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Showing posts with label About of Hindu Mythology. Show all posts
Showing posts with label About of Hindu Mythology. Show all posts

About of Hindu Mythology

Posted by Art Of Legend India [dot] Com On 4:38 AM 0 comments
Vamana, Vishnu’s dwarf avatar, who by his unsuspected ability to grow to gigantic size won back the celestial kingdom for the gods after they had been driven from it by the Daitya Bali. Stone sculpture, eleventh century. Bharat Kala Bhavan, Banaras Hindu University.

Vamana

Vishnu's fifth incarnation took place in the second age, the Tretayuga. During this time the Daitya Bali, grandson of Prahlada, became king. Bali did all in his power to propitiate the gods by honouring them. He ruled well and was loved by his people, but as far as the gods were concerned his one defect was his great ambition. Having extended his kingdom as far as he could on earth, Bali could direct this ambition only in one direction towards the kingdom of the gods. The celestials consulted together and Indra was advised by the sage Brihaspati that the power Bali had gained by his sacrifices could not be resisted lndra would inevitably lose his kingdom to Bali. Brihaspati's prediction was accurate, and the gods were turned out.

The gods again consulted together and it was decided that Vishnu should become incarnate as the son of Aditi and Kasyapa, one of the seven rishis. This child grew up as the dwarf Vamana. Relying on Bali's reputation for generosity, Vamana approached the king and asked for the gift of three paces of land. The gift was no sooner granted than Vamana began to grow to enormous size. He then took two paces, which covered all the earth and the heavens and thus won back for the gods the whole of Bali's kingdom. But Bali's merits, acquired through sacrifice and austerities, had to be recognised; accordingly Vamana relinquished his right to a third pace and Bali was granted dominion over the remaining area of the universe, the nether regions, called Patala. Bali was also permitted to visit his lost kingdom once a year, and this visit is regularly celebrated in Malabar by his still devoted subjects.

Parasurama

Ramachandra, the gentle Rama, seventh avatar of Vishnu. Copper statue from south India, twelfth centuryThe sixth incarnation, like the fifth, took place in the second age, the Tretayuga, at a time when the Kshatriya caste was exercising a tyranny over all others, including the Brahmins. In order to restore the power of the priestly caste, Vishnu came into the world as Parasurama, the youngest son of a strict Brahmin hermit, Jamadagni. One day Jamadagni's wife happened to see a young couple frolicking in a pool and was filled with impure thoughts. When she returned home Jamadagni divined her thoughts and was incensed, deciding that she did not deserve to live. As each of his sons returned from the forest Jamadagni bade him strike off his mother's head, but they refused and were cursed by their father to idiocy. Finally Parasurama came back from the forest, and he alone of the sons did as his father instructed and struck off his mother's head with the axe, Parasu, which was given to him by Shiva and for which he was named. Jamadagni was pleased by his son's obedience, and offered to grant him a boon. Parasurama immediately asked that his mother should be restored to life and that he himself should become invincible in single combat and enjoy long life. Both boons were granted, and life continued as before at the hermitage, with Parasurama's mother restored to purity.

One day, however, a powerful Kshatriya king called Kartavirya who had a thousand arms, was hunting in the forest and called at the hermitage, where he was offered hospitality by Jamadagni's wife, who was alone at the time. While a guest of the house, Kartavirya caught sight of Jamadagni's wonderful cow kamadhenu, which could grant all desires. Kartavirya decided that such a miraculous animal should be the possession of a king rather than of a hermit, so he departed, driving the cow before him, despite the helpless protests of his hostess. When Parasurama arrived home shortly thereafter and heard what had happened, he set forth immediately, overtook Kartavirya, killed him in single combat and returned with the cow.

Parasurama- Rama with the Axe was the sixth avatar, and was still living when the seventh, Ramachandra, appeared. His coming delivered the world from the tyranny of the warrior Kshatriyas, whom he destroyed in twenty one campaigns. Kangra painting, eighteenth century. Victoria and Albert Museum, London.
When Kartavirya's sons heard of his death they came marching with all their troops on the hermitage. There they found the aged Jamadagni alone and killed him. When Parasurama returned to find his father dead, he vowed vengeance on the whole Kshatriya caste. His vow was accomplished in the course of twenty-one campaigns against them, in which all their men folk were exterminated, their blood filling five large lakes. Having killed all the rulers, Parasurama gave the earth into the care of the Brahmin sage Kasyapa, father of Vishnu's former avatar Vamana, father of the Adityas and of the world. Parasurama himself retired to the mountains, his main purpose achieved.

Though he was an avatar of Vishnu, he was indebted to Shiva, who had among other things given him the axe Parasu. While he was still living, another avatar of Vishnu appeared on earth and Parasurama became jealous of him. The seventh was Ramachandra, generally called Rama. Both avatars figure in the two epics, the Ramayana which celebrates Ramachandra, and the Mahabharata. In the course of the Ramayana, Parasurama is annoyed with Ramachandra for having broken the bow of Shiva, and challenges him to a trial of strength. In this Parasu-rama is defeated and consequently excluded from a seat in the celestial world. The rivalry appears also in the Mahabharata, where Parasurama, armed with Shiva's bow, is knocked senseless by Ramachandra, armed with Vishnu's. It is Parasurama who instructs Arjuna in military skills during Arjuna's twelve-year period of exile, imposed for an involuntary breach of marital propriety. Parasu-rama fights with Bhishma, the son of the goddess Ganga, whose allegiance is to Arjuna's enemies, the Kauravas; but neither of them can defeat the other, for both are protected by magic boons.

Ramachandra (Rama)

Rama as bridegroom in procession for his marriage to Sita Illustration to the Ramayana. Mewar, 1649, Prince of Wales Museum of Western India.
Vishnu's seventh incarnation, accomplished even while the sixth was still on earth, had as its purpose to quell the most dangerous and powerful demon king who had ever appeared. This was Ravana, ten-headed rakshasa king of Lanka (Ceylon), whose strength was overcome only after the epic struggles related in the Ramayana.

Like Hiranyaksha and Hiranyakasipu, Ravana had practised austerities in order to propitiate Brahma, who had granted him immunity from being killed by gods, Gandharvas or demons. Under the cover of this immunity and the benevolence of Shiva, whom he carefully propitiated, Ravana persecuted gods and mortals. The gods consulted on how they could be rid of Ravana, and decided that the only way was for a god to take human form, for Ravana had been too proud to ask for immunity from humans. Vishnu agreed to be that god, and all the others said they would lend their powers to humans and animals. Vishnu was accordingly born on earth to a certain king, Dasaratha, who after many years without an heir had performed the horse sacrifice. Four sons were born to him as a result. The oldest, called Rama-chandra (Rama), was born to Kausalya; the second son, Bharata, to another wife, Kaikeyi and two more sons, Lakshmana and Satrughna, to a third wife, Sumitra. Rama, whose mother had been the principal queen taking part in the sacrifice, partook of half Vishnu's nature; Bharata of a quarter; and Sumitra's sons of an eighth each. Thus the incarnation was divided among four mortals for this great task.

Rama, together with his wife Sita and his devoted brother Lakshmana, begins the fourteen years of exile in the forest, during which his divine harmony with the world of nature is brought out. Illustration to the Book of Ayodhya, the second Book of the Ramayana, c.1710. British Museum, London.Rama and Lakshmana were particularly close and even as boys killed many rakshasas who were persecuting poor hermits. One day they heard that King Janaka's beautiful daughter Sita was to be married. Sita was actually an incarnation of Lakshmi, Vishnu's wife, and had received her name, meaning 'furrow', because she had been born of her own will in a field opened up by a plough. A contest was to be held and the man who could bend a bow given to Janaka by Shiva was to receive Sita's hand. Rama was the winner of this contest, actually breaking the bow.

Shortly after Rama's marriage to Sita, Dasaratha decided to abdicate in his favour and the coronation day was proclaimed. But meanwhile a malicious servant of Queen Kaikeyi stirred up her resentment at the pre-ferment of Rama over her own son Bharata, and during Bharata's absence from the court incited her to ask the King for a boon. Without asking what it was Dasaratha consented. He was appalled when he discovered that the boon was Bharata's succession to the throne, but he had given his word and was forced to grant it, and furthermore to send Rama into exile in the forest for fourteen years. Despite Rama's protests, Sita insisted on accompanying him, and together they set off into exile to the sounds of lamentation from the people and from Dasaratha, who died of grief within a week. Lakshmana, devoted to his brother, went with Rama and Sita. Bharata, who during all this had been away, was furious with his mother on his return, blaming her for his father's death. He spared her only out of filial duty, and went to the forest and tried to persuade Rama to return; but Rama declared that he was in honour bound to remain in exile. Bharata returned to the capital, Ayodhya, and proceeded to reign as viceroy, preserving a pair of Rama's sandals on the throne as a symbol of the rightful king.

The rakshasa Surpanakha, her advances rejected by both Rama and Lakshmana, attacked Sita in a jealous rage. Lakshmana cut off her nose and ears and she called on Ravana to avenge her. Gupta Style relief, fifth century.In the forest, meanwhile, Rama and Lakshmana incurred the wrath of Ravana's sister, the rakshasi giantess Surpanakha. She first fell in love with Rama, who resisted her advances, saying that he was married, but that Lakshmana might wish to have a wife. But Lakshmana also spurned her. Suspecting that Lakshmana too was in love with Sita, Surpanakha attacked her and tried to swallow her. But Lakshmana in turn attacked the giantess, cutting off her nose, ears and breasts.

Surpanakha sent her younger brother Khara to avenge her. He gathered an army of fourteen thousand rakshasas and sent an advance party to attack. Rama killed these first and then destroyed Khara and his entire army. Surpanakha now sought vengeance through her older brother Ravana, but could arouse his interest only by pointing out that Sita was very beautiful and would be a fitting wife for him. Ravana accordingly set out to capture Sita by a ruse (for he knew the true identity and power' of Rama). He sent an enchanted deer to the clearing where Sita liked to pass the time. The creature was so beautiful that she wanted to possess it and asked Rama and Lakshmana to capture it for her. When the brothers had gone Ravana approached in the disguise of an ascetic and seized her. He made off with her to Lanka in his aerial chariot.

On the way Jatayu, an incarnation of Garuda, Vishnu's mount, and king of vultures, fought Ravana but was fatally wounded, living only long enough to return and tell Rama what had happened. Sita also implored the forest and the River Godavari over which she was flying to inform Rama of her fate. When they reached Lanka, Ravana tried to woo her, but she rejected all his advances. He then tried to threaten her into marriage, declaring that he would kill and eat her, but Sita was saved by the intervention of one of Ravana's wives. Ravana dared not force her because, as an inveterate wife-seducer, he was at this time doomed to die if he ever again ravished the wife of another.

Jatayu, incarnation of Garuda and king of the vultures, swooping down on Ravana as he abducts Sita in his magic chariot Pushpaka. Jatayu was fatally wounded, but lived long enough to tell Rama what had happened. From a copy of a Moghul painting, seventeenth century, Bharata Kala Bhavan, Banaras Hindu University.Meanwhile, after a lengthy search for Sita, Rama and Lakshmana discovered Jatayu who, as he lay dying, told them the story of her disappearance. Rama piously cremated Jatayu's body, and then set about making plans to recover his wife. He made an alliance with the monkey king Sugriva, son of lndra, who had been exiled from his kingdom by his half-brother Bali (to be distinguished from the Daitya king who figured in the fifth avatar). In return for their help in regaining his kingdom, Sugriva promised to support Rama and Lakshmana against Ravana. Bali was soon killed and Sugriva restored to his throne. After some delay Sugriva raised an army of monkeys and bears, led by his general the celestial Hanuman, son of Vayu, the wind. While the army marched south towards Lanka, Hanuman, who could fly, went ahead and crossed the sea to Lanka, where he found Sita alone in a garden in Ravana's place. He told her of the plans being made for her deliverance and gave her Rama's sig-net ring as a token. Pleased with his success, Hanuman then frolicked in the enemy's garden, pulling up the plants; but he was caught by the rakshasas and brought before Ravana. Still ebullient, Hanuman raised him-self on the coiled mound of his long tail so that he was seated higher than the king. Ravana was about to kill him, but the monkey-general man-aged to stay his hand by claiming diplomatic immunity messengers from the opposing side could not be killed. Ravana nevertheless ordered the rakshasas to set fire to Hanuman's tail, by wrapping it in oily rags and lighting them. But at this moment the monkey made his escape and, trailing his burning tail and jumping from building to building, he succeeded in setting fire to the whole of Lanka.

Hanuman flew back to the main-land and rejoined Rama, giving him valuable information about Ravana's defences. Lanka was indeed a mighty fortress, for it had originally been built by Visvakarma for the god of wealth, Kubera. The vast city, which was built mostly of gold, was surrounded by seven broad moats and seven great walls of stone and metal. It had originally formed the summit of Mount Meru which, as we shall see, was broken off by Vayu and hurled into the sea.

Rama  and Lakshmana defeat Sabahu and Marica, the rakshasas who try to interfere with the sacrifice of the sage Vishvamitra. Marica is the rakshasa who turns himself into a beautiful deer at the request of Ravana, to inveigle Rama away from his home, thus allowing the capture of Sita. Relief from prambanam, Java, eight century.Shortly after Hanuman's return a bridge across the strait to Lanka was completed, despite the efforts of creatures from the dark depths of the ocean to prevent it being built. Its chief architect was a monkey leader called Nala, who was a son of Visvakarma and had the power to make stones float on water. The bridge is therefore sometimes called Nalasetu (Nala's bridge), though its usual title is Rama's Bridge.

A mighty battle was now fought before the gates of the city. Ravana's forces included his son Indrajit, who acquired his name and the boon of immortality from Brahma in return for the freedom of Indra, whom he had captured during Ravana's attack on Swarga, Indra's heaven, and whom he had taken prisoner to Lanka. Indrajit succeeded twice in injuring Rama and Lakshmana, but on each occasion they were cured by a magic herb which Hanuman flew all the way to the Himalayas to obtain Meanwhile Kumbhakarna, Ravana’s brother, a giant whose appetite was insatiable, was devouring hundreds of monkeys. But the monkeys were inflicting heavy losses upon the rakshasas. Finally all the rakshasa generals were killed and the battle resolved into single combat between Rama and Ravana.

As the whole company of gods looked on, these two fought a deadly battle and the earth trembled dunring the encounter. With arrows, Rama struck off Ravana's heads one after the other; but as each one fell another grew in its place. Finally Rama drew forth a magic weapon given to him by Agastya, a renowned sage and noted enemy of the rakshasas. This weapon was infused with the energy of many gods: known as the Brahma weapon, the wind was in its wings sun and fire reposed in its heads, and in its mass lay the weight of Mounts Meru and Mandara. Rama dedicated the weapon and let it loose; it flew straight to its objective in the breast of Ravana, killed him, and returned to Rama's quiver. This was the moment for great rejoicing among the gods, who showered Rama with celestial garlands and resurrected the monkeys fallen in the great battle which saw evil defeated.

Sita proving her innocence by fire-ordeal as Rama, Lakshmana, Hanuman, Sugriva and Jambavan look on. By rescuing her from the flames, Agni publicly vindicated Sita’s honour and they all returned to Ayodhya. Mughal painting, seventeenth century.
Now Rama and Sita could be reunited; but to the amazement of all Rama, when he saw his wife again, spoke coldly to her; he found it hard to believe that she had been able to preserve her virtue as Ravana's captive. Sita protested her unfailing love for Rama, declared her innocence, and determined to prove it by fire-ordeal. She ordered Lakshmana to build and light a pyre and threw her-self on it; as she did so the sky pro-claimed her innocence and the fire god, Agni, led her before Rama, who now accepted her, saying that he him-self had never doubted her but had only wished for public proof.

This seemed to be a happy ending, and the monkey army returned with Rama, Lakshmana and Sita to Ayodhya, where Rama was crowned. But though Rama's reign was one of unprecedented peace and prosperity, Ravana's mischief had not yet run its course. The people of the kingdom began to murmur, doubting Sita's innocence, and though she was pregnant at the time Rama felt obliged to send her away into exile. She took refuge at Valmiki's hermitage in the forest, where she gave birth to twin sons, Kusa and Lava.

Hanuman receiving instructions from, while Lakshmana looks on. The bonds that unite the monkey general to Rama are those of selfless loyalty, for which he was rewarded with the boon of immortality. Trichinopoly painting, 1820. Victoria and Albert Museum, London.These boys, who bore the marks of their high paternity, wandered into Ayodhya when they were about fifteen years old and were recognised by their father, who thereupon sent for Sita. In order that she should publicly declare her innocence, Rama called a great assembly together. In front of it Sita called upon Earth (her mother, for she was born of a furrow) to attest to the truth of her words. Earth made a sign, but it took the form of opening in a cleft beneath Sita and swallowing her up.

Rama, now heartbroken, for Sita was his only wife, wished to follow her. The gods had mercy on him in his despair and sent him Time, in the guise of an ascetic, with the message that he must either stay on earth or ascend to heaven and rule over the gods. Then the sage Durvasas also came to see Rama, and demanded immediate admission to his presence, threatening dreadful curses on him if he were refused. Lakshmana, who had received Durvasas, hesitated; he knew that the interruption of a conference with Time carried the penalty of death. But preferring his own death to the curses of Durvasas on his brother, he went to fetch Rama. Then he calmly went to sit by the riverside to await death. Here the gods showered him with garlands before they conveyed him bodily to Indra's heaven. Rama's end was more deliberate; with great dignity and ceremony he walked into the River Sarayu, where Brahma's voice welcomed him from heaven and he entered into the 'glory of Vishnu'.

Krishna

Vishnu's eighth incarnation attracted to it an even greater body of mythology than the seventh, though its purpose was relatively simple: to kill Kansa, son of a demon and tyrannical king of Mathura. Of the many myths surrounding Krishna the most popular, which concern the aspects of the god in which he receives the greatest worship, have nothing to do with the reasons for his incarnation as an avatar of Vishnu. Indeed the Dionysiac myths concerning the young Krishna, with their strong Greek influence, have little to do with native ideas cur-rent during the great mythologising period of the epics. Sometimes, Krishna is considered as a great deity in his own right and then his brother Balarama is said to be Vishnu's eighth incarnation. Krishna's life falls into four main parts: childhood, when he performed great feats of strength; youth, when he dallied with the cowgirls; manhood, when he per-formed the task for which he had been born; and middle age, when he became the great ruler of Dwarka and took part in the Bharata war, acting as Arjuna's charioteer and pronouncing his great teaching on the subjects of dharma and bhakti.

Monkey spies reconnoitre the great fortress city of Lanka, while on each side the generals hold councils of war. Illustration to the Ramayana, c. 1709. British Museum. London.Krishna's birth and childhood During the second age of the world the Yadavas of northern India, whose capital was Mathura, were ruled over by King Ugrasena. They were a peace-loving, agricultural people, who could have lived quietly had a misfortune not befallen their queen, Pavanarekha. One day as she was walking in the forest she was. waylaid and raped by the demon Drumalika, who took the shape of her husband Ugrasena. Drumalika resumed his demon form and revealed that the son to be born, Kansa, would conquer the nine divisions of the earth, be supreme ruler, and struggle with one whose name would be Krishna. Ten months later Kansa was born and as Pavanarekha remained silent about his true paternity Ugrasena assumed the son was his own. As he grew up his evil nature showed itself. He was disrespectful to his father. He murdered children, and forced the defeated King Jarasandha of Magadha to yield up two of his daughters whom he took as wives. Next he de-posed his father, ascended the throne and banned the worship of Vishnu. He extended his kingdom by conquest and committed many crimes.

The gods, at the entreaty of Earth, decided it was time to intervene; Vishnu should restore the balance of good and evil. Vishnu made use of two Yadavas loyal to him. They were Devaka, an uncle of Kansa, and Vasudeva, to whom Devaka's six elder daughters were married. Vishnu ordained that the seventh daughter, Devaki, should also be married to Vasudeva. He plucked a black hair from his own body and a white one from the serpent Ananta, or Shesha, on whose coiled body he reclines, declaring that the white hair should become Devaki's seventh son, called Balarama; the black hair would be-come her eighth son, called Krishna. At Devaki's wedding, however, a voice warned Kansa of these preparations for his downfall; but he agreed to spare Devaki on condition that each of her sons should be killed at birth. Accordingly, her first six sons were slaughtered as soon as they drew breath. She then became pregnant with a seventh son, and Kansa received a second warning, for he heard that gods and goddesses were being born in the shape of cowherds. He therefore ordered the systematic killing of all the cowherds that could be found and this endangered the life of Nanda, Vasudeva's closest friend. Nevertheless it was Nanda who was chosen to help preserve Devaki's seventh and eighth sons. Vasudeva sent another of his wives, Rohini, to stay with Nanda, and Vishnu had the child in Devaki's womb transferred to that of Rohini. In due course Balarama was thus born to Rohini and Kansa was given to understand that Devaki had miscarried.

At dead of night, while Kansa and all his guards are asleep, Vasudeva takes the newborn Krishna for Yashoda’s newborn daughter. Pahari painting, eighteenth century. Bharata Kala Bhavan, Banaras Hindu University. But the time came for Devaki to conceive again. Kansa took the pre-caution of imprisoning both mother and father. He had them manacled together and set men, elephants, lions and dogs to guard the prison. But the eighth child was Krishna and he re-assured his parents from the womb. Indeed when he was born all Kansa's precautions were seen to have been in vain; the manacles fell away and the baby Krishna, assuming the form of Vishnu, ordered his father to take him to the house of Nanda where Nanda's wife Yashoda had just been delivered of a child and to substitute the two babies. Krishna then resumed his infant form and Vasudeva put him in a basket, placed it on his head and left the prison freely, for the doors had swung open and the guards had fallen asleep.

On his way Vasudeva came to the River Jumna and attempted to ford it; but the waters rose steadily until they nearly submerged him. At this point Krishna stretched out his foot from the basket and placed it on the waters, which thereupon subsided, allowing Vasudeva to pass. At Nanda's house he found that Yashoda's baby was a girl but he took her back to the prison, whose doors reclosed and where the guards, waking up, suspected nothing. They announced the birth of a girl to Kansa, who him-self attempted to smash the infant's body on a rock. But the baby was transformed into the goddess Devi who, having told Kansa that his future enemy had escaped him and that he was powerless, herself vanished into heaven.

Nanda, who did not suspect that Krishna was not his own son, arranged a great celebration of the birth, to which he invited all the cowherds and their wives. At the festivities the Brahmins foretold that Krishna would be a slayer of demons, would bring prosperity to the land of the Yadavas and would be called Lord of the Cowgirls.

Yashoda with the infant Krishna and his fair-skinned brother Balarama. Kangra painting, eighteenth century. Victoria and Albert Museum, London.His childhood revealed his dual character. At times he seemed just an exceptionally lovable boy; in other episodes he began to show his strength and was recognised as a god.

During his first year Krishna was three times attacked by a demon. The first one was Putana, a child-killing ogress who, taking the form of a beautiful girl, was allowed to suckle Krishna. But the poison she had put on her breast could not harm Krishna who, on the contrary, sucked so hard that he drew all the life out of Putana, who resumed her monstrous form as she died. The second enemy was Saktasura, a monstrous flying demon who lighted on a cart loaded with pitchers beneath which Krishna was lying. But though the cart collapsed as Saktasura planned, it crushed him rather than Krishna, who had turned the tables with a well directed kick. The third attack was mounted by Trinavarta, a whirlwind demon who snatched Krishna out of Yashoda’s lap. A great storm arose as Trinavarta flew away with Krishna, but Krishna twisted the demon round and smashed him against a rock, at which the storm subsided.

As Krishna began to grow up he amused himself and, despite them-selves, his mother and all the womenfolk, with various pranks involving stealing the cowgirls' curds and butter, upsetting their pails of milk and blaming their children for his own mischief.

Krishna playing the flute to the delight of animals and cowgirls. Rajput painting, seventeenth century. Museum of fine Arts, Boston, Massachusetts, Ross-Coomaraswamy Collection.But this idyllic childhood was interrupted by the efforts of Kansa who, still searching for any child who might be the one destined to kill him, had sent demons to attack all children of Krishna's age. He overcame in turn a cow demon called Vatasura; a crane demon called Bakasura, who swallowed Krishna but was forced to release him when Krishna became too hot; and a snake demon, Ugrasura, who swallowed Krishna but whom Krishna burst open from within by expanding his own body. Again and again Krishna was attacked by Kansa's demons, but on each occasion he extricated himself, killing the ass demon Dhenuka, subduing the snake demon Kaliya by dancing on his heads, and swallowing up a fire sent to consume Krishna and his companions in a forest. Balarama, who was Krishna's constant companion, also killed some demons, such as Pralamba, a demon in human form.

Krishna's youth During his childhood, Krishna showed his defiance of the world of demons. During his youth he demonstrated his attitude to the Brahmins and to Indra and the Vedic gods. One day when Krishna and his companions were hungry they smelled food and found that it was being cooked by some Brahmins in preparation for a sacrifice. They asked for some to eat, but were angrily rebuffed. The Brahmins' wives, however, were eager to oblige; Krishna had a reputation as a stealer of hearts and they disobeyed their husbands and brought him food, recognizing him as God and feasting their eyes on him. When they re-turned, gratified, to their husbands they found them not only willing to forgive but angry with themselves be-cause they had missed this unexpected opportunity of serving the young god.

Krishna then persuaded Nanda and the other cowherds that their sacrifices to Indra were useless, for Indra was an inferior deity and subject to defeat by demons. Krishna convinced them that their salvation lay either in following their duty of being ruled by their fate, or in worshipping their early nature divinities, which in their case were contained in the spirit of the mountain, Govardhana, on which they grazed their flocks and which sheltered them and their beasts. The cowherds accordingly performed a great ceremony in honour of the mountain, and were rewarded for their devotions by the manifestation of Krishna himself as the spirit of Govardhana. Indra was enraged and forgetting who Krishna really was sent a terrible storm with torrents of rain to punish the cowherds. Krishna protected them from the flooding that this seven-day storm would normally have produced by raising the mountain on one finger, giving the cow-herds shelter underneath. Indra admitted his defeat. He descended to earth accompanied by his white elephant Airavata and the cow of plenty, Surabhi, and worshipped Krishna.

Krishna suckled by the rakshasi Putana, who intended to murder the child by poisoning her breasts. Udaipur painting, 1740. British Museum, London.
The story of the Brahmins' wives hints at an aspect of the Krishna myth which receives more attention than any other: his amorous adventures with women, in particular the married cowgirls (gopis). All these stories are noted for the beauty of their sensuous descriptions, but though a symbolic, spiritual meaning is ascribed to them all, it must be remarked that in later life Krishna repudiated his cowgirl loves and became the model husband and embodiment of married bliss. However, as is often said in Indian scriptures, the gods are not to be judged by human moral standards and many of the cowherds and cowgirls were, moreover, divine in-carnations on earth.

Krishna's amorous adventures began when he was young, and developed naturally from his childhood teasing of the cowgirls. One day when a group of them, already smitten with love for him, went bathing in the River Jumna in an attempt to make their wishes come true, Krishna came across them as they were calling out his name. He stole their clothes and hid with them in a tree. Despite their earlier pleas the cowgirls were mortified at the situation and tried to hide their nakedness beneath the water; but Krishna told them that Varuna inhabited the water so they were no better off in it. He insisted that each of the cowgirls come forward to the - tree to receive back her clothes. Sending them away after all this teasing, Krishna mollified them by promising that he would dance with them in the following autumn.

The Brahmins’ wives, irresistibly attracted to Krishna, give to him and his companions the food meant for their husbands. Kangra painting, eighteenth century.When autumn came, Krishna went one moonlit night into the forest and played upon his flute to call the cowgirls, who all slipped away from their husbands and went to join him. After some teasing on his part the dance began, sending the lovesick girls into ecstasies of delight, each one dancing with Krishna as if he were her lover. But Krishna slipped away with one of them and when the other girls realised they were alone they set out with lamentations to look for him. First they found his footprints, accompanied by those of a girl. But the girl, too sure of herself and proud at being singled out, had asked

Krishna to carry her; annoyed, he abandoned her on the spot. The others found her, and after their end-less search and entreaties that he should return, Krishna relented. They took up the dance again. The girls became frantic with desire and, using his powers of delusion, Krishna made each believe that he was dancing with, embracing and loving her. The dance and its erotic delights continued for six months and ended with the whole company bathing in the River Jumna. The girls returned to their homes, and found that no one or knew they had ever been away.

The story of the girl who was singled out is elaborated in Indian poetry (rather than in myth), where she is called Radha. The plight of the lovelorn girl is described as she waits for Krishna while he dallies with others, and the emotions of each of them at the various stages of their story, their misunderstandings and the fulfilment of their love, became the classical images of Indian love poetry.

Krishna supporting mount Govardhana. Twelfth-century sculpture from the Temple of Kesava, Belur.In the myth, though Krishna returned once or twice to the cowgirls this great dance of love marks the climax of his idyll and the end of his youth.

The slaying of Kansa Meanwhile, the attacks of Kansa's demons continued. One of them took place at night when Krishna and Balarama were with the cowgirls. Sankhasura, a yak. sha demon, came among them and attacked some of the girls; hearing their screams, Krishna pursued Sankhasura and cut off his head. On another night, a bull demon careered among the herd, but Krishna caught it and broke its neck.

About this time Kansa was informed by a sage of the identity of his future killer and the rest of the story, He immediately cast Vasudeva and Devaki into prison and laid plans to capture Krishna. He decided that the best way would be to lure Krishna to Mathura after failing in some more attempts to kill him in the forest by sending Kesin, the same asura who had once fought and nearly overcome Indra. Kesin took the form of a horse, but again Krishna was equal to his opponent; he thrust his hand down the throat of the horse, causing it to swell within. The horse burst apart. Then Kansa sent a wolf demon to waylay Krishna. He disguised himself as a beggar; but once more Krishna was prepared, and when the demon resumed his true form and attacked him, he seized and strangled him.

Kansa now abandoned such tactics and sent the head of his court, Akrura, to invite Krishna to attend a great sacrifice at Mathura in honour of Shiva. But Akrura was a secret devotee of Krishna and warned him that Kansa had arranged for him to be killed in a match with a wrestler called Chanura, and that he had stationed at the gates a savage elephant which was to trample Krishna to death should the other plan fail.

The infant Krishna is tied to a huge mortar by his foster-mother Yashoda to keep him from mischief. In this of depicted episode from his childhood, Krishna proves his superhuman strength by pulling the mortar after him between two trees, which he thus uproots. Manuscript illustration from west India. Fifteenth century. Victoria and Albert Museum, London.Despite the protests of the cowgirls, Krishna, Balarama and a party of the cowherds set off for Mathura, where news of their arrival had gone before them. In Mathura the women leant from their windows and rooftops to greet Krishna; Kansa's tailor himself made them new clothes; another of his servants, the hunchback Kubja, anointed Krishna with perfume, in re-turn for which he straightened her back.

At the gate of the city Krishna picked up the great bow of Shiva and broke it into pieces (just as Rama had broken it) and killed all the guards. As he entered Mathura the great elephant attacked him, but after a mighty struggle was overcome. Balarama and Krishna took the tusks and paraded around with them. Then Chanura and the other wrestlers attempted to worst the brothers, but one after the other were routed. Kansa, now desperate, ordered his demons to bring forth Krishna's parents and his own father Ugrasena; they were to be put to death together with Krishna and Balarama when the brothers were overcome. When news of this reached Krishna he slew the remaining demons without mercy, then Kansa arid his eight brothers.

The main object of his life, the killing of Kansa, was now achieved but Krishna was not yet satisfied. Kansa's allies were still at large and powerful enough to disturb the balance of good and evil just as Kansa had done. Having restored Ugrasena to his rightful throne and been reunited with his real parents, Vasudeva and Devaki, Krishna himself abandoned the pastoral life and became a sort of feudal prince, thus entering the last phase of his life.

Krishna playing to the cowgirls. Kulu painting, 1775.Krishna the prince Krishna was shortly justified in his decision to continue the fight against the demons, for another, a former rival of Kansa named Jarasandha, soon summoned up great armies of demons at the insistence of his two daughters, Kansa's widows. Among his many allies was another demon, Kalayavana. Seven-teen times Jarasandha and his armies attacked Mathura and were defeated by Krishna and Balarama single-handed, and each time the troops were slaughtered but Jarasandha was released to return, bringing more demon troops to be slaughtered.

Finally Krishna wearied of these battles and decided to build a new capital which would be easier to de-fend. He assigned to Visvakarma, the divine architect, the task of building in one night the fortress city of Dwarka (on the west coast; historically, settled by the Aryans about the sixth century B.C.). When it was completed all the Yadavas were trans-ported to the new capital; on the way the demons were allowed to believe that they had encircled them on a hill and destroyed them by fire.

Krishna was now ready to settle down and sought wives for himself and his brother. Balarama married a princess called Revati and Krishna heard of a beautiful princess called Rukmini, who was meanwhile told of Krishna by Shiva and Brahma disguised as beggars. Both fell in love at the mere description of the other, one the stage was set for a great romantic passion which was to supersede all those of Krishna's youth.

Rukmini was betrothed (on the advice of her evil brother Rukma) to Sisupala, a cousin of Krishna but an avatar of the demon whose other avatars were Hiranyakasipu and Ravana. Just before the wedding was due to take place Rukmini sent a letter to Krishna beseeching his intervention. He answered it by arriving on the wedding morning while Rukmini was praying to Devi and snatching her away in his chariot. Rukma, Sisupala and Jarasandha who was present with his demon army for the wedding decided to avenge this, but Balarama routed the demons and all but Rukma fled. He tried to kill Krishna, but was taken captive. Rukmini begged for his life and Balarama released him.

Krishna subduing the serpent demon Kaliya, which inhabited the River Jumna and had been terrorising the people living along its banks. Though only a boy, Krishna overcame Kaliya by dancing on his heads. Chola bronze, sixteenth century. Victoria and Albert Museum, London.Krishna now married Rukmini and celebrated the defeat of yet more demons at the time of his nuptials. In the same way he married seven further wives; each marriage was opposed in some way by demons and so brought about the destruction of yet more evil. Thus Krishna married Jambavati, daughter of the king of the bears Jambavan, and Satyabhama. daughter of Satrajit, and Kalindi, daughter of the sun, and four other girls.

He now seemed to have achieved the aims for which he was born, and Earth appealed to Brahma, Vishnu and Shiva for a reward for her part in securing the presence of Krishna in the world. She requested a son who would never die and who would never be equalled. The three gods granted her a boon but not quite in the form that she expected, for they also warned her that the son, Naraka, would be attacked by Krishna and killed by him at Earth's own request.

Naraka became the powerful king of Pragjyotisha and conquered all the kings of the earth; he became an implacable enemy of the gods in the sky and routed them; carried off the earrings of the mother of the gods Aditi, and wore them in his impregnable castle at Pragjyotisha; he took Indra's canopy and placed it over his own head; took into captivity sixteen thousand one hundred girls, earthly and divine; and finally, taking the form of an elephant, he raped the daughter of Visvakarma, the divine architect.

Krishna seizing and breaking the neck of the bull demon who came at duck to attack him and sent the cattle, cowherds ad cowgirls into panic flight. Pahari painting, nineteenth century, Bharata Kala Bhavan, Banaras Hindu University.The gods' prophecies were duly fulfilled. Krishna attacked and defeated Naraka, though he was assisted in his defence of Pragjyotisha by the five-headed arch-demon Muru and his seven sons. When the vast demon armies had been defeated the palace was opened to reveal the countless jewels Naraka had amassed besides the earrings of Aditi, the canopy of Indra, and the-sixteen thousand one hundred virgins. Krishna took all these girls back to Dwarka and married them, for on seeing him all had fallen in love with him.

Krishna now settled down with his sixteen thousand one hundred and eight wives and was able to delight them all simultaneously. In due course each of them bore him ten sons and one daughter, and despite the great number of his wives, he was aware of their least whim and ready to pander to their every desire. One day he gave Rukmini a flower from the Parijata or Kalpa tree, the heavenly wishing tree which grew in Indra's heaven and belonged to Indrani. A sight of this tree rejuvenated the old, and when Krishna's third wife, Satyabhama, saw the present he had made to Rukmini, she asked him to bring her the whole tree. So Krishna set off for lndra's heaven, taking with him lndra's canopy and Aditi's ear-rings, and asked for the tree. But Indra had not forgotten his humiliation over the Govardhana episode and re-fused, whereupon Krishna seized the tree and made off with it. Indra raised forces and pursued him but was defeated; however, Krishna returned the tree of his own free will a year later. The demons meanwhile were not forgotten; many of their leaders whom Krishna and Balarama had earlier defeated were plotting revenge. Jarasandha had by now imprisoned twenty thousand rajas, so Krishna set out with two of his Pan-Java cousins, Bhima and Arjuna, to release them.

Rukmini, on the eve of her marriage to Sisupala, sends a letter to Krishna imploring him to intervene. In order to accompany Vishnu in his various avatar, Lakshmi was incarnated as Sita, Radha and Rukmini. Garhwal painting, eighteenth century. British Museum, London.On the way Krishna offered good counsel. He informed Bhima that the way to overcome Jarasandha was to split him in two, and after single combat against the demon lasting twenty-seven days Bhima succeeded in tearing him in half. The next to be dealt with was Sisupala, who had never forgiven Krishna for depriving him of his bride Rukmini and never ceased attacking him. But Krishna repeatedly spared his life because he had promised Sisupala's mother that he would forgive him a hundred wrongs. At a great sacrifice held by Yudhisthira, Sisupala stepped for-ward to contest the decision to treat Krishna as the most honoured guest, Ting that Krishna was of low caste, associated with cowherds, a thief, a philanderer and an enemy of Indra. But this was his hundred and first attack. Krishna let him speak, but then stood up, cast his magic quoit weapon, Sudarsana, and killed him instantaneously. Sometime later, Sisupala's two brothers were also killed.

The climax of Krishna's long battle with the forces of evil came, as we shall see, in the struggle between the Pandavas and the Kauravas. Throughout his career Krishna had been related by family ties to both gods and demons. So in the Mahabharata he was related to both the good Pandavas and the evil Kauravas. He took no active part in the battles, only giving advice and letting the mortal warriors fight out the epic struggle. The most important advice he gave is contained in the Bhagavad Gita, where he explained to Arjuna that all is illusion, including battle and death in arms, and that it is not the prerogative of human beings to question their duty: they must merely follow it, and leave the higher perspective to the gods. Nevertheless, through his intervention Krishna fin-ally secured that for which he came to earth even though to the human protagonists the struggle must have seemed futile.

Sisupala with his retinue. Krishna’s cousin Sisupala became his implacable enemy after the beautiful Rukmini, his intended wife, was abducted by Krishna with her own connivance. He was eventually killed by Krishna. Garhwal painting, eighteenth century.
Krishna now decided that he could return to heaven. But his own mortal end seems tragic; the weapons which were to destroy the Yadava race and bring about his own death were created as the result of a curse by some Brahmins who had been mocked by Yadava boys, one of whom, Samba, was Krishna's son by Jambavati. The Brahmins declared that Samba, who had dressed up as a pregnant woman, would give birth to an iron club that would cause the downfall of the Yadavas. In due course the club was 'born', and though it was smashed by order of King Ugrasena and thrown into the sea, splinters from it escaped destruction; one was swallowed by a fish, later found and made into an arrow head; the others grew into some rushes hard as iron.

Portents now began to appear in Dwarka of impending destruction, and the Yadavas, frightened by the storms and lightning, misshapen births and other horrors appearing all about them, asked Krishna how they might avert catastrophe. On his advice the men set out on a pilgrimage to Prabhasa. But after performing the various rituals, the Yadavas fell to drinking by the river and were assailed by a destructive flame of dissension. In the fight which ensued Krishna's intervention only made their fury greater, and by the end they had all been killed either by each other or by Krishna, who became angry with them. The weapons they used were the rushes growing by the river bank which were the very ones which grew from the splintered club.

Radha and Krishna in the grove. The love of Krishna for the beautiful cowgirl is beloved by Hindus and celebrated in husbands of songs, stories, and picture. Nurpur painting, eighteenth century. Victoria and Albert Museum, London.Both Krishna and Balarama were now free to leave the earth. Balarama performed austerities by the seashore and, dying, was rejoined to the Absolute. Shesha or Ananta, the divine serpent from whose white hair Balarama was born, flowed out from his mouth. The ocean came to meet him, carrying other serpents in its waters.

Krishna too assumed a yogic posture of abstraction. He sat beneath a fig tree with his left heel pointing out-wards. A passing hunter, his arrow tipped with the one remaining splinter of the iron club, mistook Krishna's foot for a deer and shot at it, thus piercing Krishna's one vulnerable spot and mortally wounding him. The hunter, coming closer and recognizing Krishna, immediately asked his pardon. He was forgiven and granted liberation.

Finally, before he died, Krishna sent word to Dwarka that the city would shortly be engulfed by the ocean and warned the remaining Yadavas to leave. But first a great funeral was held for Krishna and Balarama. Vasudeva, Devaki and Rohini, who died of grief at the news of Krishna's death, were placed on the funeral pyre with his body and that of Balarama; they were joined by Krishna's eight principal wives, Balarama's wives, and King Ugrasena, who threw themselves on the flames.

Buddha

Vishnu's ninth incarnation, appearing at the start of the Kaliyuga (the pre-sent age), clearly represents an attempt to subordinate Buddhism to the Hindu system, and in it the means employed to preserve the world differ radically from those in all the other avatars. Vishnu in his Buddha incarnation was not the straightforward heroic upholder of virtue, but rather the devious devil's advocate, who propagated ideas which would lead to wickedness and weaken the opponents of the gods, causing them ultimately either to be destroyed or to turn back for their salvation to their old faith in the traditional gods.

Some of the ladies of prince Krishna’s harem of sixteen thousand one hundred and eight being shown the horse that will be released to wander for a year as a prelude to Yudhisthira’s horse sacrifice after the great battle of the Mahabharata. Illustration to a Persian translation of the epic (fifth Book), 1598 British Library, London.The doctrines supposedly put forward by Buddha bear only a distorted relation to Buddha's teaching as understood by his followers. He is said to have taught that the world has no creator and therefore no universal spirit of whom Brahma, Vishnu and Shiva are manifestations. The three supreme gods of the Hindus were therefore just ordinary mortal beings on a par with men. The doctrine of samsara and the associated idea that people should follow their duty dharma, as prescribed for them according to their caste had no validity; for death was no more than peaceful sleep and annihilation heaven and hell existed only on earth the one being pleasure and the other bodily suffering. Sacrifices were of no value, for the only true blessing was the individual's release from ignorance. The pursuit of pleasure was to be narrowly interpreted; to propagate this doctrine Lakshmi was incarnated as a woman who taught her disciples that since the body after death simply crumbled, heaven on earth was to be sought exclusively through sexual pleasures.

Ironically, as we shall see, the Buddhists did in some sense turn to Hindu belief, though this movement was far from stemming from Buddha's hedonistic teaching rather the reverse. The mythology and cosmology that became attached to Buddhism as it became a popular mass religion, rather than a philosophers’ creed, were rooted in Hindu belief and the Hindu gods even inhabited some of the lower heavens of the Buddhist cosmos.

Kalki

The white horse of Vishnu’s tenth avatar being led towards him so that he may mount it and with his blazing sward destroy a universe at the lowest point in its moral decline. Pahari painting, eighteenth century. Bharata Kala Bhavan, Banaras Hindu University.The tenth and last incarnation of Vishnu has yet to come. It will usher in the end of our present age. Social and spiritual life will have degenerated to their lowest point. Sovereigns will set the tone for the final decline; they will be mean-minded and of limited power but during their short reigns they will attempt to profit to the maximum from their power. They will kill their subjects and their neighbors will follow their example, and nothing will count but outward show. Even the Brahmins will have nothing to distinguish them but their sacred thread, while the apparent wealth of the materialists will be an empty display, for real worth will have departed from everything. Truth and love will disappear from the earth, falsehood will be the common currency of social existence and sensuality the sole bond between man and wife. India will lose its sacred associations, and the earth will be worshipped for its mineral treasures alone. The sacred rites will disappear: mere washing will pass for purification; mutual assent will replace the marriage ceremony; bluff will replace learning; and the robes of office will confer the right to govern. Finally even the appearance of civilization will vanish: the people will revert to an animal existence, wearing nothing the bark of trees, feeding upon the wild fruits of the forest, and exposed the elements. No man or woman will live for longer than twenty-three years.

At this point of degeneration Vishnu will appear in person on earth, riding a white horse, Kalki, which is his tenth incarnation. Vishnu will ride through the world, his arm aloft and bearing a drawn sword blazing like a comet. He will accomplish the final destruction of the wicked and prepare for the renewal of creation and the resurgence of virtue in the next Mahayuga.

Hindu Mythology

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Nandi, the bull mount of Shiva. Guardian of all quadrupeds, he is Shiva's chamberlain and provides the music for the Tandava, the dance of Shiva Nataraja.

The Hindu Triad 

As we have seen, the idea of a triad of gods is rooted in the earliest Indian beliefs and seems to have its origin in solar cults, for the 'three-bodied' sun created with his fertilizing warmth, preserved with his light, and destroyed with his burning rays. Though the triad remained, its members changed, so that the Adityas (Varuna, Mitra and Aryaman) gave way to Agni, Vayu and Surya, and Vayu in turn gave way to lndra. These deities were sometimes thought of simply as the three most important gods, some-times as components of a single god embracing the world: Agni is the earth god, Vayu or Indra is the god of the atmosphere and Surya is the god of the sky. In the Rig Veda, Indra is closely united not only with Agni but also with Vishnu (in his earl form). But in the Brahmanic and especially in the Upanishadic period Vishnu, not lndra, is the most important god left from the Vedic pantheon and is thus fitted for a place in the triad. Similarly Rudra or Shiva is early identified with fire, from his role as god of red lightning, and can take the place of Agni. The first conjunction of the Hindu gods was in Harihara, where Vishnu and Shiva were treated as one deity. But this union ran counter to the tradition of the triad, and perhaps for form's Brahma, being officially the All-god was added to make up a triad.

This triad was not, however, simply derivative from the fire triad it introduced the new idea of conjunction and unity of creation, preservation and destruction, which lined with the new concept of a cycle of life, death and rebirth. To a great ex-tent the triad as such was of mystic significance; but though the idea of a triune god embracing all three components was an old one, it became particularly important in the context of sectarian belief, where the followers of either Vishnu or Shiva sought to assert, and to prove by myths, that their god was the greatest and actually contained the triad within him.

One such myth relates that Vishnu and Brahma fell into a dispute as to which of them was the more venerable. When they had been quarrelling for some time there appeared before them a fiery pillar, like a hundred universe consuming fires. Both gods were amazed at the sight and both decided that they must find the source of the column. So Vishnu took the form of a mighty boar and followed the column downwards for a thousand years, while Brahma took the form of a swift-moving swan and travelled upwards along the column for a thousand years. Neither reached the end and so returned. When they net again, wearily, where they had started, Shiva appeared before them; they now recognised that the column was Shiva's lingam, and acknowledged him the greatest and most venerable of the gods. 

Brahma 

Five-headed Brahma riding on a goose. Born with one head, Brahma acquired four more in order not to lose sight of the female partner he had created. But Shiva later struck off one of the heads, leaving Brahma with only four. In his hands are a sceptre, a string of beads and a water jug. Talc drawing from South India. Victoria and Albert Museum, London,
As Creator, Brahma is sometimes said to have been the first of the gods, the framer of the universe and the guardian of the world. At other times, how-ever, he is said to be himself the creature of the Supreme Being, Pitamaya, the self-existing father of all human beings. In the Puranas Brahma is held to be the son of the supreme being and maya, his energy; or he is thought to have hatched out from the golden cosmic egg, which floated on the cosmic waters; or to have been born from a lotus which sprang from Vishnu's navel.

Though he is sometimes thought to be self-created, Brahma's role, when he is considered as one of the triad of Hindu gods, is exclusively that of creator, his earlier position as All-god generally passing either to Vishnu or to Shiva. As the world is already created, much more interest is aroused by these other gods, the Preserver and Destroyer, who 'captured' the myths originally ascribed to Brahma, such as his ten forms, which we shall consider as Vishnu's avatars. Only traces of these myths survive, for example in Manu's creation myth, where Brahma appears as a fish. Brahma often figures in the main body of Hindu mythology as the inferior of Vishnu or Shiva, or as the victim of a sage or demon, who by practicing austerities forces Brahma to make a concession and so a situation where Vishnu or Shiva must intervene.

Formally Brahma is revered as the equal of Vishnu and Shiva. He is the god of wisdom, and the four Vedas are said to have sprung from his heads. His heaven is said to contain in a superior degree all the splendors of the other heavens of the gods and of the earth.

Brahma rides a goose and is depicted with red skin and wearing white robes. He has four arms and carries the Vedas and his sceptre, or a spoon, or a string of beads, or a bow, or a water jug. His most salient features, however, are his four heads. Originally he possessed only one head, but he acquired four more, and then lost one. Having created a female partner out of his own sub-stance, Brahma fell in love with her. This modest girl, who is variously called Satarupa, Savitri, Sarasvati, Vach, Gayatri and Brahmani, was embarrassed by his fervent look, and moved to avoid his gaze. But as she moved to the right, to the left and behind him, a new head sprang out in each of these directions. Finally, she rose into the sky, and a fifth head appeared there to look at her. Brahma joined with this girl, who was his daughter as well as his wife, to pro-duce the human race.

It was Shiva who deprived Brahma of his fifth head, though the story of how this occurred varies. All versions, however, illustrate the tension existing between them. Though it is sometimes said that they were born simultaneously of the supreme being and immediately vied for superiority, some declare Shiva sprang from Brahma's forehead; others claim that Shiva created Brahma, who worshipped him and acted as his charioteer. As for Brahma's fifth head, according to one version Brahma claimed that he was superior to Shiva, who thereupon cut off the head with his nail. A second version states that Shiva cut off the head because Brahma told Vishnu a lie in an effort to establish his superiority over Vishnu. In a third version Shiva punishes Brahma for drunkenly commit-ting incest with his daughter. A variant of this myth relates that the daughter was Sandhya, Shiva's wife, who tried to escape her father's advances by changing into a deer, but was pursued through the sky by Brahma in the shape of a stag. Shiva, who witnessed all this, shot an arrow which cut off the head of the stag, and Brahma then paid homage to Shiva. The fourth account says that Brahma wanted Shiva to be born as a son to him and that Shiva, though he had promised Brahma that he would grant him any boon, kept his promise but punished him for his insolence by pronouncing a curse which deprived him of one head. But Shiva thus committed Brahminicide, for Brahma was considered the chief of the Brahmins. He was paralysed for his crimes and thus open to attack by a demon created by Brahma. He fled but was captured and forced to perform penances.

Apart from being the progenitor of the human race in general, Brahma was the father of Daksha, who was born from his thumb. Daksha became chief of the Prajapatis, sages associated with Brahma's creation. Though Daksha gave his daughter to Shiva as a wife, he insulted the god until, cowed by his violence, he was forced to acknowledge Shiva's superiority to him and to his father, Brahma. 

Shiva 

Shiva Bhairava Shiva in his fearsome aspect as the Destroyer. For his crime of Brahminicide Shiva was condemned to wander the earth thus as a human ascetic. Bronze, ninth century.Rudra, Shiva's Vedic forerunner, was the red god of storms and lightning, the terrifying god living in the mountains and god of cattle and medicine who must be propitiated. As god of lightning, Rudra became associated with Agni, god of fire and consumer and conveyor of sacrifice. With Rudra as his antecedent, Shiva could claim as his inheritance the position of priest of the gods and of candidate for divine supremacy.

By contrast with Brahma, a personification of a relatively late abstract principle, Shiva could combine with his Vedic antecedents features reaching even farther back than the Vedic age. He had characteristics of the Indus god, and his powers, especially in the epics, were said to derive from the practice of austerities, that is from yoga rather than from sacrifice. Such powers heightened his claims as priest of the gods. In the aspect of a yogi Shiva is depicted with a snow-white face, is dressed in a tiger skin and has matted hair.

Rudra's original character as god of cattle is extended by combining it with that of the pre-Aryan Lord of the Beasts. The bull is of course universally considered as a symbol of fertility, and this aspect of the lord of cattle had attached to Rudra. But the pre-Aryan Lord of the Beasts exacted sacrifice, because of the ritual connection of sacrifice (death, murder and violence) with plant and animal fertility a basic cult of agricultural peoples and the foundation of Indian mythology in pre- and post-Aryan periods. The fertility-giving aspect of Shiva is thus reinforced by identification with the yogic Lord of the Beasts, and at the same time the idea of violence present in Rudra is under-lined. Shiva Bhairava, the Destroyer, is thus by extension Shiva the bringer of fertility, the creator, the 'Auspicious'. In this sense his activity as destroyer is essential to that of Brahma as creator, and Brahma is thus some-times said to be inferior to Shiva. For this reason Shiva is known as Mahadeva or Iswara, Supreme Lord. His supreme creative power is celebrated in worship of the lingam or phallus.

Shiva repeatedly demonstrates his mastery of austerities as the source 0f power. Thus in the epic version of the slaying of Vritra by lndra, Vritra has obtained power to create illusions, endless energy, unconquerable might and power over the gods because Brahma cannot deny it to him after his practice of austerities. Shiva alone of the gods has sufficient strength gained by yoga to pit against that obtained by Vritra. It is Shiva who, by backing Indra and lending him his strength, enables him to overcome Vritra.

On another occasion Shiva acquired strength to make him superior to all the gods combined. At one time the asuras had obtained a boon from Brahma which consisted of the possession of three castles which could only be conquered by a deity and then only if he could destroy them with a single arrow. From these bastions the asuras made war on the gods, none of whom was strong enough to shoot the fatal shaft. Indra, king of the gods, asked Shiva for his advice; Shiva replied that he would transfer half his strength to the gods and that they would then be able to overcome their enemies. But the gods could not support even half of Shiva's strength, so instead they gave half of their own strength to Shiva, who proceeded to destroy the asuras. However, he did not return the gods' strength to them but kept it for himself, and ever after was the greatest of the gods.

Shiva and Parvati. It was such dalliance with his consort on the occasion of the sage Bhrigu's visit that led to Shiva being worshipped in the form of the lingam. Rajput painting, eighteenth century. Museum of Fine Arts, Boston, Massachusetts. Ross-Coomaraswamy Collection. He is often depicted as a demon-slayer, in which role he is called Natesa, and is seen dancing on the body of an asura. He sometimes wears an elephant skin belonging to an asura he killed.

His boons are also positive: he is worshipped as giver of long life and god of medicine, and his help is inestimable as strengthener of warriors. He is in a sense indiscriminate in his role, for he is ready to give help to anyone who would worship him. Thus in the Mahabharata Arjuna is said to have journeyed to the Himalayas to propitiate the gods before the outbreak of the great war, but got into a fight with a mountaineer who was Shiva in disguise. When he discovered who his adversary was he worshipped him and was not only forgiven but also given a powerful magic weapon. On the other hand Aswathaman, who was on the opposing side in the Bharata war, and who also fought tenaciously with Shiva until he realised who he was, threw himself on a sacrificial fire in the god's honour, this being the only offering he could make; as a reward for this Shiva entered into his body, so enabling him to slay all about him.

Among Shiva's beneficent roles is that of distributor of the seven holy rivers. The Ganges, which winds round Brahma's city on Mount Meru in the Himalayas, descends from the mountains in great torrents. Shiva, in order to break the fall, stands beneath the waters, which wind their way through his matted locks and divide into seven, the holy rivers of India. Shiva performed a vital service to the gods and thus to the world during the churning of the ocean of milk, the object of which was to produce amrita, or ambrosia, which was to strengthen the gods in their struggle against the demons. After some time the serpent Vasuki, whom the gods were using as a churning rope, vomited forth poison, and this was about to fall into the ocean of milk, contaminate the ambrosia and thus destroy the gods. But Shiva stepped forward, caught the poison in his mouth, and was saved from swallowing it himself only by the efforts of his wife Parvati, who by strangling him held the poison in his throat, which turned it blue.

Apart from his blue throat, Shiva is represented as a fair man, with five faces, four arms and three eyes. The third eye appeared in the centre of his forehead one day when Parvati play-fully covered his eyes and thus plunged the world into darkness and put it in danger of destruction; it is a powerful weapon, for by fixing it upon his enemies Shiva can destroy them with fire. With this eye, he kills all the gods and other creatures during the periodic destructions of the universe. His other weapons are a tri-dent called Pinaka, which is a symbol of lightning and characterizes Shiva as god of storms; a sword; a bow called Ajagava; and a club with a skull at the end, called Khatwanga. Further weapons are the three serpents which twine around him and may dart out at enemies: one coiled in his piled up, matted hair and raising its hood above his head; one on his shoulder or about his neck; and one which forms his sacred thread.

In addition to the weapons, most of Shiva's personal attributes emphasise the violent aspects of the deity, for which he is most generally known. These include his head-dress of snakes and necklace of skulls, which he wears when haunting cemeteries as Bhuteswara, lord of ghosts and goblins. In the character of Bhairava his violent nature is intensified, for he is then said to take pleasure in destruction for its own sake. When depicted in such roles Shiva is attended by troops of imps and demons. In his role as stern upholder of righteousness and judge, he carries a drum shaped like an hourglass and a rope with which to bind up sinners.

Ardhanarisvara, or Shiva and his shakti or female nature combined in one image. He-she is seen riding the bull Nandi. The seductive one-breasted torso is surmounted by the high-domed head which represents the lingam. The essential nature of Shiva is seen in the reconciliation of opposites. From the Elephanta caves. Apart from the lingam, personal attributes which characterise Shiva as god of fertility are the bull Nandi which accompanies him or whose symbol in the shape of a crescent moon he wears on his brow, encircling his third eye, and the serpents which twine about him. Many of Shiva's violent aspects are symbolised in the characters of his consorts, who are particularly associated with his bloody rites. The yoni, which is their emblem as the lingam is his, is known as his shakti, or female energy.

Shiva likes to dance in joy and in sorrow, either alone or with his wife Devi, for he is the god of rhythm. Dancing symbolises both the glory of Shiva and the eternal movement of the universe, which it serves to perpetuate. But by the Tandava dance he accomplishes the annihilation of the world at the end of an age and its integration into the world spirit, so that it represents the destruction of the illusory world of maya. Maya no longer refers to Varuna's creative energy in the universe; it is that which governs life on earth, the illusion of material reality, and that from which by various means the faithful seek to free themselves. When dancing Shiva represents cosmic truth; he is surrounded by a halo and accompanied by troops of spirits. He is watched by anyone fortunate enough to be granted the vision. When the serpent Shesha saw the dance he forsook Vishnu for several years and gave himself up to austerities in the hope of seeing it again. The gods them-selves assemble to behold the spectacle, which was treated as proof of Shiva's superiority over Vishnu by some hermits who till then had lauded only Vishnu. Even demons are affected by his dance when he performs it in cemeteries, thus bringing the unclean evil spirits into the orbit of his spiritual power.

But Shiva is generally depicted immobile, as an ascetic naked, his body smeared with ashes and his hair matted. His meditation and austerities build up his spiritual strength, giving him unlimited powers to per-form miracles and also strengthening his powers as fertility god, for the two roles are not so antithetical as might at first appear from the myth in which he kills Kama, god of desire, by burning him up with the fire from his third eye. Though Shiva may have struck Kama dead for having interrupted his meditations, the effect of Kama's shaft was not thereby nullified. By still further delaying his union with Parvati, thereby causing Parvati herself to perform austerities in order to arouse his interest and causing all the gods to hope anxiously for the consummation of his desire, Shiva in effect heightened the desire and strengthened the force of his role as fertility god. The child produced from his union with Parvati was one of the strongest of the later pantheon: Karttikeya, god of war, who to some extent supplanted Agni.

It was the angry sage Bhrigu who caused Shiva to be worshipped in the form of the lingam. He was sent by the other sages to test the three gods of the triad to see which was the greatest. When he reached Shiva the god did not welcome him; he Was engaged with his wife and would not be interrupted. For his lack of respect due to a sage, Bhrigu cursed Shiva to be worshipped as the lingam. Brahma also failed to gain Bhrigu's approval, for he was too occupied with his own self-importance to receive the sage with due courtesy. Vishnu was sleeping when Bhrigu reached him and the sage rudely kicked him in the ribs Instead of rising in wrath Vishnu, full of concern, asked him if he had hurt himself, gently rubbing the foot which had injured him. Bhrigu went away proclaiming that this was the god most worthy of adoration such compassion and humility before a sage was the mark of greatness.

Shiva quarrelled with many of the gods, for though he claimed the right' to judge their actions and to punish them, many of the other gods in turn considered him to be a Brahminicide because he struck off one of Brahma’s heads, for which offence he was condemned to be a wanderer and to perform penances. The gods mocked at him as an ugly, homeless mendicant unclean, ill-tempered and a haunter of cemeteries. Eventually, however like Brahma and Vishnu, Shiva acquired a heaven of his own. This was situated on Mount Kailasa, in the Himalayas, and was the scene of his austerities and where the Ganges descended on his head.

Though Shiva quarrelled with many of the gods, his most open disputes were not with Vishnu, his real rival, but with Brahma. The quarrel was continued in a feud with Daksha Brahma's son, who became Shiva's father-in-law. When Daksha called together the assembly at which his daughter Sati was to choose her husband, he issued invitations to all the gods except Shiva, whom he considered to be disqualified because of his impure habits and unkempt appearance. But as Sad had long been a devotee of Shiva and wished to marry no one else, she was disconsolate to discover Shiva's absence After searching the assembly hall she prayed to him to appear and threw the garland into the air, where Shiva appeared and received it. Daksha was thus forced to allow the marriage.

Shiva had not, however, forgotten the initial insult, and later, when Daksha held an assembly to which all the gods were invited, he repaid it in kind. As Daksha entered all the gods rose to greet him, except his father, Brahma, and his son-in-law, Shiva. Brahma, of course, owed no such deference to his own son: but the disrespect from his son-in-law enraged Daksha, who declared to the assembled gods and sages his low opinion of Shiva, a disgrace to the reputation of the guardians of the world, who encouraged others to transgress and himself flouted divine ordinances and abolished ancient rites (sacrifice). Daksha protested against Shiva's ha-bit of haunting cemeteries accompanied by ghosts and spirits, looking like a madman, with no clothes, smeared with ashes, with matted hair, and with skulls and human bones about his person; and he denounced his habit of calling himself 'Auspicious' (Shiva) when in fact he was dear only to the mad and to the beings of darkness. Having delivered himself of his tirade, Daksha returned home to plan his next move against Shiva, which was to hold a great sacrifice without inviting his son-in-law to be present.

Shiva and his family. As Bhuteswara he is a haunter of cemeteries and places of cremation. At the burning ground his wife Parvati holds Karttikeya in her lap and watches while Ganesa and Shiva string together the skulls of the dead. Kangra painting, 1790. Victoria and Albert Museum, London. Daksha's revenge was, however, to miscarry. Sati, seeing all the gods trooping off to the sacrifice, enquired where they were going and was disconsolate when she heard that they were all going to her father's home. Accordingly she went herself to see her father and pleaded with him to invite Shiva. But Daksha merely repeated the strictures he made at the earlier assembly; upon which Sari, to vindicate her husband's honour, jumped into the sacrificial fire and was consumed by its flames. Shiva, hearing of this, stormed into Daksha’s house and, producing from his hair some of the demons with whose company Daksha reproached him, destroyed the sacrifice. In the uproar which followed he scattered all the gods and cut off Daksha's head.

He then gave himself up to insane grief over Sati's death, retrieving her body from the embers and clasping her to him and calling on her to answer him. So violent was his emotion and the rhythm of the dance into which he threw himself, encompassing the world seven times, that the whole universe and its creatures suffered too. Finally Vishnu, to put an end to this frenzy of mourning, cut Sati's body, which was still in Shiva's arms, into fifty pieces, and thus re-stored him to his senses. Shiva repented of his murder of Daksha and brought him back to life; but the head could not be found, so a goat's head was used instead.

But this was not the end of the feud. When Sari was reborn as Parvati and again married to Shiva, Daksha held another sacrifice and once more failed to invite Shiva. Parvati spied the festivities from her seat on Mount Kailasa and informed Shiva who, furious, rushed to the scene. Accounts of what followed vary.

According to the famous version, given in the Mahabharata, Shiva pierced the offering with an arrow and thereby inspired such fear in the gods and sages that the whole universe quaked. Shiva then attacked the gods, putting out Bhaga's eyes and kicking Pushan as he was eating the offering and knocking out his teeth; or alternatively causing Pushan to break his teeth on the arrow embedded in the offering whereupon the gods acknowledged Shiva as their lord and refuge.

More interesting are the versions of the myth which introduce Shiva's true rival, making the issue less the feud with Brahma than a dispute with Vishnu for supremacy. According to one, Shiva hurled Pinaka, his blazing lightning trident, which destroyed the sacrifice that Daksha was holding in honour of Vishnu and then struck Narayana's (Vishnu's) breast. Narayana hurled it back with equal vigour at Shiva, and a battle flared up between the two gods which was halted only when Brahma intervened, persuading Shiva to appease Narayana.

There is even more violence in the version of the myth told in the Puranas when Shiva heard from Parvati that he had been excluded from the sacrifice. He created a 'being like the fire of fate', called Virabhadra, whose looks and powers were terrifying, and sent him, together with hundreds of thousands of specially created demigods, to the place of sacrifice. These creatures broke up the sacrifice, causing the mountains to totter, earth to shake, winds to roar and the sea to be disturbed. The gods were routed: Indra was trampled underfoot, Yama's staff was broken, Sarasvati's nose was cut off, Mitra's eyes were put out, Pushan had his teeth knocked down his throat, Chandra was beaten, and Agni's hands were cut off. Then either Daksha admitted Shiva's supremacy, or the intervention of Vishnu, who seized Shiva by the throat, forced Shiva to desist and acknowledge Vishnu as his master. 

Vishnu 

In the Vedas Vishnu distinguishes himself only for the 'three steps' with which he measures out the extent of the earth and heavens. The significance of this act is amplified to include other functions in the epics, where Vishnu is equated with Prajapati, the creator and supreme god. As Prajapati he encompasses Brahma, Vishnu himself as preserver, and Shiva as destroyer. As the preserver he is the embodiment of the quality of mercy and goodness, the self-existent, all pervading power which preserves and maintains the universe and the cosmic order, dharma. Vishnu is the cosmic ocean, Nara, which spread everywhere before the creation of the universe, but is also called Narayana, 'moving in the waters'; in this character he is represented in a human form, sleeping on the coiled serpent Shesha, or Ananta, and floating on the waters. Brahma is sometimes said to have arisen from a lotus growing from his navel as he slept thus. After each destruction of the universe Vishnu resumes this posture. According to Vishnu's adherents, he is unlike Brahma and Shiva in that he has no need to assert his own superiority. Indeed, his mildness combined with his power proves him to be the greatest of the gods. As the preserver, Vishnu is the object of devotion rather than of fear, and this affection is similarly extended to his wife Lakshmi, goddess of fortune.

When Vishnu is not represented reclining on the coils of the serpent Shesha, with Lakshmi seated at his feet, he is shown as a handsome young man with blue skin, dressed in royal robes. He has four hands one holds a conch shell or Sankha, called Panchajanya, which was once inhabited by a demon killed by Krishna; the second hand holds a discus or quoit weapon called Sudarsana or Vajranabha, also an attribute of Krishna's, given to him by Agni as a reward for defeating lndra; the third hand holds a club or mace called Kaunodaki, presented to Krishna on the same occasion; the fourth hand holds a lotus, or Padma. He also has a bow called Sarnga, and a sword called Nandaka. He is usually either seated on a lotus with Lakshmi beside him, or riding his vehicle, Garuda, who is half-man and half-bird.

Shiva Nataraja, Lord of the Dance, dancing on the body of a dwarf demon. His victory over the spirit of evil is of cosmic significance, for the destruction of evil presages recreation and the establishment of divine order. The surrounding halo both honours Shiva and represents the cycle of creation, destruction and rebirth. Tenth-century bronze, from Madras. Victoria and Albert. Museum, London. Vishnu's heaven, Vaikuntha, is on the slopes of the world-mountain Mount Meru. With a circumference of 80,000 miles, Vaikuntha is made entirely of gold and precious jewels The Ganges flows through it, and is sometimes said to have its source in Vishnu's foot. Vaikuntha contains five pools, in which grow blue, red and white lotuses Vishnu and Lakshmi are ensconced amid the white lotuses, where they both rdiate like the sun.

Though Vishnu existed as a god in Vedic times, his role as preserver is essentially a late development. It depends upon two assumptions. First, the theory of samsara, which teaches that every human is born many times over and that each life represents a punishment or a reward for his previous life, according to how well he has followed his dharma, or the path of duty laid down for him in that particular condition of life. If in each life he has faithfully performed his duty, he may hope to progress steadily upwards, until he becomes a saint, or even a god. On the other hand, if he does not perform his duty he progresses as steadily towards life as a demon. The second assumption is that gods and demons represent the two poles of existence, and that both are active in the world, a constant struggle being carried on between the two forces. In the normal course of events, good and evil are evenly matched in the world; at times, however, the balance is destroyed and evil gains the upper hand. Such a situation is deemed unfair to humans and at such times it is Vishnu as preserver who intervenes by descending to earth in a human incarnation or avatar.

Such avatars are therefore not chance events, and during each one Vishnu has a specific task to perform. It is sometimes thought that Vishnu is called upon to descend to earth in this way once in each cycle of universal time. There are ten avatars in the present Mahayuga, the first four of which are said to have occurred during the Kritayuga, and the seventh, eighth and ninth of which are the best known. Late texts, however, say that there are twenty-two, or even that they are innumerable.

With the eighth incarnation, that of Krishna, which became very popular at a relatively late stage, a new and important idea is added to the older beliefs. Since Brahmanic times it had been believed that the progressive rise through countless lives to the level of god to enter Indra's heaven' should not be the ultimate aspiration; it was far better to practise austerities (yoga) until the point where the soul became entirely unattached to the individual and was able to fuse with the universal spirit. The achievement of this release (moksha) became the ultimate aim, only to be attained by certain gifted spirits, and it absolved them from the weary round of existences to which they were otherwise doomed. Now the Krishna myth introduced an important variant to this belief, for in the course of the Mahabharata the god explains that there is another route to release of the soul: this is through bhakti, or devotion to a particular god (in this case Krishna speaks only of devotion to himself, who as Vishnu can in any case be equated with the universal spirit). Thus by concentrating his thought on the god a person can hope to merge his or her soul with him and earn release in a way that is far more attractive than the old discipline of austerities and yogic concentration. It is this which explains the enormous popularity of Krishna, who is the most widely worshipped avatar of Vishnu. It may be remarked in passing that this aspect of his cult has obvious similarities to Semitic beliefs in a saviour god and that the episodes of Krishna and the cowgirls resemble Dionysiac cults.


An interesting twist to the theory of bhakti is seen in the myth relating to Sisupala, King of Chedi, who hated Krishna so much that he thought of nothing else but him or Vishnu, even in his sleep and even as he lay dying. And the consequence of this was that Sisupala too gained release, simply from concentrating his thoughts so exclusively on the god. Besides the avatars, Vishnu has a thousand names, the repetition of which is a meritorious act.

Nevertheless, Vishnu's especial function as preserver remains linked to the older beliefs and is exercised through his avatars, when he descends to earth as a great hero and saves mankind and the universe. As a mortal hero, Vishnu guards the righteous, destroys evil-doers and establishes the reign of law, dharma. 

Vishnu's avatars: Matsya 

The preserver and protector, Vishnu holds first place in the hearts of many Hindus. This eighteenth-century painting from Jaipur shows him in the centre of his avatars - his incarnations on earth when his supreme power is put to the service of mankind. Nine have appeared but there is another still to come. Victoria and Albert Museum, London. Vishnu's first incarnation, as a fish,is one borrowed from the mythology of Brahma, and already described in connection with Manu. In the Vishnu myth, the sage is called Vaivaswata and is the seventh Manu and progenitor of the human race. The object of the incarnation was to save Vaivaswata. Vishnu took the form of a small golden fish with one horn, but grew until he was forty million miles long when he predicted the deluge. He gave Vaivaswata further help by towing his ship with a rope attached to his horn and by advising him to allow the ship to descend slowly with the waters rather than allowing it to become high and dry on the peak of the Himalayas.

One version of this story gives a further purpose for the incarnation. During one of the periods of universal chaos, while Brahma was sleeping the Veda, which had emerged from his mouth, was stolen by a demon called Hayagriva. As Matsya, his fish incarnation, Vishnu saved Manu but also instructed him in the true doctrine of Brahma's eternal soul, and when Brahma woke killed Hayagriva and restored the Veda. 

Kurma 

The second incarnation, as a tortoise Kurma, is also borrowed from the Brahma myth a relatively simple one where Brahma or Prajapati assumes the form of a tortoise in order to create offspring. In the Vishnu myth the means of creation and the objects created are more complex During one of the periodic deluges which destroyed the world in the first age some things of value were lost, the most important of which was amrita, the cream of the milk ocean, whose absence threatened the continued existence of the universe. Accordingly Vishnu descended to earth as a tortoise to help to recover these objects. Gods and demons together set about producing amrita by churning the ocean of milk, using Mount Mandara as a churning stick. Such was the weight of Mount Mandara that the operation would have been impossible unless Kurma had lent his curved back as a pivot on which to rest it. With Vishnu (Kurma) supporting the whole, with the help of the potent herbs which they had thrown into the ocean, and using the serpent Vasuki as a churning rope, gods and demons proceeded with the task, and in due course all the precious objects lost in the deluge rose up out of the milky ocean.

The ocean gave forth not only the water of life, amrita, but also Dhanwantari, bearer of the gods' cup of amrita and their physician; Lakshmi or Sri, goddess of fortune and beauty, Vishnu's wife Sura, goddess of wine; Chandra, the moon, which Shiva took; Rambha, a nymph, who became the first of the lovely Apsaras; Uchchaisravas, a beautiful white horse, which was given to the demon Bali, but afterwards seized by Indra; Kaustubha, a jewel, which went to Vishnu; Parijata, the celestial wishing tree, which was later planted in Indra's heaven and belonged to his consort lndrani; Surabhi, the cow of plenty, which was given to the seven rishis; Airavata, a wonderful white elephant, which became Indra's mount after he stopped riding a horse; Sankha, a conch shell of victory; Dhanus, a mighty bow; and Visha, the poison vomited out by the serpent, which Shiva nearly swallowed. 

Varaha 

Two main versions exist of Vishnu's third incarnation, as a boar. The first of these versions again derives from an earlier Brahma myth, and claims that Brahma and Vishnu, who were one, took the form of a boar, a water-loving creature, in order to create the world out of the cosmic waters. The boar, Varaha, having observed a lotus leaf, thought that the stem must be resting on something, so he swam down to the depths of the ocean, found the earth below and brought a piece of it to the surface. The second version of the myth relates that Brahma had been induced by the propitiation of a demon, Hiranyaksha, to grant him the boon of invulnerability. Under cover of this boon Hiranyaksha began to persecute mortals and gods and even stole the Vedas from Brahma and dragged the earth down to his dark abode under the waters. But Hiranyaksha, when reciting the names of all the gods, men and animals from whose attacks he wished to be immune, forgot to mention the boar. Accordingly Vishnu took the form of a boar forty miles wide and four thousand miles tall, dark in colour and with a voice like the roar of thunder. He was as big as a mountain, mighty as a lion, with sharp white tusks and fiery eyes flashing like lightning. With his whole being radiating like the sun, Vishnu descended into the watery depths, killed the demon with his tusks, recovered the Vedas and released the earth, so that it once more floated on the surface. 

Narasinha 

Vishnu as Varaha, the boar avatar, ascending from the ocean depths. In the crook of one of his left arms he bears the rescued goddess Bhumi or Prithivi, the earth. From above Brahma (right) and Shiva (left) look on, while human worshippers pay homage. Chauham style slate carving, twelfth century. Victoria and Albert Museum, London. Vishnu's fourth incarnation was designed to free the world from the depredations of the demon king Hiranyakasipu who, like his brother Hiranyaksha, had obtained from Brahma the boon of immunity from attacks by human, beast and god; he had Brahma's assurance that he could be killed neither by day nor by night, neither inside nor outside his house. Protected by this immunity, Hiranyakasipu overreached himself. He forbade worship of all the gods and substituted worship of himself. He was therefore particularly incensed to discover that his own son Prahlada remained an ardent devotee of Vishnu. Hiranyakasipu tried persuasion and he tried torture, but still Prahlada refused to give up his worship of Vishnu. Hiranyakasipu finally ordered serpents to bite him to death. But Prahlada was unaffected, and the serpents fell into feverish disarray, their fangs broken and fear in their hearts. Vast elephants were sent against Prahlada; he was thrown over precipices; he was submerged under water. But all to no avail: Hiranyakasipu could not kill his son. Finally, one evening, the demon king, in exasperation at his son's repeated assertion of Vishnu's omnipresence, pointed out a pillar in the doorway of his palace and demanded to know if Vishnu was there inside it. Prahlada declared that he certainly was, whereupon Hiranyakasipu said that he would kill him, and he kicked the pillar. At this Vishnu stepped out of the pillar in the form of Narasinha, a creature who was half-man and half-lion, and tore Hiranyakasipu to pieces. The circumstances of Hiranyakasipu's death fell outside the conditions of Brahma's boon, for the time was evening neither day nor night, the place was the doorway of the palace not inside nor outside the demon's house, and the assailant was a man-lion neither human, beast nor god.

The Varaha and Narasinha avatars are sometimes represented in a composite figure, Vaikuntha. 



Writer Name: Veronica Lons

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