About the Author
The author having served in the curatorial capacity in the Central Asian Antiquities Museum, New Delhi, the Nalanda Museum and Archaeological Section of the Indian Museum, Calcutta, was credited with the scientific documentation of over fifty thousand antiquities comprising sculptures, bronzes, terracottas, beads, seals and sealing, wood work, paintings textiles and Pearce collection of Gems, ranging from the earliest times to the late medieval period.
Besides publishing bilingually, three publications of the Archaeological Survey of India, he has also brought out the works entitled:
He was awarded a fellowship by Indian Council of Historical Research, in 1987, for his last mentioned work.
His other works in press include:-
In addition to above, his works entitled
About the Book
The boar, a wild animal of considerable strength and speed, has been known the world over from the time immemorial, as evidenced from the ancient texts as well as archaeological sources. Initially it was a hunting animal possibly meant for human animal possibly means for human consumption, but gradually it entered the contemporary religious thought in various countries of the globe. The Indian evidence portraying reverence to the animal is comparatively later than that of the other countries of the world. As for example the animal is found depicted in the coins and legends of Greek, Crete and Rome etc centuries before the Christian era, which was followed in the later period.
In the Indian context, the animal, though occasionally appears in the Vedic and post Vedic literature, but its reverence achieved a great boost after its association with the incarnation of Visnu, a strong and powerful Brahmanical god. In this form the boar, it is stated, rescued the earth-goddess submerged under the deep sea-water. The reasons for the drowning of the Earth have been quite convincingly given in the text. The Mahabharata is quite vocal in this regard, wherein, it is stated that the earth was submerged in water because of its overpopulation
The Salient features of the episode are (i) the Deluge, (ii) the Earth, (iii) the Demon Hiranyaksa, besides the boar. With the passage of time the theme of the rescue of the earth became symbolical with the rulers of the country, who after having conquered a territory or overthrowing the foreign domination, equated the event with the rescue of the earth by the boar incarnation of Visnu. Such even were celebrated by erecting an image or a temple of the god.
The present work aims at highlighting the various aspects of Varaha from Visnu, in the background of the literary as well as the archaeological evidence, available in the country.
(The Lord first took to the form of a Fish, then of Tortoise. Thereafter, He incarnated as a Boar, Man-lion, Parasurama, Dasratha's son Rama, Krsna, the son of Vasudeva, and then the Buddha. The last one would be Kalki)
One of the prominent ideologies of the Hindu religion is the belief in the incarnation of God. This is emphatically stated in the Bhagavadgita, where Lord Krsna, has declared to Arjuna:-
This has been regarded by the scholars as the earliest reference to contain expositions of some of the tenets of the Ekantaka-school. This passage from the Bhagavadgita explains the ideology underlying the Avataravada in the Hindu thought in the clearest possible manner. It does not specify the number of Divine Incarnations, for the god 'Creates himself age after age, as the condition of the universe demands. The same idea is reflected in the Markandeya Purana, wherein, the goddess declares emphatically:-
The texts further specify three distinct types of incarnations viz: avatara, avesa and amsa; of these an avatara is taken to be a complete incarnation; a partial incarnation, more or less of a temporary nature, is known as avesa. The incarnation of a portion of the power of a divine being is characterized as amsavatra Out of the various incarnations of Visnu, Rama and Krsna are termed as avataras,
Jamadagni Parasurama appeared in the world for the specific purpose of subduing the Ksatriyss who had, at that point of time become highly arrogant. The God-appointed mission of Parasurama was only to subdue them. After the completion of his work, he disappeared from the universe after surrendering all his powers to Rama - the son of Dasaratha. The Puranas believe him to be one of the eight Chiranjivis of the country:-
After confronting Rama, Parasurama, surrendered all his divine powers to the former and retired to mountain Mahendra. Thus the divine powers were with Parasurama only for a short duration, after which he had to part with them, even though he continued to live on earth. The incarnation of Parasurama therefore comes under the category of avesa or temporary possession, because he retained the divine powers, only for short duration. The texts further state that Visnu deputed his ayudhas-Sankha and chakra to be born in the world enjoying some of his divine powers; when these emblems are born on earth they become saints and achieve the purpose of their earthly incarnation.
The most commonly accepted incarnations of Visnu are ten in number, which are declared to have been assumed by him in ten different ages with the purpose of destroying the asuras. Usually the Lord incarnated for slaying of asuras, but not so in the first two avataras in these there was no destruction of the asuras. In the first the purpose was to save the barque of Manu from deluge as Matsyavatara and in the second to serve as base for Mandarachala in Kurmavatara, wherein he assumed the form of a tortoise and functioned as a pivot for the churning rod when the milk ocean was churned by the gods and the asuras both, using the snake Vasuki as the churning rope, to obtain emrta.
About the early references to the incarnations of Visnu, it may be pointed out that the Satapatha Brahmana states that Prajapati took to the form of tortoise; similarly the Taittiriya Aranyaka mentions that the earth was raised from the waters by a black boar with a hundred hands. All the incarnations. are more or less directly referred to in later Sanskrit works, like the Ramayana, the Mahabharta and other Puranic texts.
The Matsya Purana (47.39) testifies to the Varaha being first incarnation of Visnu, who fought with the asuras :-
(There were twelve hard fought battles between the Devas and the asuras for gaining possession of their heritage, beginning from Varaha incarnation and ending with Sanda Marka).
This Purana further spells out the incarnations on the occasion of each war. The first was that of a Man-Lion (Nrsimha), the second was Vamana, third was that of Varaha, the fourth incarnation was on the occasion of the churning of the ocean, for obtaining the nector, the fifth took place at Tarakamaya war, the sixth was called Adivaka war, the seventh was Tripura war, the eighth was Andhaka war; the war of the destruction of Vrtrasura was the ninth, the Dhatr was the tenth, the Halahala war was the eleventh and the twelfth was the terrific war named Kolahala, (Matsya Purana, 47.40-43).
The above passages of the Matsya Purana do not deal strictly with the Chronology of the Avataras,, but rather spell out the prominent wars fought by the Devas with the asuras.
According to Dr. J.N. Banerjee the term avatara is applied to the act of the god coming down in the form of a man or an animal on the earth and living there in that form till the purpose for which he had descended on earth was accomplished. It also some times denotes the assumption of different forms by the god for the attainment of a particular object. It is thus distinct from the identification (where one deity is identified with the other), or emanation.
One of the earliest references to the assumption of some forms by the divinity for the attainment of specific ends is found in the Satapatha Brahmana and Taittiriya Samhita where Prajapati is said to have assumed the forms of Fish (Matsya ),
Tortoise (Kurma) and Boar (Varaha) on different occasions for the furtherance of creation and the well-being of the created. When the doctrine of incarnation in its association with Vasudeva - Visnu - Narayana was well established, all the three were bodily transferred to that composite god, and were regarded as some of his celestial incarnations.
The Narayana section of the Mahabharata (XII. 349-37) refers in one list to the Varaha, the Vamana and the Nrsimha incarnations. The human incarnations refer, no doubt, to Vasudeva- Krsna, Bhargava Rama and Dasarathi Rama in Chapter 389 (verses 77-90) of the same section, besides the stories about the first three in the list are also given, in addition to the human incarnations stated above.
But a fuller list of the incarnations is given in verse 104 of the same chapter which contains the names of Hamsa, Kurma, Matsya, Varaha, Nrsimha, Vamana, Bhargava Rama, Dasarathi Rama, Satvata, Vasudeva or Baladeva and Kalkin. Though the number of ten incarnations here is right, the name of the Buddha is not mentioned. Could it be that the Buddha had not incarnated at that point of time, when this section of the Mahabharata was compiled?
In Chapter 98, verses 7lff of the Matsya Purana: the number of ten incarnations mentioned include, Yajna, Nrsimha, Vamana, Dattatreya, one unnamed in the Tretayuga, Jamdagnya Rama, Dasarathi Rama, Vedavyasa, Vasudeva Krsna and Kalkin. Buddha is also absent here. Besides Matsya, Kiirma avatiiras are replaced by Yajna, Dattatreya and Vedavyasa.
The Bhagavata Purana (Ch. XI-4. 3ft) provides a list of the avataras thus:- Purusa, Varaha, Narada, Nara-Narayana, Kapila, Dattatreya, Yajna, Rsabha, Prthu, Matsya, Kiirma, Dhanvantari, Mohini, Narasimha, Vamana, Bhargava Rama, Vedavyasa, Dasarathi Ram a, Balarama, Krsna, Buddha and Kalkin.
The Varaha, Agni and Matsya Puranas count the number of incarnations as ten:
Matsya Puranas 4.2
Thus it would be evident from the above that in spite of some difference in the number of incarnations, in the texts the most accepted are the ten incarnations which are defined by the Matsya and the other Puranas.
Besides the Varaha incarnation has been conceived both in the animal as well as the composite forms in the ancient texts.
The Smrtis mention both the forms namely; there is morphic or Yajnavaraha and anthropomorphic or Nrvaraha, Vrdha Harita describes Varaha as of large body, large neck and prominent tusks shining like a mountain of silver and bearing hundred eyes and hands, lifting Prthvi with his tusk, he embraces her with his hands:-
The Varaha form of Visnu is also eulogised in the texts with the following epithets:-
(i) Ekasrnga (Mahabharata 13.149.70) (ii) Mahasrnga (Mahabharata 3.142.45) (iii) Nrvaraha (iv) Adivaraha (v) Bhuvaraha. (vi) Yajnavaraha (vii) Pralayavaraha.
In the above epithets Varaha has been termed as Ekasrnga and Mahasrnga. U.P. Shah (JOIB) V. 1. VIII-1959, pp.41-70) has contested Ekasmga to be a boar. On the basis of a passage from the Rgveds, he feels that "It is certainly not a description of a boar, wild pig or an ordinary pig. It is the rhinoceros that signifies the Mahabharata description of Varaha, since the skin on its body looks uneven due to thick folds and from mouth to the tail the surface of the body of the rhinoceros seems to have three elevations. Again it is the rhinoceros that can be really described as Ekasrnga and not the boar or the pig (Sukara)".
The idea of Ekasrnga appears to have been derived from the legend of Matsya, because in the Mahabharata (III. 185) Prajapati in the form of a mythical fish has been called 8.Srngin and its having one horn only is specially mentioned. An earlier version of the same story is found - in the Satapatha Brrahmana(1.8.1.5) which specifies only one horn for the mythical fish.
Like the one horn of Matsya, the expression of Ekasmga points only to the mythical and supernatural character of Varaha.
Rgveda, Atharvaveda, Satapatha Brahmana Taittiritya Brahmana, Taittiriya Aranyaka Taitiritya Samhita, Chhandogya Upanisad, Kausitiki Upanisad, Mahanarayani Upanisad, Mukti Upanisad, Varaha Upanisad; Ramayana, Mahabharata; The Puranas: Agni Bhagavata, Brahma, Brahmanda, Devi Bhagavata, Harivamsa, Kurma, Matsya, Padma, Siva, Vayu Visnu and Visnudharmottara; Parasara Samhita, Apparajitarehchha; Tamil Sangham Literature.
This book on Varaha Avatara of Visnu in Art and Literature of Tamil Nadu is an outcome of an inspiration to further explore and study the Varaha avatara of Visnu in art and literature of Tamil Nadu, by perusing the events of history in chronological order. The primary source such as literature, epigraphy, and numismatics were consulted and Varaha temples were visited and studied elaborately. The narrative history of Varaha incarnation in Tamil Nadu is carried out and distributed in four chapters viz., the first chapter deals with the worship in India, while the other chapters such as Varaha in Tamil Literature, Varaha temples and in Art forms, the study had confirmed that Varaha incarnation was one of the famous popular worships prevailed in Tamil Nadu. This publication is a significant attempt to forge links to the past, when religion was a way of life to the ancient society. The inclusion of Bibliography, Appendices and Plates also will be an added attraction to the readers of this book.
Vasanthi Srinivasan is presently working as Registering Officer, in the Department of Archaeology, Government of Tamil Nadu. As an excavation and exploration Archaeologist of the department, participated in the excavations (nearly 12 sites) conducted by the department in various archaeological sites in Tamil Nadu. She is the author and editor of Temple architecture and Iconographical studies, Archaeological excavation reports published by the Tamil Nadu State Department of Archaeology. She has also participated in International seminars held at Bangkok, Bali and has presented papers on art history. She has participated and presented papers on Archaeology, Art and History in various international and national seminars. Her articles were published in various reputed journals of Archaeology, Art and History.
I am delighted to welcome the book titled VARAHA AVATARA OF VISNU IN ART AND LITERATURE OF TAMIL NADU by Dr. S. Vasanthi for the readers of religious history, art history and archaeology.
When Dr. Vasanthi, approached for her Doctoral studies under my guidance, I accepted with pleasure and was happy to guide her research work on Varaha avatara in Tamil Nadu..This book is an outcome of an inspiration to further explore and study the Varaha avatara of Visnu in art and literature of Tamil Nadu. The primary sources such as literature, epigraphy, and numismatics were consulted and temple surveys were also carried out and studies elaborately by the author.
The author Dr Vasanthi has narrated the historical importance of Varaha avatara and carried out the study by distributing the study in four chapters in the following manner; the first chapter deals with the worship in India, while the other chapters such as Varaha in Tamil Literature, Varaha Temples and in Art forms. In the concluding part, she has discussed the outcome of her study in detail. In this book, a systematic and a comparative study of the different sources gives a full-fledged account on Varaha worship in Tamil Nadu. The inclusion of Bibliography, Appendices and Plates also will be attractive to the readers of this book.
I congratulate Dr Vasanthi, in bringing out her thesis in book form and wish her success in all future endeavors.
Hinduism believes in one supreme God but allows the Hindus to worship Him in any form that he likes. The Hindu deities can be worshipped in temples and houses. The Hindus believe that one can reach God through personal devotion (Bhakti), Knowledge, (Jnana) and good deeds (Karma) and also that every one has to find his own path to reach God. Brahma, Visnu and Siva, the Trinity of Hindu religion are assigned the duties of Creation, Protection and Destruction. The Creation and Destruction are done at certain phases while the act of Protection is a long process that falls between the two acts. It is believed that Visnu takes incarnation or avatara to destroy the evil Asuras and protect the earth from destruction whenever the need arises.
The term ‘avatara’ is applied to the act of the God coming down in the form of man or animal to the earth and living there in that form till the purpose for which he had descended on the earth was accomplished. It is a coming, a descent or a manifestation of the Divine in human form. Although the number of avataras is considered to be more, only ten avataras of Visnu are traditionally associated with Dasavatara.
“Matsya, Kurma, Varahasca, Narsimhasca, Vamanah! Ramo, Ramasca, Ramasca, Krsnah, Kalkin Janardanah”!!
Is the benedictory verse of Jayadeva the eminent saint poet of Orissa. In the above verse, it is stated that Visnu took the avatara of Matsya (Fish), Kurma (Tortoise), Varaha (Boar), Narasimha (Lion), Vamana (dwarfmen), Ramo (Parasuram), Ramasca (Sri Rama or Dasarathi Rama), Rama (Balarama), Krisna and he is yet to take the avatar of Kalkin to protect the world. The first avatara, Matsya avatara was to save all the living things of the world. In the second avatara, Visnu assumed the form of a Kurma (tortoise), raised the mount Meru and functioned as a pivot during the churning of Parkadal (milky ocean) by the devas and the asuras, to obtain amrta (nectar). The third, Varaha avatara gained greater popularity. There are many Puranic stories connected with this incarnation.
Varaha avatara is widely worshipped in India. The present work is an outcome of an inspiration to further explore and study the Varaha avatara of Visnu in art and literature of Tamil Nadu, by perusing the events of history in chronological order. The primary sources such as literature, epigraphy, and numismatics were consulted and temple survey was also carried out and studied elaborately. The narrative history of Varaha incarnation in Tamil Nadu is carried out and distributed in four chapters.
The origin and development of Varaha worship in India is discussed and explained in the first chapter with the help of Varaha worship in India is carried out and archaeological and literary sources. In ancient societies of the world the wild Boar was associated with harvest and fertility. In India, the depiction of Boar is found in the seals and other antiquities from Indus valley. The Vedas, the Puranas and the Agamas also speak of it. The earliest reference of Varaha is in the Rg Veda and Atharva Veda. The Rg Veda mentions Emusa, i.e., Varaha who was the keeper of the goods belonging to the Asuras, behind the seven hills. Later, the Brahmanas, Upanishads and Samhitas also make mention of Varaha, who brought Earth goddess from the nether region.
The epics Ramayana and Mahabaratha also refer to Varaha as one of the avataras of Visnu. The mythical boar avatara of Visnu captivated the imagination of poets and thus attained popularity in India during the Gupta period. Puranas such as the Varaha, Kurma, Visnu, etc., compiled during the Gupta period about 4th Century CE, extol the glory of this form of Visnu, as the lifter of the earth.
Varaha, as boar, is presented in other Indian religious systems also; these aspects are studied with reference to Tamil Nadu. Generally, Hindu deities are included both in the Jain and Buddhist realms of Gods and Goddess. The study of these religious texts with reference to sculptural representation has been discussed elaborately. In Jaina mythology, certain animals and birds are considered to be the Vahanas of the Tirthankaras. The Boar happens to be the Vahana Vimalanatha, the thirteenth Thirthankara and also serves as a vehicle to the Yakshini Bala or Vijaya. Buddhist goddess of dawn Marici is said to have three faces, one of which is a pig face and has seven sows drawing chariot. Marici is worshipped in Nepal and Tibet even today under the name of Dorje Phagmo.
The second chapter deals with the study of Varaha and his adulation in Tamil literature. The systematic and detailed study of Tamil literature through the ages is attempted. The depiction of Varaha in the Pre-historic period was studies with the consultation of Rock Paintings. The Tamil literary works are divided into three broad sections i.e., Varaha incarnation in Sangam literature, Varaha worship in Bhakthi literature and Varaha forms in Post Bhakthi literature. The earliest of the Sangam works are available in the form of anthologies called Ettuthogai and Pathupattu. They give a fair idea of the theistic cults and their pantheons. The Bhakthi movement spawned ardent devotion and volumes of religious literary hymns. Post Bhakthi movement compositions such as Bharani, Ula, Kambaramanayam and Periyapuranam also praise Lord Visnu and his avatara forms.
In the Third chapter, Varaha incarnation as revealed from inscriptions, Iconographic forms and temples dedicated to Varaha are discussed in detail. The iconography of Varaha under three different forms i.e. (1) Bhuvaraha, (Adivaraha or Nrvaraha) (2) Yajnavaraha, (3) Pralayavaraha and other separate form of Vaikuntha are discussed in this chapter. The survey and study of the temples dedicated to Varaha in Tamil Nadu are carried out. There is a belief that the principal deity of the famous Venkateswara temple at Tirupathi was Varaha and the place itself was called as Varaha kshetra. There is a temple to the west of the main Venkatesvara temple tank and the daily food offerings for Varaha is prepared from the kitchen of Venkatesvara and offered to both the deities simultaneously. There are temples dedicated to Varaha in Tamil Nadu, like Mamallai, Tiruvidandai, Namakkal, Srimushnam, Kumbakonam etc., and the inscriptions found there mention about the construction and gifts made to the temple during various periods. Varaha representations in Saivism and Varahi (the female counter part of Varaha) in Tamilnadu have been included for the study.
In the Fourth chapter the art forms of Varaha avatara in Tamil Nadu are elaborated. The representation of Varaha in the sculptures, carvings, ivory carvings, coins, and paintings on walls and ceilings of temples, emblems and seals have also been studied in detail. Generally speaking, the rulers who conquered and acquired territories worshipped the Varaha avatara. In South India the Chalukyas had a fascination for the depiction of Varaha. The Varaha served as the royal emblem of not only the Western Chalukyas but Kakatiyas, Hoysalas and Vijayanagara Kings. The Varaha worship reached its zenith during the Pallava rule in the Tamil country. The early and later Pandyas of further south also worshipped the Varaha avatara. The worship of Varaha as one among the ten avataras was also very popular and there were many sculptural representations of Varaha in the Dasavatara group.
The study of origin and development of Varaha worship in Tamil Nadu was carried out with the help of literary and archaeological sources. In this book a systematic and a comparative study of the different sources gives a full-fledged account on Varaha worship in Tamil Nadu.
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