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Skanda/Karttikeya

The Skanda Purana

Skanda on Peacock Mount Kdei Ang, Cambodia. VI or VII century Musee Guimet, Paris
Skanda on Peacock Mount
Kdei Ang, Cambodia.
VI or VII century
Musee Guimet, Paris

The Puranas are a genre of smrti literature in India. The Puranas literally mean “tales of old” or “ancient,” which adheres to the idea that they are the sourcebooks for Hindu mythology (Rodrigues 290). Historical information is blended with pseudo-history and myth to create the legends found in the Puranas. It can be argued, like E. H. Rick Jarow does in his encyclopedic article on the Puranas, that they are the core texts of Hindu religiosity as some provide the cornerstones of particular devotional traditions, templates for institutions, social observations, and traditions of secular knowledge (Jarow 7497). They are sometimes described as being the narrative portion of Vedic sacrifice; a kind of fifth Veda (Jarow 7497). The Devibhagavata says “Sruti and smrti are the two eyes of dharma but the Purana is its heart” (Jarow 7499, XI.1.21). The Puranas are usually identified as having five characteristics (pancalaksana). These are creation (sarga), re-creation of the universe after its dissolution (pratisarga), genealogies of the gods, sages, kings, and patriarchs (vamsa), cyclic ages of humanity presided over by Manu, the father of humanity (manvantara), and royal dynastic histories (vamsanucaritam) (Jarow 7497). However, these characteristics make up only a small percentage of the vast and diverse narratives that cause the Puranas to be so difficult to define and comprehend. There are eighteen Mahapuranas (Great Puranas) in total. The thirteenth Purana is the Skanda Purana, which is the largest of the major eighteen Puranas as it contains the most number of verses. The Skanda Purana consists of doctrines and worship of Siva, as well as legends about Siva and his son Skanda (Tagare 1992: xvii). It is an expansive text, spread out over several books that address general topics of interest including social, cultural, political, historical, geographical, and religious themes (Tagare 1992: xvi). Through the description of narratives included in the Skanda Purana, the different legends presented about the worship of Siva and Skanda, as well as legends derived from specific regions in India, are what make this an influential smrti text in the Hindu tradition. The Skanda Purana, and the Puranas in general, are a tool for the modern historian of ancient India as they provide considerable help in reconstructing the past history as a major literary source containing such aspects of ancient Indian life listed above.

The Puranas are a genre of smrti literature in India. The Puranas literally mean “tales of old” or “ancient,” which adheres to the idea that they are the sourcebooks for Hindu mythology (Rodrigues 290). Historical information is blended with pseudo-history and myth to create the legends found in the Puranas. It can be argued, like E. H. Rick Jarow does in his encyclopedic article on the Puranas, that they are the core texts of Hindu religiosity as some provide the cornerstones of particular devotional traditions, templates for institutions, social observations, and traditions of secular knowledge (Jarow 7497). They are sometimes described as being the narrative portion of Vedic sacrifice; a kind of fifth Veda (Jarow 7497). The Devibhagavata says “Sruti and smrti are the two eyes of dharma but the Purana is its heart” (Jarow 7499, XI.1.21). The Puranas are usually identified as having five characteristics (pancalaksana). These are creation (sarga), re-creation of the universe after its dissolution (pratisarga), genealogies of the gods, sages, kings, and patriarchs (vamsa), cyclic ages of humanity presided over by Manu, the father of humanity (manvantara), and royal dynastic histories (vamsanucaritam) (Jarow 7497). However, these characteristics make up only a small percentage of the vast and diverse narratives that cause the Puranas to be so difficult to define and comprehend. There are eighteen Mahapuranas (Great Puranas) in total. The thirteenth Purana is the Skanda Purana, which is the largest of the major eighteen Puranas as it contains the most number of verses. The Skanda Purana consists of doctrines and worship of Siva, as well as legends about Siva and his son Skanda (Tagare 1992: xvii). It is an expansive text, spread out over several books that address general topics of interest including social, cultural, political, historical, geographical, and religious themes (Tagare 1992: xvi). Through the description of narratives included in the Skanda Purana, the different legends presented about the worship of Siva and Skanda, as well as legends derived from specific regions in India, are what make this an influential smrti text in the Hindu tradition. The Skanda Purana, and the Puranas in general, are a tool for the modern historian of ancient India as they provide considerable help in reconstructing the past history as a major literary source containing such aspects of ancient Indian life listed above.

In Chapter 36, in the third book (Brahma-Khanda) and second section (Dharmaranya-Khanda) of the Skanda Purana, we get the narrative of King Ama of Kanauj/Kanyakubja. Puranic evidence clearly indicates that King Ama was an influential monarch well known both to the Jaina and Brahmanical traditions and that he ruled from Kanauj as his capital appears now to be a well founded fact (Agrawala 112). P. Agrawala’s article “New ‘Skanda Purana’ Evidence on King Ama of Kanauj” says that this section of the text is extremely rich in cultural and ethnological material (110). During the Kali Age is when King Ama is on the throne. The Kali age is described in the Skanda Purana as an age of people that are full of lustfulness, greed, and destruction. The people of the Kali Age reject the Vedas and the class distinctions, so that all four castes are mixed. “Subjects became inclined to commit sins” under King Ama’s rule and Jainism was adopted instead of their Brahmanical tradition that follows the Vedic literature closely (Tagare 1996: 191, III.ii.36.34-38). This chapter’s explanation of the tendencies of the people from the so-called Kali Age is an example of the text’s richness in cultural and social material. It describes the relations between people of the same and different social castes that reflects the change in religious following from the traditional Hinduism to Jainism. The plight of the Brahmana class is what brings the Vedic tradition back. King Ama promises them if they bring Hanuman to him, he will restore their power and livelihood in his kingdom. However, when the Brahmins bring proof of Hanuman, the packet of hair from his left armpit, to King Ama, he went back on his word and expelled them, saying he will never give them anything (Tagare 1996: 210, III.ii.38.16-21).. The Brahmanas threw down the hair and when they departed the whole place was ablaze with flames of fire. In this episode of the burning of Kanauj by the Brahmanas, we presumably have a reference to some historical incident of incendiary destruction at Kanauj during King Ama’s reign (Agrawala 113). By Chapter 40, the legend of King Ama and the struggle of the Brahmanas to reinstate Vedic tradition during the upheaval of the Kali Age finishes with the reasoning behind why it is important to listen to this Purana. It outlines what the Vedas bring to society and what the Brahmanas are responsible for. The restrictions and regulations are laid out so “He who wants to do what is beneficial to his sons” is clear about how to do that (Tagare 1996: 239, III.ii.40.36-38). This legend in the Skanda Purana is an example of how particular legends of this smrti text can be used historically to situate the religious beliefs into the social (through the struggles of the Brahmana caste), the cultural (in the behavior of the people under the influence of Jainism with the rejection of the Vedas), and the political (with the emphasis on what King Ama does during his reign) history of ancient India.

The Skanda Purana’s also offer geographical and local information on the sites where the legends take place. In R. Mehta’s “Two Legends from the ‘Skanda Purana” – Study” she uses the legend of the goat-faced daughter of Bharata’s son in the Kaumarikakhanda and the legend of the woman with the deer’s face in the Vastrapathamahatmya to explain how these Skanda Purana texts can be used to eulogize the power and sanctity of a local tirtha (sacred place, usually destination of pilgrimages, that is associated with a deity or saint) (208). The legend of the girl with the head of a goat relies on the local flora and fauna as well as local geographical features of the Cambay region (Mehta 208). Migrating herds of cattle, sheep, and goat are an annual phenomenon (Mehta 208). Therefore the motif of the goat is an outcome of the local peculiarities of this site. The goat-faced girl’s voyage to Cambay after her realization of her previous birth relates to the fact that Cambay is a well-known medieval port (Mehta 208). Also, the legend’s praise of Siva indicates the Saivite learning of the legend, which adds to the site’s holiness (Mehta 208).

In the legend of the girl with the face of a deer, the girl narrates to King Bhoja of Kanyakuba the history of her seven births.A well-known motif in Indian literature is the relationship of two individuals through a series of birth, which is clearly an inspiration for this legend of the Skanda Purana (Mehta 208). The death of the deer in her sixth birth by a lion relates to true events in the Gir forests. The Gir forest is a sanctuary for lions even today, and their natural food includes the deer (Mehta 208). This region is also populated with a variety of deer (Mehta 208). As a result of these two facts about the geographical location of the legend, the local experiences are weaved into the narration of the legend. Another part of the legend that leads to this belief in the influence of local phenomenon on the Skanda Purana narrations is the legend’s disclosure of knowledge of the pervious births due to the intervention of Sarasvata, the best of the Brahmins (Mehta 209). The term sarasvata might refer to a tantrika or to a Brahmin from the Sarasvata caste (Mehta 209). While human speech by animate and inanimate objects is a widespread motif in Indian literature, the belief in the tantrika powers, which would make an animal speak in human tongues proposed in this legend, emphasizes the power of Sarasvata (Mehta 209).

While the studies of these two legends, outlined by Mehta, seem to reflect legends that explain local phenomenon in their stories, this is only one way to define the Skanda Purana. The title of this section of the Puranas, “Skanda,” is the name of Siva’s son Kartikeya, also called Skanda. The beginning of the Skanda Purana tells the tale of Skanda’s birth, starting with the narration of Siva’s marriage first to Sati and then to Parvati (Sharma 126; 128-129). The demon Tarakasura was tormenting the deities and could only be killed by a child. It was believed that only Siva’s son could kill Tarakasura (Sharma 128). Agni (the God of Fire) consumed the semen Siva discharged on the earth and Parvati cursed the earth for preventing her sexual intercourse with Siva and her ending her desire to have a son (Mani 747). Agni could no longer hold Siva’s semen as it was diminishing his powers, so Ganga (the river goddess) asked Agni to throw the semen into her waters, where it remained for nearly five thousand years (Mani 747). The semen, however, became a burden to Ganga as well, so the Brahma told her to take the semen to a forest in the Udaya mountain and deposit the semen on a particular kind of grass and after ten thousand years a male child would be born (Mani 747). When the child was born, called Subrahmanya, he let out a cry that brought the six Krttikas to provide him with breastfeeding (Mani 747). Since Subrahmanya looked at all six Krttikas, one after the other as it nursed, it developed six faces (Mani 747). After the birth of this child was known, the question of ownership of the child came up between Agni, Ganga, Parvati and the Krttikas (Mani 748). As the child had six faces, Siva said that it should be the Krttikas’ son under the name Karttikya, Ganga’s son under the name Kumara, Parvati’s son under the name Skanda, Agni’s son under the name Mahasena, and his own son under the name Guha (Mani 748). Siva declared this son would be a great yogi that will be known under all of these names (Mani 748). At his coronation, Siva’s son was crowned the army-chief, and as such the God of War. Skanda eventually defeats Tarakasura and takes a vow of celibacy that leads to his more humane treatment of women by looking upon them as equal to his much respected mother, Parvati (Mani 748).

The legend of how Skanda came to be born is important for the cult of Siva worship the Skanda Purana emphasizes. The locations of Siva’s semen deposits are considered holy sites and are used as sites of pilgrimage for believers of the Hindu tradition, especially the holy Ganga river. The emphasis on both the worship of the great Lord Siva and on specific localities within the legends included in the Skanda Purana make it an important text that deals largely with places of pilgrimage and therefore worship (Jarow 7498).

Bibliography

Jarow, E. H Rick (2005) “The Puranas.” Encyclopedia of Religion. Ed. Lindsay Jones.

Detroit: Macmillan Reference, 7497-7502.

Mani, Vettam (1979) Puranic Encyclopedia. Delhi: Motilal Banarsidass Publishers.

Mehta Rn, Kantawala Sg (1978) “Two Legends from the Skanda Purana.” Journal of

Indian History 56 (August): 203-211.

Minkowski, Christopher (2002) “Nīlakantha Caturdhara’s Mantrakāśīkhanda.” Journal of

American Oriental Society 122, no. 2 (April-June): 329-344.

Pk, Agrawala (1976) “New ‘Skanda Purana’ Evidence on King Ama of Kanauj.”

Quarterly Review of Historical Studies 15, no. 2: 109-114.

Rodrigues, Hillary (2006) Hinduism – The Ebook. Journal of Buddhist Ethics Online.

Sharma, P.R.P. (2007) Encyclopaedia of Puranas Vol.2. New Delhi: Anmol Publications.

Tagare, G.V. (1992) Ancient Indian Tradition and Mythology: Puranas in Translation –

The Skanda Purana Part I. Delhi: Mistilal Banarsidass Publishers.

Tagare, G.V. (1996) Ancient Indian Tradition and Mythology: Puranas in Translation –

The Skanda Purana Part IX. Delhi: Motilal Banarsidass Publishers.

Related Topics

Puranas

Siva

Sati

Parvati

Agni

Ganga

Krttikas

Kartikeya

Tarakasura

Kanyakuja

King Ama

Cambay

The “Gir Forests”

The Kali Age

Laws of Manu

Jainism

Websites Related to Skanda Purana

http://en.wikipedia.org/wiki/Skanda_Purana

http://en.wikipedia.org/wiki/Hindu_pilgrimage_sites_in_India

http://en.wikipedia.org/wiki/Ganga_in_Hinduism

http://www.absoluteastronomy.com/topics/Skanda_Purana

http://murugan.org/texts/skanda-purana-chapt21.htm

Written by Tianna Stevenson (Spring 2009), who is solely responsible for its content.

b. Vedic Deities, Deities and Entities

Brahma Prajapati

The Rg-Veda is a sacred collection of Vedic Sanskrit hymns and is also one of the four major sacred texts of Hinduism, the Vedas. Within the Rg-Veda many Hindu deities are identified as are the origins of their creations. Among these deities, there is mention of a supreme creator god known as Prajapati. Prajapati is identified as the first god, and creator of all other gods and beings. He is also associated strongly with ritual sacrifice and takes on many zoomorphic forms. In later scripts he is associated with the god Brahma and many believe that Brahma himself is Prajapati. He is a god who, although not widely mentioned in the Rg-Veda, plays a major role in Hindu traditions and still has influence today over modern India regardless of his worshipped form.

Prajapati is introduced in the tenth book of the Rg-Veda and is said to have been produced in the form of a golden egg. In the story he hatched from this egg and with his first breaths created the gods Agni (god of fire), Indra (god of lightning), and then Soma (the sacred plant). From his downward breath he created the asuras, creating darkness. The tears he wiped away with his hands created air, the tears that fell into the waters became earth and the tears wiped upwards became the sky. From his first wounds came the seasons and other planets and then he created everything else (Coulter and Turner 388). Through his daughter Usas, the goddess of the dawn, he became the father of all living things (Kapoor 1438). Other tales say that his first words created the worlds and the seasons. In the Brahmanas it is said that Prajapati sacrificed himself to tapas, the cosmic result of which was brahman, transcendent reality, and then the gods, humans, animals and so on.

There is a hymn addressed to Prajapati, the Rg-Veda 10.21, called the Hiranyagarbha, which addresses the “golden germ.” He is identified as the burning seed or embryo which is produced in the waters. The Artharvaveda portrays images of the seed, egg, and embryo which have become guides for samskaras such as marriage, pregnancy, offspring deliverance, first feeding, and first tonsure (Jones 7356).

In post Vedic scripts, there is an association of Prajapati with Brahma, god of Ka. This occurred as the word Ka, or who?, was elevated in the Brahmanas to a godly ranking and was then equated with Prajapati, who possessed many of his godly qualities. Brahma is associated largely with Prajapati; in fact his “mental sons” are known as prajapatis. There is no official number of prajapatis. Most texts cite ten beings, while others state as few as seven, and some cite up to twenty one. The ten most recognized prajapatis are: Marichi, Atri, Angiras, Pulastya, Pulaha, Kratu, Daksha, Vasishtha, Bhrigu and Narada. Another relation Prajapati holds is to one of his created gods, Agni. To perform his sacrifice, Prajapati constructed a great fire place, and upon finishing it became Agni or came to exist within the fire place (Gonda, 6). He then sacrificed himself to the tapas, fervour of ascetic and erotic heat (Jones 7356), and was dismembered. It must be noted that this account of sacrifice is known as the first sacrifice in Hinduism. It essentially created yajna and therefore Prajapati himself is sacrifice. Currently, the act of building a fireplace for sacrificial purposes is associated with cosmologically restoring the dismembered pieces that constitute Prajapati or Agni.

Brahma Prajapati (Cambodian Style, Musee Guimet, Paris)

Almost all Hindu gods and deities are associated with animalistic forms which are often associated with their respective characteristics. It is therefore no surprise that the creator of all beings and gods is associated with not one but many animalistic forms which include the boar, goat, bull, horse, stag, ant, and one of the most sacred animals, the cow, among many others (Jones 7356). Prajapati takes the form of the boar to raise the earth out of the waters and to create the starting point of the myth cycle of the boar incarnation of Visnu (Kapoor 1211). His current association with Visnu may be linked to this tale. One count tells of his daughter Usas, changing herself into a gazelle, upon which Prajapati turns himself into the corresponding male figure and has sexual intercourse with Usas. However, it must be noted that in other versions, he marries off all his daughters, including Usas, to Soma (Kapoor 1211).

Being a supreme god, it is no wonder that there are many rituals devoted to Prajapati. Among those, one famous example is that of the horse sacrifice or asvamedha. To perform this ritual an emperor would select his best horse, which would then undergo a three day ceremony and then be released into the wild to roam freely for a year. If the horse, representing the king, wandered into another ruler’s territory the owner of that land had to choose to either let the horse wander freely in his kingdom, submitting himself to the owner of the horse, or to keep it for himself and wage war. After the year of wandering, the horse would then be returned to the kingdom where it would then undergo a sacrifice. During the ritual, a dog representing the king’s enemies would be sacrificed and then the horse would be suffocated. The queen would then perform a mock copulation on the horse, which would then be dismembered and sacrificed into the fire. The chief priest, the horse and the king are representative of Prajapati and are elevated to his cosmological status during the ceremony. During the ceremony rice would be consumed which was meant to distribute the horses’ virility among the priest, king and Prajapati (Rodrigues 63).

The Vedas are the oldest Hindu sacred texts that exist in the religion and are very much a backbone to the Hindu way of life, and the Rg-Veda identifies a supreme god known as Prajapati. Prajapati is a deity and symbol of many things such as yajna and divinity, and is a god who has had many different roles in the Hindu tradition. Obviously, one of the most important aspects of his history is that he created all forms of life, natural and cosmological, including himself. He is the god who sacrificed himself to the world and has embodied himself in the likes of Agni among others. Certain Hindu’s today believe that Visnu and Krsna may be the reincarnates of Prajapati. The more popular belief is that the god Brahma is himself Prajapati, which is also why Prajapati is sometimes referred to as Brahma-Prajapati. On top of still being portrayed in current Hindu traditions, he also played a significant role in formerly practiced sacrificial traditions, such as the asvadmedha, which was made to unite certain individuals with Prajapati himself. Though there are many inferences of the power of Prajapati in the Rg-Veda, nothing can compare to the magnitude of his accomplishments and it is for this reason his essence lives on today in modern India

References and related readings

Gonda, Jan (1983). Vedic gods and the sacrifice: http://0-search.ebscohost.com.darius.uleth.ca/login.aspx?direct=true&db=rfh&AN=ATLA0000932421&site=ehost-live&scope=site

Smith, Brian K. (1985) Sacrifice and being: Prajapati’s cosmic emission and it consequences. http://0search.ebscohost.com.darius.uleth.ca/login.aspx?direct=true&db=rfh&AN=ATLA0000949511&site=ehost-live&scope=site

Rodrigues, Hillary (2006) Hinduism- The Ebook. Journal of Buddhist Ethics Online Books, Ltd.

(1998) The New Encyclopaedia Britannic. Chicago, IL.: Encyclopaedia Britannica, Inc.

Walker, Benjamin (1983) Hindu World: An encyclopaedic Survey of Hinduism. New Delhi: Munshiram Manoharlal Publishers Pvt. Ltd.

Kapoor, Subodh (2000) The Hindus: Encyclopaedia of Hinduism. New Delhi: Comso Publications.

Kapoor, Subodh (2002) Encyclopaedia of Vedic Philosophy: the Age, Religion, Literature, Pantheon, Philosophy, Traditions, and Teachers of the Vedas. New Delhi: Cosmo Publications.

Coulter, Charles R. And Turner, Patricia (1997) Encyclopaedia of Ancient Deities. Jefferson, North Carolina: McFarland & Company, Inc.

Jones, Lindsay (2005) Encyclopaedia of Religion Second Edition. Farmington Hills, MI.: Thomson Gale.

Related topics for further investigation

Agni

Soma

Indra

Visnu

Puruva

Brahma

Brahman

Yajna

Asvadmedha

Usha

Vedas

Rg-Veda

Prajapati’s

Naksatras

Noteworthy Websites

http://www.koausa.org/Gods/

http://www.hindunet.org/god/summary/index.htm

http://en.wikipedia.org/wiki/Prajapati

http://hinduism.about.com/od/godsgoddesses/p/brahma.htm

Written by Blair Stark (Spring 2009), who is solely responsible for its content.

Krsna

Krsna


As a manifestation of Visnu, Krsna is the creator of his creatures, while also the loving god to his devotees (Sheth 77). Krsna has been called Brahman, the most supreme, the highest self, and the highest bliss, among others (Sheth 80). He has been referred to as a manifestation, or avatara also of Narayana, “Lord of the Universe”. Narayana is another name for Visnu or the original man, purusa. Krsna is one of the two more famous avatars of Visnu, Rama being the other. Krsna is probably more popular than Rama, however, as he fulfills almost every human need. As the divine child, he satisfies the maternal instincts of womanhood. As the divine lover, he gives romantic fulfillment and freedom of sexual expression. He can even save the sinner from evil rebirths (Schweig 16). Although considered by some to be an incarnation of Visnu, Krsna stands alone due to his unusual adoration (Bhandarkar 59).

Krsna’s life spanned from around 3228 BCE to 3102 BCE, according to scriptural documentation (Rosen 124). The earliest mention of Krsna is found in the Chandogya-upanisad (Majumdar 2). He appeared in Mathura, India and spent his youth as a cowherd or gopa in the nearby Northern village of Gokula. He lived with his ‘father’, Nanda, the ruler of the village, along with his ‘mother’ Yasoda and his brother Balarama (Hudson 5). This is where Krsna’s first mischievous yet endearing thieveries took place (Rosen 130). Krsna is also portrayed in texts such as the Mahabharata, the Harivamsa, the Visnu-purana and the Bhagavata-purana. The Harivamsa portrays Krsna as a hero while the Visnu-purana and the Bhagavata-purana portray him as divine (Sheth 43). Some view Krsna as a deity while others view him as a prince who was deified. Some believe he is a real historical person (Majumdar 279) and others as an Indian form of Christ (Couture 38).

Vaisnavism is said to be the most strictly theistic among traditions within the Hindu complex as it claims devotion, or bhakti as both a means and an end. Vaisnavism is the term used for all the devotional traditions dedicated to the worship of Visnu and his avatars (Schweig 15). Vaisnavism was first called Ekantika Dharma, the religion of a single-minded love and devotion to one. It appeared as a religious reform based on theistic principles (Bhandarkar 142). More and more elements have been added to Vaisnavism over time such as the worship of the cowherd boy, Krsna, because of his marvelous deeds and amorous frolicking with the cowherdesses, or gopis. He then came to be regarded as a god and another element was added: the worship of Krsna along with his mistress Radha (Bhandarkar 143). Some Vaisnava groups view Krsna as the source of Visnu and not as a manifestation (Rosen 124).

Someone in full Krsna consciousness uses everything for Krsna’s service and is always liberated from false egoism (Prabhupada 93). The devotee desires nothing for himself but can seek prosperity for others as this is what the Lord wants. (Hudson 25). Schweig calls the devotion to Krsna “theistic intimacy” as Krsna is a god that presents his closest or innermost relationships of love (14). It is significant that what Krsna devotees desire is not moksa (liberation), not freedom from entanglement in samsara, the cycle of repeated births, but continuous “entanglement” in Krsna. They want nothing more than to serve him intimately forever, even if such intimate service may depend upon their own continuous rebirth with him rather than upon release (Hudson 9). Even when the gopis do not purify themselves through ritual bathing or proper actions before rushing to offer themselves to him, Krsna still receives them because it is their intense longing for him that causes their behavior. Receiving the gopis turns all their past and future faults to cotton that will burn up and leave no trace behind (Hudson 26). All devotees seek to emulate the gopis’ pure and consummate devotion to Krsna (Rosen 122).

Krsna is frequently depicted with his female counterpart, Goddess Radha (Schweig 15). Radha has been called the supreme goddess. She embodies all the gopis and all other goddesses. Although Krsna has intimate relationships with all the gopis, Radha is a special gopi; she is Krsna’s supreme gopi (Schweig 19). Many devotees of Krsna worship Radha with him. Their relationship is said to be light, playful, and amusing, leaving out work, worry and anger (Kinsley 84).

If there is one god that is more playful than the others, it is Krsna. Krsna is often called a ‘playful lover’ and he is often engaged in playful actions. Krsna’s actions are called play, or lila, because he is completely fulfilled. His actions are not purposeful; they come from an overflowing abundance (Kinsley 1). Sheth attempts to give evidence to Krsna’s divinity by stating that because his actions are pure, purposeless play, Krsna is unlike a finite being (82). He is commonly worshipped in the form of a baby or child, whose very nature is to play (Kinsley 61). As a child, he is known for his mischief, but his misbehavior is unique in that it purifies and heals all who take part in them rather than evoking concern (Rosen 132). Even when wrestling with enemies, Krsna appears as if he is playing (Sheth 84).

Krsna’s maya, which can be defined as the power to change form or an illusion, is used as a veil when in human form so that during encounters with people, they will not treat him like a god but as another human. For example, when Krsna’s parents realized his divinity, he spread maya on them so that they would continue their parental affection for him (Sheth 89). Another power of Krsna’s is that he can destroy, or heal simply with his touch. He can kill enemies or turn someone beautiful just by touching them (Sheth 91). In his Visnu form, Krsna carries four weapons. In two hands, he carries a lotus flower and a conch shell. These are to assure his devotees that they cannot be vanquished. In the other two hands, he carries a club and a disc. These weapons are meant for the non-devotees to bring them to their senses and remind them that there is the Supreme Lord above them (Prabhupada 21). More distinguishing of Krsna, is a bamboo flute held up to his mouth with both arms. He also carries a herding stick and a buffalo horn. Schweig shows the importance of Krsna’s flute by quoting from a Sanskrit poetic verse, the Krishna Karnamrita, that people would wait to hear Krsna play his flute so that om might sound (24).

Krsna is noted to be strikingly beautiful and youthful, and that he is beauty himself. His speech and his odor are equally as beautiful and it is said that one may find Krsna by his irresistible smell (Kinsley 75). In almost every Vaisnave-Krsna work, Krsna’s physical appearance is revered (Kinsley 77). He usually wears a silk, yellow garment, an ornament with a peacock feather on his head, and a garland made of fresh flowers and leaves. He is a deep blue color, frequently compared to a dark raincloud (Schweig 23). Krsna is so beautiful that even though he wears ornaments, it is his body that enhances the ornaments he wears (Rosen 122). Krsna’s charm and beauty are not purposeless however; they are to allure humanity back to the transcendental realm (Rosen 157).

No other figure in the history of Indian culture has given rise to as much controversy as Krsna (Majumdar 1). He is an extremely powerful, playful, and loving god. Krsna is the true friend of all souls because, when he kills, he not only protects his devotees but, he liberates those that he kills (Schweig 23). Krsna gives salvation not only to his devotees, but also to those who hate him (Sheth 77). Krsna is also multi-faceted as seen in texts such as the Mahabharata, where he exhibits qualities of a philosopher, warrior, friend, lord, husband, charioteer, and guru (Rosen 122). In essence, loving Krsna is synonymous with loving God. In Hinduism, even though there is a hierarchy of sorts, the absolute nature of a god and his name are one (Rosen 220). Krsna eventually returned to the spiritual realm after ridding the world of its worst demons and establishing dharma, or righteousness (Rosen 136). His appearance in this world is claimed to be for the benefit of humankind, to remind us of our real life in the spiritual realm (Rosen 125).

REFERENCES AND FURTHER RECOMMENDED READING

Bhandarkar, Ramkrishna Gopal (1995) Vaisnavism, Saivism and Minor Religious Systems. New Delhi: Asian Educational Services.

Couture, Andre (2002) Krsna’s initiation at Sāndīpani’s hermitage. Numen, 49(1), 37-60. Retrieved March 3, 2009, from ATLA Religion Database with ATLASerials database.

Hudson, Dennis (1980) Bathing in Krishna : a study in Vaisnava Hindu theology. Harvard Theological Review, 73(3-4), 539-566. Retrieved February 28, 2009, from ATLA Religion Database with ATLASerials database.

Kinsley, David R. (1979) The Divine Player: A Study of Krsna Lila. Delhi: Motilal Banarsidass.

Majumdar, Bimanbehari (1969) Krsna in History and Legend. Calcutta: Calcutta University Press.

Prabhupada, A.C. Bhaktivedanta Swami (1970) Krsna: The Supreme Personality of Godhead. New York: Bhaktivedanta Book Trust.

Rodrigues, Hillary (2006) Hinduism – The Ebook. Journal of Buddhist Ethics Online

Books, Ltd.

Rosen, Steven J. (2006) Essential Hinduism. Westport, CT: Praeger Publishers.

Schweig, Graham M. (2004) “Krishna, the Intimate Deity.” The Hare Krishna Movement: The Postcharismatic Fate of a Religious Transplant. Ed. Edwin F. Bryant & Maria L. Ekstrand. New York: Columbia University Press, 13-30.

Sheth, Noel S.J. (1984) The Divinity of Krishna. Delhi: Munshiram Manoharlal Publishers.

RELATED TOPICS FOR FURTHER INVESTIGATION

Avatara

Bhagavata Purana

Chandogya Upanisad

Gopa

Gopis

Govinda

Hare Krnsa Movement

Harivamsa

Lila

Mahabharata

Maya

Narayana

Purusa

Radha

Rama

Vaisnavism

Visnu

Visnu Purana

NOTEWORTHY WEBSITED RELATED TO THE TOPIC

www.krishna.com

http://www.pantheon.org/articles/k/krishna.html

http://www.sanatansociety.org/hindu_gods_and_goddesses/krishna.htm

http://en.wikipedia.org/wiki/Krishna

http://krishna.org/

Article written by: Annie Siegrist (March 2009) who is solely responsible for its content.

I. The Hindu Temple and Worship Rituals

The Yamuna River

The Yamuna River is a major tributary in northern India which flows though many major Indian provinces into the Ganges. This river has become an important cultural symbol in the Hindu tradition, representing the goddess Yami and the powers attributed to her. The culture that has evolved around this river have become threatened in the past century due to the effects of pollution. Yet, even with the present turmoil surrounding this natural wonder, her importance and relevance in modern culture still survives.

Water is the life blood for the best part of all creatures in existence. This simple, yet vitally important substance has an understandably special place in all cultures, and the Hindu tradition is no different. Bathing, prayer, and death ceremonies are but a few practices from a vast number in which water has a significant role in India. Crops for food and livestock depend upon water as a necessity of life. Understanding the magnitude to which water affects their lives, Hindus who depended on waterways saw water as a gift from the gods. In the Rg Veda, there are several hymns dedicated to celebrating the water’s life-giving qualities. Thus water itself is seen to be of a divine nature, sometimes having gods themselves identified as waterways. The Yamuna River is among seven rivers in India which has the blessedness of the deity Ganga (Hawley and Wulff 137) ascribed to it, who is the goddess of all sacred water. Although the goddess Ganga is the embodiment of all sacred water, and is present in the Yamuna River, the goddess Yami is said also to be the main deity embodied. Yami is the goddess of love, and like the other goddesses of water, is quite often referred to as mother (because of water’s ability to nurture like that of a mother).

Physical traits of the goddess Yami have become affiliated with the Yamuna River. Yami is the twin sister of Yama and is the daughter to the god of the sun, Surya and his wife Samjna. In religious mythology, Samjna’ could not look Surya in the eyes while making love because of his brightness (Hawley and Wulff 137). Samjna became like the shadow, Chhaya, and her children were to be alike. This attribute of Samja’s dark side, Chhaya, is present in Yama, who becomes the god of death, and Yami is claimed to be dark skinned. This theme of dark characteristics of Yami is true of the Yamuna River, water which has a dark color.

Beyond the physical trait, the religiously important ethereal traits of gods are often attributed to the material world. Although Yami’s brother Yama is the god of death, he is considered to be one of the most dharmic entities, becoming also known as the “King of Righteousness” (Haberman 137). Yami, on the other hand, is an allegorical antonym to Yama; being passionate, blindly lustful, and representing all which is love (Haberman 138). These characteristics of Yami are said to be present in the Yamuna River. Performing ritual baths in the river allows for the essence of the goddess and her qualities to be absorbed. Another reason many bathe in the Yamuna is because of the Indian epic the Mahabharata. Yami is closely related to Krsna, who in the epic is an avatar of the great god Visnu. It is said Krsna made love to Yami and a drop of precipitation from his body fell to make wave of bliss (Nelson 239). The act between Krsna and Yami is seen as the perfect union, and the act of love making often draws couples to the Yamuna to help with fertility.

Mythology and traditions pertaining to the Yamuna River are immense and many are still in practice. Some of India’s largest cities lie on the river, including New Delhi and Agra, which have a together have a population approximately fourteen million. Many religious and historical sites (such as the Taj Mahal) are close to the river. Water from the river is taken by people and temples to perform multiple pujas, or acts of worship (Haberman 96). Rituals are common with Yamuna River water which is an integral part of too many people’s daily routine.

Unfortunately the Yamuna River in modern times is not just used for religious practices, bathing, drinking, transportation, etc. Rather it is used to dispose of hazardous material and raw human waste. Slums downstream from main urban settings use this toxic water, creating open sores on the body, which only grow larger with more contact. The Yamuna River it seems is now the unwelcome home of irony. Bathing, in Hinduism, is a way of purifying one’s body, ironically, if done in the Yamuna today, more contamination will be added to the body than was on it before., Three thousand two hundred ninety-six million litres of raw sewage is add to the river daily [see Yamuna Action Plan]. The all loving nature of the goddess Yami is jeopardized by the severally polluted river in which she is now embodied

REFERENCES AND FURTHER RECOMMENDED READING

Haberman, David L. (2005) River of Love in an age of Pollution: The Yamuna River of Northern India. Berkeley: University of California Press.

Baartmans, Frans (2000) The Holy Waters: A primordial symbol in Hindu Myths. Delhi: B.R. Publishing Corporation.

Hawley, John S. and Wulff, Donna M. (1996) Devi: goddesses of India. Berkeley: University of California Press.

Nelson, Lance E. (1998) Purifying the earthly body of god: religion and ecology in Hindu India. Albany: State University of New York Press.

Related Topics for Further Investigation

Yami

Surya

Samjna

Ganga

Vishnu

Krsna

Jati

Puja

Rg Veda

Mahabharata

Noteworthy Websites Related to the Topic

http://yap.nic.in/index.asp

http://en.wikipedia.org/wiki/Yamuna

http://en.wikipedia.org/wiki/Yami

http://en.wikipedia.org/wiki/Mahabharata

http://en.wikipedia.org/wiki/Rigveda

Written by Cole Schneider (Spring 2009), who is solely responsible for its content.

3. Kama, Kama and Kama Sutras and Shastras

The Kama Sutra

The purpose and the meaning of the Kama Sutra have been widely misconstrued throughout most of the Western world to be a text regarding the positions in sexual intercourse. Though the Kama Sutra does contain information about intercourse and the various ways of performing sexually, it is much more than that. It is a text about a certain way of living – “about finding a partner, maintaining power in a marriage, committing adultery, living as or with a courtesan, and using drugs” (Doniger and Kakar xi). This text describes in great detail the principles and rules (sutra) of love (kama). The Kama Sutra was originally composed in the ancient Sanskrit language of India. It is not known when the text was written and there is little information on its author, Vatsyayana Mallanaga. Clues as to the origins of this text are found within the writings but scholars have not come to a collective decision about the exact dates of authorship. Vatsyayana begins the Kama Sutra with an allusion to the four goals of life: dharma, kama, artha, and moksa. Righteousness, pleasure, wealth, and liberation respectively describe the terms used above. Vatsyayana explains that he wrote the Kama Sutra in order that others may learn about pleasure just as other texts such as the Dharma Sastras are used to learn about other goals in life.

The Kama Sutra belongs to a set of texts that are part of an erotic science known as kamashastra (the science of kama). Vatsyayana lays out particular guidelines and methods in this text that he believes to be the appropriate and standard ways of living, not just sexually, but more broadly sensual. Sensuality includes food, perfume, and music in addition to the obvious sexuality. Vatsyayana says that “because a man and a woman depend on each other for sex, it requires a method” (9). The Kama Sutra is therefore, a text explaining methods required to please both the man and the woman in sexual intercourse. The text is mainly directed at men because men are supposed to be in power when it comes to sexual prowess. They must learn the techniques and processes involved in order to be successful.

The understanding of the text is a science because Vatsyayana’s prose can be very obscure and mysterious. One must understand the connections that are being made within the text by being aware of the context and subject of the words. Because the text is written in sutras (similar to the English words ‘sew’ and ‘suture’) one can describe the Kama Sutra as having threads of meaning that are connected throughout the entire body of literature. Because of this ambiguity it is easy to understand why most people think of just sexual positions when they hear the name Kama Sutra. Most people do not understand the deeper meanings and religious significance behind sexual intercourse and the life of a woman and a man pursuing kama.

Vatsyayana produces information about sexual behaviour in the Kama Sutra which can be interpreted as merely guidelines. He is not stating in this text that one has to use a specific sexual position or that one must act in a certain way around one’s spouse, he says that one ‘should’ act in a certain way or perform in a certain sexual manner. After describing one method of oral sex Vatsyayana states that “when a man has considered the region, and the time, and the technique, and the textbook teachings, and himself, he – or may not – make use of these practices (Mallanaga 69).

The pursuit of kama is the main focus of this text because Hindus believe that kama is one of the four main goals of life. This concept is related to the idea that pleasure is the most important pursuit of humanity. This way of thinking is related to the philosophy of hedonism. The pursuit of pleasure is placed at the highest importance in hedonistic thinking. The Kama Sutra can be considered a hedonistic text because it portrays how men and women can strive to achieve the highest state of kama through desire and pleasure. He describes how to kiss, how to perform oral sex, how to win a virgin, and many other situations that would arise throughout one’s quest for pleasure.

Although the Kama Sutra contains many books describing the acquisition of pleasure, it also has many books on other aspects of sexual relationships that are not quite as positive but can still be considered hedonistic. Chapters such as “Ways to Get Money from Him” (Mallanaga 142-145) and “Ways to Get Rid of Him” (Mallanaga 145-147) are surprising to people who only believe the Kama Sutra to be about sexual positions. The text contains many of these surprisingly harsh and blunt subjects that one would not expect to see in a book about love and lust.

One of these surprising subjects is homosexuality. In book five, Vatsyayana discusses female homoeroticism in the women who are part of a harem. The women of the harem have one husband shared by many so he explains how the females satisfy themselves sexually without the aid of a man. According to Vatsyayana, a woman may satisfy her sexual needs through the use of masturbation or homosexuality. A servant girl can dress up as a man and relieve the desires of another woman through the use of “dildos or with bulbs, roots, or fruits that have that form” (Mallanaga 126). The female plays a role as a man in order to fulfill sexual needs.

The concept of homoeroticism and the ambiguity of gender can be seen through the writings of other authors who are interested in this text as well. Walter Penrose discusses female homoeroticism and the ambiguity of fixed gender roles in his article entitled “Hidden in History: Female Homoeroticism and Women of a “Third Nature” in the South Asian Past.” Penrose states that the Hindu religion allows “institutionalized gender variance” (4). This confirms Vatsyayana’s belief that women are allowed to act as men when their purpose is to relieve their desires. However there are a great number of stories that claim homosexuality is not something to be desired.

Ruth Vanita discusses the story of Bhagiratha’s birth to two women in her article entitled “Born of Two Vaginas”. According to this story, a child born as a result of female on female sexual intercourse results in the conception and birth of a lump of flesh or jelly. The child has no bones because a male was considered to be the one who contributes the bones to the baby. This story can be read in the Sushruta Samhita, written in the first century. Vatsyayana refers to this story in the Kama Sutra in the chapter entitled “Sexual Typology” (28-37). He agrees that sexual desire must be between a man and a woman because “the man is the active agent and the young woman is the passive locus” (Mallangaga 34). They complement each other in such a way that a woman and a woman could not.

There are numerous books in modern literature that clam to be influenced by Vatsyayana Mallangaga’s Kama Sutra but all that they entail is a detailed description of sexual positions and the pleasure that sex gives to men and women. The Kama Sutra does indeed include descriptions and pictures of sexual positions but it is not the main focus of the text. The text focuses on power in the relationship, methods in which to please your partner in ways other than sexual and just general advice on how to live a life in which kama is fully achieved.

REFERENCES AND FURTHER RECOMMENDED READING

Vatsyayana, Mallanaga. Kamasutra. Trans. Wendy Doniger and Sudhir Kakar. Oxford: Oxford University Press, 2003

Penrose, Walter. “Hidden in History: Female Homoeroticim and Women of a “Third Nature” in the South Asian Past.” Journal of the History of Sexuality 10.1 (2001) 3-39. 31 January 2009

Rodrigues, Hillary. Hinduism – The eBook. Journal of Buddhist Ethics Online Books,  2006

Vanita, Ruth. “Born of Two Vaginas: Love and Reproduction between Co-Wives in Some Medieval Indian Texts”. A Journal of Lesbian and Gay Studies11.4 (2005) 547-577. 31 January 2009

Related topics for further investigation

Artha

Dharma

Moksa

Sushruta Samhita

Bhagiratha

Sanskrit

Noteworthy Wesites Related to the Topic

http://en.wikipedia.org/wiki/Kama_Sutra

http://www.spaceandmotion.com/kamasutra.htm

http://www.liveindia.com/sutras/page1.html

http://www.tantraworks.com/KamaSutraTantra.html

http://www.alternet.org/sex/86582/a_brief_history_of_the_kama_sutra/

Article written by: Sarah Sawatzky (March 2009) who is solely responsible for its content.

c. Tantric Saivism in Kashmir

The Tantraloka

The Tantraloka (TA; The Light of the Tantras) is a text from the tradition of non-dual Kashmir Saivism. Composed by Abhinavagupta (c. 975-1025 CE), the TA is valued as a core teaching and exemplification of Trika Saivism. Founded by Vasugupta in the eighth century, Trika Saivism is the philosophy of non-dual Kashmir Saivism (Ortega 44). While Vasugupta is credited as the founder, Abinhavgupta is claimed to have been the most influential figure in the tradition. This is due to his unique conception of the tradition, expressed in his collection of writings, the exact number of which is unknown. One identified text is the highly esoteric TA, believed to be composed in the late tenth or eleventh century (Ortega 44).

The TA is comprised of 37 chapters. The first half discusses philosophy while the second half explains rituals. Abhinavagupta is stated to have composed the TA at the request of his disciples, so they may have a complete understanding of the Tantras and practices (Dupuche 23). Written for an audience of which he had taught, the TA is cryptic and difficult to comprehend to those inexperienced in the Trika tradition. Three main concepts are found throughout the TA; the Absolute, the Emanation of the Absolute, and the Reabsorption of the Absolute (Dupuche 33). These concepts are intertwined and buried within multiple symbols, practices, and prose. The TA is a complex works, representative of Abinavagupta’s philosophy of Trika Saivism.

Abhinavagupta held a unique conception of non-dual Kashmir Saivism, largely in part of his extensive background in theology. Due to an extensive appetite for learning and fascination with spirituality, Abhinavagupta possessed an uncommon knowledge of multiple religions and schools of thought. He studied dualistic Saivism, under Buddhist and Jain mentors, and belonged to the Kaula lineage of monistic-dual Kashmir Saivism (Ortega 45). This blending of education is displayed in the TA, with his unique view of Trika and means of achieving enlightenment. Trika Saivism, as the name suggests, focuses on the number three, and utilizes this through multiple concepts within the tradition.

Trika Saivism is said to have derived its name from the synthesis of the three ideologies of non-dual Kashmir Saivism; Agama, Spanda, and Pratyabhijna. There is also the worship of three goddesses; Para, Parapara, and Apara. These goddesses are each related to one of the three modes which comprise the universe; man, Sakta, and Siva, respectively (Flood 150). Following the use of the number three, there is also the triad of knower, knowing, and known. These are symbolized in the TA with meditation rituals using the sun, moon, and fire, respectively (Ortega 157). These three symbols are intertwined and held within the most famous of Abinavagupta’s symbols, the Heart (Skora 2). The Heart symbol, a main facet within the TA, has received much attention by scholars, and is an example of the unique twist Abinavagupta incorperated into Trika Shaivism.

Simplistically, the Heart is the considered the Ultimate. It is referred to throughout the TA as both an object and a symbol with multiple meanings. The TA is a tantric text, which focuses on practices using touch and body awareness to achieve higher consciousness. In this context, Abinavagupta refers to the Heart as the main energy center. Ultimate awareness stems from awareness of the body, which is given through mastery of the divine energy of the Heart (Skora 4). Metaphorically, the heart is a symbol of many things. It both represents and is Siva. It is the keeper of higher consciousness and is ultimate reality (Ortega 82). Regardless of the interpretation, the Heart is deemed to be both the center of all things, and all things. To be in touch with the divine energies related to the Heart, one must practice bodily awareness (Skora 16). This includes all that is ‘felt’, be it emotions, sensory awareness, or touch. The emphasis Abinavagupta places on the Heart, and the body is shown throughout the TA.

Abinavagupta believed that tantric revelation, enabled by the practice of tantric ritual(s), surpassed that of the Vedic orthodox tradition. Tantra was considered to be highly esoteric, and both required and gave a higher level of understanding than the Vedic scriptures. Common to others of the non-dual Kashmir Saivism tradition, Abinavagupta did not reject the Vedas, rather he viewed them as limited (Flood 55). He believed they were external sources, while tantric texts such as the TA allowed for achievement of higher consciousness and liberation. This required internal knowledge and connection with Siva. This, according to Abinavagupta, was accomplished by using the body as well as the mind (Ortega 28). Abinavagupta expressed this use of the body through sexual rather than more traditional yoginic practices. Chapters 13-47 of the TA are filled with tantric rituals; however the most infamous of these is the Kula Ritual.

Chapter 29 of the TA is dedicated solely to the Kula Ritual, an uncommon and highly debated sexual ritual. Due to its esoteric nature, this chapter, along with the remainder of the TA is widely variable in interpretation and meaning. For rituals such as this, the contribution of Jayaratha’s commentary, the Viveka, to the TA is regarded as important as the writing of Abinavagupta itself. Written two centuries following the release of the TA, the Viveka explains the passages contained within the TA, allowing for a deeper insight into the esoteric knowledge contained with the TA (Padoux 677). Other writings by Abinavagupta lend to clarification of his philosophy, and thus the TA as well. The TA was composed in the “tantric” phase of Abinavagupta’s literary life. Along with the TA, Abinavagupta wrote several other tantric texts, including the summary text of the TA, the Tantrasara. Previous to that were philosophical writings which included commentaries on the works of others. Following his tantric phase, Abinavagupta wrote mostly of aesthetics. The chronological order of these writings does not represent the stages of Abinavagupta’s life, but rather the time in which he wrote of certain topics (Ortega 45).

The TA is over one thousand years old. Even with the Viveka, scholars are forced to draw conclusions with a base of limited information from this time. Missing pieces which may have been lost forever, translation, and logical interpretation of esoteric writings make it difficult to state anything with conviction. As we progress further in time, we risk losing more information to time, but can hope that time will grant clarity into this mysterious and cryptic writings of Abhinagupta, including the TA.

BIBLIOGRAPHY AND RELATED READINGS

Dupuche, John R. (2003) The Kula Ritual: As Elaborated in Chapter 29 of the Tantraloka. Delhi: Motilal Banarsidass Publishers.

Flood, Gavin (2006) The Tantric Body: The Secret Tradition of Hindu Religion. London: I.B Tauris & Co.

Muller-Ortega, Paul Eduardo (1989) The Triadic Heart of Siva: Kaula Tantricism of Abhinavagupta in the Non-Dual Shaivism of Kashmir. Delhi: Sri Satguru Publications.

Paranjape, Makarand (ed.) (2006) Abhinavagupta: Reconsiderations. New Delhi: Samvad India Foundation.

Skora, Kerry (2007) The Pulsating Heart and Its Divine Sense Energies: Body and Touch in Abhinavagupta’s Trika Saivism. Numen, 54, 420-458.

Walli, Koshalya (1998) A Peep Into The Tantraloka and Our Cultural Heritage. New Delhi: Rashtriya Sanskrit Sansthan.

Related Topics for Further Investigation

Abhinavagupta

Agama

Non-dual Kashmir Saivism

Pratyabhinjna

The Kula Ritual

Siva

Spanda

Tantra

Tantrasara

Trika Saivism

Vasugupta

Viveka

Websites Related to the Topic

http://www.shaivism.net/articles/7.html http://www.archive.org/details/tantralokaofabhi04abhiuoft http://www.universalshaivafellowship.org/usf/teachings.html http://www.newworldencyclopedia.org/entry/Kaula http://www.koausa.org/Glimpses/abhinava.html http://www.saivism.net/sects/kashmir/kashmirisaivism.asp http://www.archive.org/details/tantrasaraofabhi00abhiuoft http://www.koausa.org/Saints/Abhinavagupta/index.html

Article written by: Adrienne E. Robertson (April 2009) who is solely responsible for its content.

2. Sathya Sai Baba

Sathya Sai Baba

..

Sathya Sai Baba It is said that “the only person in India who can draw larger crowds than Sai Baba is the prime minister” (Swallow 125). Also known as Satya Sai Baba, Sai Baba has risen in the last century as an important figure in modern day India. It is difficult to know the amount of followers that Sai Baba has, but it is estimated that there are at least twenty million adherents worldwide (Rodrigues 487). His name, when broken down, gives meaning, Satya means truth, Sai is the divine mother, and Baba mean father. His name stands for the union of the male and female aspects in the world (Bassuk 87). Sai Baba’s most powerful technique to draw people to his cause is the use of miracles, especially materialization (Babb 1986: 181). Over the course of his life, Sai Baba has attracted many followers, but he has also received his fair share of negative attention. Scepticism and doubt have been cast on the legitimacy of his miracles, and controversy has risen in his inner circle with accusations of murder and pedophilia. Examining his life, his miracles, his cult, his divine “connection”, as well as the criticism of others, are all important for understanding who Sathya Sai Baba is, and his importance to the modern Hindu society.

Sathya was born in the state of Andhra Pradesh in the village of Puttaparthi in 1926 (Babb 1983: 116). He was born into the Raju caste, his birth name Satyanarayana Raju (Bassuk 87). At his birth special signs occurred to mark his coming, one of which was a cobra mysteriously appearing under Sai Baba’s bed, and another was a Tambura magically had its strings plucked (Urban 78). Sai Baba attended school like a normal child where he focused on drama and bhajan, which are devotional songs (Babb 1986: 163). In 1940, Sai Baba had an epileptic seizure and began acting in a bizarre manner. Exorcists were brought in to try to cure the boy, but failed (Urban 79). This was explained to be the possession of his body by Shirdi Sai Baba (Bassuk 88). Shirdi Sai Baba was an Indian healer and miracle work who had died in 1918 (Babb 1983: 117). Through claiming to be the reincarnation of Shirdi Sai Baba, Satya had proclaimed his avatarhood (Bassuk 87) and gave his miraculous powers legitimacy (Urban 79). It was at this time that Satya left his family and began attracting devotees to his cause. Ten years later, he constructed his ashram in Puttaparthi and his influence began to be felt across the country (Urban 79). In 1963, Sai Baba had another forceful seizure, was diagnosed with tubercular meningitis, and went into a coma. He was brought before a crowd for a festival and he miraculously cured himself and began proclaiming himself as the Lord Siva and his consort Sakti in embodied form (Babb 1986: 165). He claimed that the illness was caused by Sakti, as she had caused the mage Bharadvaja to become ill, and Siva had cured him by sprinkling water. Sai Baba claimed that by sprinkling the water on himself he had cured his disease (Babb 1986: 165). After his proclamation, Sai Baba began travelling around the Indian sub-continent spreading his message through lectures, speeches, festivals and special pujas (Urban 79). He also founded a number of “Sathya Sai Colleges” and has been active in charitable and philanthropic activities (Babb 1986: 168). Sai Baba has stated that his goal in his current incarnation is to combat social evils and spiritual degeneration present in the modern day (Urban 87). Sai Baba has also prophesied his own death, at the age of 96 in the year 2022 (Babb 1986: 166).

An important aspect of Sai Baba legitimacy is his claim that he is an avatara, a god in human form. The idea of avatara arose through the complex polytheism occurring in the Vedic period, the idea that a god has descended into a human form (White 865). The Buddha is a common example of one considered to be an avatara. Sai Baba uses the idea of the avatara to draw legitimacy to his powers. He claims that in his current form, he is Siva and Sakti together in human form. Sai Baba suggests that there are three Sai incarnations, Shirdi Sai Baba who was Sakti alone, Satya Sai Baba who is both Siva and Sakti, and the future Sai incarnation Prema Sai who will be Siva incarnate alone (Babb 1986: 166). Many of the miracles that Sai Baba performs also play an important role in connecting him with Shiva. One of the most common objects that Sai Baba materializes is vibhuti, sacred ash that has a connection with Siva (Babb 1983: 119). Another materialization miracle of producing a lingam out of his mouth draws strong symbolic connections with Siva who is primarily associated with the lingam (Swallow 138 and 146).

The festival of Mahasivaratri becomes an important annual activity for Sai Baba’s cult. This festival is known as the great night of Siva and Sai Baba is worshipped as a living lingam (Swallow 146). The main reason for the success of Sai Baba is his ability to perform miracles. The miracles that Sai Baba performs are crucial for recruitment and maintenance of the cult. Sai Baba himself has even called his miracles nidarshan (“evidence”) of his divine character and important for influencing the spiritual being of his devotees (Babb 1983: 117). Some of the miracles that have been attributed to Sai Baba include the curing of illnesses, being able to leave his body and be in more than one place at once, raising the dead, knowing intimate details of those he helps without being told, being able to fly, and multiplication of loaves of bread and fish (Spurr 119 and Babb 1986: 174). However, the most important type of miracle that is performed is materialization. It is believed that he can materialize practically anything (Babb 1986: 179). The most common object materialized is vibhuti, and it is said that he produces a pound a day (Babb 1983: 117). These miraculous powers are known in Hinduism as siddhis which are supernormal powers that can be obtained through yoga (Rodrigues 204). It is important to note that the absence of Sai Baba does not mean that a “miraculous” event could not be attributed to him, but rather increases his authority by creating an essence of the miraculous (Babb 1986: 180). An example of this would be the mysterious and sudden presence of vibhuti within the devotee’s household (Babb 1986: 179). This miraculous element is at the foundation of Sai Baba’s movement.

An understanding of Sai Baba can also be obtained by examining the practices of his cult. Participation can be as simple as placing a picture of Sai Baba in the family shrine, to the more devout practices, in which devotees will fill their homes with images of the Baba. Committed members will also take part in the education and social service systems that the cult takes part in (Babb 1986: 170). Education and social service are important goals of the cult, with members partaking in sponsored charitable and philanthropic activities. These activities are funded by donations of wealthy devotees. Sai Baba himself does not receive the donations, but rather a trust called the Central Shri Sathya Sai Trust receives all donations. This has made the donation process very simple, as devotees can make donations at any branch of the Canara bank (Urban 81). The cult and Sai Baba have established four “Sathya Sai Colleges”, as well as putting major efforts into Bal vikas, which are child development programs (Babb 1986: 168). In general, the individuals most drawn to Sai Baba’s cause are the well educated middle class (Urban 81). Sai Baba has gained western attention by becoming the guru to the owner of the “Hard Rock Cafe”, Isaac Tigrett (Urban 74).

Like most religious figures Sai Baba, has not escaped the criticisms and skepticisms that come with the role. Two types of skeptics have arisen. Some completely dismiss Sai Baba and view his miracles as sleight-of-hand tricks. Others do not dismiss his abilities, but rather dismiss the idea of him being divine, and attribute his abilities to the siddhis of a yogic adept. In an eye witness account of “materialization”, Michael Spurr carefully watched the process by which Sai Baba materialized goods for his devotees. Spurr suggests a simple sleight-of-hand trick, in which the “materialized” object was held in the left hand, concealed by a stack of paper. When the time is right, he transfers the object to his right hand, holding it between his fingers. He then spins his hand palm down and “materializes” the object for the devotee. Spurr also saw objects in between the cracks of Sai Baba’s left hand and saw him drop a pellet that could be the vibhuti that is materialized (201). Spurr also had an eye witness account where Sai Baba recalled incorrect details about two of the devotees whom he was talking with. This was rationalized by other devotees as Sai Baba joking around (205). Other areas of controversy have arisen around Sai Baba. In 1993, six members of Sai Baba inner circle were killed in Sai Baba’s room, two of which were murdered, and four, who were bearing knives, gunned down by police. The motive of the murders was suggested to be an internal conflict, and Sai Baba was never interrogated about the murders (Gogineni 58). Accusations of pedophilia have also surfaced surrounding Sai Baba. A book called “Avatar in the Night”, released by a former devotee of Sai Baba, accuses Sai Baba of having homosexual interest in young boys (Gogineni 58).

All copies of the book were burned. Sathya Sai Baba is a complex figure and although he has come under intense criticism, he has had an important role in the shaping of modern day Hinduism.

Bibliography

Babb, Lawrence A.(1983) “Sathya Sai Baba’s Magic”. Anthropological Quarterly 56. 3:116-124

Babb, Lawrence A. (1986) Redemptive Encounters: Three Modern Styles in the Hindu Tradition. Berkeley: University of California Press

Bassuk, Daniel E. (1987), “Six Modern Indian Avatars and the Ways they Understand Their Divinity” Dialogue & Alliance 1. 2:73-92

Gogineni, Babu (1999) “The God Man of India Sex, Lies and Video Tape in the Satya Sai Baba Story” Skeptic 7. 4:56-59

Rodrigues, Hillary (2006) Hinduism: The eBook – an Online Introduction. Journal of Buddhist Ethics Online Books, Ltd

Spurr, Michael J. (2003)“Visiting-card revisited: an account of some recent first-hand observations of the “miracles” of Sathya Sai Baba, and an investigation into the role of the miraculous in his theology”. Journal of Religion and Psychical Research 26 2:198-216

Swallow, D. A. (1982) “Ashes and Power: Myth, Rite and Miracle in an Indian God-Man’s Cult”. Modern Asian Studies 16. 1:123-158

White, Charles S. J. (1972) “The Sai Baba Movement: Approaches to the Study of India Saints”. The Journal of Asian Studies 31. 4:863-878

Urban, Hugh B. (2003) “Avatar for Our Age: Sathya Sai Baba and the Cultural Contradictions of Late Capitalism”. Religion 33:73-93

Related Topics for further investigation

Avatara

Bharadvaja

Bhakti yoga

Linga (lingam)

Mahasivaratri

Prem Sai

Pujas

Puttaparthi

Sakti

Siddhis

Siva

Shirdi Sai Baba

Vibhuti

Notable Websites

http://www.exbaba.com/ http://www.sathyasai.org/ http://en.wikipedia.org/wiki/Sathya_Sai_Baba http://www.saibaba.ws/ http://sathyasaibaba.wordpress.com/sai-baba-miracles/ http://www.srisathyasai.org.in/ http://www.saibabaofindia.com/

Written by Michael Racz (Spring 2009), who is solely responsible for its content.

h. Other Empires

King Harsa

King Harsa also known as Harsa Vardhan was born in 590 CE and was an Indian emperor who ruled Northern India over the span of fifty seven years. He was born the second son to Prabhakar Vardhan. His elder brother, Rajya Vardhan, was the king of Thanesar and his younger sister was named Rajya Sri (Panikkar 10). He was born into a royal family classified as the Rajput clan. At the height of his power he managed to build an empire that rivaled the empire of the Guptas (Kulke & Rothermund 109). At the end of his reign Harsa’s kingdom included the Punjab, Bengal and Orissa and stretched from the Himalayas to the banks of the Narmada River (Kulke et al. 109). After the collapse of the Gupta Empire near the beginning of the sixth century C.E., a new imperial dynasty was not established in North India but small republics and small monarchical states sprung up instead (Panikkar 2). His reign seemed to mark a transition from the ancient to the medieval period, when decentralized regional empires continually struggled for hegemony (Kulke et al., 109). Harsa united the small republics from Punjab to Central India, and they, at an assembly, crowned Harsa king in April 606 AD when he was merely 16 years old.

Of all the ancient Indian kings, King Harsa of Kanauj who ruled from 606 to 647 is the most documented in history (Lorenzen 212). This documentation about the life and times of king Harsa is thanks in large part to Bana, a poet and great Sanskrit writer, who wrote the famous biography, Harshacharita, and also, the Chinese pilgrim Xuanzang, who wrote about India during Harsa’s reign (Kulke et at. 110).

Prabhakar Vardhan became ill and died while Harsa’s brother, Rajya Vardhan was in battle. Prabhakar’s queen, Yasovati, wished to die on the funeral pyre of her husband and Harsa took over the administration of the kingdom until his brother returned (Panikkar 12). Rajya Vardhan returned victorious only to find that he must fight another battle. Rajya Sri, the sister of Rajya Vardhan and Harsa, was married to Grahavarman or Graha Varman. The king, Graha Varman Mukhari, had been overthrown and viciously murdered by King Deva Gupta of Malwa. After killing the king of Mukhari, the king of Malwa threw Rajya Sri into prison (Panikkar 17). Harsa’s brother, Rajya Vardhan, then the king of Thanesar, was enraged by this assault on his family. He launched a military attack on the Malwa king and won the battle. However, Sasanka, king of Gauda in Bengal, who was really in secret alliance with the Malwa king, enticed Rajya Vardhan by false civilities and then treacherously murdered him (Panikkar 18).

Upon the murder Harsa’s brother, Rajya Vardhan, Harsa was immediately declared king and took the throne at the young age of 16. However, it is documented by Bana and Xuanzang that at first Harsa was hesitant to take the throne but after some persuasion he did accept the Crown (Panikkar, 14).Despite Harsa’s age when he came to power, he proved himself to be a powerful yet gracious king. After his appointment as king, Harsa joined the kingdom of Thanesar with the kingdom of Kanauj and moved the capital from Thanesar to Kanauj (Schmidt 28).

After learning about the murder of his brother, Harsa was determined to wage war on the double-crossing king of Gauda and killed King Deva Gupta of Malwa in battle (Sen 253). Harsa defeated Sasanka, the ruler of Bengal, but was unable to kill him. Harsa allowed the king of Gauda, Sasanka, to rule his state as a vassal initially; however, Sasanka revolted but it was only the death of Sasanka that resulted in his land being shared between Harsa and his friend Bhaskara (Panikkar 17). After receiving half of Sasanka’s land, Harsa now had the whole of Northern India under his rule. However, the whole of Northern India did not satisfy Harsa (Panikkar 22).

Harsa led an army into the Deccan and Southern India pursuing his ambition of extending his power but he was stopped by Pulakeshi II, the Chalukya king of Vatapi in Northern Karnataka (Panikkar 22). Pulakeshi defeated Harsa’s army on the banks of the river Narmada in 636 AD. This battle was the most impressive demonstration of maneuvers utilizing elephant warfare because both Harsa and Pulakeshi had huge elephant corps at their disposal (Sen 256). A truce was established and Harsa decided to retreat back to Kanauj. The end result was that the river Narmada was marked as the southern boundary of Harsa’s kingdom. He brought Bengal, Bihar and Orissa under his control. His last military campaign resulted in the successful conquer of Dhruva Sena and Ganjam, a part of the modern Orissa state (Schmidt 28). After this monumental achievement Harsa stopped fighting and engaged in a more peaceful lifestyle.

It was during this time that Harsa’s faith shifted from Hinduism to Buddhism. Harsa was an open minded ruler and supported many faiths including Buddhism, Hinduism and Jainism. “The generous vagueness of Hindu religion allowed room for every sort of opinion and hence dogmatic intolerance and sectarian persecution never very much disgraced Hindu history” (Panikkar 34-35). Harsa’s ancestors including his father, Prabhakar worshipped Aditya and other Hindu deities. In his earlier days Harsa was a devout worshipper of Siva (Sen 259). However, according to Bana, in his later years Harsa himself was a Buddhist. Although he followed Buddhism Harsa never gave up his Hindu faith (Panikkar 35). The Buddhists rank Harsa as one of the great Buddhist rulers of India. “The high standard of classical Sanskrit culture at his court and the generous patronage bestowed on Hindu and Buddhist religious institutions alike seemed to show that the glory of the Gupta age had been revived once more” (Kulke et al. 109-110).

Harsa was reportedly a very charitable king. It seems that Harsa donated the accrued wealth of his kingdom every four years to his subjects as well as making numerous endowments to the University of Nalanda (Panikkar 35). All of the charitable donations made by king Harsa to the University of Nalanda lead to the erection of a huge wall that surrounded the entire university campus in order to create a defense against possible attacks. Harsa also built a large number of temples, monasteries, and other houses of religious worship (Panikkar 36). According to the Chinese Pilgrim Xuanzang Harsa also built numerous stupas in the name of Buddha.

In 641, following Xuanzang’s visit, Harsa was at the height of his political power and sent a mission to China which established the first diplomatic relations between China and India (Sen 261. The Chinese reciprocated by sending a diplomatic representative of their own whose trip is written about in inscriptions at modern Rajgir. These were the first of a total of six missions exchanged, three from each side, over the course of eight years (Sen 261).

“Harsa had a literary and artistic talent and was also a patron of learning” (Sen 260). He created three Sanskrit dramas, Nagananda, Ratnavali and Priyadarsika as well as a grammar and some poetry. Nagananda was a Buddhist drama. Ratnavali and Priyadarsika are plays that are illustrative of the court life of the time in which the blessings of Siva, Visnu and Indra are called upon (Sen 260). They are classed among minor classics of India. Harsa also had a great respect for other scholars and men of great intellect, so much so that he spent a quarter of the revenues from his kingdom on rewarding these men (Sen 261).

Harsa died in the year 647 after ruling Northern India for 57 years. Harsa is thought to have been unmarried and after Harsa’s death, not having any heirs, his empire died with him. The large kingdom very quickly broke up into smaller kingdoms. The years after Harsa’s death are very blurry in the history books, but it marks the conclusion of a period that began with fall of the great Gupta Empire.

REFERENCES AND FURTHER RECOMMEDED READING

Kulke, Hermann & Rothermund, Dietmar (1986) History of India Fourth Edition. London: Croom Helm.

Lorenzen, David N. (1993) History and historiography of the age of Harsha. The Journal of the American Oriental Society, xiv-212.

Panikkar, Kavalam M. (1922) Sri Harsha of Kanauj: A Monograph on the History of India in the First Half of the 7th Century A.D. Bombay: Messrs. D.B. Taraporevala Sons & Co.

Schmidt, Karl J. (1995) An Atlas and Survey of South Asian History. Armonk, New York: M.E. Sharpe.

Sen, Sailendra N. (1999) Ancient Indian History and Civilization. New Delhi: New Age International.

Related Topics for Further Investigation

PrabhakarVardhan

Rajya Vardhan

Rajya Sri

Rajput

Kanauj

Bana

XuanZang

Graha Varman

Thanesar

Deva Gupta

Sasanka

Bhaskara

Deccan

Pulakeshi

Chalukya

Dhruva Sena

Ganjam

Orissa

Nagananda

Ratnavali

Priyadarsika

Noteworthy Websites Related to the Topic

http://www.bookrags.com/biography/harsha/

http://www.bookrags.com/research/harsa-ema-02/

http://encyclopedia2.thefreedictionary.com/King+Harsha

http://en.wikipedia.org/wiki/Harsha

http://www.culturalindia.net/indian-history/ancient-india/harshavardhan.html

http://www.civilserviceindia.com/subject/History/prelims/harsha-administration.html

Article written by: Stacey Platt (March 2009) who is solely responsible for its content.

Major Characters of the Mahabharata

Bhima

Bhima’s story originates in the Mahabharata. The Mahabharata is a Hindu epic that emphasizes family conflict between great warriors and lessons are embedded throughout the epic. Bhima was the second of the Pandava brothers and as George Mason William states, “Bhima (the terrible) was the product of his mother’s union with Vayu, the wind god. Bhima had a terrible temper but was courageous and a great warrior” (G.M. Williams 84). His appetite was so large that when the Pandavas would have supper he would eat half of the family’s food. He was married to Hidimba and the brother’s joint wife Drapaudi. Of the five Pandava brothers, he had the most strength and greatest appetite.

In the Mahabharata, Duryodhana, the eldest of the Kauravas, challenged Yudishthira to a game of dice. Yudishthira accepted the challenge and during the game he lost all that he possessed: his lands, his kingdom, his brothers, himself, and eventually even Drapaudi who was dragged out by her hair and nearly stripped naked by Duryodhana, before she invoked Krsna who came to her rescue (D. Williams 31). Bhima had vowed to avenge the humiliation of Drapaudi caused by Duryodhana (G.M Williams 84). Yudishthira then agreed to a final game of dice in which he lost. The Pandavas and Drapaudi were condemned to spend twelve years in exile in the forest and a thirteenth year in an unknown place disguised so that they cannot be recognized (D. Williams 31). Bhima was furious towards Yudishthira for gambling away everything he owned.

During the exile, Bhima saved his family from a burning house and subdued demons to stop them from molesting humankind (G.M. Williams 84). One day in the forest Drapaudi found a thousand-petaled golden lotus and asked Bhima to bring her more of these flowers (Lutgendorf 173). Bhima then climbed the Himalayas in search of the flower and encountered a monkey blocking his path. Bhima yelled at the monkey to move but the monkey continued to lay there and suggested that Bhima lift his tail off the path in order to pass. When he tried to heave the tail off of the ground it would not budge and then the monkey revealed himself as Hanuman, the monkey god and Bhima’s half brother. Here Bhima learns a lesson as described by Philip Lutgendorf, “Hanuman warns him against wanton acts of violence, and tells him the secrets of Kubera’s Lake” (Lutgendorf 174). While in exile, Bhima defeated the demon Hidimba and married the demon’s sister Hidimbi as his second wife. He had a honeymoon for a year with Hidimbi by day and every night he would return to be with the Pandava brothers’ joint wife Drapaudi. Then Bhima and Hidimbi had a child, whom they called Ghatotkacha. Ghatotkacha was a giant and he swore to come to the aid of his father whenever necessary (D. Williams 32).

When the thirteenth year of the Pandavas’ exile arrived, they had to disguise themselves and they all found refuge at the court of King Virata. Bhima was known as a great cook and Chakravarti Rajagopalachari comments on Bhima’s disguise and skill at cooking, “Bhima decided to become the king’s cook, and to please him with mouth-watering new dishes, assuming the name of Vallabha” (Rajagopalachari 68). While the Pandavas were in disguise, a general in King Virata’s court became infatuated with Drapaudi and pursued her through great lengths. David Williams describes how Bhima protected Drapaudi after being threatened by the general, “Drapaudi implores the mighty Bhima to help her; so he goes in her stead to a secret rendezvous, and pulverizes the over-amorous general” (D. Williams 33).

After the thirteen year long exile the Pandavas came out of hiding and a great war was fought between the Pandavas and Kauravas. In this war, Bhima played a large role and killed many men. Ghatotkacha, Bhima’s son, fought alongside his troops of Rakshasas and they destroyed the enemy by the thousands. Duryodhana was angered by this and sent his close friend Karna to kill Ghatotkacha. Karna had trouble killing Ghatotkacha until he used the Shakti, a mighty weapon that could only be used once, and it pierced through the chest of Ghatotkacha. Bhima, who had a terrible temper, was infuriated by his son’s death. Only the soothing words of Yudishthira could calm his rage (Rajagopalachari 118). On the battlefield Duryodhana chose Bhima for a duel which Chakravarti Rajagopalachari described, “Duryodhana rushed at Bhima. The deadly maces clashed and sparks shot out. The duel was equally poised. They fought well and long and other outcome remained uncertain. They both were the masters of the art of mace-fighting” (Rajagopalachari 135). During the fight Krsna hinted to Bhima to strike Duryodhana’s thigh. As George Mason Williams reports, “Bhima had to resort to an unfair blow from his war club, which crushed his cousin’s thigh, and then he kicked his despised foe brutally as he lay wounded” (G.M. Williams 84). This fight demonstrated that Bhima was true to his word in seeking revenge for Drapaudi even if it meant fighting dirty. Balarama, who taught Duryodhana to fight with a mace, was furious at the cheap shot dealt by Bhima. In his fury he charged at Bhima ready to strike and avenge the death of Duryodhana. Then Krsna rushed in and defended Bhima and said he had just redeemed his pledge made in the presence of Drapaudi (Rajagopalachari 136).

The Pandavas went on to win the war and ruled the kingdom under Yudishthira. Years later, when most of their relatives were dead, the Pandavas entered a yogic state and set out for the north (O’Flaherty 53). When it was Bhima’s turn to approach the gates of heaven, he fell and asked King Yudishthira why he has fallen. Wendy Doninger O’Flaherty states Yudishthira’s response to Bhima, “You ate too much, and boasted about your vital energy, and despised your enemy. That is why you have fallen to the ground” (O’Flaherty 54).

Bhima was a great warrior; he was loyal to his wives and lived a dharmic life aside from striking Duryodhana below the navel. He did not reach heaven because of his large appetite, his overconfident nature and his hatred towards his enemies. As George Mason Williams states, “Despite one episode that tarnished his record, more than a hundred stories made Bhima an example of raw courage and strength, fighting to follow the way of a righteous warrior” (G.M. Williams 84).

Bibliography

Lutgendorf, Philip. (2007) Hanuman’s Tale. The Messages of a Divine Monkey. Oxford: Oxford University Press US.

O’Flaherty, Wendy Doniger. (1990) Textual Sources for the Study of HInduism. Chicago: University of Chicago Press.

Rajagopalachari, Chakravarti. (1976) Mahabharata. Delhi: Diamond Pockets Books Ltd.

Williams, David. (1991) Peter Brook and the Mahabharata. London: Taylor & Francis.

Williams, George Mason. (2003) Handbook of Hindu Mythology. Oxford: ABC-CLIO.

Related Topics:

Mahabharata

Pandavas

Kauravas

Arjuna

Yudishthira

Ghatotkacha

Written by Kirk Patterson (Spring 2009), who is solely responsible for its content.

d. Some Noteworthy Temples, South Indian

The Brhadisvara Temple


The Brhadisvara Temple was built, in its entirety, during the reign of King Rajaraja (985 – 1014 CE) of the Cola Dynasty. At the onset of his political reign, the Cola kingdom was constricted to the Tamil country. Rajaraja implemented a rigorous twenty year military campaign which resulted in putting most of Southern India and some of North India under the rule of the Cola monarchy (Vasudevan 16).

The Brhadisvara Temple is considered a royal temple. A royal temple differs from a bhakti temple (or a non-royal temple) in that a royal temple is built by a monarch to their chosen gods and “were grand in design and execution,” while a bhakti temple usually originates as a small shrine built from brick (Vasudevan 152).

In 1003 CE, his nineteenth year of reign and near the end of his military campaign, Rajaraja commenced the construction on a grand temple located in the town of Thanjavur (in southern India). Upon completion, the temple was the most “massive temple in India” (Davis 4). It is said that King Rajaraja’s greatest achievement was this monumental temple, which he named Rajarajesvaram –known today as the Brhadisvara Temple or sometimes just referred to as the Big or Great Temple (Vasudevan 43).

Building a temple was a highly visible political act as well as a devotional one. It was said that “only the king of kings could be considered qualified to construct a preeminent temple” (Davis 6). One of several purposes for the construction of the temple is that it was a highly visible proclamation of Rajaraja’s political achievement.

Another, and more devotionally directed, purpose was to provide a home for a divinity that Rajaraja believed was the unsurpassed ruler of the cosmos. This temple was constructed in order to allow god to receive homage and offerings of devotion presented by kings, the kings’ family and the kingdom. Only a supreme god could be worth such great devotion. Rajaraja built the most magnificent temple to Siva, which was believed to elevate Siva to the position of Supreme Diety. As Siva usually resides upon Mount Kailasa, or Northern World-Mountain, Rajaraja believed that by building this imperial temple he was giving Siva a home in the south, equal to his northern abode (Davis 6).

However, the main purpose that the temple was devoted to Siva was that the Colas believed in Bhakti Saivism. During the Colas’ rule many shrines were built or remodelled to unmistakably show their devotion to Siva. “Through the adoption and patronage of the cult of linga, the Colas universalized a new aspect into the worship of Siva” (Vasudevan 101).

The temple was erected with two sets of outer walls – the most outer wall serving a defensive purpose. The Big Temple is the first temple in southern India that was built with any defensive apparatus (Vasudevan 44). The temple is made mostly of granite – a stone which was not indigenous to Thanjavur – had to be obtained from outside the kingdom making acquiring the building materials a difficult task. The temple sits on the side of a river that was specifically re-routed as to allow a moat to form around the temple. The temple tower is composed of 16 stories and stands an unprecedented 63 meters high and is was claimed to be among the tallest in the world (Vasudevan 153). The tower is topped off with a single spherical block of granite, which is known in Southern India as a vimana (Vasudevan 44). Pillars, piers, and pilasters are placed all around the sikhara. Inside, entire wall spaces and ceilings were covered in exquisite paintings. Unfortunately, most of the original artwork has been obstructed since the time of original conception.

The primary icon in the temple is the gigantic Siva-linga, said to be the “the largest such linga in existence” (Davis 5). The Siva-linga is the principal icon because in its highest form Siva is said to inhabit it. The linga is the geographical centre of the shrine and is considered to be the generative source of the entire temple complex (Davis 7). By installing the massive linga in the royal temple, Rajaraja wanted to identify the linga with himself. The considerably large “linga, enshrined in the most majestic temple, built by the mightiest emperor of the south, bore a direct comparison to the glory and might of the Cola monarch” (Vasudevan 159).When Rajaraja’s subjects bowed to the linga in the temple they were indirectly showing their commitment and obedience to Rajaraja. By implementing the indirect action of showing dual allegiance and submission to Siva and Rajaraja, he was able to use the spiritual aspect of the royal temple to unite Cola control over his large empire.

To serve Siva and the other gods of the temple, Rajaraja and his royal entourage made extensive donations. Among Rajaraja’s personal donations were: gold artefacts, silver objects, Myriad jewels, and land. Dancers were also supplied from other temples throughout the empire to entertain Siva.

Even in a time where Hindu kings were trying to surpass each other in the lavishness and size of their temples (between 700 and 1200 CE), no temple comes close to the Brhadisvara Temple’s opulence (Vasudevan 44). Vasudevan states that, “compared to [the Brhasdisvara], other temples were like little churches before a cathedral” (43).

Rajaraja’s son and successor, Rajendra I (reined in 1012-1044 originally with his father) extended the Cola Empire when he took power. He instigated a successful military mission that reached the Ganges. Rajendra I built a new capital city, Gangaikondacolapuram (“the city of the Cola king who took the Ganges”), and, replicating his father, he created another imperial scale Siva temple with a linga that is the largest monolithic linga in the Tamil country (Davis 6) (Vasudevan 46,106).

The Great Temple was not solely used for the purpose of worship and devotion. Personal and communal activities, the performing arts and the literary arts all took place there. The temple also functioned as an employer, a landlord, and a money lender. By these acts the Brhadisvara Temple turned into a major economic institution for Southern India.

Another difference between royal and non-royal temples is the way the administration staff was appointed/ hired. The administrative staff of the royal temple of Tanjavur worked within well-defined powers and responsibilities and were appointed directly by the government from anywhere in their territory. However, in bhakti temples the administrative workers were vested with local bodies. There were more than 800 personnel on the pay-roll of the temple (Vasudevan 93). Rajaraja was able to incorporate everything and everyone into the temple. He made the temple the centre of his empire. He brought in people from every corner of his kingdom. An example of this is that Rajaraja did not bring in resources that were close to the capital. He had material brought in from remote areas of his empire with the underlying idea that this would bring the kingdom closer together. By bringing in resources from all over the kingdom, and not just from the capital, allows different parts of his empire to come into closer interaction with each other.

A large portion of the Temple’s administrative work was done to administer grants and monitor services within the temple (Vasudevan 155). Since the administration employees were chosen by the government it was easy to obtain support of other government agencies, therefore allowing the administration of grants to occur flawlessly.

The Brhadisvara Temple had a large amount of wealth attached to it. No other temple had property, gold, and cash as much as a royal temple did. This is because King Rajaraja lavishly applied his wealth to the temple. Rajaraja used the Temple to unite the existing territories under Cola rule to the acquired territories. He combined his power by granting villages from these newly acquired regions as devadanas (gifts to the gods) to the temple. Religion had a powerful appeal to the people and Rajaraja translated this appeal into an organization that influenced and controlled various regions (Vasudevan 157). Rajaraja wanted to link every part of his realm to his temple. He made the royal temple a great organization that was worthy to be associated with his subjects. It is because of the temple’s ‘worthiness’ that his temple is a symbol of his grand empire (Vasudevan 158).

Bibliography

Davis, Richard H. (1991) Worshipping Siva in Medieval India. New Jersey: Princeton University Press.

Vasudevan, Geeta (2003) The Royal Temple of Rajaraja: an Instrument of Imperial Cola Power. Delhi: Shakti Malik.

Related Topics for Further Investigation

Siva

Bhakti

Vimanas

Linga

Devadana

Gangaikondacolapuram

Rajendra

Noteworthy Websites Related to the Topic

http://www.sarasvatimahallibrary.tn.nic.in/Thanjavur/Bridadisvara_Temple/body_bridadisvara_temple.html

http://www.asiarooms.com/travel-guide/india/temples-in-india/brihadisvara-temple.html

http://www.cultural-heritage-india.com/world_heritage_sites/brihadisvara-temple.html

http://simple.wikipedia.org/wiki/Chola_dynasty

http://en.wikipedia.org/wiki/Rajaraja_Chola_I

Article written by: Kimberly Oliverio (March 2009) who is solely responsible for its content.