditions, the name of the actor who narrates the prologue is called Nandi (See Monier Willams). It shows that the katyak-kāra of the Tamiḻ dance drama, is identical with Nandīśvara. 21.12. Adikāra Nandi Bronze
