The lingam (IAST: liṅgaṃ, linga, ling, Shiva linga, Shiv ling, meaning sign, symbol or mark) is an abstract or aniconic representation of the Hindu deity, Shiva, used for worship in temples, smaller shrines, or as self-manifested natural objects. In traditional Indian society, the linga is seen as a symbol of the energy and potential of Shiva himself.
The lingam is a column-like or oval (egg-shaped) symbol of Shiva, the Formless All-pervasive Reality, made of stone, metal, or clay. The Shiva Linga is a symbol of Lord Shiva – a mark that reminds of the Omnipotent Lord, which is formless. In Shaivite Hindu temples, the linga is a smooth cylindrical mass symbolising Shiva. It is found at the centre of the temple, often resting in the middle of a rimmed, disc-shaped structure, a representation of Shakti. There is an inclination to reduce the Shiva linga and Shakti yoni, the two main Tantric symbols of ascending and descending forces – which are often represented by upright conical stones for the Shiva linga and ring stones or basis for the Shakti yoni – to merely the male and female sex organs, which is but one of their many reflections, and their erotic glorification. There is a tradition of Tantric sexuality of mithuna which uses sacred sex as part of Yoga practice. But it is not the only practice of Tantric Yoga, much less the highest, and when done is integrated into a much larger array of practices.
Terracotta Shiva Linga figurines found in excavations at Indus Valley Civilization site of Kalibangan and other sites provide evidence of early Shiva Linga worship from circa 3500 BCE to 2300 BCE.
Anthropologist Christopher John Fuller wrote that although most sculpted images (murtis) are anthropomorphic, the aniconic Shiva Linga is an important exception. Some believe that linga-worship was a feature of indigenous Indian religion.
There is a hymn in the Atharvaveda that praises a pillar (Sanskrit: stambha), and this is one possible origin of linga worship. Some associate Shiva-Linga with this Yupa-Stambha, the sacrificial post. In the hymn, a description is found of the beginning-less and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. The Yupa-Skambha gave place in time to the Shiva-Linga. In the Linga Purana the same hymn is expanded in the shape of stories meant to establish the glory of the great Stambha and the supreme nature of Mahâdeva (the Great God, Shiva).
The Hindu scripture Shiva Purana describes the origin of the lingam, known as Shiva-linga, as the beginning-less and endless cosmic pillar (Stambha) of fire, the cause of all causes. Lord Shiva is pictured as emerging from the Lingam – the cosmic pillar of fire – proving his superiority over the gods Brahma and Vishnu. This is known as Lingodbhava. The Linga Purana also supports this interpretation of lingam as a cosmic pillar, symbolizing the infinite nature of Shiva. According to the Linga Purana, the lingam is a complete symbolic representation of the formless Universe Bearer – the oval-shaped stone is the symbol of the Universe, and the bottom base represents the Supreme Power that holds the entire Universe in it. A similar interpretation is also found in the Skanda Purana: "The endless sky (that great void which contains the entire universe) is the Linga, the Earth is its base. At the end of time the entire universe and all the Gods finally merge in the Linga itself."  In yogic lore, the linga is considered the first form to arise when creation occurs, and also the last form before the dissolution of creation. It is therefore seen as an access to Shiva or that which lies beyond physical creation. In the Mahabharata, at the end of Dwaraka Yuga, Lord Shiva says to his desciples that in the coming Kali Yuga, He would not appear in any particular form, but instead as the formless and omnipresent.
According to Shaiva Siddhanta, which was for many centuries the dominant school of Shaiva theology and liturgy across the Indian subcontinent (and beyond it in Cambodia), the linga is the ideal substrate in which the worshipper should install and worship the five-faced and ten-armed Sadāśiva, the form of Shiva who is the focal divinity of that school of Shaivism.
In 1825 Horace Hayman Wilson's work on the lingayat sect of South India attempted to refute British notions[specify] that the lingam graphically represented a human organ and that it aroused erotic emotions in its devotees.
Monier-Williams wrote in Brahmanism and Hinduism that the symbol of linga is "never in the mind of a Shaiva (or Shiva-worshipper) connected with indecent ideas, nor with sexual love". In contrast, Jeaneane Fowler believes the linga is "a phallic symbol which represents the potent energy which is manifest in the cosmos". Some scholars, including David James Smith, believe that throughout its history the lingam has represented the phallus; others, including N. Ramachandra Bhatt, believe the phallic interpretation to be a later addition. M.K.V. Narayan distinguishes the Siva-linga from anthropomorphic representations of Shiva, and notes its absence from Vedic literature, and its interpretation as a phallus in Tantric sources.
At the Paris Congress of the History of Religions in 1900, Ramakrishna's follower Swami Vivekananda argued that the Shiva-Linga had its origin in the idea of the Yupa-Stambha or Skambha, the sacrificial post, idealized in Vedic ritual as the symbol of the Eternal Brahman. This interpretation was in response to a paper read by Gustav Oppert, a German Orientalist, who traced the origin of the Shalagrama-Shila and the Shiva-Linga to phallicism. According to Vivekananda, the explanation of the Shalagrama-Shila as a phallic emblem was an imaginary invention. Vivekananda argued that this explanation of the Shiva-Linga as a phallic emblem was brought forward by the most thoughtless, and was forthcoming in India in her most degraded times, those of the downfall of Buddhism.
According to Swami Sivananda, the view that the Shiva lingam represents the phallus is a mistake. The same sentiments were also expressed by H. H. Wilson in 1840. Diana Eck believes that translators of Shiva Purana erroneously translated linga as "phallic emblem". She compares the mistranslation "as inadequate as it would be an interpretation of the Christian Eucharist that saw the rite first and foremost as ritual cannibalism, eating the body and drinking its blood".
According to Hélène Brunner, the lines traced on the front side of the linga, which are prescribed in medieval manuals about temple foundation and are a feature even of modern sculptures, appear to be intended to suggest a stylised glans, and some features of the installation process seem intended to echo sexual congress. Scholars such as S. N. Balagangadhara have disputed the sexual meaning of lingam.
Shivling, 6,543 metres (21,467 ft), is a mountain in Uttarakhand (the Garhwal region of Himalayas). It arises as a sheer pyramid above the snout of the Gangotri Glacier. The mountain resembles a Shiva linga when viewed from certain angles, especially when travelling or trekking from Gangotri to Gomukh as part of a traditional Hindu pilgrimage.
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But the basic and most common object of worship in Shiva shrines is the lingam.
. It was almost as if the linga had emerged to settle Brahma and Vishnu’s dispute. The linga rose way up into the sky and it seemed to have no beginning or end.
During September–October 1900, he [Vivekananda] was a delegate to the Religious Congress at Paris, though oddly, the organizers disallowed discussions on any particular religious tradition. It was rumoured that his had come about largely through the pressure of the Catholic Church, which worried over the 'damaging' effects of Oriental religion on the Christian mind. Ironically, this did not stop Western scholars from making surreptitious attacks on traditional Hinduism. Here, Vivekananda strongly contested the suggestion made by the German Indologist Gustav Oppert that the Shiva Linga and the Salagram Shila, stone icons representing the gods Shiva and Vishnu respectively, were actually crude remnants of phallic worship.
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