Depending on which of the Puranas you read, there are variably 18 names of Shaligram and 13 chakra distinctions (Skanda Purana), 24 types (also Skanda Purana, though referencing an unknown earlier text), 19 types (Brahmavaivartta Purana), or 21 types (Garuda Purana). While there remains a fair degree of overlap between the types listed in each Purana, they are not precisely the same. This isnâ€™t necessarily surprising, however, as different texts reflect practices from different times and different places and subsequent Vedic commentaries are included or revised in an effort to add clarity. By and large, in any case, the discussions found in both Skanda Purana and Garuda Purana remain the most often referenced religious texts in Shaligram practice throughout both India and Nepal.
As is typical among the majority of Shaligram devotees, the most commonly sought after Shaligrams are representative of Vishnu (or one of his ten avatars). These Shaligrams include a wide variety of Krishna Shaligrams (such as Govinda, Gopala, and Damodara), Laksmi-Narayan and Narasimha Shaligrams, as well as Dasavatara and Mahavishnu Shaligrams. But aside from these types (which are well represented in my research) I have recently taken an interest in some of the less well known Shaligram forms. Some of these forms are also mentioned in the Puranas (though not as extensively) and others not at all, instead reflecting more regional or local traditions of Shaligram worship. My interest today is to discuss some of these less attended to types, particularly the ones which are not detailed in the Puranas but may be referenced elsewhere in the Vedas.
Two in particular have caught my attention for the past few weeks: the Hiranyagarbha Shaligram and the Ganesh Shaligram. Today, Iâ€™ll discuss Hiranyagarbha and I will save my commentary on the Ganesh Shaligram for another post.
Hiranyagarbha, literally â€œGolden Wombâ€ or â€œGolden Egg,â€ (and often poetically rendered as â€œuniversal gemâ€) is the source of creation for the universal or manifested cosmos in Hindu theology. It is mentioned in one hymn of the Rig Veda (RV 10.121), known as Hiranyagarbha Sukta, which suggests a single creator deity identified in the hymn as Prajapati.
In many interpretations of this Shaligram, it is said to express the creative urge of Narayana. The â€œGolden Eggâ€ here is often interpreted as that from which all of the objective world emerges. The term thereby suggests that the entire creative power of the divine is but an expression of The Self, Narayana. This Shaligram is therefore often linked with transcendental consciousness, meditation, and Bhakti yoga practices.
What is more, in some Himalayan Hindu traditions, this Shaligram is also identified as Chandra (The Moon) or as an expression of Shiva appearing as the full moon (note its similarities with Shiva Linga). In fact, among many Hindus of the Himalayan regions, this Shaligram was more often associated with Shiva worship than any other Shaligram (save possibly Shiva Linga and Ananta Sesha Shaligrams) and is highly prized due to its golden color and rarity.
Vedic References: Rig Veda 10.121, Vishvakarman SÅ«kta (RV 10.82), Manu Smrti 1.9, The MahÄbhÄrata, Book 12: Santi Parva. Kisari Mohan Ganguli, tr. Section CCCIII.
Vedic Descriptions: The Upanishads call Hiranyagarbha â€œThe Soul of the Universeâ€ or Brahman, which floated in emptiness and the darkness of non-existence for a year before breaking into two halves which formed the Svarga and the Prthvi.
In classical Puranic Hinduism, Hiranyagarbha is the term used in Vedanta for the â€œcreator.â€ It is also Brahma because he was born from a golden egg (Manu Smrti 1.9). The Mahabharata calls it â€œThe Manifest.â€