Indo Nordic Author’s Collective

Image Worship and Sculpting through the Agama

& Introducing Kamika Agama-A Textbook for Vedic Living

Dr Uday Dokras Phd SWEDEN

“”The Veda is the cow, the true Agama its milk.”

— Umapati

We all spend a few minutes in the morning on some sort of worship, which is attempt to
communicate with god. This practice has been in vogue for centuries and it is as interesting to
know as the evolution itself, as to know the procedures to worship god came in to being.

The way of worship is generally divided in to ‘manasi’, ‘homa’ and ‘bera’(idol , and the last one,
idol worship, is by far the easiest way, being ‘within the capacity of the majority of human
being’. Aagamas ‘enjoin the worship of god in the form of idol.

From the earliest times our ancestors realized their limitations with respect to other forms of
worship, namely, Vedic sacrifices and chanting of Vedas, but aspired for some sort of easier
approach ‘to enlist His proximity in a collective way. There is hardly a village or town or city in
India which does not have a temple. Besides these temples there are ‘ teerthas’ an kshethras’
which go back to puraanic times being connected with an avathaara (incarnation) of Vishnu of
rishi’s hallowed past rendering them extremely holy, and call for a visit at least once in a life
time.
There was a time when rulers and kings and the ultra- rich used to construct temples. To-day we
can see groups of ordinary folk coming together to build temples and manage them. As one
Swamiji put it : The performance of rituals and acts done for public good pleases the Lord who
will bless people with timely rains, adequate food and heavenly joy.'

Image Worship and Sculpting

Image or Idol worship is based on the very important aspect or guna of the Lord viz Soulabhya.
The 'finitised' form of the Infinite presupposes that the Lord allows Himself to be worshipped in
whatever form or style His devotees desire. He has said as much in the Geetha : 'I reveal Myself
to them descending down in line with their inclinations' . All aazhwaars and aachaaryas have
described in glowing terms their experience with the 'divya mangala vigraha' of the Lord - this
enabled Ramanuja to affirm full faith in bhakthi.
The seers and rishis could 'feel' the Lord's presence and visualise His form, and the details /
outlines were set down in dhyaana mantras. Such a 'feeling' experienced by the seers is termed in
modern parlance as 'plastic conception'. Dhyaana mantras thus provided what were known as
'lakshanas' and the shilpa shaastras are said to have fidelity to the 'metaphysical and basic
psychology' aspects of the images.
Before undertaking the carving of wood or sculpting of stone for images, a holy job at that, the
artist has to perform purifactory rituals like fasting and offer special prayers to God, the night
before he starts the work.

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Temple Construction
From epigraphical references, details on the basic motivation to build temples appear to be: to
seek Lord's grace ; to obtain some gain ; to celebrate success in war or simply provide a
residence for the family deity.
Each region in our country exhibits its unique expression in temple architecture. There is a
difference between Hindu temple and Jain Vihaaras. Styles also differ - Bhadra style, Meru style
etc

For enduringly good effect and welfare of people, it is necessary that the idols conform to
aagamic codes. The temple design is standardised in all respects and fortunately we have to-day
a host of engineers and architects / craftsmen (sthapathis) who are well-versed in this field and
fully conversant with the guidelines.
It is rather unfortunate that such an important subject as aagama has not received the notice it
deserves in modern times and we have only stray articles in magazines rather than popular
books. In its humble attempt, this treatise seeks to present salient details on aagamas such as
fundamental aspects, classifications, religious connotations, acceptance or otherwise of aagamas
by Poorvaachaaryas / religious classics in support of the Paancharaathra Aagama, and
summarises details on image sculpting and temple construction. Being by no means exhaustive,
it is considered a step towards familiarisation of the subject of aagamas.
Generally the figure of nine is associated with God and it is coincidental that this is my ninth
book and the theme is God Himself in His 'archa' form.

The Collective worship at a common location has been rendered possible by Aagamas.
‘literally means ‘coming down’ (of procedures from god himself to worship him!!) and aagamic
literature abounds in traditions based on Vedas and puraanas which eventually came to be the
sources of Indian thought and devotion (bhakti) and the mainstay of worship. Aagamas not only
enabled common folk to offer prayers but also contained instructions or temple practice,
sculpting of images and their consecration, and odes for buildings of temples.
Forms of God

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Around the first century BC or AD a form of worship easilyaccessible to ordinary persons

evolved itself and it consisted in offering prayers to an image of the Lord in a temple (and
houses) with flowers, fruits etc. This religious practice originated from what is known as aagama
shaasthra and the form of the Lord which was sculpted was as per the outlines which the seers
and the enlightened rishis visualised in 'dhyaana mantras' ; this form of the Lord, the divya
mangala vigraha [luminous Divine form). is also known as the 'archaavataara' of God, preceded
by four other forms viz. Para, Vyooha, Vibhava and Antharyaamin.

Aagamas Aagamas are procedures relating to the worship of God in idol form, and have come to
stay as a popular method of worship by the masses. The other forms of worship 'maanasi' and
homa', are rather difficult to practise being more rigorous. Sage Maarkandeya, while responding
to a question from Vajra, observed : 'Prakrithi' is the unmanifested abode of the phenomenal
universe and 'Vikrithi' is its manifestation. As long as human mind remains a part of 'Vikrithi', 'it
is conditioned by conceptual ideas of form and qualities.' The higher level of consciousness
being not within easy reach of common folk, the conceptual symbol, an idol, easily activates the
latent divinity in man'. Aagamas precisely address to this need.
.
'Paancharaathra Aagama / five-fold worship Paancharaathra, as the name suggests, comprises
worship during five sections (slots) of the day. They are known As Abhighamana (initial brief
worship), Upaadhaana (acquiring Materials for worship), ljya (elaborate programme of worship),
Swaadhyaaya (study of scriptures and philosophizing) and 'Yoga (meditation and communion
with the Divine). 'Paaancharaaathra has supposedly as many as ten connotations, some of which
will be dealt with in this treatise. 'Paancharaathra, also known as Bhaagavatha religion, is called
the system of Bhakthi.
'Poorvachaaryas differ
As in the case of Upanishads where differing importance was accorded to 'bheda and abheda'
shruthis by Sankara and Madhwa, here also we have difference of opinion on 'Vedhic- ness' of
Paancharaathra i.e. as to whether it has Vedic authority. Sankara and advaithins do not consider
this as being Vedic, while Raamaanuja has given full support to it (Sri Bhaashya). Yaamuna's
Aagama Praamaanya as also Vedantha Desika's Paancharaathra Rakshaa have supported this
Aagama.
Source Texts for Paancharaathra
The doctrine of grace of the Lord and bhakthi, which underline Paancharaathra Aagama's basic
tenets, are based on Vedas, Puraanas and Smrithis. To quote some: Upaasana Kaandas in
Aaranyakas, Bhaagavatha Puraana, Shandilya and Naaarada Soothras.
The Agamas are a collection of several Tantric literature and scriptures of Hindu schools. The
term literally means tradition or "that which has come down", and the Agama texts describe
cosmology, epistemology, philosophical doctrines, precepts on meditation and practices, four
kinds of yoga, mantras, temple construction, deity worship and ways to attain sixfold desires.
These canonical texts are in Sanskrit, Telugu and Tamil (written in Grantha script, Telugu
script and Tamil script).
The chronology and history of Agama texts is unclear. The surviving Agama texts were likely
composed in the 1st millennium CE, likely existed by the 5th century CE. However, scholars
such as Ramanan refer to the archaic prosody and linguistic evidence to assert that the beginning
of the Agama literature goes back to about 5th century BCE, in the decades after the death of
Buddha.
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Temple and archaeological inscriptions, as well as textual evidence, suggest that the Agama texts
were in existence by 7th century in the Pallava dynasty era.  However these texts have gone
through revision over time.

The three main branches of Agama texts are 

1. Shaiva, 
2. Vaishnava, and 
3. Shakta. Known as Tantrism
This Agama literature is voluminous, and includes 28 Shaiva Agamas, 77 Shakta Agamas (also
called Tantras), and 108 Vaishnava Agamas (also called Pancharatra Samhitas), and numerous
Upa-Agamas.
The origin and chronology of Agamas is unclear. Some are Vedic and others non-
Vedic. Agama traditions include Yoga and Self Realization concepts, some include Kundalini
Yoga, asceticism, and philosophies ranging from Dvaita (dualism) to Advaita (monism). Some
suggest that these are post-Vedic texts, others as pre-Vedic compositions dating back to over
1100 BCE. Epigraphical and archaeological evidence suggests that Agama texts were in
existence by about middle of the 1st millennium CE, in the Pallava dynasty era.
Scholars note that some passages in the Hindu Agama texts appear to repudiate the authority of
the Vedas, while other passages assert that their precepts reveal the true spirit of the Vedas. The

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Agamas literary genre may also be found in Śramaṇic traditions (i.e. Buddhist, Jaina, etc.). Bali
Hindu tradition is officially called Agama Hindu Dharma in Indonesia
Āgama  "to go" and the preposition (ā) meaning "toward" and refers to scriptures as "that which
has come down". Agama literally means "tradition",and refers to precepts and doctrines that have
come down as tradition. Agama, states Dhavamony, is also a "generic name of religious texts
which are at the basis of Hinduism .

Developing physical and mental discipline with Yoga is one of four recommendations in Agama textsAbove a
Yoga posture statue from Kashmir, a center of monistic Agama texts.

They teach a system of spirituality involving ritual worship and ethical personal conduct through
precepts of a god. The means of worship in the Agamic religions differs from the Vedic form.
While the Vedic form of yajna requires no idols and shrines, the Agamic religions are based on
idols with puja as a means of worship. Symbols, icons and temples are a necessary part of the
Agamic practice, while non-theistic paths are alternative means of Vedic practice. Action and
will drive Agama precepts, while knowledge is salvation in Vedic precepts. This, however, does
not necessarily mean that Agamas and Vedas are opposed, according to medieval-era Hindu
theologians. Tirumular, for example, explained their link as follows: "the Vedas are the path, and
the Agamas are the horse".
Each Agama consists of four parts:

 Jnana pada, also called Vidya pada – consists of doctrine, the philosophical and spiritual
knowledge, knowledge of reality and liberation.
 Yoga pada – precepts on yoga, the physical and mental discipline.
 Kriya pada – consists of rules for rituals, construction of temples (Mandir); design
principles for sculpting, carving, and consecration of idols of deities for worship in
temples; for different forms of initiations or diksha. This code is analogous to those
in Puranas and in the Buddhist text of Sadhanamala.
 Charya pada – lays down rules of conduct, of worship (puja), observances of religious
rites, rituals, festivals and prayaschittas.
TEMPLES: The Agamas state three requirements for a place of pilgrimage
1. Sthala, 
2. Tirtha, and 

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3. Murti. Sthala refers to the place of the temple, Tīrtha is the temple tank, and Murti refers
to the image of god (usually an idol of a deity).
Elaborate rules are laid out in the Agamas for Silpa (the art of sculpture) describing the
quality requirements of the places where temples are to be built, the kind of images to be
installed, the materials from which they are to be made, their dimensions, proportions, air
circulation, lighting in the temple complex, etc. The Manasara and Silpasara are some of the
works dealing with these rules. The rituals followed in worship services each day at the temple
also follow rules laid out in the Agamas.

Temple design (Shore temple) and iconography such as the Nataraja (Dancing Shiva) are
described in the Agama texts.
The Agama texts of Hinduism present a diverse range of philosophies, ranging from theistic
dualism to absolute monism. This diversity of views was acknowledged in Chapter 36
of Tantraloka by the 10th-century scholar Abhinavagupta. In Shaivism alone, there are ten
dualistic (dvaita) Agama texts, eighteen qualified monism-cum-dualism (bhedabheda) Agama

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texts, and sixty-four monism (advaita) Agama texts. The Bhairava Shastras are monistic, while
Shiva Shastras are dualistic.
A similar breadth of diverse views is present in Vaishnava Agamas as well. The Agama texts of
Shaiva and Vaishnava schools are premised on existence of Atman (soul, self) and the existence
of an Ultimate Reality (Brahman – called Shiva in Shaivism, and Vishnu in Vaishnavism). The
texts differ in the relation between the two. Some assert the dualistic philosophy of the individual
soul and Ultimate Reality being different, while others state a Oneness between the two.
Kashmir Shaiva Agamas posit absolute oneness, that is God (Shiva) is within man, God is within
every being, God is present everywhere in the world including all non-living beings, and there is
no spiritual difference between life, matter, man and God. The parallel group among Vaishnavas
are the Shuddhadvaitins (pure Advaitins).
Scholars from both schools have written treatises ranging from dualism to monism. For example,
Shivagrayogin has emphasized the non-difference or unity of being (between the Atman and
Shivam), which is realized through stages which include rituals, conduct, personal discipline and
the insight of spiritual knowledge. This bears a striking similarity, states Soni, to Shankara,
Madhva and Ramanujan Vedantic discussions.
Relation to the Vedas and Upanishads
The Vedas and Upanishads are common scriptures of Hinduism, states Dhavamony, while the
Agamas are sacred texts of specific sects of Hinduism. The surviving Vedic literature can be
traced to the 1st millennium BCE and earlier, while the surviving Agamas can be traced to 1st
millennium of the common era. The Vedic literature, in Shaivism, is primary and general, while
Agamas are special treatise. In terms of philosophy and spiritual precepts, no Agama that goes
against the Vedic literature, states Dhavamony, will be acceptable to the Shaivas. Similarly, the
Vaishnavas treat the Vedas along with the Bhagavad Gita as the main scripture, and the Samhitas
(Agamas) as exegetical and exposition of the philosophy and spiritual precepts therein. The
Shaktas have a similar reverence for the Vedic literature and view the Tantras (Agamas) as the
fifth Veda.
The heritage of the Agamas, states Krishna Shivaraman, was the "Vedic peity maturing in the
monism of the Upanishads presenting the ultimate spiritual reality as Brahman and the way to
realizing as portrayed in the Gita".
The Veda is the cow, the true Agama its milk.

— Umapati,
Shaiva Agamas
The Shaiva Agamas are found in four main schools: Kapala, Kalamukha, Pashupata and Shaiva,
and number 28 in total as follows:

1. Kamikam
2. Yogajam
3. Chintyam

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4. Karanam
5. Ajitham
6. Deeptham
7. Sukskmam
8. Sahasram
9. Ashuman
10.Suprabedham
11.Vijayam
12.Nishwasam
13.Swayambhuvam
14.Analam
15.Veeram
16.Rouravam
17.Makutam
18.Vimalam
19.Chandragnanam
20.Bimbam
21.Prodgeetham
22.Lalitham
23.Sidham
24.Santhanam
25.Sarvoktham
26.Parameshwaram
27.Kiranam
28.Vathulam
Saiva Siddhanta
The Shaiva Agamas led to the Shaiva Siddhanta philosophy in Tamil-speaking regions of South-
India which was arised from Kashmir Saivism in the Upmost North-Indian region of Kashmir
Valley.
Kashmiri Shaivism
The Agamas of Kashmiri Shaivism is also called the Trika Shastra. It centers mainly on the Trika
system of mAlinI, siddha and nAmaka Agamas and venerates the triad Shiva, Shakti, Nara (the
bound soul) and the union of Shiva with Shakti. The trika philosophy derives its name from the
three shaktis, namely, parA, aparA and parApara; and provides three modes of knowledge of
reality, that is, non-dual (abheda), non-dual-cum-dual (bhedabheda) and dual (bheda). The
literature of Kashmiri Shaivism is divided under three categories: Agama shastra, Spanda
shastra, and Pratyabhijna shastra. Although the Trika Shastra in the form of Agama Shastra is
said to have existed eternally, the founder of the system is considered Vasugupta (850 AD) to
whom the Shiva Sutras were revealed. Kallata in Spanda-vritti and Kshemaraja in his
commentary Vimarshini state Shiva revealed the secret doctrines to Vasugupta while Bhaskara in
his Varttika says a Siddha revealed the doctrines to Vasugupta in a dream.

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Shakta Agamas

The Shakta Agamas deploy Shiva and Shakti, and a unified view as the foundation for
spiritual knowledge.
The Shakta Agamas are commonly known as Tantras, and they are imbued with reverence for
the feminine, representing goddess as the focus and treating the female as equal and essential
part of the cosmic existence. The feminine Shakti (literally, energy and power) concept is found
in the Vedic literature, but it flowers into extensive textual details only in the Shakta Agamas.
These texts emphasize the feminine as the creative aspect of a male divinity, cosmogonic power
and all pervasive divine essence. The theosophy, states Rita Sherma, presents the masculine and
feminine principle in a "state of primordial, transcendent, blissful unity".The feminine is the will,
the knowing and the activity, she is not only the matrix of creation, she is creation. Unified with
the male principle, in these Hindu sect's Tantra texts, the female is the Absolute.
The Shakta Agamas are related to the Shaiva Agamas, with their respective focus on Shakti with
Shiva in Shakta Tantra and on Shiva in Shaiva texts. They are 64 in number. Some of the older
Tantra texts in this genre are called Yamalas, which literally denotes, states Teun Goudriaan, the
"primeval blissful state of non-duality of Shiva and Shakti, the ultimate goal for the Tantric
Sadhaka".
Vaishnava Agamas- Pancharatra
The Vaishnava Agamas are found into two main schools – Pancharatra and Vaikhanasas. While
Vaikhanasa Agamas were transmitted from Vikhanasa Rishi to his disciples Brighu, Marichi,
Atri and Kashyapa, the Pancharatra Agamas are classified into three: Divya (from

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Vishnu), Munibhaashita (from Muni, sages), and Aaptamanujaprokta (from sayings of

trustworthy men).
Vaikhanasa Agama
Maharishi Vikhanasa is considered to have guided in the compilation of a set of Agamas named
Vaikhānasa Agama. Sage Vikhanasa is conceptualized as a mind-born creation, i.e., Maanaseeka
Utbhavar of Lord Narayana. Originally Vikhanasa passed on the knowledge to nine disciples in
the first manvantara -- Atri, Bhrigu, Marichi, Kashyapa, Vasishta, Pulaha, Pulasthya, Krathu
and Angiras. However, only those of Bhrigu, Marichi, Kashyapa and Atri are extant today. The
four rishis are said to have received the cult and knowledge of Vishnu from the first Vikahansa,
i.e., the older Brahma in the Svayambhuva Manvanthara. Thus, the four
sages Atri, Bhrigu, Marichi, Kashyapa, are considered the propagators of vaikhānasa śāstra. A
composition of Sage Vikhanasa's disciple Marichi, namely, Ananda-Samhita states Vikhanasa
prepared the Vaikhanasa Sutra according to a branch of Yajurveda and was Brahma himself.
The extant texts of vaikhānasa Agama number 28 in total and are known from the texts,
vimānārcakakalpa and ānanda saṃhitā, both composed by marīci which enumerate them. They
are:
The 13 Adhikaras authored by Bhrigu are khilatantra, purātantra, vāsādhikāra, citrādhikāra,
mānādhikāra, kriyādhikāra, arcanādhikāra, yajnādhikāra, varṇādhikāra, prakīrnṇādhikāra,
pratigrṛhyādhikāra, niruktādhikāra, khilādhikāra. However, ānanda saṃhitā attributes ten works
to Bhrigu, namely, khila, khilādhikāra, purādhikāra, vāsādhikāraṇa, arcanādhikaraṇa,
mānādhikaraṇa, kriyādhikāra, niruktādhikāra, prakīrnṇādhikāra, yajnādhikāra.
The 8 Samhitas authored by Mareechi are Jaya saṃhitā, Ananda saṃhitā, Saṃjnāna saṃhitā,
Vīra saṃhitā, Vijaya saṃhitā, Vijita saṃhitā, Vimala saṃhitā, Jnāna saṃhitā. However, ānanda
saṃhitā attributes the following works to Marichi—jaya saṃhitā, ānanda saṃhitā, saṃjnāna
saṃhitā, vīra saṃhitā, vijaya saṃhitā, vijita saṃhitā, vimala saṃhitā, kalpa saṃhitā. The 3
Kandas authored by Kashyapa are Satyakāṇḍa, Tarkakāṇḍa, Jnānakāṇḍa. However, Ananda
Saṃhitā attributes the satyakāṇḍa, karmakāṇḍa and jnānakāṇḍa to Kashyapa.
The 4 tantras authored by Atri are Pūrvatantra, Atreyatantra, Viṣṇutantra, Uttaratantra. However,
Ananda Saṃhitā attributes the pūrvatantra, viṣṇutantra, uttaratantra and mahātantra to Atri.
Pancharatra Agama
Like the Vaikhanasa Agama, the Pancharatra Agama, the Viswanatha Agama is centered around
the worship of Lord Vishnu. While the Vaikhansa deals primarily with Vaidhi Bhakti, the
Pancaratra Agama teaches both vaidhi and Raganuga bhakti.
Soura Agamas
The Soura or Saura Agamas comprise one of the six popular agama-based religions of Shaiva,
Vaishnava, Shakta, Ganapatya, Kaumara and Soura. The Saura Tantras are dedicated to the sun
(Surya) and Soura Agamas are in use in temples of Sun worship.
Ganapatya Agamas
The Paramanada Tantra mentions the number of sectarian tantras as 6000 for Vaishnava, 10000
for Shaiva, 100000 for Shakta, 1000 for Ganapatya, 2000 for Saura, 7000 for Bhairava, and 2000
for Yaksha-bhutadi-sadhana.

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The Two Temples of the Township shall follow Saiva Agamas as

detailed in the Kamika Agama for the daily rituals, administration and
services. The Kamika Agama-A Textbook for Vedic Living

A Spiritual Renaissance
Kamika Agama is a principle Saiva Agama. Kamika is a primary source for details of personal
worship, temple construction, dedication and worship and many aspects of home and village
design.The Shaiva Agamas (Lord Shiva’s precepts that have come down through the ages), also
known as Shaiva Siddhanta Shastras (or the Shivagamas) in Sanskrit, are replete with mantras,
techniques and practices to aid in transcending individuals from a lower to a higher state of
consciousness. These scriptures reveal the exact nature of Pati (the Supreme Protector) and the
souls that are bound which make known the exact nature of transcendental Parashiva (the
Absolute which is beyond comprehension).

The Shaiva Siddhanta Shastras have been revealed by Lord Shiva to constitute the final and
well ascertained conclusive principles that should be accepted or discarded. What should be
noted is that Lord Shiva has five faces, and each of these five faces revealed five different
scriptures.  They are: Sadyojata (that which gives both happiness and sadness to creatures),
Vama (aspect of Lord Shiva that is peaceful, poetic and graceful), Aghora (represents the
rejuvenating and dissolving qualities of Lord Shiva), Tatpurusha (represents the supreme soul
behind the physical being) and Isana (form associated with akash or ether).
Kamika Agama is the foremost scripture that came out of the Sadyojata face, and was directly
uttered by Lord Shiva to Devi and a Sadhaka or Sapta Rishi (sage) called Pranava on Mount
Meru in Ujjain, India. Pranava transmitted it to another sage called Trikala who in turn revealed
it to a third sage called Hara. Thus began the flowering of a unique and divine culture ensconced
in the Hindu-Vedic tradition that set forth ways and means to practice living with the ultimate
super-consciousness.

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The Kamika Agama is one among twenty five spiritual treatises for enlightened living.
According to Paramahamsa Nithyananda, “It is the only spiritual inner science to manifest
anything one wants as reality.”
An Overview of the Kamika Agama
The Kamika Agama is divided into two parts:

1. Kamika Agama Purva Pada

The Kamika Agama Purva Pada contains seventy five chapters, and is considered to represent
the head of the form of Lord Shiva. For instance, the first chapter, is about the revelation and the
transmission of the Agamas (summary is elucidated above in the introduction), the second
chapter is about the significance of mantras where the presiding deity, effect and colour of all the
letters in Sanskrit (‘A’ to ‘Ksha’) are meant to be contemplated by an Adishaiva (Shaivite priest)
after which the various processes of incantation follow.
In the third chapter of the Kamika Agama Purva Pada, Lord Shiva outlines how one should take
bath in various ceremonial ways, especially for the Varnashramas (order of society intertwined
with four orders of life or ashramas) who are householders, Brahmans (priests), Kshatriyas
(those with governing functions), Vaishyas (agriculturists, cattle rearers and traders), and
Shudras (those who serve the three Varnas).
The fourth chapter gives directions for the daily worship of Lord Shiva, classifying worship,
which are of two kinds: Atmartha (individual or personal worship) and Parartha (worship for the
public). Through breathing techniques, breath control processes and with the help of mantras, for
daily and occasional pujas (acts of worship) Lord Shiva is remembered and worshipped.
The remaining chapters cover subjects on the essential aspects of daily worship, offering of food
and appetizing dishes, the lineaments of various fire pits, directions of the performance of fire
rituals, selection of auspicious times, examination of omens, etc.

2. Kamika Agama Uttara Pada

The Kamika Agama Uttara Pada contains forty eight chapters and the first chapter covers
directions for the worship of Shivalinga (an iconic representation of Lord Shiva) which is facing
the West, where, “temple worship is meant for the benefit of the world …which is capable of
yielding worldly enjoyments and final liberation.”
The second chapter explores the directions for the worship of the Linga which is facing the
south, where such worship is of three kinds: Worship done for the Linga, Pratima (image) and
Mukhalinga (Linga with a face). The regular worship of the Shivalinga would yield liberation,
that of Pratima is capable of yielding worldly enjoyments, and that of the Mukhalinga is capable
of granting both worldly enjoyments and liberation.
The third chapter is about directions for the worship of Sakala Murtis (fully manifested forms).
In this chapter, such worship is efficacious in obtaining the desired fruits of one’s labours.
The other chapters in this Agama cover subjects on the directions for: ceremonial bathing with
Snapana (vessels arranged in different patterns), performance of daily and grand festivals, for
waving the lights, etc.
The Art of Enlightened Living
The Kamika Agama teaches not only an enlightened art of living, but also the art of enlightened
living and is a supreme scripture that is associated with four sections – Charya (lifestyle), Kriya
(spiritual process), Yoga (union or methods of uniting with the divine) and Jnana
(enlightenment).

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Paramahamsa Nithyananda elucidates these as follows: Charya explains how one should wake
up, brush one’s teeth, take bath, consume vegetarian food, apply vibhuti, wear rudraksha malas,
maintain a Shiva jata and what one should do till one goes to bed.
Kriya is a spiritual process to make anything one wants into reality. If one wants to bring rain, or
bring or stop the sun, there is a kriya and process. If one wants to invoke God into a stone, there
is a kriya and process to do that. Kiya involves doing all those auspicious acts to achieve spiritual
experience and spiritual powers, such as, homas (fire rituals), prana pratishta (consecration) of
deities and pujas.

According to Him, Mahadeva’s definition of yoga is, experiencing oneness with oneness itself
and by practicing asana (postures), pranayama (breathing techniques), dharana (single-pointed
focus and concentration), dhyana (meditation), etc., one can truly unite with the divine.
Lastly, he says, “enlightenment about everything that exists, is Jnana.”
The science of Agamas is such that, every moment of one’s life makes one more powerful,
intelligent and energetic. Also, anyone who practices all the tenets of the Kamika Agama with
sincerity, will develop immense self respect which will always be based on powerfulness. This
self respect for oneself is not and can never be ego. Practicing the Kamika Agama is equivalent
to eating, living, and breathing according to Mahadeva – It is, in Paramahamsa Nithyananda’s
words, the lifestyle of Shuddhadvaitam (pure and absolute oneness).

The Saiva Agamas are some of the earliest shloks in the Sanskrit language on the Saiva religion
and philosophy7 written over a period of several centurj,es before the Christian era. The Agamas
represent on independent class of writing by very early seers, who had an inward experience and
enlightenment from the Supreme Being, and who were also perhaps influenced by the Vedas in
their original form. They had realised in their lives and thoughts the general truths taught by the
early Upanisads. So far as Saivism is concernedp these seers were not men from the North. They
were essentially representatives of All India and they reflected in their thoughts# modes of
meditation and worship, and in their writing, the inherent Theism of the South, The Theism of
the south or rather, the Saivism of tie Tamilians, was the growth of an ~~nbroken tradition
probably from the pre-historic past and this had three elements fused into it. These are worship
of idols and images, both in the shrines throughout the land and in the devoteesy own houses,
symb~lism, and the inward meditation and realisation. These three were not separate
compartmentsp but basically one harmonious integrated whole. When the Upanisads were added
on to the Vedas in the course of the later centuries, they could not Fit be influenced by the
religion and philosophy flourishing around them.

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