also presents for the first time the image of the
divine reality as a spider and the worldly reality its
spun web or threads (Bri. 2.1.20).
In the course of one of Yajnavalka’s dialogues,
the Brihadaranyaka Upanishad also outlines, per-
haps for the first time, the three levels of con-
sciousness: waking (jagarita), dreaming sleep
(svapna), and deep sleep (sushupti). (The fourth
level appears to be a later development: turiya, the
transcendent state of consciousness.) The work
also outlines (Bri. 4.4. 3–6) the first extended dis-
course on REINCARNATION and KARMA, as well as the
karmic paths of the Sun and Moon: liberation is
the path via the Sun and reincarnation is the path
via the Moon (Bri. 6.2. 16). Finally, it introduces
the negative description of the brahman as being
“Not thus, not thus” (NETI NETI) (Bri. 4.5.15.).
Further reading: S. N. Dasgupta, A History of Indian
Philosophy, Vol. 1 (Delhi: Motilal Banarsidass, 1975);
Swami Nikhilandanda, trans., The Upanishads, Vol. 1
(New York: Ramakrishna-Vivekananda Center, 1975);
S. Radhakrishnan, The Principal Upanishads (Atlantic
Highlands, N.J.: Humanities Press, 1974).
Brihadishvara Temple
The Brihadishvara (Great Lord) Temple was built
around 1009 C.E. by the emperor Rajaraja Chola
in the Chola capital of Tanjore (Tanjavur) and is
dedicated to Lord SHIVA. It is the tallest of all extant
premodern Indian temples and covers the largest
area. The round stone crown on top of its soaring
tower is estimated to weigh 20 tons; it could have
been moved to its current position, 120 feet in the
air, only by a construction ramp approaching from
a distance. The temple is also known for its 250
carved LINGAMs. The luxuriant and elegant artistry
of this temple has been praised over the centuries.
It is considered among the finest pieces of premod-
ern Indian architecture still standing.
Further reading: R. Nagaswamy, “Iconography and
Significance of the Brhadisvara Temple, Tanjavur.” In
Discourses on Siva: Proceedings of a Symposium on the
Nature of Religious Imagery, edited by Michael Meister,
156–169 (Philadelphia: University of Pennsylvania
Press, 1984); Pierre Richard, Tanjavur Brhadisvara: An
Architectural Study (New Delhi: Indira Gandhi National
Centre for Arts, 1995).Brihaspati (Brahmanaspati)
Brihaspati (Lord of Prayer) is the divine priest in
the VEDAS who sanctifies human rites. Later he
became priest of the gods, while Shukracharya
became priest for the ASURAS. He is also known
as Brahmanaspati, to whom several individual
hymns are addressed in the RIG VEDA.
In some myths Brihaspati is a RISHI, the son of
the Rishi ANGIRAS. His wife is carried off by the
Moon (SOMA), but is restored to him after a war.
She later bore a son, Budha (Mercury), who was
claimed by both her husband and the Moon. Still
later Brihaspati became identified with the planet
Jupiter, which is considered to be auspicious.
Iconographically, Brihaspati holds a sacrificial
pitcher and a rosary whose beads are from the
rudraksha plant.Further reading: Saraswati Bali, Brhaspati in the Vedas
and the Puranas (Delhi: Nag, 1978); Ralph T. Griffith,
trans., Hinduism: The Rig Veda (New York: Book-of-the-
Month Club, 1992).Brihatkatha (c. 200 C.E.)
The Brihatkatha (Great Story) is a collection of
adventure tales ascribed to GUNADHYA and written
around 200 C.E. It is said to have been originally
composed in a dialect of the forest people, but if
so, the original was not preserved. Several Sanskrit
versions exist, the most famous the 11th-century
KATHASARITSAGARA (The ocean of the streams of
story) by Somadeva. Many of the stories of the
Brihatkatha complex have found their way into
the Jain tradition and reappear in such languages
as Kannada and Tamil.K 94 Brihadishvara Temple