45. Singh, S.B., Brahmanical Icons in Northern India, p.77, Fig.37.
46. E.I., XXVII pp.147 ff.
47. C.I.I. - IV, p.CL.
48. Ibid, No.38, p.183.
49. Ibid, No.39, p.183.
50. Ibid, No.42, p.CL.
51. Ibid, pp.123 ff.
52. Ibid, pp.127 ff.
53. Ibid, pp.132, ff.
54. Ibid, pp.137 ff.
55. Ibid, pp.146 ff.
56. Ibid, pp.154 ff.
57. E.I., XXVII, p.70.
58. C.I.I., VI, p.1.
59. Ibid, p.XLVIII.
60. Ibid, p.218.
61. Ibid, p.226.
62. Ibid, p.258.
63. Ibid, pp.267 ff.
64. Ibid, pp.282 ff.
65. Elliot Walter, Numismatic Orientallia - Coins of Southern India, p.70.
66. Ibid, p.95.
67. E.I., XIV, pp.168 ff.
68. Ibid, pp.122 ff.
69. Hastings, James, Encyclopaedia of Religion and Ethics, IV, p.548.
70. Ibid, p.549.
71. Ibid.
72. Ibid, p.550.
73. Ibid.
74. Ibid.
75. Ibid, p.554.
76. Ibid.
77. Ibid, p.556.
78. Arora, U.P., Motifs in Indian Mythology, pp.41 ff.
79. Suryakant, Flood Legends in Sanskrit Literature, Delhi, 1950, pp. 4-6.
80. Sankalia, H.D., Dharmayuga, dated 16.4.1972, pp.24-26.
81. Agrawala, V.S., Matsya Purana - A Study, pp.312 ff.
82. Skcat Blagdon, Pagan Races of Malay Peninsula, II, pp.239, 393 and 335.
83. Howitt Rink, Tales and Traditions of Eskimos, p.37.
84. Hastings James, op.cit, V, p.127a.
85. Ibid, p.l27b.
86. Brough Smyth, Aborigins of Victoria, p.423.
87. Hastings, James, op.cit, V, p.128a.
88. Ibid.
89. Spencer, Edgar Winston, Basic Concepts of Historical Geography, p.114.
90. Macdonnel, A.A., Vedic Mythology, p.138
91. Gonda, P., op.cit, pp.14142.
92. Mahabharata, 12.209.7.
93. Ibid, 7.29.29.
94. Vishnu Purana, 5.29.23.
95. Mahabharata, 5.48.90.
96. Bhagavata Purana, 10.59.31.
97. Kalika Purana, 38.34.
III
Literary Sources
नमस्तस्मैः वराहाय लील्योद्धरते महीम्
खुरमध्यगतो यस्य मेरुः खणखणायते ।
“Salutation to Varaha, who rescued the Earth-goddess and under whose hoofs the mountain of Meru produces the rattling sound”. (Varaha Purana, 1.2.)
While tracing the literary evidence as to the emergence of Varaha in Indian religious traditions, one has to refer to the Rigveda. This text has referred to Varaha variously. There is also a casual reference to Rudra having been called as a boar of the sky. In a passage in the tenth mandala (10.99.6), the slaying of boar is attributed to Trita. The animal is also connected with Soma (9.97.7) and Brahmanaspati (10.67.7) is said to have together with the bulls, the boars and with "those perspiring with heat come into possession of goods. Elsewhere in the same text (1.61.7 and 8.77.10) mention is made of a myth in which Vishnu carried away a hundred buffalos and cooked rice-milk which were guarded by or at least had something to do with a boar called Emusha:
अस्येदु मातु सवनेषुसद्योमह: पितुं पपिवाश्चार्वननामषाय हिष्णु: ।
पचत॑ सहीयानू् विध्यद्धराहं तिरो अद्विमस्ता ॥ Rigveda 1.61.7
(Like the sun extracts the essence from water, grains etc. piercing through the (Varaha) clouds, so the chief wamor should pierce through the army. Here the chief warrior could represent Vishnu or Indra).
The episode of carrying off odanam (cooked rice) has been described thus:
विश्वेत्ता विष्णुराभरुरुक्रास्वेषितः
शतं महिषान्क्षी पाकमोदनं वराहमिन्द्रएमुषम् । Rigveda 8.77.10
(1) Atharvaveda
There is a short reference to an association of Earth with Varaha in this text, which could be termed as the fore-runner of the subsequent developed story of the rescue of the Earth by Varaha:
मय व विभ्रती गुरुमृद् भद्रपापस्थ निधन तितिक्षु: ।
वराहेण पृथिवी संविदाना सूकराय जिहीते मृगाय ॥ Atharvaveda 12.1.48
(Bearing the fool, bearing of what is heavy, enduring तितिक्षु:, the death of the excellent and of the evil, the earth is concerned with the boar, opens itself to wild hog).
(2) Shatapatha Brahmana
This text testifies the salvage of the earth by the boar, who was none else than Prajapati. This Prajapati has been described to be the husband of the Earth, who was initially as small as a thumb and grew abnormally subsequently:
अथ वराह विहितम् | इत्यग्रउआसीदितीथतीह वाऽइयमग्रे पृथ्व्यास प्रादेशमात्री तामेमूष इति वराह उज्जघान सोइऽस्याःपति प्रजापतिस्तैनैवे नमेतन्मिथुनेन प्रियेण द्याम्ना समर्धयति कृ...न करोति मखस्य तेउद्य॒शिरोराध्वासं देवयजेन प्थिव्या मखायत्वा मखस्य त्वा शीर्ष्लऽइत्यसवेव बन्धु: । Shatapatha Brahmana 14.1.1.2.11
(3) Taittiriya Brahmana
In this text (1.1.3.5) too it is Prajapati, Who having assumed the form of a Boar, plunged into the waters. Finding the Earth lying deep in the sea water he raised it to the surface.
(4) Taittiriya Aranyaka
The text points out (10.1.8) that the Earth was lifted by a black boar with a thousand arms. At an other place the boar is said to have a hundred arms. (10.1.8).
(5) Taittiriya Samhita
On the other hand says that this Universe in the beginning was water. (7.1.5.1.). On this Prajapati became the wind. He moved, saw the Earth and took it up; becoming Vishvakarma, he wiped water from it.
(6) Upanishads
In the Upanishads in general, the Varaha was referred to along with other animals, and a specific reference to the association of Prithvi with the animal is not fully discussed. The mention of Varaha in some of these Upanishads is detailed as under:
(i) Chhandogya Upanishad 6-10.2
एवमेव खल्ठु सोम्येमा: सर्वा प्रजाः सत आगम्य न बिंदु: सत आगच्छामह इति । त इह ब्याग्रो वा सिंहोवा वृकोव व वराहो वा कीटो वा पतज्नो वा दँशो वा मूश॒को यद्यद्धवन्ति तदाभवन्ति ॥
(ii) Kaushitaki Upanishad (1.2) सिंहो वा वराहो वा ।
(iii) Mahanarayani Upanishad (4.5) उद्धतासि वराहेण ।
(iv) Mukti Upanishad (1.39) याजवल्क्यं वराह ।
(7) Ramayana
In the early chapters of the Ramayana (2.110,3.4.) it is Brahma, who became the boar initially, and raised up the earth creating the whole worked:
सर्वसलिलमेवासीत्यधिवी यत्र निर्मिता ।
ततः समभवद् ब्रह्मा स्वयंभूदेव तैः सह ॥
स॒ वराहस्ततो भूत्वा प्रोअहार वसुन्धाराम् ।
It would thus be evident that up to the early stage of the Ramayana, Brahma was considered to be the one who assumed the form of a boar and rescued the Earth from the ocean. Subsequently this feat was attributed to Vishnu.
(8) Mahabharata
In the Vana Parvan of the Mahabharata, Yudhisthira, the eldest of the Pandava brothers, request Lomasha sage to narrate the episode of the Varaha incarnation, which is described as under:
"By the terrible increase of creatures (over population) the Earth sank down one thousand Yojanas. Being afflicted with pain all over her body and being deprived of her senses by this excessive weight on her, she sought the protection of the foremost of the deities Nara-Narayana. She prayed to him. Having heard her prayers, the Lord said, "O Earth, O, holder of treasures, O burdened Earth, do not be afraid, I shall act in the way by which you will be relieved of your burden." Having thus, sent away the Earth adorned with mountains as her ear-rings, he then became a greatly effulgent boar with one tusk. Causing terror with his red eyes and emitting smoke from his blazing lustre, he began to swell in magnitude in that place. He then entered the deep sea waters and holding the Earth with his single tusk, that eternal one raised her up one hundred Yojanas. When she was thus raised up, a great agitation was created."
The same epic testifies (12.43.8) Krishna to be the great boar, fire and sun. His name Govinda is explained (1.21.12) by the fact that he as a boar, got hold of the earth (गां विंदता ...). It is further stated therein how Krishna-Vishnu assumed the form of a roaring boar, penetrated into the nether regions and destroyed the daityas, danavas and asuras who had become jealous of the prosperity of the gods and oppressed the earth with a heavy load, so that "She seemed as if going down in the nether region".
The version of the story approaches the classical form of Varaha incarnation. Hiranyaksha is introduced (13.126.12). Besides the Mahabharata in all probability informs us of a religious Veneration accorded to any boar rising out of water with some of the earth he tore up on his head. Lord Vishnu, further declares (13.206.4), that on seeing such animal one shall never meet any evil and shall get freed from sin. Ostensibly it could point to the worship of the boar because of its association with Vishnu, but the possibility of its having reflected an ancient form of boar worship, cannot, perhaps be completely ruled out.
However, in the north-west recension of the Mahabharata Vishnu's name was introduced in the epic. In this connection two other significant facts may be considered here. Firstly, it is the Varaha incarnation which enjoys considerable popularity being regarded in some Puranas as the most Important of all ‘incarnations’ and immortalized by the Indian sculptors. In the second place, it can be a matter of mere chance that in the description of the festivities in connection with Indra's banner — a fertility ceremony par excellence as related in the Varaha Parana should have been referred to. According to this text, when the standard, that "source of Vigour is being decorated, raised, and brought into the town, the king is himself, required, without breaking the fast, to recite some auspicious mantras. One of them runs as follows: Thou art the unborn.one; thou art Vishnu, the boar, the primeval Purana, thou art death, the all destroying fire."
(9) The Puranas
The Puranas, have their own importance in speaking out the contemporary socio-economic, cultural, political as well as religious traditions of the country. They present possibly a composite picture of Hinduism (based upon the Vedas, Smritis with the worship of Vishnu and Shiva, besides Shakti. These texts contain numerous references to Vishnu as well as his ten incarnations, including Varaha, which happens to be the third in the series.
(i) Agni Purana
According to Chapter 4, verses 2-3, of this Purana, ‘'Hiranyaksha a great demon, after having vanquished the celestial became their lord and settled in their region. The celestials then repaired to Vishnu and chanted his glories. He assuming the form of a sacrificial boar (Yajna Varaha) killed the demon together with all his retinue, protecting the virtue and the gods at the same time:
देवरगचा स्तुतो विष्णु यज्ररूपो वराहकः ।
अभूतं दानवं हत्वा दैल्यैः सार्ध॑ तु कण्टकम् ॥
धर्म देवदि रक्षणा कृतातः सोडन्तर्दधे हरिः ।
Further the Chapter 49. 2-3 of the Purana spells out the iconographical features [1] of the terrestrial boar according to which he should be endowed with a human body, carrying a gada, and other weapons in his arms. The divine conch and the goddess Lakshmi should be represented as resting on his elbow. The Earth and the serpent Ananta of the nether regions (the mythical support of the Earth in space) should follow his lead. The installation of such an image by any person ensures his acquisition of a kingdom and helps him to cross over the ocean of the mundane existence:
वराज्ञे वाथ कर्तव्यों भूवराहो गदादिभृत् |
दक्षिणो वामकेशइंख छक्ष्गीवी पद्मेन वा ॥
श्रीवमिकूर्परस्था तु क्ष्मानन्तौ चरणानुगौ ।
वराह स्थापनाद्राज्यं भवाब्यि तरणं भवेत् ॥
(ii) Bhagavata Purana
The Purana describes the rescue of the Earth-goddess by Varaha and also adds a legend about the slaying of the Hiranyaksha who in his earlier birth was a door-keeper of the palace of Vishnu. He having refused admission to a number of sages, who came to visit the Lord, enraged them. They then cursed him. In consequence of this he was reborn as a son of Diti. When the earth sank into the waters, Vishnu was seen by this demon in the act of raising it. Hiranyaksha claimed the Earth and challenged Vishnu; they fought and the demon was killed.
(iii) Brahma Purana
In Chapter 2 (213-32-40) [2] the philosophical aspect of the boar incarnation has been brought out. It is stated therein that the sacrifice (Yajna) is a whole symbolized by the boar, and that its various limbs represent the limbs of sacrifices. The grunt of the boar corresponds to the Sama-ghosha and the four legs are the four Vedas. The tusk resembles the Yupa-stambha - the sacrificial part, the tongue stands for Agni (the sacrificial fire) and the bristles constitute the darbha grass. The head is the Brahmana priest, the bowels form the Udagiati priest and the genital organ constitutes the Hotri priest required to officiate in the sacrifice. The two types of the boar are said to be emblematic of day and night and the ornaments in its ear are taken to represent the Vedangas. The mucous flow from the nose is supposed to be the ghee which is delivered into the fire by shruva consisting of the snout (tunda). Prayashchitta represented by the Varaha's hoofs and its knees stand for the pashu (animal victim). The air breathed is Antaratman, the bones of the boar constitute the Mantras, and its blood is Homa Juice. The vedi (the altar) is symbolised by shoulders of the boar and the havis is his neck. What is called Havya Kavya is represented by the rapid movements of the boar. The dakshina fee paid to the priest is its heart. The wife of the sacrificer is its shadow, while the whole body of the animal is taken as representing the sacrificial chamber. One of the ornaments on the body of the boar is made to represent the ceremony called pravargya.
(iv) Brahmanda Purana [3]
In this Purana, the earth was rescued from the deep waters by Brahma who after seeing the earth so submerged thought of its rescue. He then by taking to the form of a boar, plunged into the water. He took to the form of a boar so as to have a water play as well. Initially he was quite small in size but gradually he expanded his body to ten Yojanas and then to a thousand Yojanas. He had the complexion of a dark cloud, white and sharp tusk. He was shining bright like the lustre of the sun.
Other Puranas, containing the same story with slight variations here and there, are listed hereunder:
(v) Devi-Bhagavata Purana [4] (8.47.2-11)
(vi) Harivamsha Purana [5] (41.28-38)
(vii) Kurma Purana [6] (7.1.10)
(viii) Matsya Purana [7] (248-61-75)
(ix) Padma Purana [8] (1.3.25-32)
(x) Shiva Purana [9] (2.5.42.49)
(xi) Vayu Purana [10] (6.1.23)
(xii) Vishnu Purana [11] (4-6-11, 26)
(xiii) Vishnudharmottara [12] (Chapter 79).
All the above Puranas describe the same story of the rescue of Earth by Brahma or Vishnu incarnating as a boar. In the Vaishnavite Puranas and the Linga Purana (1.4.59) it is of course Vishnu who again acquits himself of the protective and the creative task with regard to the earth.
(8) Parashara Samhita (15.140)
The text describes the iconographical features of the Varaha images according to which the Earth-goddess has to be in youthful appearance and be seated on the left arm of the god. Other details have been included in the chapter on iconography.
(9) Aparajitaprichheha (219. 10-23)
The text spells out in detail the iconographical features of the images of Varaha.
(10) Tamil Sangham Literature
(i) Paripadal
This is one of the Sangham works and the Varaha incarnation is mentioned therein.
(ii) Tirumangai Hymns
The most remarkable description of Varaha is found in the hymns of Tirumangai who States that the Earth-goddess was lifted and held by the tusk of Varaha. The title of Adivaraha is also mentioned by him:
Shilambinidaic-cirnparal pol periya meru tirukkulambil ganganappattiruvakarum kulinga nilamadandaitnai idandu pulgikkottidai vaittruliya enkoman kandir. (Periya Tirumozhi, 44.8)
(In the act of lifting up the earth, the boar caused the mountain to tremble with blows of his hard snout).
***
Notes and References
1. Gopinatharao T.A., op. cit., I, Part-I, pp. 131 ft.
2. Brahma Purana 213.32-40
वराहस्तु श्रुतिः मुखः प्रादुर्भावो महात्मनः ।
यत्र विष्णु सुरश्रेष्ठो वाराह रूप मास्थित: ॥
वेदपादो यूपदंष्ट्र: क्रतुदन्तश्चिती मुख: ।
अग्नि जिह्नो दर्भरोमा ब्रह्मशीर्षो महातपा: ॥
अहोरात्रेक्षणो दिव्यो वोदाड़: श्रुतिभूषण: ।
आज्यनास: म्रुवतुण्ड: सामघोषस्वरो ॥
सत्य धर्ममयः श्रीमान्रमविक्रम सत्कृतः ।
प्रायश्चित्ततखो घोरः पशुजानुर्मुखाकृति ॥
उदगातान्रो होमलिज्े बीजीषधि महाफलः ।
वाद्यान्तरात्मा मन्त्रस्फग्वि कृत: सोमशोणितः ॥
दक्षिणाहदयों योगी महासत्रमयो महान् ।
उपाकमध्रुचकः प्रवर्गावर्त भूषण: ॥
नानाछन्दोगति पथो गुह्योपनिषदासनः ।
छाया पत्नी सहायोइसौ मणि श्रृंगइवोत्यितः ॥
महींसागर पर्यन्तां सशैठ वन काननाम् ।
एकार्णव जल्नभ्रष्टामेकार्णव गतः प्रभु: ॥
3. Brahmanda Purana (5.9-15)
ॐ काराषध्तनुं त्वन्यां कल्पादिषु यथापुरा ।
ततो महात्मा मनसा दिव्यरूपमर्चितयत् ॥
सलिले5वप्छुतां भूमि दृष्ट्वा सलिलादुद्धेर महीम् ॥
जलक्रीडासमुचित वाराहं रूपमस्मरत् ।
अदृश्यं सर्वभूतानां वाड्-मयं ब्रह्मसंज्ञितम् ॥
दशयोजन विस्तीर्णमायतं शतयोजनम् ।
नील मेघ प्रतीकाशं मेघ स्तनित निःस्वनम् ॥
महा पर्वत वर्ष्ाणं शवेततीक्ष्णोग्रदंष्ट्रिणम् ।
विद्युदग्नि प्रतिकाशमादित्यसम तेजसम् ॥
पीनवृत्तायतस्कंध॑ विष्णु विक्रम गामि च ।
पीनोन्नत कटी देशं वृष लक्षण पूजितम् ॥
आस्थाय रूप मतुर्ं वाराहममितं हरि ।
पृथिव्युद्धरणार्थाय प्रविवेश रसात्ं ॥
4. Devi Bhagavata Purana (8,47.2-11)
ध्यायतस्य नासाग्राद्विर्चि: सहसानघ ।
वराह पोतो निरगादेकांगुल प्रमाणतः ॥
तस्यैव पश्यतः स्वस्थ: क्षणेन किल नारद ।
करिमात्र॑ प्रववृधे तदद्धूततमं ह्यभूत् ॥
मरीचिमुर्ख्यविप्रेद्दीॉ: सनकाचैश्च नारद ।
तद्दृष्टवा सौकरं रुप॑ तर्कयामास पद्मभू: ॥
किमेतत्सौकरव्याजं दिव्यं सत्त्वमस्थितम् ।
अत्याश्चर्यमिदं जातं नासिकाया विनिःसृतम् ॥
दृ्ेंगुष्ठशिरोमात्र: क्षणाच्छैलेन्द्र सन्निभः ।
आहोस्विद्धगवान्किवा यज्ञों मे खेदयन्मनः ॥
इति तर्कयतस्तस्य ब्रह्मण:ः परमात्मनः ।
वराह रूपो भगवाउ्जगर्जा चल सन्निभः ॥
विरिचिं हर्षयामास संहतांश्च द्विजोत्तमान् ।
स्वर्गजशब्दमात्रेण दिकृप्रांतमनुनादयन् ॥
ते निशम्य स्वखेदस्य क्षयिष्णुं घुर्घुरस्वनम् ।
जनस्तपः सत्यछोकवासिनोऽमरवर्यकाः ॥
छन्दोमयैः स्तोत्र वरे: वृक्कसामाथर्व संभवः ।
वचोभि पुरुष ल्ाद्यं द्विजेन्रा पर्यवाकिरन् ॥
तेषां स्तोत्र निशम्याद्यो भगवान्हरिरीश्वरः ।
कृपावलोक मात्रेणानुग्रहीत्वा 5 पाविशत् ॥
5. Harivamsha Purana (41.28-38)
वाराहस्तु श्रुतिमुखः प्रादुर्भवो महात्मनः ।
यत्र विष्णु: सुरश्रेष्ठो वाराह॑ रूपमास्थितः ।
महीं सागर पर्यन्तां सशैलवनकाननाम् ॥
वेद पादो यूपदंष्ट्र: ब्रतुदन्तश्वितीमुखः) ।
अग्निजिह्नो दर्भरोमा ब्रह्म शीर्षो महातपा: ॥
अहोरात्रेक्षणो दिव्यों वेदाड्ृ: श्रुतिभूषण: ।
आज्यनासः सुवतुण्ड: सामघोषस्लो महान् ॥
धर्मसत्यमयः श्रीमान् क्रविक्रा सत्कृतः ।
प्रायश्वित्तनखो, धीरः पशुजानुर्महाभुजः ॥
उद्घात्रत्नों होमलिज्न: फ्लबीज महौषधि: ।
वाख्वन्तरात्मा मन्त्र स्फिग्विकृः सोमशोणित: ॥
वेदस्कन्धो हविर्गन्धी हव्यकव्याति वेगवान् ।
प्राग्वंशकायो द्युतिमान् नानादीक्षाभिराचितः ॥
दक्षिणा हृदयो योगी महासत्रमयो महान् ।
उपाकर्मोथ्कचकः प्रवर्ग्यवर्तभूषण: ॥
नाना छन्दों गतिपथों गुह्योपनिषदासनः ।
छाया पतली सहायो वे मेरु श्रद्भइवोच्छित: ॥
महीं सागर पर्यन्तां सशैठवनकाननाम् ।
एकार्णवजले भ्रथ॑मेकार्णवगतः प्रभु: ॥
दंष्रया यः समुद्धत्य लोकानाम हित काम्यया ।
सहस्र शीर्षों देवादिश्चकार पृथिवीं पुनः ॥
एवं यज्ञवराहेण भूत्वा भूतहितार्थिना ।
उद्धुता पृथिवी सर्वा सागराम्बुधरापुरा ॥
6. Kurma Purana (7.1-10)
आसीदेकार्णव॑ घोरमविभागं तमोमयम् ।
शान्त वातादिक सर्व न प्राज्ञायत किच्चेन ॥
एकार्णवे तदा तस्मिननष्टे स्थावरजन्नमे ।
तदा समभवद्ब्रह्मा सहसय्नाक्ष: सहस्नपात् ॥
सहस्रशीर्षा पुरुषो रुकमवर्णो ह्यतीन्द्रयः ।
ब्रह्मा नारायणाख्यस्तु सुष्वाप सलिले तदा ॥
इमं चोदाहरन्त्यत्र श्लोक नारायणं प्रति ।
ब्रह्न स्वरूपिणं देव॑ जगतः प्रभवाव्ययम् ॥
आपो नारा इति प्रोक्त आपो वैः नरेसूनवः ।
अयने तस्य ता यस्मात्तेन नारायणः स्मृतः ॥
तुल्यं युगसहस्रस्य नेश काल्मुपास्थ सः ।
शंवर्यन्ते प्रकुरुते ब्रह्म सर्ग कारणात् ॥
ततस्तु सलिले तस्मिन्विज्ञायातर्गतां महीम् ।
अनुमानात्तदुद्धारं कर्तु कामः प्रजापतिः ॥
जल्ब्रीड़ासु रुचिरं वाराह॑ रूपमास्थितः ।
अधृष्यं मनसाप्यन्यैवड्मियं ब्रह्न संज्ञितम् ॥
पृथिव्युद्धरणार्थाय प्रविश्य च रसातलम् ।
दंष्रयाम्युजहारैनामात्माधारो धराधरः ॥
दृष्टवा दंछ्राग्र विन्यस्तां पृथ्वीं प्रथित पौरूषम् ।
अस्तु वज्जनलोकस्था सिद्धा ब्रह्मर्षयो हरिम् ॥
7. Matsya Purana (248.61-75)
माधर्धणि कल्याणि शान्ति ब्रज ममाग्रतः ।
एष त्वामुचितं स्थानं प्रापपयामि मनीषितम् ॥
ततो महात्मा मनसा दिव्यं रूपमचिन्तयत् ।
किननु रूपमहं कृत्वा उद्धरेयं धरामिमाम् ॥
जल क्ारुचिरस्तस्माद्वाराह॑ वपुरास्थितः ।
अदृश्यं सर्व भूतानां वाइमयं ब्रह्म संस्थितम् ॥
शतयोजन विस्तीर्णमुच्छितं द्विगुणं ततः ।
नील जीमूत सड्जाशं मेघस्तनित निस्वनम् ॥
गिरिसंहननं भीम॑ श्वेत तीक्ष्णाग्रदष्ट्रिणम् ।
विद्युदग्निप्रतिकाशमादित्व॒ समतेजसम् ॥।
पीनन्नोतकटीदेशे वृषलक्षणपूजितम् ।
रूपमास्थाय विपुर्ल वाराहमजितो हरिः ॥
पृथिव्युद्धरणायैव प्रविवेश रसातलम् ।
वेद पादो यूपदफष्ट क्रतुदन्तश्चितीमुखः ॥
अग्रि जिह्नो दर्भलोमा ब्रह्म शीर्षो महातपः ।
अहोरात्रेक्षणधरो वेदाज्ञ श्रुतिभूषण: ॥
आज्यनास: सुवतुण्ड:ः सामघोषस्वनो महान् ।
सत्यधर्मभयः श्रीमान् कर्मविक्रम सक्रमः ॥
प्रायश्चित्तनखों घोरः पशुजानुर्मखाकृति: ।
उद्ाथा होम लिब्लोइथ बीजौषधि महाफल: ॥
वाय्वन्तरात्मा यज्ञास्थिविकति सोम शोणितः ।
वेदस्कन्धी हविर्गन्धो हव्यकव्य विभागवान् ॥
प्राग्यंश कायो द्युतिमान् नाना दीक्षा भिरन्वितः ।
दक्षिणा हृदयो योगी महासत्रमयों महान् ॥
उपाकर्मोष्ठरुचक: प्रवर्ग्यावर्त भूषण: ।
नाना छन्दों गतिपथों गुह्योपनिषदासनः ॥
छाया पली सहायौ वै मणि श्रद्भइवोच्छित: ।
रसातल तले मग्नां रसातढतलड़ताम् ॥
प्रभु छोकहितार्थाय दंछ्राग्रेणोज्रहार तामू ।
ततः स्वस्थानमानीय वराह: प्रथिवीधर: ॥
8. Padma Purana (1.3.25-32)
वराह इति कल्पोयं प्रथम: परिकल्पित: ।
ब्रह्म नारायणाख्योसी कल्पादी भगवान्यथा ॥
ससर्जसर्वभूतानि तदाचक्ष्य महामुने ।
प्रजा ससर्ज भगवाननादिस्सर्वसंभव: ॥
अतीत कल्पावसाने निशासुप्तोत्थित: प्रभु: ।
सलोद्रित्त्तया ब्रह्मा शून्य॑ छोकमवैक्षत ॥
तोयान्तस्समहीं ज्ञात्वा निमग्ना वारिसपल्वे ।
प्रविचिन्यतदुद्धारं कर्तु कामः प्रजापति: ॥
विष्णु रूपं तदा ज्ञात्वा पृथ्वीं वोढुं स्वतेजसा ।
मत्य कूमदिकांचान्यां वाराही तनु माविशत् ॥
वेद यज्ञमयं रूपमाश्रित्व जगतः स्थितौ ।
स्थितः स्थिरात्मासर्वात्मा परमात्मा प्रजापति: ॥
प्रविवेशेतदातोयं॑ तोयाधारे धराधरः ।
निरीक्ष्यतं तदा देवी पाताढ तलमागतम् ॥
तुष्टाव प्रणताभूव्रा भक्ति नम्रा वसुन्धरा ।
9. Shiva Purana (2.5.42-49)
ततस्तु पुत्र गिरिशादवाप्य रसातरूं चण्डपराक्रास्तु ।
इमां धरित्री मनयल्वदेशं दैत्यो विजित्वा त्रिदिशानशेषान् ॥
ततस्तुदेवैर्मुनिभिश्च सिद्धैः सर्वात्मिक॑ यज्ञमयं करालम् ।
वाराहमाश्रित्य वपु: प्रधानमाराधितो विष्णुरनन्तर्वीयः ॥
घोणप्रहारैविविधैर्धरित्रीं विदार्य पाताल तल प्रविश्य ।
तुण्डेन दैत्याञ्शतशो विदूर्ण्य दंथ्राभिररग्रयाभि अखण्डताभि: ॥
पाद प्रहारैरशनि प्रकाशैरुन्मथ्य सेन्यानि निशाचराणाम् ।
मार्तण्डकोटि प्रतिमेन पश्चात्मुदर्शनेनादभुत चण्डतेजाः ॥
हिरण्य नेत्रस्य शिरोज्वलंतं चिच्छेद दैत्यांश्व ददाह दुष्टान् ।
ततः प्रह्टे दिति गजेन्द्र राजं स्वमंधकं तत्र स चाम्यर्षिचत् ॥
स्वस्थानमागत्य ततो धरित्रीं दृष्वाड्डरेणोद्धरत: प्रहष्ट: ।
भूमि च पाताल्तलान्महात्मा पुपोष भागं त्वथ पूर्वक तु ॥
देवैस्समस्तैर्मविभिप्रहष्टेरभिष्ठतः पद्मभुवा च तेन ।
ययौ स्वलोक॑ हरिरुग्रकायो वराह रूपस्तु स्वकार्यकर्ता ॥
हिरण्य नेत्रेडथ हते ऽ सुरेशे वराहरूपेण सुरेण देवाः ।
देवा समस्ता मुनयश्च सर्वे परे च जीवास्सुखिनो बभूवु: ॥
10. Vayu Purana (6.1-23)
आपो ह्यग्ने: समभवन्नष्टे ऽ ग्नौ पृथिवीतले ।
सान्तरालैकलीने ऽ स्मान्नष्टे स्थावर जड्डमे ॥
एकार्णवे तदा तस्मिन् न प्राज्ञायत किश्चन ।
तदा सा भगवान ब्रह्मा सहमस्लाक्ष सहस्रपात् ॥
सहस्न शीर्षा पुरुषो एकमवर्णो ऽ ह्यतीन्द्रयः ।
ब्रह्मा नारायणाख्य: स सुष्वाप सहठिले तदा ॥
सत्त्वेद्रेकात् प्रबुद्धस्तु शून्य॑ लोक समुदीक्ष्य सः ।
इम॑ चोदाहरन्यत्र शलोक॑ नारायणं प्रति ॥
आपो नारा वै तनव इत्यपां नाम शुश्रुमः ।
अप्सु शेते च यत्तस्मात्तेन नारायण: स्मृतः ॥
तुल्यं युग सहस्रस्य नेशं काल्मुपास्य सः ।
शर्वयन्ते प्रकुरुते ब्रह्म सर्ग कारणातू ॥
ब्रह्मा तु सलिले तस्मिनू वायु भूला तदाचरत् ।
निशायामिव खद्योत् प्रावट् काले ततस्ततः ॥
ततस्तु सलिले तस्मिन विज्ञायान्तर्गतां महीम ।
अनुमाना दसंमूढों भूमेरुद्धरणं प्रति ॥
अक्रेत स तनुं त्वन्यां कल्यादिषु यथा पुरा ।
ततो महात्मा मनसा दिव्यं रूप मचिन्तयत् ॥
सलिलेनाप्छुतां भूमि दृष्टया स तु समन्ततः ।
किन्नुरूप॑ महत्कृत्वा उद्धरेयमहं॑ महीम ॥
जलब्रीडासुरुचिरं वाराह॑ रूपमस्मरत् ।
अधृष्यं सर्वभूतानां वाइमयं धर्म संज्ञितम् ॥
दशयोजन विस्तीर्ण शत योजनमुच्छितम् ।
नील्मेध प्रतीकाश॑ मेघस्तनितनिःस्वनम् ॥
महा पर्वत वर्ष्मणं श्वेत तक्ष्णोग्रदंष्टिणम् ।
विद्युदग्नि प्रकाशाक्षमादित्व॒ समतेजसम् ॥
पीन वृत्तायतस्कन्ध॑ सिंह विक्रन्त गामिनम् ।
पीन्नोनत कटि देश॑ सुश्लक्ष्ं शुभलक्षणम् ॥
रूप मास्थाय विपुलं वाराहममितं हरि ।
पृथव्युद्धरणार्थाय प्रविवेश रसातलम् ॥
सवेदवाद्युपद्रथ क्रतु वक्षाश्चिति मुखः ।
अग्नि चिह्नो दर्भरोमा ब्रह्म शीर्षो महातपा: ॥
अहो रात्रेक्षण धरो वेदाज्न श्रुति भूषण: ।
आज्यनासः सुवतुण्ड:ः साम घोषस्वनो महान् ॥
सत्यर्म मयः श्रीमान् धर्म्म विक्रम संस्थितः ।
प्रायश्चित्ततों घोर: पशुजानुमहार्कृति: ॥
ऊर्द्गात्रो होमलिज्ञः स्थानबीजो महौषधि: ।
वेच्यान्तरात्मा मन्त्र स्फिगाज्यस्पृक् सोम शोणितः ॥
वेदस्कन्धो हविर्गन्न्धो हव्यकव्याति वेगवान् ।
प्राग्वंश कायो द्युतिमाननानादीक्षाभिरन्वित: ॥
दक्षिणा हृदयों योगी महा सत्र मयो बिभुः ।
उपाकर्मेष्टि रुचिर: प्रवर्ग्यवित्त भूषणम् ॥
नाना छन्दों गतिपथो गुह्योपनिषदासनः: ।
छाया पत्नी सहायो वै मणि श्रृज्ञ इवोच्छित: ॥
भूत्वा यज्ञवाराहो वैअपः स प्राविशत् प्रभु: ॥
अद्धिः संछादितामुर्वी स॒तामश्नन प्रजापति ।
उपगम्योज्जहाराशु अपस्ताश्च स॒विन्यसत् ।
11. Vishnu Purana (Chapter 4)
आपो नारा इति प्रोक्त आपो वे नरसूनवः ।
अयवं॑ तस्य ताः पूर्व तेन नारायणः स्मृतः ॥
तोयान्तः स्थां महीं ज्ञाल्ा जगतल्ये कार्णवी कृते ।
अनुमानात्तदुद्धारं कर्त्तुकामः प्रजापति ॥
अक्रेस्वतनूमन्यां कल्पादिषु यथा पुरा ।
मत्य कार्मादिकां तद्धद्वाराह वपुरास्थितः ॥
वेद यज्ञमयं रूपमशेषजगतः स्थितौ ।
स्थितः स्थिरात्मा सर्वत्मा परमात्मा प्रजापति: ॥
जनलोक गतै स्सिद्धैस्सनकाचैरमिष्रुतः ।
प्रविवेश तथा तोयमात्माधारों धराधरः: ।
निरीक्ष त॑ तदा देवी पातालतलमागतम् ।
तुथव प्रणता भूत्वा भक्ति नम्ना वसुन्धरा । (6-11)
ततः समुक्षिप्य धरां स्वदंध्रया महावराह: स्फुट पद्मलोचन: ।
रसातलादुत्बल पत्र सन्निपः समुत्यितों नील इवाचलो महान् ॥
12. Vishnudharmottara Purana (Chapter 79)
ऐश्वर्यमनिरुद्धस्तु वराहो भगवान्हरिः ।
ऐश्वर्यशक्त्या दंष्टाग्र समुद्धृत वसुन्धरः ॥
नृवराहोडथ वा कार्य: शेषों परिगतः प्रभु: ।
शेषश्च चतुर्भुजः कार्यश्चारु रल फणान्वितः ॥
आश्चर्योत्फुल्ल नयनो देवी वीक्षणतत्पर: ।
कर्तव्यौँ सीर मुसली करयोस्तस्य यादव ॥
सर्पमूषश्च कर्तव्यस्तवेव रचिताअलिः ।
आलीढ़स्थान संस्थानस्तत्पृष्ठे भगवान्भवेत् ॥
वामा रलिगता तस्य योषिद्रूपा वसुन्धरा ।
नमस्कार परा तस्य कर्तव्या द्विभुजा शुभा ॥
यस्मिन्भुजे धरा देवी तत्र शड्ख करे भवेत् ।
अन्ये तस्य करा कार्या: पद्मचक्रादाधराः ॥
हिण््याक्षशिश्ण्छेदश्चक्रेचत॒ करोष्थ वा ।
शूलोद्यतहिरण्याक्ष सम्मुखो भगवान् भवेत् ॥
मूर्तिमन्तमनैश्वर्य हिरण्याक्ष॑ विदुर्बुधा: ।
ऐश्वर्येंण वराहेण स निरस्तोऽरिमर्दन ॥
नृवराहोऽध वा कार्यों ध्याने कपिल्वल्थितः ।
द्विभुजस्वथ वा कार्य: पिण्डनिर्वहणोद्यतः ॥
समग्र ब्रेड रूपो वा वराह मानव मध्यग: ।
नृवराहो वराहों वे कर्तव्यः क्ष्माविधारणे ॥
ऐश्वर्ययोगोर्द्ध॑त सर्व छोकः कार्योइनिरुद्धो भगवान्वराहः ।
रुद्धा न धर्ध्य ववीचिदेव शक्ति समस्त पापापहरस्य राजन ॥
IV
The Epithets
हरि स प्रथम देवः कौमारं सर्गमास्थितः ।
चकार दुष्करं ब्रह्मन् ब्रह्मचर्यमखणिडतम् ॥
द्वितीय॑ तु भवायास्थ रसातहू गतां महीम् ।
उद्धरिष्यन्नुपादत्ते यज्ञेशः सौकरं वपुः ॥
Agni Purana 1.14-15
(i) Adivaraha or Bhuvaraha
The figure of Bhuvaraha should have, according to Vaikhanasagama the face of a boar in association with the body of a man. It should have four arms, two of which should hold a conch-shell and the chakra. The right leg should be slightly bent and be made to rest upon the jewelled hood of the mythical serpent Adishesha, who should be sculptured in the company of his spouse. Of the remaining two hands, the left should be shown as supporting the legs of Bhudevi, seated on the god s bent right leg with her legs hanging down. The right hand of the god has to be shown embracing the waist of the goddess. The boar-face of the god should be slightly tilted up so as to bring the muzzle into close proximity of the bosom of the goddess as though he is engaged in smelling her. The colour of the image of Varaha-Vishnu is represented by the darkness of twilight. The associated figure of Bhudevi should hold her hands in anjali pose. She should be decked with flowers, clothes and adorned with suitable ornaments. Her complexion has to be black. Her face should be slightly lifted up and turned towards her lord in an expression of joy coupled with shyness. The top of her head should reach the chest of the figure of Varaha and her image should be made with the panchatala measure. [1]
The Shilparatna, however, gives a slightly different description. According to this text, the image of the Nrivarahamurti should have in its hands the gada and the padma and should carry Bhudevi on the tusk. One of its feet should rest on the serpent Adishesha and the other on the tortoise or, the goddess should be shown as seated upon the left elbow of Varaha with a nilotpala flower in her hand. Her face and eyes, should express wonder.
One of the two eight hands of the Varaha image should be made to rest upon its hip. The Shilparatna further says that instead of Varaha being half man and half boar, [2] it may be worked out wholly as a boar with a thick snout, broad shoulder-blades, long tusks and a big body covered with upturned bristles.
The Agni Purana gives almost the same description [3] of the image of Varaha - Vishnu. But it adds that the right hand should carry the conch-shell and the left hand should hold either padma or the figure of Lakshmi. In the latter case, the figure of Lakshmi should be shown as seated upon the left elbow of the god and the figures of Bhumi and Adishesha are to be placed near his feet. The Agni Purana, further goes on to say that the act of setting up of the Varahamurti for worship, brings to the devotee emancipation from the universe.
The Vishnudharmottara, also gives the same description with a few additional details. In describing Adishesha it states that the serpent should be sculptured as possessing four arms, a hood ornamented with jewels and eyes expressive of wonder; the face of Adishesha should be slightly lifted up as if indicating a desire to see the Lord. Two of the Adishesha's hands are to be in anjali pose, while the other two should carry the hala and the musala. He should assume the posture of alidhasana.
The same authority (V.D.) adds further that the image of Nrivaraha should also be sculptured seated like Kapila in the dhyana attitude: or the hands should be so placed as if offering pindas; or the whole figure may be sculptured exactly like a boar shown to live in the midst of the asuras. When the image is presented like a full boar, it should be associated with Siva as lingodbhavamurti, shown to be digging the earth. According to Vishnudharmottara, again, the philosophic import of this incarnation is the defeat of ignorance embodied in the shape of Hiranyaksha by Eternal Wisdom and the Almighty power incarnated as Varaha-Vishnu.
(ii) Mahavaraha (Symbolism)
Chapter 248 of the Matsya Purana describes the symbolism of Mahavaraha at a higher pitch. When the period of a thousand divine years was over the Golden Egg was released which was the form of Prajapati. This is the dictum of the Vedas which in the previous state had its mouth turned towards the centre or upper point (urdhva) that is towards Purusha himself for the sake of creation inclined towards outside (adhah) or Prakriti:
जगदण्डमिदं पूर्वमासीदिव्यं हिरण्यम् ।
प्रजापतेरियं मूर्तिरितीयं वैदिकी श्रुति ॥
तत्तु वर्ष सहस्नान्ते विभेदोर्ध्वमुखं विभुः ।
लोक सर्जन हेतोस्तु विभेदाधोमुखं पुनः ॥
Matsya Purana, 248. 1-2.
In these verses two technical terms urdhva and adhah are noteworthy, which are known in the Rigveda thus:
त्रिपादूर्धव उदैत्युरुष: पादो5स्येहाभवत्युन: ।
ततो विष्वडू- व्यक्रमन्साशनानशने अभि ॥
Rigveda, 10.90.4
In the Bhagavadgita too these terms have been used while describing the cosmic tree (उर्ध्व॑ मूलमध: शाखं अश्वत्थं प्राहरव्ययम्)
The Golden Egg refers to the Vedic doctrine [4] of Hiranyagarbha Prajapati and has been variously explained by different texts. It is said that the material egg splits into eight portions which represent the constitution of the World of matter:
भूयो अध्धा विभेदाण्डं विष्णुर्वे लोक जन्म कृत् ।
चकार जगतश्चात्र विभागं स विभाग कृत् ॥
Matsya Purana 248.3.
The idea is that the self-existent Svayambhu or Vishnu was the Purusha or Kshetrajha. He created out of himself the Golden Egg from which eight fold constituents of kshetra or Prakriti emerged. These constituents include:
(i) Prakriti also called Pradhana or Avyakta.
(ii) Mahat the universal.
(iii) Ahamkara the individual.
(iv) Akasha the sky.
(v) Vayu the air.
(vi) Agni the fire.
(vii) Jala the water.
(viii) Prithvi the Earth.
The principle of Akasha, is a kind of vacuum (Chhidram) which in the pre-creational stage or principio was turned towards the centre urdhavam but in course of time attains a hollow condition (Vivarakriti) which has an opening outside. That comes in contact with the cosmos and becomes the world here, below which is in other term known as Rasatala (विहितं॑ विश्व योगेन यद्धस्तद्रसातलम् —Matsya Purana 248.4). Since the Golden Egg was floating in the primeval ocean its activity was filled with a golden liquid which became frozen as the Golden Mountain Sumeru:
यदण्डमकरोटूरव॑देवो लोके चिकीर्षया ।
तत्र सलिलं स्कनन॑ सोऽभवक्काश्चनो गिरिः ॥
Matsya Purana, 248.5
In the Matsya Purana, (248.12-56) the Varaha form of Vishnu has been eulogised as Mahavaraha. The Earth-goddess invokes the divine power of Mahavaraha who is sought to manifest and lift her from the depth of Ekarnava [5] ocean. Earth here is the principle of motherhood and without her being redeemed from the dark depth of the primeval state of dissolution and darkness, the creative process of Light or Gold or Prana cannot become effective. Therefore at first occurs a stotra recited by Prithvi in praise of Varaha or the divine power. This sublime stotra is unparalleled for the variety of motifs it contains and for the exalted style in which it is couched. In the first part it identifies Narayana with all knowledge (Puranam veda-vedangam sankhya yogam) and the whole cosmos (bhave bhavau):
जंगमं॑ स्थावरं चेव भविष्यं च भवेच्च यत् ।
सर्व तच्च त्रिलेकेषु प्रभावोऽपहत॑ तव ॥
Matsya Purana, 248.18
In the second part it conceives of Narayana as the cosmic tree सर्वलोक मयी द्रुम:. The third motif in the stotra is that of Narayana conceived as ocean (नारायण महार्णव:). This was a magnificent conception worthy of the Golden Age of Indian history when contacts with dvipantara or Indonesian islands were established in the most intimate manner. This could be explained with reference to the twelve dvipas, eleven pattanas and the eight mountains along the extensive coast of India. It is said here that the ocean changes its colours, sometime its waters are dark and in other places clear. Similar ideology on the subject is propounded in the Divyavadana and Supriyavadana महासमुद्र उदकस्य वर्ण संस्थान, (p.111) which the navigators were expected to know.
The fourth motif is the identification of Narayana with kala in his changing phases of the yugas and other units of time. In the fifth part the stotra takes the nature of Nama - nirukti. The Purana writers were deeply interested in the subject of semantic etymologies (Arthi - Nirukti) and were inspired by the vedic etymologies of this type. For example this topic is treated in detail in the Linga Purana (1.70.96.106), Vayu Purana (5.39.46); and the Mahabharata (Udyoga Parvan 68, Shanti Parvan 330), where it is stated that these etymologies were based on Guna and karma (नाम्नां निरुक्त गुण कर्मजम्).
(iii) Yajnavaraha
The conception of Yajnavaraha seems to have been formulated for the first time by the author of the Vayu Purana which includes it in the proper context of Sristhi-Vamana, and from there taken by the Matsya Purana which adds it at the fag end of Chapter 238. There are two aspects of the question, viz. the real meaning of the Varaha conception as applied to yajna, i.e. its significance as a symbol of Vedic cosmogony; secondly the correspondence between the various elements of sacrifice or yajna and the different limbs of the body of Varaha as an animal.
In this connection it would be of quite interest to examine the epithets applied in Sanskrit literature to Yajnavaraha [6] — V.S. Agrawala, in this connection has provided a detailed discussion on the subject, glimpses of which are reproduced here:
(i) Veda-padah — The four Vedas are the four feet. The number 4 seems to be the basis of comparison. The reading is undoubted in all the versions.
(ii) Yupa-damshtrah — This reading also is uniform and clear, viz. the long yupa with its curved top is similar to projecting tusks of the boar.
(iii) Kratu-dantah — The kratus are the Soma-sacrifices which are many in number and that seems to be the justification for their being compared to teeth. Nanda Pandita points out that the number of kratus was sixty-four.
(iv) Chiti-mukhah — The chitis are fire altars built as a part of Agni-chayana ceremony. They are constructed with bricks and have a wide gaping month.
(v) Agni-jihvah — This smile of Agni compared to the tongue of the God is approved by the Rigveda itself, where Agni is several times spoken of as the tongues of the gods with which they eat their food. (वृतस्य नी युर्ल॑यदस्ति जिह्ना देवानाममृतस्य नाभि: । (Rv.IV.58.1).
Any offering or oblation through Agni reaches all other gods applying in its adhyatmika sense that the food eaten through the mouth sustains all these organs and parts of the body.
(vi) Darbha-loma — The kusha grass spread on the altars is compared to the shaggy hair on the body of the boar. This reading is also easy, only loma and soma are variants.
(vii) Brahma-shirsah — Brahmi is Vedic knowledge or the mind of the creator, therefore its comparison with the head is apt.
(viii) Aho-ratrekshana-dharah — Day and night are compared to the two eyes of the Varaha. Ahoratra are the twin symbols of Surya and Chandra, and it was usual to compare them with the two eyes of the Virat or the universal form of the deity.
(ix) Vedanga-shruti-bhushanah — The word Shruti-bhushanah is clearly the ear- ornaments worn by the deity. They are compared to vedanga which is susceptible of a two fold meaning, viz. the six vedangas, but that does not seem to be quite appropriate since in that case the number of ear-ornaments will have to be taken as six for which there is no sufficient authority or art tradition. It seems that Nanda Pandita is right in taking it as two bunches of kusha grass for sweeping the vedi or the sacrificial fire.
(x) Ajya-nashah — Ajya or butter is Compared to the nostrils perhaps for the reason that there were two ahutis called aghara for sprinkling clarified butter on the fire at certain Sacrifices. Moreover the nostrils are the seat of prana which is another form of Agni, and Agni is considered to be identical with ghrita (आग्नेयं वे घृतम् S.B. 7.4.1.41).
(xi) Sruva-tunda — Shruva and shrukate two kinds of ladles for pouring oblations on the fire, the former being smaller and the latter bigger in size. Sruva is compared to tunda or long snout projecting at one end.
(xii) Sama-ghosha shvarah — The gurgling sound of the throat is compared to the chanting of Sama-songs which appear to make an indistinct murmuring noise.
(xiii) Satya-dharma-maya — This is the uniform reading of all the versions. Obviously there is no mention of the limbs of animal s body and hence no physical comparison. But satya is yajna and dharma is Varaha and the two are compared here.
(xiv) Karma-vikrama-satkritah — Karma refers to the body of rituals as practiced by the officiating priest; it is compared to vikrama or movement of Varaha. An alternative reading of karma is krama which is a kind of recitation of Vedic mantras. The reading satya-vikrama is not quite suitable. Between krama and karma the former could be selected.
(xv) Prayashchitta-nakhoghorah — The sharp claws are compared to Prayashchitta or expiatory ceremonies that form part of yajna for faults of omission and commission in ritual. The other readings are not so appropriate or relevant to the meaning.
(xvi) Pashu-januh — The animal tied to the stake for immolation in the sacrifice is compared to the knee-joints of Varaha. The point of comparison seems to be that just as the knee is flexed and folded, similarly the body of the animal is subjected to fracturing of its skeleton by blows.
(xvii) Makhakritih — The appearance of Varaha is compared to makha or sacrifice.
This is equivalent to the idea of Yajnavaraha, namely whenever there is a makha or yajna there is the existence of the Varaha deity.
(xviii) Udgatrantrah — This is the reading in the Vayu, Harivamsha Puranas and Smritis, which seems to have been the original reading and not udgitha of the Matsya. The reading udagatri or more correctly audgatra, his singing of Sama-gana is compared with the long entrails of the animal. The point of similarity between the singing of the Sama-gana and the large intestine seems to be the length of the two.
(xix) Homa-lingah The offering of ghrita in the fire are compared to the linga of the animal, which also is the medium of fertilizing with semen.
(xx) Bijaushadhi-mahaphalaha — There are several variants but this seems to have been the original reading as supported by Matsya, Brahma, Harivamsha Puranas, Vishnu Smriti and other texts. The word mahaphala is a little obscure. The herbs and plants which produce the seed are compared to the testicles.
(xxi) Vayavantaratma — This is the reading in the Matsya with a variant vadyantaratma in the Vayu Purana and Vishnu Smriti which is much better, for both vayu and vadiya do not have any justification in the imagery of yajna. Vedi or the big fire altar is compared to the Antaratma or Antah-karana of the animal.
(xxii) Mantra-sphigvikritah — This is a difficult phrase with several variant readings. It seems that the original reading was mantra-sphigvikritah as in Brahma Parana and Vishnu Smriti. Sphig is a well-known word denoting buttocks or hips. The changing movement of the hips of the boar while walking, running, butting or diving are compared to uha or verbal changes made in the words of mantras at the time of using them in sacrifice.
(xxiii) Soma-shonitah — Both the reading and the meaning are certain. Soma of yajna is compared to the blood of the animal
(xxiv) Vedi-skandhah — The broad fire altar of the shrauta sacrifice is compared to the broad shoulder of the Varaha.
(xxv) Havir-gandha — The smell from the body of Varaha is compared to the fragrance rising out of the ham or oblations thrown in the altar fire.
(xvi) Havya-kavyati-vegavan — Matsyahas havya-kavyavibhagavan but Harivamsha, Vayu, Brahma and other texts give the reading as havya-kavativegavan. The speed or the vehement movements of the animal are compared to the havya and kavya rites of the Devas and the Pitris viz.: Agnihotra and Shraddha with which the body of yajna is kept in unceasing activity.
(xxvii) Pragvamsha-kaya — It is the unanimous reading and thing is also fixed. Sanskrit Kaya refers to the trunk of the tree or the body of a lute. So the trunk of the body is rightly compared with Pragvamsha or the main beam placed in transverse position on the upright pillars in a building or thatched roof of a sacrificial shed.
(xxviii) Nanadiksha bhiranvitah — Reading in the Brahma, Harivamsha is Architah which gives better sense, i.e. the different forms of worship offered to the deity may be compared with several Dikshas taken by the yajmana for performing different sattras.
(xxix) Dakshinahridayah — This is the reading in all texts. Hridaya i.e. the heart of the animal which keeps it alive is compared to Dakshina or sacrificial fee which by keeping the priests satisfied makes the yajna continue from session to session.
(xxx) Mahasattra mayah — Mahasattra is a great Soma sacrifice lasting from 13 to 100 days and is performed by many officiating Brahmans. Sattra also has the meaning of an assumed form, and this applies quite well in the case of Varaha.
(xxxi) Upakramoshtharuchakah — This is the reading in the Matsya and Harivamsha. Upakrama is the reading of the Vedas and the same is compared to oshtharuchaka or of beautiful lower lip. This was a particular term invested in Sanskrit language of the Kushana-Gupta period. Ruchaka means a round disc, which is mentioned as an ornament in the Mahabhashya of Patanjali. One of the marks of a beautiful lip was that it should be shown pendant with the middle portion appearing like a round disc. Hence the phrase oshtha-ruchaka became popular. It is used by Shudraka and Bana in the Kadambari.
(xxxii) Pravargyavarta-bhushanah — The whorls of hair on the chest of Varaha which make for its beauty are compared to the pravargya or the huge milk-pot into which hot butter is poured, giving rise to high flames. Pravargya is also called Gharma or Mahavira. The whorl of hair is also called Devamani and a number of them, i.e. five, in front portion of a horse's chest were together known as Shri-vriksha and a horse beautified with them was called Shrivrikshaki as mentioned by Magha (5.56) and Dandin's Avantisundankatha. A series of such whorls is compared to the flames rising from the pravargya vessel.
(xxxiii) Nanachhandogatipathah — The various forms of movements of Varaha are compared to the different metres of the Vedas.
(xxxiv) Guhyopanishadasanah — This seems to be the most approved reading, a variant nishadasanah in some manuscripts of the Matsya being surely corrupt. Guhyopanishad appears to be in the case of yajna reference to the Vidatha sessions of the priests in which only a few knowledgeable persons took part and discussed the mystical meanings of the sacrificial ritual. The exchanges and discussions in these assemblies became the upanishads in which the secret meanings and mysterious knowledge were incorporated. This aspect of the sacrificial session is compared to the particular posture of the animal at the time of mating. Asana generally is a seat, but has also a reference to erotic postures.
(xxxv) Chhayapatni-sahagah — Chhaya is compared to the female shakti of Varaha. Just as in the sacrifice the yajmana is accompanied with his wife, similarly the god Varaha has Chhaya as his consort. It may be recalled here that in many Puranic texts, Chhaya has been described to be the consort of Surya. She was the shadow or the counterpart of samjna. The question arises as to why should she be mentioned as the consort of Varaha. Possibly the author of the Yajna-Varaha conception has in mind the fact in certain text the primeval boar is the same as Surya. This aspect has been dealt with elsewhere in this work.
This form of Varahamurti [7] has to be of white complexion, and should have four arms, two of which are to carry a shamkha and chakra. The figure should be seated upon simhasana with the right leg hanging down and the left resting upon the seat. The image should be adorned with yellow garments and various ornaments. On the right side should be seated the image of Lakshmi having golden yellow colour. Her left leg should be bent and kept resting upon the seat, while the right leg should be hanging down. Her left hand should be resting on the seat. On the left of Yajna-varaha-murti, Bhudevi having dark complexion, should be seated. Her right leg should be bent resting upon the seat and the left leg hanging down. In the right hand she should hold a nilotpala flower and the left hand should rest upon the seat. The face of the goddess has to be slightly turned towards the god and should be expressive of surprise.
This type of the image of Varaha-Vishnu [8] has to be seated upon a simhasana with the right leg hanging down, while the left one is bent and kept resting on the seat. The image should have four arms in two of which a conch shell and a chakra should be carried, while the front right hand should be in abhaya pose and the front left hand should be resting on the left thigh.
Pralayavaraha
The complexion of Pralayavaraha has to be blue. The image has to be clothed in yellow garments and decked with all usual ornaments.
On the right of the Pralayavaraha, on the same seat Bhudevi should be placed with her right leg hanging down and the left one bent and made to rest on the seat. She has to be dark in complexion and should be wearing all the usual ornaments.
In her left ear, there should be an ornament. In her left hand, there should be an utpala flower and her right hand should be resting on the seat. She should be made to look at her lord with amazement which should be reflected in her eyes.
It is said that Vishnu gave up his boar-form and returned as Vishnu to his own heavenly abode-Vaikuntha. Shiva then took the long tusk of the discarded animal’s body and used it as an ornament.
***
Notes and References
1. Gopinatha Rao, T.A., Elements of Hindu Iconography, I, Pt. I, p. 134.
2. Ibid, pp. 134-135.
3. Agrawala, V.S., op. cit, p. 308.
4. Ibid, p. 309.
5. Ibid, pp. 316-317.
6. Ibid, pp. 313 ff 7. Gopinatha Rao, T.A. op. cit, I, Pt. I, pp. 135 ff.
8. Ibid, pp. 136-37.
V
ICONOGRAPHY
आदि वराहं चतुर्भुज॑ शड्-खचक्रधरं सस्यश्यामनिभं
नागेन्द्र फामणिस्थापितदक्षिणपादं तदूरी महीं दधानं
दक्षिण हस्तेन देव्योः पादी गृहणन्तं वाम हस्तेन तामुपगृहन्तं
मुखेन देवी जिप्रन्तं कृत्वा तां महीं प्राअलीकृत हस्तां
प्रसारित पादां पुष्पांबरधरांश्यमाभां किचिद्वेवं
समीकाद्रीडाहर्षण संयुक्तां सवर्भिण संयुतां स्तनान्तां
वा पञ्च तालेन कारयेतू ।
Vaikhanasagama
The boar incarnation of Vishnu is represented in Indian plastic art in several ways.
The principle modes being, the theriomorphic and the hybrid or composite. But in the latter case the hybridity is confined to the head alone; all the rest of the body being shown as human. These forms include:
(i) Varaha
(ii) Adivaraha, Bhuvaraha or Nrivaraha
(iii) Yajnavaraha
(iv) Pralayavaraha
(v) Mahavaraha
(vi) Varaha in boar form
The Iconographical description of each one of the above forms as present in the texts; in given hereunder:
(i) Varaha, (ii) Adivaraha, Bhuvaraha or Nrivaraha.
This form of the god has been described in the Vaikhanasagama according to which the god should have the face of a boar fitted over the human trunk. He is endowed with four arms, two of which hold a shamkha and the chakra. The right leg should be slightly bent and made to rest upon the jewelled hood of the mythical serpent Adishesha, who must be sculptured in company of his spouse; of the remaining two hands, the left hand should be shown supporting Bhudevi, seated on the god’s bent right lap with her legs hanging down; while the right hand has to be shown encircling the waist of the same goddess. The rest of the iconographical details have been duly discussed in Chapter-IV of this work.
The Agni-Purana (49.2-3) provides description almost similar to that of Bhuvaraha, but with slight variation in carrying a conch-shell in the right hand and the lotus in the left. Besides Lakshmi, his consort, is required to be seated on his elbow. Prithvi and Adishesha are to be shown in front of his feet.
नराज्ञो वाथ कर्तव्यों भूवराहो गदादिभृत् ।
दक्षिणे वामके शड्ख लक्ष्मीर्वा पद्ममेव वा ॥
श्रीवमिकूर्परस्था तु क्ष्मानन्तौ चरणानुगौ ।
वराहस्थापनाद्राज्यं॑ भवाब्धितरणं भवेत् ॥
Agni Purana
The Aparajttaprchchha (219.10.23) however, refers to the images of Varaha with whom Lakshmi is associated together with Prithvi.
The Parashara Samhita (15-140) specifies that this form is to be distinguished by the presence of the Earth-goddess upon the arm of Vishnu, who is four armed and carries in two upper hands conch and discus (bhujagra bhudharam-devam). The goddess Earth must be shown according to Vishvaksena-Samhita (11-46-48)
The goddess Earth must be shown according to Vishvaksena-Samhita (11-46-48) as charming with the bloom of youth (नव यौवन सम्पन्नाम) and beautiful limbs (सर्वावयवासुन्दरी) with fine hair (सुकेशाम) and lotus like face (पड़जाननम्). She may be represented according to this text as dark complexioned (श्यामा) or as lightning bright (विद्यु्लता-प्रभावापि); She should fold her hands in the gesture of supplication (कृताअलि).
The god holds her in his embrace with his left arm lifting up high (वामदोष्णा समालिड्न प्रोद्धृत्या लिड्रय सुश्तिम्) and sniffing her face with his snout (जिप्रान् देवी मुखम्); he holds her thighs firmly with his right hand (गृहीत्वोरूदृघां तस्या दक्षिणेन करेण च). Alternately the gods snout may touch her breasts (जप्रान् देव्या स्तनं देवः Padma Samhita-Kriya - 17.17).
Bhuvaraha is distinguished from Adivarah by the absence of Adishesha on which Adivaraha stands, and from Yajnavaraha by absence in it of Lakshmi (who is to the right of Yajnavarah Bhudevi being on his left. (Matsya Purana 260. 28-30). Further Bhuvaraha is always in standing posture with some bends of legs, whereas Yajnavaraha and Pralayavaraha are seated figures.
(i) Nrivaraha
The Shilparatna describes that Nrivaraha form of Vishnu should carry in his two hands a gada, a lotus and Bhudevi on his tusk. One of his feet should rest on the serpent Shesha and the other on the tortoise or the goddess might be shown as seated upon the left elbow of Varaha, with a nilotpala flower in her hand. Her face should have eyes expressive of wonder. One of the two right hands of the god should be made to rest upon the hip.
नृवराहं प्रवक्ष्यामि सूकरास्येनन शोभितम ।
गदापग्मधरं धात्रीं दंघ्रग्रेण समुद्धृताम् ॥
बिश्राणं कोरपरि वामे विस्मयोट्युल्ललेचनार ।
नीलोसलधरां देवीमुपरिथत्रकल्पयेत् ॥
दक्षिणं कटिसंस्थं च बाहुं तस्य प्रकल्परत् ।
कूर्मपृष्ठे पद॑ चैकमन्यन्नागेन्रमूर्धनि ॥
अथवा यूकराकारं महाकायं क्चित्िखेंत ।
तीक्ष्णवंशयाग्रघोणास्यस्कन्धकर्णोर्ध्वरीमकम् ॥
The Rupamandana, prescribes that the Earth-goddess should be shown having been carried over the tip of the snout of Varaha.
मल्यकूर्मी स्वस्तरूपी नृवराहो गदागबुजे ।
विभ्रच्छयोमो वराहास्यो दंष्टाग्रेणोद्धतांधराम् ॥
This form of Varaha has been beautifully depicted on the coin of Mihir Bhoja (836-885 A.D.).
The Vishnudharmottara, besides supporting the provisions of the Shilparatna gives some more details, according to which the serpent Adishesha should be sculptured as possessing four arms, a hood ornamented with jewels and eyes expressive of wonder. The face of Adishesha should be slightly lifted up as if indicating a desire to see the Lord. Two of the Adishesha's hands are to be held in anjali pose, while the other hands should carry a hala and musala. He should assume the attitude of alidhasana. The text further adds that Nrivaraha may also be sculptured, seated like Kapila in dhyanamudra, or the hands may be so placed as if offering pindas; or the whole figure may be sculptured exactly like a boar shown living in the midst of asuras. When the image is represented like a full boar, it should be, like the one which is associated with Shiva as the Lingodbhava murti; shown to be digging the earth.
The Vishnudharmottara, further describes that the irresistible god Hari in the form of boar represents supremacy. With his supreme power he lifted up the earth on the tip of his tusk. Also the man-boar form of the lord should be shown standing on Shesha, who should be represented with four hands and endowed with a beautiful hood (marked) with a jewel. Shesha should be shown as intently viewing the Earth-goddess with a look of amazement in his wide open eyes. In his hands there should be a ploughshare and the pestle. He should be shown as adorned with serpents and also with his hands in folded position. On is back the god stands in alidha posture. On his left elbow should be shown the earth in female form, her two hands being held in obeisance. The hand with which he supports the Earth-goddess, shows the conch. His other hands should be shown as holding the lotus, discus and mace. Alternatively, the god should be represented with the discus in his raised hand, almost ready to cut off the head of Hiranyaksha who is shown in front with raised spear in his hand. Hiranyaksha is known as the embodiment of evil. He is countered by the supremacy of the Varaha. The man-boar could also be represented as seated like Kapila in meditation. He may also be shown as two handed and in the act of lifting the globe for its liberation. He should either be shown in all respects as a boar, or in the form of a man. When represented in the act of lifting the earth, he should be shown either as a man-boar or as a boar exclusively. The entire universe emanating from the consummation of the bounty should be represented as the irresistible god Varaha. There is hardly anything that can contain the power of this despeller of all sins. The Agni Purana has the same description of Nrivaraha but it adds that the right hand should carry a shamkha and the left either lotus or the figure of Lakshmi. In the latter case, the figure of Lakshmi should be shown as seated upon the left elbow of the god and the figures of Bhumi and Adishesha are to be placed near his feet.
(ii) Yajnavaraha
This form of Varahamurti according to the Vaikhanasagama, has to be of white complexion and should have four arms, two of which are to carry a shamkha and the chakra. The figure should be seated over a Simhasana with the right leg hanging down and the left resting upon the seat. He should be clothed in yellow garments and adorned with various ornaments. On the right side should be seated the figure of Lakshmi having the golden yellow colour. Her left leg should be bent and kept resting upon the seat, while the right one should be left hanging.
Her left hand should carry a lotus and the right hand should be resting on the seat. On the left on Yajnavaraha murti, there should be a seated Bhudevi of dark complexion, with her right leg bent and resting upon on the seat and the left leg hanging down. In her right hand she should hold a nilotpala flower and the left hand should rest on the seat. The face of the goddess has to be slightly turned towards the god wearing an expression of surprise.
अथ यज्ञवराहं श्वेताभं चतुर्भुज॑ शड्खचक्रधरं वामपाद समाकुज्च्य दक्षिणं प्रसार्य सिंहासने समासीन पीताम्बरधरं सवर्भिरणभूषितं कारयिला तस्य दक्षिणे देवी श्रियं हेमाभां वामपादं समाकुज्च्य दक्षिणं प्रसायसीनां पद्मधरवामहस्तामासने निहितदक्षिणहस्तां वामपार्श्वे महीं देवीं सस्यश्यामनिभां दक्षिणपादमाकुज्च्य वाम॑ प्रसायसीनामुत्पलधरदक्षिणहस्तामासने निहितवामहस्तां देव॑ किंचित्समीक्ष्य विस्मयोकुल्ललेचनां कारयेत् । त्रयाणां वराह्मणां तत्तदूपं कीतुकबिम्बं विष्णुं चतुर्भुज॑ वा कारयेत् ।
Vaikhanasagama
According to the Vayu and Matsya Puranas, the boar was ten yojanas in breadth, and thousand yojanas in height, his colour was like a dark cloud and his roar like thunder. His bulk was vast as a mountain, his tusks were white, sharp and fearful; fire flashed from his eyes like lightning and he was radiant as the sun. His shoulders were round, fat and large; he strode along like a powerful lion; his haunches were fat, his loins were slender, and his body smooth and beautiful.
(iii) Pralayavaraha
Pralayavaraha according to Vaikhanasagama, has to be seated upon a Simhasana, with the right leg hanging down, while the left one is bent and kept resting on the seat, the image should have four arms, in two of which the shankha and the chakra have to be carried. The front right hand should be in abhayamudra and the front left should rest on the left thigh. The complexion of Pralayavaraha has to be blue and the image is to be clad in yellow garments and decked with all ornaments.
On the right of the Pralayavaraha occupying the same seat should appear his consort Bhudevi, with her right leg hanging down and left bent and made to rest on the seat. She has to be dark in complexion and should be bedecked with all the usual ornaments. In her left hand there should be an utpala flower and her right hand should be resting upon the seat. She must be made to look at her Lord with amazement which should be fully projected in her eyes.
वक्ष्ये प्रढ्यवराह॑ वामपाद॑ समाकुज्च्य दक्षिणं प्रसार्य सिंहासने समासीन॑ नीला शड्खचक्रधरमभयदक्षिणहस्तमूरुप्रतिष्ठितवामहस्त॑ पीताम्बरधरं स्वर्भरणभूषितं कारयित्वा तस्य दक्षिणे देवी महीं पादं वाममाकुज्च्य दक्षिणं प्रसार्यासीनां श्यामाभां सर्वाभरणभूषितामुत्पलधरवामकरामासननिहितदक्षिणकरां किंचिद्देवे समीक्ष्य विस्मयोत्फुललोचनां कारयेत्।
Vaikhanasagama
(v) Mahavaraha
The Matsya Purana (260-28-30) informs that Mahavaraha should carry a mace and lotus in his hands, while one of his legs should be placed over Kurma and the other on Adishesha. Prithvi should be seated on his snout or his elbow, carrying nilotpala flower in one of her hands. The other should be placed on her hip. Chapters 247-248 of the Matsya Purana describes the Mahavaraha charita, with which the Ekarnava — doctrine was associated and was handed down from antiquity. The same is presented again in a revised version with several new motifs. According to the Vedic-doctrine there were two aspects of the creator of two stages in the creative process. The first is referred to as "Sleep" (nidrayoga) and the second as jagrana (Buddhayte Vibudhadhipa). The divine principle in the state of rest or sleep is referred to here as Shantatama or Amita-Yogatma which was the same as Svayambhu and in the second stage he manifests himself as Parmeshtha (M. 247-31-33). This idea is vividly repeated with rich terminology in the chapter:
... तिति ज्ञेयः सस्त्रण मुवनाधियः |
... हे संहत्य जगत्कृत्वा गर्भस्थात्मानः |
... अत महायोगी घृतं वर्षसहस्मकम् ।
Matsya Purana 247-31.33
(vi) Varaha in exclusive boar form
The Shilparatna says that instead of Varaha being half-man and half-boat, it may be worked out wholly as a boar with thick snout, broad shoulders, long tusks and a colossal body covered with upturned bristles. The Vishnudharmottara also recommends that the images of Varaha could also be made in the exclusive boar form shown to live in the midst of the asuras.
The iconography of Varaha has been defined in the Matsya Purana thus:
... धोरा मेदिनीवाम कूपरे ।
... कुक्षिणं कटि सं कं तत्व बात ।
... की परि तथा पदमैक नदी.
***
LIST OF FIGURES
1. The wild boar, details from the relief on Trojan's columns in the Forum of Trojan at Rome, 2nd century A.D.
2. Boar hunt, painting in dark red, Spain, Prehistoric.
3. Steatite figure of a wild boar from Jamdat Nasr, Ur, 600 B.C.
4. Varaha, Dudhai, District Jhansi, 10th-11th century A.D.
5. Varaha, Vihara village, about 13 Km. from Vijapur, North Gujarat, 10th century A.D.
6. Brahma riding on a swan flying upwards and Vishnu as Varaha, diving into the sea-waters, stand depicted over a Shiva-linga, Tiruvannamalai, South India.
7. Adivaraha, Silver Coin of Mihir Bhoja, 9th century A.D.
8. Adivaraha image, Udaigiri Caves, Vidisha, Early Gupta period.
9. Mahavaraha, Badami Caves, 6th century A.D.
10. Fragment of a stone sculpture, depicting Vaikuntha form of Vishnu, Mathura, 5th century A.D.
11. Sapta Matrika panel from Ellora, 7th-8th century A.D. I 37
VI
The Plastic Art
ततोमहात्मा मनसा दिव्यं रूपमचिन्तयत् ।
किननु रूपमहं कृत्वा उद्धरेयं धरामिमाम् ॥
Matsya Purana 248.61
The Shunga Period
The Varaha has been dominating the Indian religious scene right from the 2nd-1st century B.C. and the earliest evidence has been pointed out in the chapter on ‘Vaikuntha from’ of Vishnu in this work. In fact Varaha has been depicted in Indian plastic art in his anthropomorphic form of a boar as well as the hybrid form of boar s head placed over a human body. However, the earliest representation of Varaha has been in the animal form, which was followed by the hybrid form.