7. Varaha Purana, 13.25.50.
8. CLL, Inscriptions of Early Gupta Kings, Vol. III, (Revised) p.343.
9. S.I.I., III, p.347, 11.34-36.
10. EL, VIII, pp.229-33.
11. ASIAR, 1902-03, p.20; Fleet, C.I.I., III, pp.212-13.
12. E.I, VII, p.392; 182 of 1901.
13. Ibid, XV, pp.87 ff.
14. Ibid, XIX, p.19.
15. Ibid, XIV, pp.89 ff.
16. Ibid, VIII, pp.307 ff.
17. Ibid, XIV, pp. 78 ff.
18. Ibid, XV, pp.24 ff.
19. Ibid, XIV, pp.216 ff.
20. Ibid, XVI, pp.310 ff.
21. Ibid, XVI, pp. 247 ff.
22. Thapliyal, K.K., Studies in Ancient Indian Seals, p.169.
23. ASIAR, 1903-04, pp.106-109, No.18, PI.XLI, 15.
24. Ibid, 1903-04, pp.120, 146, 149, PI.XLVI (54).
25. Ibid, pp.140-41, P1.XLVII, No.325.
26. Ibid, p.141, Pl. XLVII, No.341.
27. Sarasvati, Omananda, Ancient Seals of India, No.108.
28. Ibid, No.452.
29. E.L, XXII, p.24.
30. ASIAR, 1903-04, p.109.
31. Ibid, 1913-14, p.104, No.341, PI.XLVIIIL.
32. E.L, XIX, pp.137 ff.
33. Ibid, XIX, p.149.
34. ASIAR, 1903-04, p.234.
35. EL, XIX, p.131.
36. Ibid, XIX, p.89.
37. Allan, John, Catalogue of the Coins in Ancient India, pp.CXVII and 198.
38. Ibid, Pl. XXXVIII, 11.
39. Mirashi, V.V., Studies in Indology, III, pp.98-99.
40. E.L, XXIII, pp.138-40.
41. Agrawala, V.S., Matsya Purana - A Study, p.313.
VIII
OTHER ASPECTS
जल्ब्रीड़ारुचिस्तस्माद्वाराहं वपुरास्थितः ।
अदृश्यं सर्वभूतानां मेघस्तनित निस्वनम् ॥
Matsya Purana, 248.64
Ancient Sanskrit literature initially started the use of the word Varaha, as a boar. But the popularity of this word got considerable boost with its identification with Vishnu, wherein the boar was termed as one of his incarnations. Once this was done, the animal got great sanctity in the religious annals and practices, besides frequent mention in the contemporary literature. The fragments of the episode which were found scattered in the Vedic literature, were developed in the Puranas, together with the iconographical features of the image of the Lord.
In some of the Puranas, the episode of the rescue of the earth has been attributed to the god Prajapati or Brahma and as such Varaha has also sometimes been conceived as Prajapati and many other forms.
The Puranic writers concentrated on the subject of the churning of the ocean or the first agitation of the still waters of dissolution, besides the rescue of the earth from the deep sea waters. They speak of diverse ways. Firstly they conceive of Prajapati as taking the form of Vayu, which causes a current in the midst of still waters. This is the same as manthana or friction which results in generating heat or fire. This is conceived as Vayu, which symbolizes in Vedic terminology, according to V.S. Agrawala, two symbols, viz.: Akasha for sthiti or inertia and Vayu or gad for movement. The Brahmanas explain these two symbols as yat and Juh (एष (वायु) हंयन्नेवेदं सर्व जनयति एत॑ यन्तभिदमनुप्रजायते, तस्या द्वायुरेव यजः । अयमेवाकाशोजू: I Shatapatha Brahmana, 10.3.5.1-2).
Thus the Principle of Vayu was first engendered within the waters of creation and produced movement (gati).
On the other hand, Prajapati the creator or Brahma has also been conceived as Vayu. He is the force which makes the germs of the world develop into manifest form. The foetus in the mother's womb is subject to the law of growth (Brahmana) and the same is called Brahmi. It is virtually the same as Narayana (ब्रह्मनारायणात्मकः) Vishnu Purana 1.3.24). He is the biggest Brahman परमः परमात्मा and has two aspects, viz.: vyakta and avyakta, In the unmanifest State Prajapati is beyond the categories of time and space, but for the sake of creation he assumes the relative form called vyakta, which is an aggregate of three gunas. The interaction which is created by Prajapati with Ekarnava-deluge, is explained in several ways. Prajapati enters into the waters as the primeval force, which brings about the churning of the ocean and produces the fire which existed in the beginning (अग्ने अग्नि) and from which the Subsequent creation takes place. Fire is the deity of Yajna and thus Prajapati's incarnation or emergence from the depth of the primeval ocean is an act of Yajna. The different aspects of Varaha that are available in the texts, are discussed below:
(i) Varaha as all-gods
In the Kurma Purana the epithet of sarvadevamaya has been used for Varaha. This is significant because once Agni or Surya is created as a result of the churning of waters or of the mother-principle, all the powers in the heaven and earth become effective in that centre. This is the cardinal Vedic idea and therefore Agni is called Sarvadevatah (अग्नि: सर्वा देवताः Aitareya Brahmana 2.3) and Surya Vishva-devya (विश्वदेव्यावता, RV, X. 170.4). This is also right, since Prithvi is lifted by Varaha from ocean and she symbolises the womb of mother or ‘Infinite Nature’ and therefore all the forces or powers which function in the cosmos have their existence in the source or mother's womb. [1]
(ii) Varaha as Bhrigu and Angiras
The primeval waters apah [2] are spoken of as comprised of two principles of heat called Angiras and called Bhrigu:
आयो भृग्वज्निरोरूप मापो भृग्वड्िरोमयम्
सर्व मापोमयं भूतं सर्व भृग्वल्विरोमयम् ।
अन्तरेते त्रयो वेदा भृगूनज्विरसो5नुगा: ॥
Gopatha Brahmana 1.1.39
This is just the mythical language for a scientific truth and it amounts to saying that the first cause of creation comprised the two principles of Agni and Soma or Gramsa and Hima, i.e. the Plutonian and the Neptunist principles of fire and water. The fact is repeated many a times in the Vedas. Therefore it is quite consistent to speak of the two principles of Bhrigu and Angiras as making up the First Cause called apah. The only feature is that in the state of rest or the unmanifest condition the heat or fire is withdrawn into its substratum of water or cold, that is Angiras is concealed by Bhrigu, but by the power of Trayi-vidya or triple forces movement generates friction and Agni or Angiras becomes effective. Therefore the Gopatha rightly says - अन्तरेतेत्रयो वेदाभूगूनब्लिरसोनुगा. Here comes the importance of Trayi-vidya or the three-Vedas, in other words Varaha is none other than Agni or Hiranyagarbha or Surya or Narayana. This is the meaning of the great legend of Varaha incarnation which the Puranas accept as the principal motif in the scheme of Srishti-vidya for which they have adopted a rich symbolical terminology.
(iii) Varaha as Emusha
Emusha in the Rigveda, [3] occurs as the name of Varaha. In the Shatapatha Brahmana [4] he has been described in the same manner:-
इयतीह वा इयमग्रे पृथिव्यास प्रादेशमात्री
तामेमूष इति वराह उज्जघान सोस्यापतिः प्रजापतिः ।
Emusha is a symbolical term composed of three elements, a plus im plus usha (आ+ ईम् + उष from the root वस) that which envelopes the earth (or the cosmos). It is a pointer literally to the same doctrine of Trayi which enters into the womb of waters and by its churning force draws into its field the scattered particles of fire, earth or matter and solidifies them into a compact mass round a fixed centre controlling a spiral revolving force.
(iv) Varaha as Ghrita-Kumbha
The Shatapatha Brahmana clarifies the imagery of Varaha by saying that Varaha is a fat-dripping animal, (Medura-Ghrita-Kumbha):
अग्नौह वै देवाघृतकुम्भ॑ प्रवेशमाश्च व्रुस्ततो वराहः
संवभूव, तस्माद्वराहो मेदुरो घृताद्धिसंभूतस्तास्माद्वराहे
गावः संजानते स्वमेबैतद् रसमभिसजानते ।
Shatapatha Brahmana 5.4.3.19
(Now the gods once put a pot of ghrita in the fire. There-from a boar was produced, hence the boar is full of fat, for it was produced from ghrita. Hence also cows readily take to a boar, it is indeed their own essence or life-sap).
Obviously the boar [5] is an animal in which thick layers of fat underlie the skin. But this is only superficial, the real meaning is that Surya is the fat-dripping animal from whose fat, the cosmos is being created. The dripping of fat is the temperature of its rays, the heat radiated by the sun throughout space, and this is true not only with respect to our Surya but to millions and billions of other suns in space, all of which are dripping this symbolical fat (uapa or medas) from which creation in different forms is taking place. Medas or fat is the same as medha, the offering of oblation by which the sacrifice is accomplished (मेदों वे मेधा: Shatapatha Brahmana, 3.8.4.6). To complete a sacrifice some animal must be immolated. Who is the animal of the cosmic Yajna? It is verily Surya, the sacrificial horse in the cosmic Ashvamedha who is being depleted of his fat or heat. He is called Ashva-the horse because he is an examplar of movement.
While considering the symbology of ghritas it may be stated that ghrita is another form of fire, because it is an obvious fact that fire is kindled by butter and extinguished by water. Prior to creation there was an ocean of water which had no butter in it concentrated at one place, because the heat was equally distributed. The ocean of water was converted into an Ocean of Milk (Kshira-Sagara) for the sake of creation. Conversion of water into milk is genuine motherhood. Motherhood is symbolised as a cow. When the cow gives birth to a calf it also produces milk in her teats. Thus ghrita gavah and medhas are connected symbols and all of them are related to Surya which is also spoken of as calf of the mother-cow, or Infinite Nature. Now Surya is conceived as a pot full of butter, in which form Prajapati as Varaha, the fat-dripping animal has become manifest to our eyes. The Brahmana writers refer several times to the inter relation of ghrita and Agni:
तेजों वा एतत् पशुनमि यद् घृतम् । A.B - 8.20
आग्नेयं वै घृतम् की । S.B. 7.4.1.41
एतद्वा अग्नेः प्रियं घाम ... दृपन् । Tait.B. 1.1.9.6
(v) Varaha as Prajapati
According to V.S. Agrawala, the exposition of Varaha was rooted in the vedas. The Atharvaveda speaks of an intimacy between Varaha and Prithvi thus:
वराहेण पृथिवी संविदाना सुकराय विजिहीते मृगाय ।
Atharvaveda 12.1.48
(The Earth-goddess loves Varaha and opens herself for the wild boar). When the Brahmana [6] writer identified Varaha with Prajapati (स प्रजापतिः वे वराहो रूपं कृत्वा उपन्यमज्जत —Taittiriya Brahmana, 1.1.3.6) the whole gamut of Vedic symbolism associated with Prajapati was invoked. Therefore, it is quite appropriate to speak of Varaha as Surya, Narayana, Prana, Hiranyagarbha, Agni, Indira etc, the principle of life and consciousness, which enters the First Cause or primeval ocean and rescues from its depths the earth or the principle of cosmic motherhood in whom motherhood consorted. That is what is meant by the earth unveiling her body for the Varaha, as the bride for her husband.
(vi) Varaha as Prishadajya
The Rigveda mentions that there was a shower of globules of butter from the Sarvahut sacrifice of Prajapati:
तस्मात् यज्ञात् सर्वहुतः संभूतं॑ पृषदाज्यम् ।
Rigveda. X-90.8
The meaning [7] of this statement is to be understood in the context of Sristhi- Vidya. The Sarvahuta sacrifice refers to the cosmic Yajna (विश्वा भुवनानि जह्नत् RV-X. 81.1) in which Prajapati made a total offering of himself, that is all his powers and modalities to perform this Kampra Yajna (wish-fulfilling sacrifice). The first phenomenon that occurred was the collection of distributed sparks of fire or particles of heat at individual centre. This is referred to as prishadajya, the shower of minute particle of butter. The simile started from the churning of milk as pointed out above, the Ocean of Milk signifying the principle of motherhood. In the father there is the principle of Agni and in the mother of Soma. The body of both is churned and their union results in fecundation by the principle of prishadajya. There can be no creation without the ‘rain of butter’ from the father principle in the womb of the mother. The Rigveda referring to the clouds of creativity or to golden birds rising from the ocean of Varuna, distinctly mentions that as a result of the birds fluttering their wings, with the splashing drops of water the whole earth is moistened with molecules of butter (धृतेन पृथिवी व्युच्ते RV I.164.67). The meaning of ghrita is clear in Vedic symbology; it refers to retas or the seed both in the individual and cosmos.
While considering the question of the rain of butter it has to be kept in view that Surya is called the ghrita-kumbha or the fat-dripping Varaha from which the showers of butter or particles of heat or Agni are scattered.
(vii) Varaha as Rudra or Manyu
V.S. Agrawala has visualised Varaha as Rudra or Manyu as well. According to him, once the symbolism of Varaha as Agni, and Surya is established, the transition of Rudra as Varaha is quite natural, because Rudra is many times spoken of as Agni in the Vedas and the Brahmanas (यो वै रुद्र: सोग्नि:, Shatapatha Brahmana 5-2.4.13; अग्नि वे र्द्रः S.B. 5-3-1.10; ल्मग्ने रुद्र: R.V. II 1.6) RV. II 1.6)
Indeed the identity [8] of Rudra with Agni was a patent fact of Rigvedic thought and is repeated in many mantras. Rudra is conceived as Manyu, the wrathful one (नमस्ते रुद्रमन्यवे' Yajur. 16.1) of the animals Varaha also is full of terrific wrath (पशूनों वा एष मन्युयद् वराहः Tait, Br 1.7.9.4,). In the Rigveda Rudra is spoken of as heavenly Varaha having Kaparda locks on his head. There is again a reference to Varaha as Surya, who is the same as Rudra.
As a matter of fact, the emergence of Manyu from within the womb of waters is a significant fact for the Vedic Rishis since Manyu is the principle of individuation or the individual mind, which is the same as ahamkara or ego. Unless this unique centre of consciousness is produced in the midst of the universe, there can be no manifestation of life, for which Manyu of Varaha or of Agni or of Rudra is essential.
(viii) Varaha as Sahoja Agni
The principle of churning [9] is responsible for generating a spiral movement and thereby creating currents of burning water or boiled milk. This force is known as Sahas and therefore Agni that is produced by the drilling friction of the two churning sticks is called Sahoja. Agni exists in each centre in a latent form until its flames becomes visible by friction. The same phenomenon happens in the process of creation. When Vayu entered the womb of waters and created frictional currents, fire was produced and the same is Varaha as Stated in the Vayu Purana. Therefore from the cosmogonical point of view both Vayu and Agni or Surya are names of Varaha. In fact it is one Deva Agni who assumes three forms as Agni, Vayu and Aditya. This Why Varaha is the same as Trayi and the Bhagavata calls it Trayimaya Saukara Rupa. [10]
(ix) Varaha as Satya and Dharma
In the Matsya Purana there is an epithet in which Yajnavaraha has been described as Satya-dharma mayah. [11] Now Surya as produced from the womb of the waters of creation is the symbol of satya, which has rather a scientific meaning as the principle of movement which is regulated from a centre, that which has a heart (hriderya) which controls its corporeal or material form. Surya is such a centre and is therefore called satya. Yajna two is called satya:
आप एवादमग्रऽआसु: । आपः सल्ममसृजन्त तद्चतू तल्त्यम्, सत्यमसौ आदित्यः ।
Shatapatha Brahmana, 14.8.62
In the very beginning of an Ishti the Yajamana takes the vow of moving from untruth to truth, by means of Yajna (इृदमहमनृतात् सत्यमुपैमि).. The Puranas give to the Varaha incarnation the name of Dharma:
अल्ब्रीडातु रुचिरं वाराह रूपमस्मरत् ।
अधृष्यं सर्वभूतानां वाइमयं धर्मसंज्ञितम् ॥
Thus the satya principle of Yajna has its counterpart in the Dharma of Varaha.
(x) Varaha as Surya
The principle of movement [12] produced profound string of waters known as manthana, a deep churning in which nothing is outside the eddies or dynamic spiral gyrations which pull the scattered particles of fire within a prescribed field. This is a regulated movement comprised of triple forces viz. centrifugal or going away from the centre, centripetal or coming towards the centre and the latent force in which these two forces are merged. The restful centre is known as Brahma, - the out-going force as Indra and the incoming as Vishnu. It is symbolically described as a rivalry between Indra and Vishnu (इन्द्रश्च विष्णो यदपस्पृधेताम) they are inter locked in opposition for mutual victory (उभाजिग्यथु:) but none vanquishes the other (न पराजिग्ये कतरश्चननोः Rigveda IV-69.8). Their dynamic colliding movements create the three thousand, three divisions or trinitarian pattern, of Triadic Infinities (अेधा सहत्न॑ वितदैरयेथाम). These deities or forces exist in each centre where dynamic movement is main quality. Nothing can be created or made manifest without the interaction of these three forces. This is the principle which was known in the Vedic times as Trayi-Vidya the triodic doctrine which is the bed-rock of Vedic and Puranic metaphysics. By the force of this regulated movement which is symbolised as perfect circle or rotating wheel, heat which was in the beginning distributed in equilibrium, becomes effective at a point. Its particles come closer on account of friction and become effective as temperature. The ball of the fire thus thrown up by the world building forces or the churning of the primeval ocean is visible to our eyes as Surya in the heaven named Martanda or Hiranyagarbha Prajapati, and Vaishvanara on earth. He is the same as Trayi-Vidya as stated in Shatapatha Brahmana. What seems to be the blazing fire in the solar orb, is nothing else than Trayi-Vidya (सैषा त्रय्येव विद्या तपति S.B.10.5.2.3) Thus to the rishis from the outset Surya became the symbol of cosmic fire, of the divine Heat (देवीष्ण्य) of the primeval fervour of Prajapati which is the foremost powerful agent of creation. Moreover Surya is also conceived as Varaha and that is why Chhaya is mentioned as consort of Yajnavaraha.
(xi) Varaha as Trayi-Vidya
According to V.S. Agrawala, [13] Varaha, Surya and Trayi refer to an identical principle, which is a threefold movement. In Vedic terminology this is also called Rig, Yajus and Saman, where Rig is the diameter (Pinda or Marti), Soma is the circumference or Mandala and Yajus is vibrating centre (gati):
वृद्वा मूर्ति, याजुणीः गति, साममयन्तेज: । (G.B.1.2.9.)
ऋषभ्यो जातां सर्वशो मूर्तिमाहु: सर्वागतिर्याजुषी हैव शश्वत् ।
सर्व तेजः सामरूप्यं ह शब्वत सर्व वेद ब्रह्मणा हैव सृष्टम् ॥ (T.B.3.12.9.1)
(xii) Varaha and Uchchhishta
The Vedic idea about creation is that it is the uchchhishta [14] or overflow from the conscious centre of pranic energy which is perfect and full in its intrinsic nature and is called Sahasra, Ananta and Purna. From this source a portion becomes separated as its surplus (uchchhishta). The transcendent Brahman is called Brahmaudana and the surplus portion uchchhishta or pravargya. The surplus portion (pravargya) separates or drops out from its immortal source in the mortal cosmos. Prajapati so arranged his affairs that Brahman continues to live on his immortal food known as Brahmaudana, but at the same time he creates Out of his own self a centre which becomes the Eater (annada) of the mortal food (anna) i.e. cosmic matter. It is Surya in the form of Varaha. The Symbolism is very emphatic, because of all animals Varaha is the creature par excellence who eats the pravargya portion of the food as it is rejected out of the body of a living pranic centre. Surya is called as Varaha because as Kala or Samvatsara (Time) it is eating the whole world, but on the other hand as Satya-Narayana it is also organizing and substantiating the energy radiated by its own immortal centre, which is Brahman. These are all primeval ordinances (prathamani dharmani) and expressed through more than one symbolism that may be profitably pursued for fuller clarity of the problem. The quint-essence of the whole conception of Yajnavaraha is that there are two Stages in the evolution of the cosmos. First is the existence of first cause called Samudra, Ekarnava, Salilam, etc. and secondly the emergence of Agni, Prana, Hiranya, Surya, Narayana, Hiranyagarbha, Yajna, Veda, all of which are the same as Varaha. The Rigveda puts the two stages in Sutra form:
अत्रा समुद्र आगूढ़ सूर्यमरभर्तन (Rigveda, 10.727)
When the Devas like Yatis made a whirling dance with innumerable worlds as their foot-steps, they threw to the surface Surya who was concealed under the depth of the ocean. This ocean in the Varaha story is called Rasatala and the Varaha is named as Adipurusha-primeval being, whose main attention in creation is to redeem the apposite mother principle called Bhudevi, Prithvi, Viraj, Prakriti, Mahat, Yoni etc. The union of the two parents namely Svayambhu and Viraj or Narayana-Varaha and Bhudevi leads to the cosmic creation. This was an important theme in the philosophy of the Pancharatra-Bhagavatas to which Kalidasa has drawn pointed attention:
रसातलादादि भवेन पुंसाभुवः प्रयुत्तोद्दहन क्रियायाः ।
अस्याक्छमस्मः प्रल्यप्रवृद्ध॑ मुहूर्त वत्रयाभरणं बभूव ॥
(Raghuvamsha 13.8)
(xiii) Varaha Symbol as measure of Currency
In the copper plate of Keladi [15] Sadashiva Nayaka of A.D. 1856, the donation Of some land is recorded. It is also testified that the land donated was situated in the village of Mallara and yielded and annual income of eighty Varahas. This Income was to be utilized for the daily rice offering, milk bath and for the feeding of sages. Here Varaha has been used as the quantum of money, which is quite interesting.
***
Notes and References
1. Agrawala, V.S., Matsya Purana - A Study, pp. 324-25.
2. Ibid. pp. 330-31.
3. Rigveda, VII.77.10, I.61.7.
4. Shatapatha Brahmana, 14.1.12.11.
5. Agrawala, V.S. op.cit. pp. 325-26.
6. Ibid, p.335.
7. Ibid, pp. 328-29.
8. Ibid, pp. 326.
9. Ibid, pp. 330-31
10. Bhagavata Purana, 3.13.41.
11. Agrawala, V.S., op.cit. pp. 327-28.
12. Ibid, p. 323.
13. Ibid, p. 324.
14, Ibid, pp. 331-33.
15. E.I, XX, p.91.
IX
Shiva and the boar
चतुर्भुजं त्रिनेत्र च जटा मुकुट संयुतम् ।
सर्वाभरण संयुक्त दिव्याम्बब समावृतम् ॥
धनुवार्णयुतं रक्त कृष्ण परशु संयुतम् ।
उपवीत समायुक्त सममञ्ञ तनुं कुरु ॥
वामे गौरी समायक्तं दक्षिणे ल्वर्जुनं स्थितम् ।
It is not that Vishnu or sometime Brahma was connected with boar, by taking its form, but Shiva too is said to have some concern with the boar which is fully reflected in the episode of Arjuna's penance for achieving the pashupata weapon from Shiva. The story is well defined in the kirata-parva-adhyaya of the Vana Parvan of the Mahabharata, in which there arose a dispute between Arjuna and Kirata over a boar, who was claimed to have been killed by both Arjuna and Shiva in the guise of a Kirata. This story has been beautifully recounted in the Kiratarjuniyam by Bharavi in the sixth century A.D. The theme is also found depicted in the Indian art variously.
The story is depicted over stone pillars discovered from Chandimau in Bihar, which are currently preserved in the Indian Museum, Calcutta. In a panel of one of the pillars, the story starts, where a tree in the middle of the bas-relief divides it into two equal parts, of which the first or left half contains the last scene, and the right half the first scene, of the chapter. At the request of Yudhisthira, Arjuna went to see Shakra. Arjuna started alone towards the north with a fine bow and a sword with golden hilt. The following verses (Verses. 1530-1535) of the Mahabharata contain a description of the forest into which Arjuna entered. He wore the bark of trees, used kusha grass as a bed, and was decorated with a staff (danda) and a skin. He was pleased with the forest and remained there performing austerities. He ate the dry leaves of the trees which had fallen. In the first month, he ate fruits on every third night; in the second on every sixth; while in the third month, he ate only once in a fortnight; and in the fourth month once only. He remained standing with arm raised aloft, on the tip of one toe. The right-half of the bas-relief, represents Arjuna during the performance of austerities in the Himalayan forests. A single tree in the centre serves to represent the forest as well as to divide the panel into two different parts. Arjuna is standing on one leg, holding a rosary aloft with both the hands. Around him, on four sides are four bowls with flames issuing from them. These indicate that Arjuna was performing the severest possible austerities, being surrounded by fire in summer and submerged in cold water in winter. Afraid of Arjuna, the great sages approach Mahadeva in a body and tell him that "Partha is performing great austerities in the Himalayan tracts. He has clouded the four quarters with smoke and is persevering in his performance. We do not know what he desires. He has troubled us all, so please stop him".
तरसैव कोऽपि भुवनैक पुरुष पुरुषस्तपस्यति ।
ज्योतिर्मलवपुषीऽपि रवेरभूमिभूय वृत्र इव भीम विग्रहः ॥
सधनुमहिषुधि विभर्ति कवचमसिमुत्तम॑ जटा: ।
बल्कमजिनमिति चित्रमिदं मुनिताविरोेधि न च नास्य राजते ॥
Kiratarjuniyam, 12.26-27
Having heard the words of apprehension from these great sages, Shiva told them that they need not be afraid of Arjuna. He knew what an in Arjuna’s mind. Arjuna did not want the kingdom of heaven, wealth or long life. He would do whatever was desired by Arjuna. The sages were delighted with the assurance of Shiva and returned to their respective place.
तपसा निपीडित कृशस्य विरहित सहाय संपद: ।
सत्त्वविहितमतुर्ं भुजयोर्बलस्य पश्यत् मृधेऽधिकृप्यत: ॥
इति तानुदार मनुनीय विषमहरि चन्दन नालिना ।
धर्मजनित पुलकेन लसदगजमौत्तिक्रावलि गुणेन वक्षसः ॥
Kiratarjuniyam, 12.39-40
After the departure of the sages, Shiva with Parvati, dressed as tribals (Kiratas) with thousands of bhutas and females dressed in various costumes went to the place where Arjuna was performing penance. At that time a wicked demon Muka was trying to attract Arjuna in the form of a wild boar. On seeing him, Arjuna took up his bow and arrow and addressed him in the following wards, "As you desire to kill me though I have done you no harm, I shall send you to Yama, first". Seeing that Arjuna was striking the demon, Shiva in the guise of a Kirata asked him to forebear, saying that the animal was for him. Arjuna paid no head to the Kirata and shot an arrow. Kirata too issued an arrow to the boar, who was struck with both the arrows. Arjuna saw the primitive man with a woman and asked for the identity of Kirata, questioning at the same time the propriety of shooting the boar. The Kirata simply laughed on hearing this and said, "We live in this forest. But why do you live here alone". Arjuna replied that he was there to protect his bow and arrows. Since the demon came to slay him, he had killed him. The Kirata then accused Arjuna for taking his prey when he was chasing the animal and further Claimed that the boar was killed with his arrow. Then a battle ensued in which many weapons were used from both sides.
A panel from Chandimau, depicts the above theme. At the extreme right is a headless figure of a male, standing in front of Arjuna wearing a loin-cloth and another piece of cloth on his breast. This could be Shiva addressing Arjuna. Unfortunately the projection of the story up to the time of the fight is lost. The slaying of the boar and the fight with arrows was most probably represented in the next panel which is entirely missing. Another bas-relief represents the fight between Shiva and Arjuna, first [1] with the bow or the sword and afterwards with fists. About one-third of the bas-relief on this panel is broken. On the extreme left there are two pairs of human feet. One pair probably belongs to Shiva. In the centre is a figure rushing towards the left. This is Arjuna hurrying forth to strike Siva with the bow or a sword. The object in his hand is curved.
After losing his sword Arjuna began to throw stones and fight with trees, but Siva caught hold of all these missiles. Failing in these attempts Arjuna took to his fists. Shiva and Arjuna fought for some time and Arjuna got exhausted. The last scene is found on the right side of the panel where two figures are wrestling. The full fleshed man evidently is Shiva as the Kirata and the emaciated figure represents Arjuna. Shiva is holding the left arm of Arjuna with his right hand, while the left hand has grasped the latter round the neck and is drawing him on to the breast, most probably to press his breath out of his body. This is a trick practised by the wrestlers of modern India too.
Arjuna was on his feet again and with his bravery and courage astonished even Shiva who was more appreciative of his valour than his penance. This aspect is beautifully projected in the Kiratarjuniyam (18.14) thus:
तपसा संदिते तथा न मुदमस्य ययो भगवान्यथा विपुलसत्त्वतया ।
गुण संहिते समतिरिक्त महो निजमेव सत्वमुपकारि सताम ॥
Arjuna, having been exhausted, got up again and tried to eulogise Shiva by making a linga there. But the garland with which he worshipped the emblem flew to the head of the Kirata. Arjuna then came to understand the true identity of the Kirata and bowed in reverence before him. This scene is represented in the bas-relief from Chandimau. On the extreme left of the scene a man is kneeling [2] in front of a four-armed figure. The kneeling figure is that of Arjuna and the standing one is that of Shiva. In the text it is stated that Shiva told Arjuna that formerly he was a great sage and he gave the latter celestial eyes (Divyachakshusu). The four hands of Shiva indicate that the Lord had laid aside the form of the Kirata and had appeared before Arjuna in his divine form. The objects held in the hands of Shiva are not discernible. Shiva then appeared in his divine form with his consort Parvati. This scene is to be found in the right half of the bas-relief. Both of them are seated on a rock which represents the Himalayas. Shiva's right hand is extended emended in varada mudra, while the left rests on the shoulder of Parvati.
In the end Arjuna [3] obtains his desired weapons and Shiva goes away. The Lokapalas and the gods come to Arjuna and present him with various weapons of special nature.
अथ शशधर मौहेर्ग्यनुज्ञाग्नवाप्य त्रिदशपतिपुरोगा: पूर्वकामाय तस्मैः ।
अवितथफल्माशीर्वादमारोपयन्ते विजयि विविधमस्त्र॑ लोकपाला वितेरुः ॥
Kiratarjuniyam, 18.46
Another square stone pillar depicting the Kiratarjuniyam story of the slaying of a boar by Shiva and Arjuna, was found in the Malleshvara temple, [4] Vijayawada, which belongs to the 9th century A.D. The scene is also depicted in several other specimens in Indian art.
***
Notes and References
1. ASIAR, 1911-12, p.164, P1. LXXII (3).
2. Ibid, pp.165-66.
3. Ibid, p.165.
4. Ibid, 1915-16, pp.95 ff.
X
The Vaikuntha Form
वैकुण्ठं तुप्रवक्ष्यामि सो5थ्बाहुमहाबल: ।
ताक्ष्यसनश्चतुवक्र॒कर्तव्यश्शान्तिमिच्छिता ॥
गदां खडल शरं चक्र दक्षिणेउस्य चतुष्यम् ।
श्ज खेंट धनुः पदूम॑ वामे दद्या चतुध्यम् ॥
अग्रतः परुषाकारं नारसिंह च दक्षिणे ।
अपरं स्त्रीमुखाकारं वाराहस्यं तथोत्तरम् ॥
(Vaikuntha should have four faces and eight hands and be seated upon the mythical bird Garuda. In his right hands gada, khadga, bana and chakra should be held; and in the left hands the shamkha, khetaka, dhanus and padma, of the four faces, the front one facing east should be that of a man, the one on the south should be that of Narasimha, the one to the west of a woman and the face to the north should be that of a boar or Varaha).
The boar, besides representing the Varaha incarnation of Vishnu also has an important part to play in the composite form of Vishnu, commonly known as Vaikuntha, because the images of this form of the Lord have four faces, and the one on the northern side is to be of a boar.
The images of Vaikuntha or Vasudeva (with addition of three heads representing Sankarshana, Pradyumna and Aniruddha) which conform to the description contained in Chapter 85 of the Vishnudharmottara are commonly found in the hill regions as well as the plains of North India. This type of image are known as chaturvyuha, chaturmirti and Vaikuntha.
An excellent bronze image of Vaikuntha, (assignable to the middle of seventh century A.D.) bearing the characteristic Gandhara features has been discovered from the Swat Valley. [1] Many such images were discovered from Uttar Pradesh, which go back to the Gupta period or even earlier. The earliest sculpture of this form of Vishnu was possibly discovered from Bhita and is now housed in the Lucknow Museum [2] (Acc. No.56.394). This life size sculpture has been described in detail under the ‘Four-fold figure of Yaksha’ by N.P. Joshi, together with the photographs of all the four sides. [3] The concluding remarks of N.P. Joshi are as follows, “The above mentioned peculiarities tempt one to suspect that the present block of stone with images on each side should be regarded as an illustration of earlier practice of depicting Vishnu with his boar and lion forms along with Siva (identified with bulkier figure on the back side)”. No doubt before jumping to any such conclusion one must account for the Standing position of the boar in namaskara mudra and the bearded and the unbearded faces of the two sides. The sculpture has been ascribed by him to the second century B.C., which could belong to a century later. D. Mitra, [4] however feels that, “the image is nascent from chaturmurti. It was fashioned at a time when the iconographic features had not yet crystallised. The front side (which may be taken as eastern) of the block is relieved with a somewhat heavy figure, draped in a dhoti and a scarf and decked in heavy bangles, a hara, ear-ornaments and crown. With a waterpot in the suspended left hand, the standing figure, with a Placid facial expression displays abhaya mudra with its raised right palm. It appears to represent Vasudeva. Identical attributes occur in the two of the hands of the four-armed figures of Vasudeva-Krishna of Kushana period of Mathura, the remaining two having usually a wheel and a mace, the standing figure on the back (western) side is bulkier and rendered with scanty attention on modeling. Save for the heavy bangles it is practically devoid of ornaments. The scarf too is absent. Like the figure on the front side, its right hand is raised up to the level of the Shoulder; the damaged palm most probably displayed abhaya mudra. The left palm is placed near the chest; the attribute if any, is not clearly seen. The face does not appear to be placid as that of the preceding figure. Parted in the middle, the hair falls on the shoulders in the form of coiled locks. The figure which has been affiliated to Shiva by N.P. Joshi appears to represent Pradyumna in the form of muni Kapila. On the southern side of the block and in the level of the heads of the two figures, is a badly damaged face. Whether the angular portion below its chin represents beard (as suggested by N.P. Joshi) or a V-shaped necklace could not be ascertained from the published photographs. Below the head, but at a lower level, is a seated lion, the head of which rises up to the height of the waist of the figures. The human head associated with the lion below is presumably intended to stand for Balarama-Sankarshana. In several Kushana sculptures Balarama is seen with a langala having a lion's head. In the later images of Vaikuntha as is well known, the Sankarshana head is lion-like. The corresponding head on the northern side is somewhat better preserved. It has ear-ornaments and a V-shaped necklace. Below it is represented a boar standing on its hind legs on a high stool with raised forelegs, it looks up towards the head. The head presumably represents that of Aniruddha who is associated with a boar. Thus in this interesting Sculpture, which is a specimen of the initial stage of experiments, all the lion and faces are made human, the connection of the two side faces with the lion and the boar being indicated by the actual representation of these animals below the heads.
The above mentioned image has a unique importance in the sense that it portrays the idea of hybrid forms of deities had already been engaging the attention of the priesthood, who had started putting several of them at one place, with their respective animal forms separately portrayed. In this particular case the lion and the boar have been placed in front of the respective deities, because the intention of the sculptor was to project Narasimha and Varaha forms of Vishnu, but instead of projecting them in composite or hybrid form, viz. half man and half lion or boar, he contented himself by placing these animals in front of the human figures, which were intended to represent their hybrid forms. It could therefore be presumed that as early as the 2nd century B.C. the practice of making hybrid forms had not come into vogue or was not quite popular with the sculptor. Possibly these forms were introduced in sculptural art during the Sunga-Kushana period, as would be evident from a sculpture of Varaha, belonging to Kushana period, Currently preserved in the Mathura Museum (No.65.15.4); and were developed during the Gupta period, Spelling out clearly the iconographical features of such deities in the Period that followed.
One of the best known brass images of Vaikuntha form of Vishnu is preserve in the Hari Rai temple of Chamba. The central figure of the image with a pronounced well-modelled chest and waist, is clad in a dhoti with prominent but stylized folds, arranged artistically, Fastened to the waist by strings held together by four diamond shaped floral clasps, the dhoti covers the major portion of the right leg of the image and only the upper portion of the left thigh above the knee. A folded scarf encircles the things. The figure is elegantly decked in beaded anklets with pendants, bracelets, finger-rings, armless with diamond shaped central pieces, a beaded hara and an elaborate necklace with pendants. A full blown lotus crowns the mukuta. The hair is arranged in schematic coiled loocks, falling on shoulders and back. It has as usual four heads; human, boar, female and lion.
Vaikuntha form of Vishnu
Fragment a stone sculpture from Mathura, belonging to the 5th century A.D. also depicts the Vaikuntha form of Vishnu. Day Ram Sahni, while commenting on an image of Vaikuntha form of Vishnu found on the floor of the courtyard of the temple at Avantipura, Kashmir associates it with the Varaha form of Vishnu. According to him the image is carved in the round and is similar to all the images of Vishnu [5] found in Kashmir. The image is four faced, the proper right face being one of the lion, and the left of boar, which possibly represent the Varaha and Narasimha incarnations of Vishnu. The central head has a three peaked coronet studded with diamonds and rosettes of pearls. There is a prominent circular dot between the eyebrows to indicate the tilakam. A lozenge-shaped diamond on the chest represents Shrivatsa symbol. The only garment worn is dhoti secured at upper end with a belt. There is a short sword at his right side, and between his feet the upper part of the goddess Prithvi represented as rising from the earth. The Earth-goddess is sometime depicted in Vishnu images as his second Consort, Owing possibly to her association with the god in his Boar incarnation, When the god lifted her from the depths of the lower regions, Vishnu has four arms. The upper right and left hands holding a fully grown lotus flower with a short stalk and a conch respectively. The lower hands rest on the head of two chauri-bearers, of whom the one on the Proper right of the deity is a female while that on the other side is a male. The fourth head at the back of the image is that of a demon. The hair is tied up in a big knot.
J.N. Banerjia, [6] however, on the basis of Vishnudharmottara text (Book-III, Ch. 47.2-17) points out that this composite form of Vishnu in which four or Tather three aspects of god are rolled into one typify, bala, jnana, aishvarya and Shakti associated with Vasudeva, Pradyumna and Aniruddha. The texts also allocate four faces in this way: the front or the eastern face (human) is that of Vasudeva, the right or the southern face (lion) is that of Samkarshana, the left or the northern one (boar) is that of Pradyumna and the back or the western one (Kapila or Raudra - the terrific) that of Aniruddha. This according to J.N. Banerjia, the lion and boar - faces are thus primarily associated with the Pancharatra Vyuhas and not with Nrisimha or Varaha incarnations, though the latter might have helped to some extent the formation of this concept. It is curious that Samkarshana in whom jnana is Particularly manifest and who according to the Mahabharata was the expounder of Satvata Vidhi (VI.66.40) should have a lion's face and Pradyumna in whom aishvarya is the Predominant guna, a boar face. Aniruddha's association with frightful demonical face on the back of Vishnu Chaturmurti may be explained by the fact that his attendants Amoda and Pramoda, carrying Shaktis partake of the nature of Kubera and Shiva.
***
Notes and References
1. Hartel, H., Indologen Tagung, 1959, pp.165-78.
2. Ohri, V.C., Arts of Himachal, p.3.
3. Shah, U.P., "Bronze Hoard from Vasantgarh", Lalita Kala, Nos. 1 & 2.
4. Ohri, V.C., op.cit, p.3.
5S. ASIAR, 1913-14, p.45.