At Neeto's Posing and Direction Workshop

 

Model: Katelin Popiel

Makeup: Matty Cameron - Model Mayhem # 2565582

Photo/Retouch: Bruce Walker - Model Mayhem # 1440574

 

Yes I went the evilbay route back in March to score her <3 But you see with Teal hair and that lovely Complexion I would have done a lot to try to get her after the fact :P

Summary Data

 

State or Country of birth: Brownville, Jefferson County, NY

 

Home prior to enlistment: Lansing, Michigan

 

Occupation prior to enlistment: farmer

 

Service:

Co. A, 20th Michigan Inf'. - 1862 - 1864

 

Rank at enlistment: private

 

Highest rank attained: corporal

 

Principal combat experience:

Fredericksburg, Virginia

Mud March, Virginia

Siege of Vicksburg, Mississippi

Siege of Jackson, Mississippi

Siege of Knoxville, Tennessee

The Wilderness, Virginia

Spottsylvania, Virginia

Totopotomoy, Virginia

Bethesda Church, Virginia

 

Casualties:

Injured, Jackson, MS

WIA, Bethesda Church, VA

 

Photograph by: J. Glover, Artist, Annapolis, Maryland

 

Inscription in period pencil on back: "R. G. Burlingame."

  

Ranselus G. Burlingame was born at Brownville, Jefferson County, in upstate New York on April 19, 1839. He struck out on his own as a young man, arriving in the western Great Lakes area by 1860. On April 25 of that year he married Eliza Ann Pooler at Wilson, Sheboygan Co., Wisconsin. He was 21; she was 18. The census of 1860 shows that, in July, he and Eliza were living in the same household with Martin Putnam and his family near the shore of Lake Michigan. Both Martin Putnam and Ranselus Burlingame were listed as fishermen. Burlingame's personal estate was valued at $50. Life on the cold and stormy waters of Lake Michigan must not have appealed to Burlingame because he soon moved to Ingham County in central Michigan, where he took up farm work. It is not clear whether he had saved up to buy a farm, or if he worked as a hired hand. But he and Eliza had put down roots. On December 31, 1861 they celebrated the birth of their first child, a daughter they named Melva. Unfortunately, the Civil War would soon disrupt their domestic tranquility.

 

On July 1, 1862 President Lincoln issued his call for "three hundred thousand more" volunteers. All across the north, men stepped forward to put their name on enlistment rolls. One of these recruits was Ranselus Burlingame, who enrolled at Lansing, Michigan on August 9th in Company A, 20th Michigan Infantry. He was mustered into the army for three years service on August 18, 1862 at Jackson, Michigan. His descriptive list describes him as being 23 years old, and having grey eyes, light brown hair, a light complexion and standing 5 feet 7 inches in height. His occupation was listed as "farmer."

 

The 20th Michigan Regiment was transported to Washington, DC, arriving there about September 1, 1862, and was nominally assigned to the 9th Army Corps. As a new regiment, they had not yet been fully equipped for the field, nor had they yet drawn ammunition. Consequently, they were delayed in joining their Corps until September 24, a few days after the battle of Antietam had been fought. Had they received their ammunition earlier, it is probable that they would have been on hand to participate in the battle with the rest of the 9th Corps. As it was, the green troops were spared combat until they had more time to practice drill and gain experience.

 

On October 29, the regiment forded the Potomac River a mile below Pont Of Rocks, Maryland and entered Virginia. According to the Regimental History, "No man ever feels that he is really a soldier until he has seen and participated in at least one battle. He may drill ever so much, he may march over weary leagues of mountains and valleys, he may ford rivers and stand on picket many a day and night, still he does not feel that he is a real soldier until he has faced deadly danger and heard the whistle of bullets, and found that his legs do not run away with his heart. Thus far our soldiers had been of the first kind. We had marched without wagons, slept without tents, and subsisted without regular rations...Yet we had not been through the critical test. But we had not long to wait." The men came under fire for the first time at Fredericksburg, Virginia on December 12 but in spite of the ferocity of the battle they were spared from the worst of it during the first two days. On the morning of December 14, however, the 79th New York and 20th Michigan were slated to lead the renewed assault on fortified Confederate positions and across the same ground that was now literally covered with Union dead from the failed attack on December 13. The men were assembled in position and, "Knowing the result of the attack of the day before, and the tremendous losses suffered by Couch and Sturgis, we awaited with intense anxiety the order to advance." But before receiving the order to step off, the attack was cancelled. In a move acknowledging the hopelessness of any further attempts to dislodge the Confederates, Union forces were pulled back to the north side of the Rappahannock River. On Christmas Day, December 25, 1862, Ranselus Burlingame was promoted from private to corporal.

 

In the spring of 1863 the 9th Corps was detached from the Army of the Potomac and transferred west. The men of the 20th Michigan moved through Kentucky and Tennessee, skirmishing with rebels along the way. The regiment participated in the siege and capture of Vicksburg, Mississippi that July, then immediately turned around and attacked the Confederates at Jackson. At the latter place, during an attack against the enemy, Burlingame recalled, "I was also injured on July 10 or 11, '63 at Jackson, Mississippi in a charge on the Rebel works by falling down a bank of a ravine that our command was climbing which resulted in rupture in right groin. Was treated by S. S. French our Regimental Surgeon. It has always bothered me since. I never was in any Hospital from this cause but was trussed from time to time by Surgeon French, but done my duty as best I could..."

 

The regiment moved to eastern Tennessee by late summer and participated in several engagements. Here, in mid November, they suffered through the hardest march in their experience. "The distance of more than twenty-four miles was made in a little less than twenty-four hours, during eight of which they were constantly under fire, and for two hours were engaged in a desperate struggle with a force fully ten times their own, supplied with artillery and accompanied by cavalry so superior to our own that we were in constant danger of being out-flanked and our line of retreat cut off." For the previous three days the men had been practically without sleep, the night was exceeding dark, every stream was swollen beyond its normal stage and the roads were in such poor condition as to be practically impassable. When they finally reached the safety of Knoxville they fell where they stood, "sleeping the deep sleep of exhaustion." Once safe within the fortifications, the Union forces successfully withstood a two-week siege and repulsed an assault by a numerically superior force of Confederates that outnumbered them more than three to one. In the attack the southerners suffered disproportionately heavy loses, causing them to abandon the siege and retreat back to Virginia.

 

In March 1864, the 9th Corps was transferred back east and arrived in Annapolis on April 7 where the Corps would refit, absorb new regiments and prepare for the spring offensive. Here Ranselus Burlingame had his picture taken. The regiment by this time had been whittled down by hard service. The Regimental History states, "The Twentieth Michigan was a small regiment - not more than 325 guns - but all were veterans and thoroughly drilled." On April 23, 1864 the entire 9th Corps (including the understrength 20th Michigan) set out from Annapolis on foot to join General Grant on the Rapidan in Virginia. The decision to march to the rendezvous with Grant was made for two reasons: "First, it would be a good 'breaking in' of the new regiments who had not seen service; and, second, as the railroad was occupied to its full capacity in getting forward supplies for the campaign, it was really the only available way of getting so large a body of troops to the front." On this same day, Corporal Burlingame was detailed in the Color Guard. Being a member of the Color Guard was considered a position of great honor that was usually reserved for the bravest of the brave, but it also was a position of great danger as well.

 

The 20th Michigan fought through the meat-grinder battles of The Wilderness, and Spottsylvania during Grant's 1864 Overland Campaign. The regiment charged into battle at Spottsylvania on May 12 with about 300 men, but lost 4 officers and 16 enlisted men killed, 2 officers and 102 enlisted men wounded, and 19 men missing. The total loss of 143 officers and men equaled almost 50% of their number, making the day the most costly of the regiment's entire history. Burlingame survived unhurt as the regiment moved on, engaging in heavy skirmishing at the North Anna River and Totopotomy Creek towards the end of the month. June 2nd saw the regiment acting as rearguard as the Federals were leaving their positions about Bethesda Church to move to the vicinity of Cold Harbor, when Confederates attacked. The 20th Michigan stood their ground; even after becoming entirely isolated when both their flanks were exposed as other Federal troops on both right and left abandoned their positions. Colonel Cutcheon's official report was later quoted as saying, "At one time during the fight the regiment (Twentieth Michigan) had not two rounds of ammunition to the man...I cannot but feel that considerable credit is due the regiment for maintaining their ground when their support had been withdrawn from both flanks and their ammunition exhausted." In this affair the regiment lost 3 men killed, 19 wounded and 13 missing.

 

Ranselus Burlingame was one of the wounded. He received a severe gunshot wound to the left forearm. As it passed through, the .58 caliber Minié ball shattered several inches of his ulna, one of the two long bones between his elbow and wrist. He was evacuated to Harwood General Hospital in Washington, DC, where he arrived on June 7. Nothing could be done to salvage the destroyed portion of bone. His treatment included a longitudinal incision of five inches in length so that the surgeons could remove four inches of the fractured bone from the middle third of the ulna, while leaving the radius, the other long bone, largely untouched. On August 12 he was granted a furlough for 45 days to continue his convalescence at home in Michigan. On September 27, at the end of his furlough, he reported to St. Mary's General Hospital in Detroit rather than returning to Washington, DC. The surgeon there wrote to the surgeon in charge at Harwood the following letter to inform them that he would be remaining in Michigan.

 

St. Marys USA Gen'l Hospital

Detroit Mich Sept 28th 1864

Sir

I have the honor to inform you that by order of Surgeon J. H. Ranch USA Supt. of Hospitals for Michigan Corporal R. G. Burlingame Co. "A" 20th Regt. Mich. Vol. Inft. was this day admitted as a patient to this Hospital he being in a condition unfit to travel.

Very Respectfully

Your Obedient Servant

D. O. Fomand

A.A. Surg. USA

In charge Hospital

 

Burlingame remained at St. Mary's until the middle of October when he was transferred to Harper U.S. General Hospital, also in Detroit. Once again he received a furlough, this time from October 25 through November 14, at which time he returned to Harper. At some point during his recuperation gangrene had set in and caused some complications, but eventually was cleared up. However his fighting days were over. On December 5, 1864 Burlingame was discharged from the service on a surgeon’s certificate of disability for wounds received in action; the substantive portion of which said:

 

"I have carefully examined the said Ranselus G. Burlingame of Captain Dewey's Company, and find him incapable of performing the duties of a soldier because of Gun shot fracture of the left ulna middle third, necessitating a resection of three inches of the bone and rendering the hand almost useless. He received this wound while in the line of duty at the battle of Cold Harbor June 2d 1864. He has less than nine months to serve, at present is one half 1/2 disabled and unfit for the V. R. Corps. D.O. Famand A.A. Surgeon USA"

 

In his claim for a disability pension, Burlingame wrote, "I enlisted on Aug. 8th '62 in Co. A 20th Mich. Inf. Was constantly with my command until June 2nd '64 when I was wounded in left fore arm being a case of excision of ulna bone of left fore arm. Had Erysipelas then Gangrene set in eating out elbow joint causing complete ankylosis. The cord of thumb was cut off so that it, the thumb, lays in the hollow of hand. I haven't any strength in the two lower fingers. This is rated as equivalent to loss of hand." And a note in his pension file dated February 27, 1865 noted he was "Wholly incapacitated for obtaining his subsistence by manual labor."

 

After receiving his discharge, Burlingame returned to his home in Michigan where he was reunited with his wife and daughter. Two sons, Ralph born in 1866 and Harry in 1868 did not survive long. But two more daughters (E. Gayle in 1876 and Bertha in 1877) and another son (Ray 1880) were eventually added to the family, leaving a 15 year gap between his oldest daughter Melva and his next surviving child.

 

For the rest of his life, Burlingame's war wound continued to bother him. Due to the ankylosis or fusing and enlargement of the joint his elbow was locked at close to 90 degrees and continued to be tender, stiff and sore. The injured arm was less in size than the other. He had no strength in his little and ring fingers. His thumb lay limp in the palm of his hand where it could neither be flexed or extended, though it was not anchylosed, In fact, his whole arm and hand were distorted and nearly useless. Any attempt to use them was painful. As early as August 1868 a doctor's report stated, "[He] cannot use arm on account of disease in elbow joint & he has now very slight motion of joint. It is equal to the loss of the forearm & I think permanent. Probably after some longer suffering it will have to be amputated above the elbow joint."

 

Almost 30 years later, he was still suffering. Sometime in the 1890s his physician reported, "I have made an examination of Mr. Burlingame and I find almost complete Anchylosis. His arm is of no use to him in performing manual labor. It should have been amputated between the wound & elbow then it would have been of some use, provided no trouble by necrosis had taken place. As it is he has no use of his arm from the fact that now it will have to be amputated above the elbow & is in reality the same as if gone, for it is in the way - (understand me, if amputated at all must be above elbow). Had it have been done in first place, in all probability he could have worn an artificial limb & had some use of it. Now it is crooked & stiff & of no practical use whatever." But Burlingame managed to live with the pain; he never did have his arm amputated.

 

When his wife died in 1914, Burlingame went to live with his oldest daughter and her family in Los Angeles, California. As time went on he needed more and more care due to his disability as well as advancing old age. By the mid 1920s he need constant attention. In the last months of his life he needed more care than Melva, then in her mid 60s, could provide. As Melva stated, "When we could not take care of him longer in the home, we took him to the Soldier's Home at Santelee, May 12th 1925, and buried him last Friday, June 12th 1925." Ranselus Burlingame died on June 9, 1925. He was 86 years old.

 

Brooklyn Daily Eagle Almanac

File name: 10_03_001134a

Binder label: Medical

Title: Carter's Little Liver Pills - sick headache. Biliousness. Constipation. Bad complexion. (front)

Created/Published: N. Y. : Stahl & Clause

Date issued: 1870-1900 (approximate)

Physical description: 1 print : chromolithograph ; 14 x 10 cm.

Subject: Men; Patent medicines

Notes: Title from item. Item verso is blank.

Collection: 19th Century American Trade Cards

Location: Boston Public Library, Print Department

Rights: No known restrictions.

I just got the new #90 Fashionista! She is beautiful, but I'm morally conflicted about her.

 

I already think it was a bad idea to add new lighter & darker skintones when they already ignore the darker & paler skintones they already have. Are we really going to see articulated bodies with these complexions anytime soon? My real issue is that 2 of the new Fashionistas seem to be "inspired" by Malaville Toys. I don't care what anyone says, I am SURE that the new "albino" Fashionista is a copy of Alexa from Malaville Toys. Malaville Toys is a doll company based in South Africa, created by Mala Bryan. Alexa came out in September of last year, but was originally supposed be released in May. There was a lot of positive press around Alexa, and Mala shared plenty of pictures of her newest dolls leading up to the release. One of the characters in the Malaville debut line (Maisha) got a lot of attention when someone criticized the doll as being "too dark" and said that it was probably the least popular and suggested getting rid of her and keeping the other three. Mala Bryan defended her dark skinned doll, who was actually the second best selling in the line, and even made another character with the same skin tone named Viv.

 

Mattel is a huge company and they definitely keep tabs on all of the possible competition. With all of the recent attention Mala Bryan and her dolls have been getting it seems like Mattel has taken noticed and "borrowed" some of her ideas. Mamè has the same skintone as Maisha, and I see other similarities between them. While they don't look exactly alike, the two new Fashionistas are too similar to be a coincidence. I adore Mala Bryan & her dolls, and it's upsetting that a big company like Mattel would step on the heels of a smaller companie's success. While it's great to have more diversity in the doll world, Alexa hasn't even been out for a year and Barbie already has their own version of her. Hasn't Mattel gone after other doll lines for doing something similar?

 

The whole thing just leaves a bitter taste in my mouth. Mala Bryan puts so much love and effort into her dolls. She did her research on Albinism when creating Alexa and wanted to create conversation. Barbie will always be my top doll, but I can't get behind stealing ideas from a creator who put so much effort into building her brand. Sorry for the long rant.

this display constantly evolves - how many cool things can you pick out....

Modèle: Sarah C modèle

Makup: Jessica d'Erfurth l Make-up Artist

Photographe : Digitregards, Photographe Portraitiste Marseille, PACA

© 2017 DigitRegards Photographie

Facebook | Website | 500px | Flickr | My Book

 

The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.

 

GODDESS KALI

Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.

 

ETYMOLOGY

Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli".

 

Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.

 

Kāli's association with darkness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.

 

ORIGINS

Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.

 

According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.

 

WORSHIP AND MANTRA

Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is

 

Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥

 

ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥

 

(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.

 

Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stu‍tē.)

 

YANTRA

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:At the dissolution of things, it is Kāla [Time]. Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art. The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.

 

BENGALI TRADITION

Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.

 

The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:

 

Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]

Were she not merciless, would she kick the breast of her lord?

Men call you merciful, but there is no trace of mercy in you, Mother.

You have cut off the heads of the children of others, and these you wear as a garland around your neck.

It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.

 

To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.

 

A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.

 

In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.

 

In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).

 

LEGENDS

SLAYER AND RAKTABIJA

In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:

 

Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.

 

Kali consumes Raktabija and his duplicates, and dances on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.

  

DAKSHINA KALI

In her most famous pose as Daksinakali, popular legends say that Kali, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.

 

The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist, and Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot

 

on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.

 

If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.

 

One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes pacified.

 

SMASHAN KALI

If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.

 

MATERNAL KALI

At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.

 

MAHAKALI

Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.

 

Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.

 

ICONOGRAPHY

Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.

 

In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.

 

The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.

 

In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj", when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"

 

According to Ramakrishna, darkness is the Ultimate Mother, or Kali:

 

My Mother is the principle of consciousness. She is Akhanda Satchidananda;

indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black.

The waters of the ocean depths are the same; The infinite is always mysteriously dark.

This inebriating darkness is my beloved Kali.

—Sri Ramakrishna

This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.

 

POPULAR FORM

Classic depictions of Kali share several features, as follows:

 

Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head, and a bowl or skull-cup (kapala) catching the blood of the severed head.

 

Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.

 

She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all mantras.

 

She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.

 

Kali as the Symbol of Creation , Freedom , Preservation and Destruction

 

The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.

Kali as the Symbol of Mother Nature

 

The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.

 

SHIVA IN KALI ICONOGRAPHY

In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:

 

Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.

 

The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:

 

Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.

 

This idea has been explored in the Devi-Bhagavata Purana [28] and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.

 

The Tantric interpretation of Kali standing on top of her husband is as follows:

 

The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.

 

While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.

 

To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.

 

From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.

 

Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.

 

Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.

 

DEVELOPMENT

In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.

 

The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.

 

Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.

 

Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.

 

Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.

 

A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.

 

Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.

 

KALI IN NEOPAGAN AND NEW AGE PRACTICE

An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."[60] The adoption of Kali by the West has raised accusations of cultural appropriation:

 

A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.

 

INCARNATIONS OF KALI

Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.

 

WIKIPEDIA

Parvati (Devanagari: पार्वती, IAST: Pārvatī) is known as the motherly form of Mother Goddess Gauri Jagadamba, Parvati is another form of Shakti, the wife of Shiva and the gentle aspect of Maha Devi or Durga, the Great Goddess. Parvati is considered to be a complete incarnation of Adi Parashakti or Goddess Durga, with all other Goddesses being her incarnations or manifestations. Parvati is nominally the second consort of Shiva, the Hindu God of destruction and rejuvenation. However, she is not different from Sati, being the reincarnation of Shiva's first wife. Parvati is the mother of the Gods Ganesha, Kartikeya, Ashoka Sundari. Some communities also believe her to be the sister of Vishnu. She is also regarded as the daughter of King Himavan. Parvati, when depicted alongside Shiva, generally appears with two arms, but when alone, she is depicted having four, eight or ten arms, and is astride on a tiger or lion. Generally considered a benevolent Goddess, Parvati also has wrathful incarnations, such as Durga, Kali, Tara, Chandi, and the Dasha Mahavidyas (ten great wisdoms), Tripur Sundari (Shodashi), Bhuvaneshwari, Bhairavi, Chinnamasta, Dhumavati, Bagla Mukhi, Matangi and Kamala, as well as benevolent forms like Katyayani, Maha Gauri, Kamalatmika, Bhuvaneshwari and Lalita.

 

ETYMOLOGY

Parvata is one of the Sanskrit words for "mountain"; "Parvati" translates to "She of the mountains" and refers to Parvati being born the daughter of Himavan, lord of the mountains and the personification of the Himalayas. Other which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains). Parvati's name is also sometimes considered a form of 'pavitra', meaning 'sinless' or 'holy' in Sanskrit. Her consort is Shiva and she is the sagun swaroop of the Supreme Being Adi Parashakti that is the material form of the supreme power.

 

She is also known by 108 names from the Durga Saptashati. These include Durga (invincible), Shakti (power), Ambika ('dear mother'), Gauri ('fair complexioned'), Bhairavi ('ferocious'), Kali ('dark'), Umā, Lalita, Mataji ('revered mother'), Sahana ('pure'), Maheshwari ('great goddess'). Bhavani, Shivaradni ('Queen of Shiva'), and many hundreds of others. The Lalita sahasranama contains an authoritative listing of 1,000 names of Parvati.

 

Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati in earlier texts, but in the Ramayana, it is used as synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't').

 

The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama is a philosophical matter. It suggests that the one calm and placid wife, Uma, in times of danger, can transfer back to her primal fierce and angry or (sometimes) Maternal nature as Kali, who stands uncloaked, with a foot on her husband's chest. The twin opposite colors, white and black represent the two opposing nature of the Goddess. Parvati is also the goddess of love and devotion, or Kamakshi.

 

GODDESS OF POWER

Parvati is the source of all the powers and weapons. She is the base of all kinds of powers that are used for doing any work. It is also believed that without her, Shiva remains as Shava or Corpse, for she is the ultimate source of power for all beings, gods and Devas. That is why she is considered as goddess of power. According to the Devi Bhagavatam, she is the most powerful of all. When her anger reaches its peak, she can destroy the whole universe in just seconds. Even Trinity i.e. Brahma, Vishnu and Shiva, never try to make her angry at any cost.

 

Sarvarupe Sarveshe Sarvashakti Samanvite Bhayebhyastrahi no devi durge devi namostute

 

It translates to: We bow down to Devi Durga, who is source of all forms (sarvarupe), who is the goddess of all beings (sarveshe), in whom all power exists (Sarvashakti samanvite) and who destroys all fear (bhaye bhyastrai no devi).

 

RISE TO PROMINENCE

Parvati herself does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Both textual and archaeological evidence suggests Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains.

 

Prof. Weber suggests that like Shiva is combination of various Vedic gods Rudra and Agni, the Puranic Parvati is a combination of Uma, Haimavati, Ambika and earlier Parvati, identified as wives of Rudra; of others like Kali, who could be a wife of Agni and of Gauri and others inspired by Nirriti. Tate suggests Parvati is a mixture of the Vedic goddess Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.

 

BIRTH AND MARRIAGE

The Puranas repeatedly tell the tale of Sati's marriage to Shiva against her father Daksha's wishes and her subsequent self-immolation at Daksha's sacrifice, leaving Shiva grief-stricken and having lost interest in worldly affairs. In the Brahma Vaivarta Purana, Sati appears before Shiva, in her divine form, and reassures him that she will return as the daughter of Himavan. Sati is reborn as Parvati, the daughter of Himavat and Minavati, and is named Parvati, 'daughter of Himavant '. Sati, as well as Parvati, are considered manifestations of Mahadevi, the great Goddess. In the Ramayana, the river goddess Ganga is depicted as the elder sister of Parvati. In the Harivamsa, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena perform extreme austerities to appease the goddess Adi Shakti. Pleased with their penance the Adi Shakti agrees to be born as their daughter. When born goddess Parvati has four arms and manifests a divine light which pervades the entire Himalaya region on the auspicious tritiya day. Mena implores to the child to withdraw its four armed form and make herself visible as a two armed normal child to which the goddess agrees and becomes a normal girl child.

 

Parvati is depicted as interested in Shiva's tales and appearance from her very birth and eventually remembering her previous life as Sati. As Parvati grows into a young woman, she begins tapas (austerities) to please Shiva to grant her wish to reunite with him. She is portrayed as surpassing all other ascetics in austerity, undergoing severe mortifications and fasting. Finally, Shiva tests her devotion by appearing himself in disguise to criticize Shiva. Untouched by the act, Parvati retains her desire for Shiva, compelling him to marry her. After the marriage, Parvati moves to Mount Kailash, the residence of Shiva.

 

Kalidasa's epic Kumarasambhavam ("Birth of Kumara") details with matchlessly lyrical beauty the story of the maiden Parvati: her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, the subsequent marriage of Parvati and Shiva, the birth of Kumara, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.

 

MAIN FORMS OF PARVATI

As per devi bhagwata Purana, Goddess Parvati is lineal progenitor of all other goddesses. She is one who is source of all forms of goddesses. She is worshiped as one with many forms and name. Her different mood brings different forms or incarnation.

 

- Durga is demon fighting form of this Goddess, and some texts suggest Parvati took the form of Goddess Durga to kill Demon Durgam.

- Kali is another aspect that was assisted by Goddess Chandi while fighting with rakta bija. She was born from the forehead of the goddess. But many interpretations of scriptures suggests that it was Goddess Chamunda who has gotten same iconography as goddess Kali who is nobody but an aspect of Kali, even Parvati is considered to be Goddess Kali herself in her ferocious form.

- Goddess Chandi is the epithet of Maa Durga, who is created by the collection of all demigods and trimurti power, and then considered to be power of sagun parashakti (Parvati), She is black in color and rides on lion, she is known as the original slayer of Demon Mahishasura, considered to be a form taken by Durga herself.

- Ten Mahavidyas are the ten aspects of Shakti, in tantra all have great importance in majority, they all took birth from Goddess Sati, previous Incarnation of Shakti before Goddess Parvati. There is no difference between Sati and Parvati.

- 52 Shakti Peethas of Sati, proves that all Goddesses are expansions of the Goddess Parvati.

- Nava Durga nine forms of goddess Parvati.

 

SEVERAL INCARNATIONS OF THE GODDESS

- Goddess Meenakshi

- Goddess Kamakshi

- Goddess Lalita, the Original Goddess of Universe, Parvati is referred as her complete incarnation.

- Goddess Akhilandeshwari.

- Goddess Annapurna the representation of all that is complete and of food is Parvati Herself.

- and many others . . .

 

ASSOCIATION WITH SHIVA

Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.

 

Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, represented by Shiva. In classical Hindu mythology, the "raison d’être" of Parvati, and before that of Sati, is to lure Shiva into marriage and thus into a wider circle of worldly affairs.

 

Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.

 

Three images are central to the mythology, iconography and philosophy of Parvati:

 

- The theme of Shiva-Shakti

- The image of Shiva as Ardhanarishvara (the Lord who is half-woman)

- The image of the linga and the yoni

 

These images that combine the two deities, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.

 

The couple are often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash or discussing abstract concepts in Hindu theology. Occasionally, they are depicted as quarrelling. In stories of the birth of Kartikeya, the couple are described as love-making generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.

 

Shaiva approaches tend to look upon Parvati primarily as the Shiva's submissive and obedient wife and helpmate. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage manifests in the form of ten terrifying goddesses who block Shiva's every exit.

 

As the scholar David Kinsley explains:

 

- The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.

 

Aum Girijayai cha vidmahe Shivapriyayai cha dhimahi tanno durgah prachodayat

 

May the goddess Durga, who is the daughter of the mountains and the beloved of lord Shiva illumine me with spiritual wisdom

 

Sarvamangala mangalye shive sarvardha sadhike sharanye tryambake gouri narayani namostute

 

I bow down to and take the refuge of the three eyed Mother Gouri(Parvati) of fair countenance,who is the embodiment of supreme auspiciousness, the giver of all the benedictions,the beloved of Lord Shiva and the power of lord Narayana.

 

RELATIONSHIP TO VISHNU

During the initial stages when Parvathi was performing intense puja to Shiva to obtain Shiva as her husband, Shiva kept testing her by destroying the Shiva lingam she constructed to perform puja. Vishnu then helped in constructing a Shiva lingam for Parvati which was not destroyed by Shiva because of the respect Shiva had towards Vishnu. Thus Vishnu helped Paravthi in continuing her puja for Shiva. This is when Parvathi tied a knot to Vishnu's hand and claimed him as her brother. This is the reason during the marriage of Shiva and Parvathi, Vishnu got involved in all the ceremonies that are supposed to be done by the bride’s brother. This is how Parvati is related to Vishnu as a sister.

 

The interesting story about the relationship between Vishnu and Parvati is more clearly depicted in Markandeya Purana where it is said that Mahalakshmi or Durga was the only one. Then she transforms into Mahakali and Mahasarasvati. After which she ask them to evolve pair. Here Mahalakshmi gives rise to brahma and lakshmi, Mahakali evolved Shiv and Saraswati while Mahasarsvati gave rise to Vishnu and parvati. Then Mahalakshmi ordered rest to interchange pairs for marriage and Shiv was provided with parvati, vishnu with lakshmi and brahma with saraswati. Its quite interesting that Mahasarsvati who is goddess of education gives birth to parvati and vishnu and both of them in future tells Geeta to Himalaya and Arjun respectively.

 

MOTHER OF GANESHA

Though Ganesha considered to be son of Shiva and Parvati, the Matsya Purana, Shiva Purana, and Skanda Purana ascribe the birth of Ganesha to Parvati only, without any form of participation of Shiva in Ganesha's birth.

 

Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated and it started a chain of events leading to war of the entire heavenly kingdom and the lone child. Midst the war, Shiva lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She immediately revealed her true self as Adi Shakti, the primodial power. She called upon the nine forms within her, the nine forms surrounded her. She ordered them to destroy the whole world and if her son does not get back to life, then everyone and everything will be destroyed and demanded that Shiva restore Ganesha's life at once. The Gods prostrated at her feet and an elephant's head was attached to Ganesha's body, bringing him back to life. To appease Parvati further, Shiva declared that the child be made head of the ghost-followers (Gana's)of Shiva and worshipped by everyone before beginning any activity, and gods accepted this condition.

 

Ganesha is identified as a god named after his mother. He is called Umaputra, Parvatisuta, Gaurisuta meaning son of Parvati and Heramba, "mother's beloved (son)".

 

ICONOGRAPHY

Naturally, Parvati’s unique characteristics have become more and more obscured, as she absorbed more and more goddesses into her iconography. Therefore, her depictions have become rather generic today. When shown with Shiva, she carries a blue lotus in full bloom, shows the abhaya mudra (hand gesture of fearlessness) and usually has one of her children on her knee. The only hint of her former occult status is the somewhat languid appearance of her eyes, as one who has recently emerged from deep meditation. Other goddesses are usually shown with large staring eyes as this is considered a mark of beauty. The consorts of the other two Gods of the trinity, Saraswati and Lakshmi, may be depicted alone, but Parvati hasn’t been depicted this way for many centuries.

 

The goddess is usually represented as a fair and beautiful. The colour of her vestments is milk-white, the colour of enlightenment and knowledge. Since white is a combination of all hues it shows that She has all the qualities or Gunas. Since white also depicts huelesness, it indicates that She is devoid of all Gunas. Hence, She is referred to as Trigunatmika (having the three gunas - Sattva, Rajas, and Tamas) - and at the same time being Nirguna (without any gunas). She has three eyes. Her accoutrements tend to be those of a Rishi (seer). She is also usually depicted with jatamukuta or a crown of matted hair, as Shiva is usually depicted. She is also shown as having a crescent moon bound in her locks, like Shiva.

 

Images of Parvati, wearing a sacred thread something not many women are associated with and as this marks the second-birth or dwija it is seems an advanced concept far beyond early pashupatas, and with her hair styled in a top knot like a Rishi (seer) survive into the Chola period (approximately ninth century A.D.). In fact, these two particularities were the only means of distinguishing her statuary from the images of the Goddess Shri of the time.

 

Her Mudras (symbolic hand gestures) are Kataka-fascination and enchantment, Hirana - the antelope, the powers of nature and the elusive, Tarjani - gesture of menace, and Chandrakal - the moon, a symbol of intelligence. Kataka must be affected by one of the foremost hands as it is a means of drawing the worshiper closer. Tarjani must be described with the left hand, which symbolises contempt, and usually in the back set of hands. If Parvati is depicted with two hands, then Tarjani and Chandrakal may be dropped but Hirana and Kataka are signature except in very modern representations, where Abhaya (fearlessness), and Varada, (beneficence), are used.

 

ASSOCIATION WITH OTHER GODDESSES

In several myths, the presence of a dark, violent side of this otherwise benign Parvati is suggested. When approached by the gods to defeat demons, Parvati morphs back to her true self, shakti, which is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible mahakali or Kali. In Linga Purana, Parvati summons Kali on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. She ran around the three worlds in her mad, blind fury and creation was endangered. To lower Kali's rage, Shiva appeared as a crying baby in the middle of a battlefield. The cries of the baby raised the maternal instinct of Kali who started breast-feeding Shiva and resorted back to her benign form as Parvati. Kali is associated and identified with Parvati as Shiva's consort.

 

In Skanda Purana, Parvati is said to have assumed a form of a warrior-goddess and defeated a demon called Durg who assumes the form of a buffalo. Thereafter, she is by the name Durga. In myths relating to her defeat of demons Sumbha and Nisumbha, Durga emerges from Parvati when Parvati sheds her outer sheath, which takes an identity of its own as a warrior goddess.

 

Although Parvati is considered to be synonymous with Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or incarnations originated from different sects, or traditions, and the distinctions from Parvati are pertinent.

 

The Shastras (sanctioned works of religious doctrine) attribute the golden colour of goddess Gauri’s skin and ornaments to the story of Parvati casting off her unwanted dark complexion after Shiva teased her, but the cult of Gauri tells a different story. Gauri is in essence a fertility Goddess, and is venerated as a corn mother which would seem to suggest that she owes her colouring to the hues of ripening grain, for which she is propitiated.

 

So whatever be said, Goddess Parvati has two main forms, what actually shaktas says out of which one is Lalita who is Supreme in Srikula family of shaktism and second one is Durga or kali who is supreme in kalikula family.

 

WORSHIP AND FESTIVALS

The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, ninth of Bhadrapada Shukla paksha. She is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.

 

In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.

 

Another very popular festival in regard to the Mother Parvati is Navratri, in which all her manfestations are worshiped for nine days. Actually the festival is associated with Her warrior appearance is Mother Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kashmunda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.

 

Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. It is believed that Parvati spends a month at her parent's home now. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. Down south in Tamil Nadu and Andhra The Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and the unwidowed women of the family fast for the whole day and prepare sweets and worship the goddess for the well-being of the family.

 

FAMOUS TEMPLES

Annapurneshwari Temple, Cherukunnu, Kannur, Kerala is dedicated to an aspect of Parvati.

 

WIKIPEDIA

 

Parvati (Devanagari: पार्वती, IAST: Pārvatī) is known as the motherly form of Mother Goddess Gauri Jagadamba, Parvati is another form of Shakti, the wife of Shiva and the gentle aspect of Maha Devi or Durga, the Great Goddess. Parvati is considered to be a complete incarnation of Adi Parashakti or Goddess Durga, with all other Goddesses being her incarnations or manifestations. Parvati is nominally the second consort of Shiva, the Hindu God of destruction and rejuvenation. However, she is not different from Sati, being the reincarnation of Shiva's first wife. Parvati is the mother of the Gods Ganesha, Kartikeya, Ashoka Sundari. Some communities also believe her to be the sister of Vishnu. She is also regarded as the daughter of King Himavan. Parvati, when depicted alongside Shiva, generally appears with two arms, but when alone, she is depicted having four, eight or ten arms, and is astride on a tiger or lion. Generally considered a benevolent Goddess, Parvati also has wrathful incarnations, such as Durga, Kali, Tara, Chandi, and the Dasha Mahavidyas (ten great wisdoms), Tripur Sundari (Shodashi), Bhuvaneshwari, Bhairavi, Chinnamasta, Dhumavati, Bagla Mukhi, Matangi and Kamala, as well as benevolent forms like Katyayani, Maha Gauri, Kamalatmika, Bhuvaneshwari and Lalita.

 

ETYMOLOGY

Parvata is one of the Sanskrit words for "mountain"; "Parvati" translates to "She of the mountains" and refers to Parvati being born the daughter of Himavan, lord of the mountains and the personification of the Himalayas. Other which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains). Parvati's name is also sometimes considered a form of 'pavitra', meaning 'sinless' or 'holy' in Sanskrit. Her consort is Shiva and she is the sagun swaroop of the Supreme Being Adi Parashakti that is the material form of the supreme power.

 

She is also known by 108 names from the Durga Saptashati. These include Durga (invincible), Shakti (power), Ambika ('dear mother'), Gauri ('fair complexioned'), Bhairavi ('ferocious'), Kali ('dark'), Umā, Lalita, Mataji ('revered mother'), Sahana ('pure'), Maheshwari ('great goddess'). Bhavani, Shivaradni ('Queen of Shiva'), and many hundreds of others. The Lalita sahasranama contains an authoritative listing of 1,000 names of Parvati.

 

Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati in earlier texts, but in the Ramayana, it is used as synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't').

 

The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama is a philosophical matter. It suggests that the one calm and placid wife, Uma, in times of danger, can transfer back to her primal fierce and angry or (sometimes) Maternal nature as Kali, who stands uncloaked, with a foot on her husband's chest. The twin opposite colors, white and black represent the two opposing nature of the Goddess. Parvati is also the goddess of love and devotion, or Kamakshi.

 

GODDESS OF POWER

Parvati is the source of all the powers and weapons. She is the base of all kinds of powers that are used for doing any work. It is also believed that without her, Shiva remains as Shava or Corpse, for she is the ultimate source of power for all beings, gods and Devas. That is why she is considered as goddess of power. According to the Devi Bhagavatam, she is the most powerful of all. When her anger reaches its peak, she can destroy the whole universe in just seconds. Even Trinity i.e. Brahma, Vishnu and Shiva, never try to make her angry at any cost.

 

Sarvarupe Sarveshe Sarvashakti Samanvite Bhayebhyastrahi no devi durge devi namostute

 

It translates to: We bow down to Devi Durga, who is source of all forms (sarvarupe), who is the goddess of all beings (sarveshe), in whom all power exists (Sarvashakti samanvite) and who destroys all fear (bhaye bhyastrai no devi).

 

RISE TO PROMINENCE

Parvati herself does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Both textual and archaeological evidence suggests Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains.

 

Prof. Weber suggests that like Shiva is combination of various Vedic gods Rudra and Agni, the Puranic Parvati is a combination of Uma, Haimavati, Ambika and earlier Parvati, identified as wives of Rudra; of others like Kali, who could be a wife of Agni and of Gauri and others inspired by Nirriti. Tate suggests Parvati is a mixture of the Vedic goddess Aditi and Nirriti,and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.

 

BIRTH AND MARRIAGE

The Puranas repeatedly tell the tale of Sati's marriage to Shiva against her father Daksha's wishes and her subsequent self-immolation at Daksha's sacrifice, leaving Shiva grief-stricken and having lost interest in worldly affairs. In the Brahma Vaivarta Purana, Sati appears before Shiva, in her divine form, and reassures him that she will return as the daughter of Himavan. Sati is reborn as Parvati, the daughter of Himavat and Minavati, and is named Parvati, 'daughter of Himavant ' . Sati, as well as Parvati, are considered manifestations of Mahadevi, the great Goddess. In the Ramayana, the river goddess Ganga is depicted as the elder sister of Parvati. In the Harivamsa, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena perform extreme austerities to appease the goddess Adi Shakti. Pleased with their penance the Adi Shakti agrees to be born as their daughter. When born goddess Parvati has four arms and manifests a divine light which pervades the entire Himalaya region on the auspicious tritiya day. Mena implores to the child to withdraw its four armed form and make herself visible as a two armed normal child to which the goddess agrees and becomes a normal girl child.

 

Parvati is depicted as interested in Shiva's tales and appearance from her very birth and eventually remembering her previous life as Sati. As Parvati grows into a young woman, she begins tapas (austerities) to please Shiva to grant her wish to reunite with him. She is portrayed as surpassing all other ascetics in austerity, undergoing severe mortifications and fasting. Finally, Shiva tests her devotion by appearing himself in disguise to criticize Shiva. Untouched by the act, Parvati retains her desire for Shiva, compelling him to marry her. After the marriage, Parvati moves to Mount Kailash, the residence of Shiva.

 

Kalidasa's epic Kumarasambhavam ("Birth of Kumara") details with matchlessly lyrical beauty the story of the maiden Parvati: her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, the subsequent marriage of Parvati and Shiva, the birth of Kumara, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.

 

MAIN FORMS OF PARVATI

As per devi bhagwata Purana, Goddess Parvati is lineal progenitor of all other goddesses. She is one who is source of all forms of goddesses. She is worshiped as one with many forms and name. Her different mood brings different forms or incarnation.

 

- Durga is demon fighting form of this Goddess, and some texts suggest Parvati took the form of Goddess Durga to kill Demon Durgam.

- Kali is another aspect that was assisted by Goddess Chandi while fighting with rakta bija. She was born from the forehead of the goddess. But many interpretations of scriptures suggests that it was Goddess Chamunda who has gotten same iconography as goddess Kali who is nobody but an aspect of Kali, even Parvati is considered to be Goddess Kali herself in her ferocious form.

- Goddess Chandi is the epithet of Maa Durga, who is created by the collection of all demigods and trimurti power, and then considered to be power of sagun parashakti (Parvati), She is black in color and rides on lion, she is known as the original slayer of Demon Mahishasura, considered to be a form taken by Durga herself.

- Ten Mahavidyas are the ten aspects of Shakti, in tantra all have great importance in majority, they all took birth from Goddess Sati, previous Incarnation of Shakti before Goddess Parvati. There is no difference between Sati and Parvati.

- 52 Shakti Peethas of Sati, proves that all Goddesses are expansions of the Goddess Parvati.

- Nava Durga nine forms of goddess Parvati.

 

SEVERAL INCARNATIONS OF THE GODDESS

- Goddess Meenakshi

- Goddess Kamakshi

- Goddess Lalita, the Original Goddess of Universe, Parvati is referred as her complete incarnation.

- Goddess Akhilandeshwari.

- Goddess Annapurna the representation of all that is complete and of food is Parvati Herself.

 

And many others.

 

ASSOCIATION WITH SHIVA

Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.

 

Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, represented by Shiva. In classical Hindu mythology, the "raison d’être" of Parvati, and before that of Sati, is to lure Shiva into marriage and thus into a wider circle of worldly affairs.

 

Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.

 

Three images are central to the mythology, iconography and philosophy of Parvati:

 

- The theme of Shiva-Shakti

- The image of Shiva as Ardhanarishvara (the Lord who is half-woman)

- The image of the linga and the yoni

 

These images that combine the two deities, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.

 

The couple are often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash or discussing abstract concepts in Hindu theology. Occasionally, they are depicted as quarrelling. In stories of the birth of Kartikeya, the couple are described as love-making generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.

 

Shaiva approaches tend to look upon Parvati primarily as the Shiva's submissive and obedient wife and helpmate. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage manifests in the form of ten terrifying goddesses who block Shiva's every exit.

 

As the scholar David Kinsley explains:

 

- The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.

 

Aum Girijayai cha vidmahe Shivapriyayai cha dhimahi tanno durgah prachodayat

 

May the goddess Durga, who is the daughter of the mountains and the beloved of lord Shiva illumine me with spiritual wisdom

 

Sarvamangala mangalye shive sarvardha sadhike sharanye tryambake gouri narayani namostute

 

I bow down to and take the refuge of the three eyed Mother Gouri(Parvati) of fair countenance,who is the embodiment of supreme auspiciousness, the giver of all the benedictions,the beloved of Lord Shiva and the power of lord Narayana.

 

RELATIONSHIP TO VISHNU

During the initial stages when Parvathi was performing intense puja to Shiva to obtain Shiva as her husband, Shiva kept testing her by destroying the Shiva lingam she constructed to perform puja. Vishnu then helped in constructing a Shiva lingam for Parvati which was not destroyed by Shiva because of the respect Shiva had towards Vishnu. Thus Vishnu helped Paravthi in continuing her puja for Shiva. This is when Parvathi tied a knot to Vishnu's hand and claimed him as her brother. This is the reason during the marriage of Shiva and Parvathi, Vishnu got involved in all the ceremonies that are supposed to be done by the bride’s brother. This is how Parvati is related to Vishnu as a sister.

 

The interesting story about the relationship between Vishnu and Parvati is more clearly depicted in Markandeya Purana where it is said that Mahalakshmi or Durga was the only one. Then she transforms into Mahakali and Mahasarasvati. After which she ask them to evolve pair. Here Mahalakshmi gives rise to brahma and lakshmi, Mahakali evolved Shiv and Saraswati while Mahasarsvati gave rise to Vishnu and parvati. Then Mahalakshmi ordered rest to interchange pairs for marriage and Shiv was provided with parvati, vishnu with lakshmi and brahma with saraswati. Its quite interesting that Mahasarsvati who is goddess of education gives birth to parvati and vishnu and both of them in future tells Geeta to Himalaya and Arjun respectively.

 

MOTHER OF GANESHA

Though Ganesha considered to be son of Shiva and Parvati, the Matsya Purana, Shiva Purana, and Skanda Purana ascribe the birth of Ganesha to Parvati only, without any form of participation of Shiva in Ganesha's birth.

 

Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated and it started a chain of events leading to war of the entire heavenly kingdom and the lone child. Midst the war, Shiva lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She immediately revealed her true self as Adi Shakti, the primodial power. She called upon the nine forms within her, the nine forms surrounded her. She ordered them to destroy the whole world and if her son does not get back to life, then everyone and everything will be destroyed and demanded that Shiva restore Ganesha's life at once. The Gods prostrated at her feet and an elephant's head was attached to Ganesha's body, bringing him back to life. To appease Parvati further, Shiva declared that the child be made head of the ghost-followers (Gana's)of Shiva and worshipped by everyone before beginning any activity, and gods accepted this condition.

 

Ganesha is identified as a god named after his mother. He is called Umaputra, Parvatisuta, Gaurisuta meaning son of Parvati and Heramba, "mother's beloved (son)".

 

ICONOGRAPHY

Naturally, Parvati’s unique characteristics have become more and more obscured, as she absorbed more and more goddesses into her iconography. Therefore, her depictions have become rather generic today. When shown with Shiva, she carries a blue lotus in full bloom, shows the abhaya mudra (hand gesture of fearlessness) and usually has one of her children on her knee. The only hint of her former occult status is the somewhat languid appearance of her eyes, as one who has recently emerged from deep meditation. Other goddesses are usually shown with large staring eyes as this is considered a mark of beauty. The consorts of the other two Gods of the trinity, Saraswati and Lakshmi, may be depicted alone, but Parvati hasn’t been depicted this way for many centuries.

 

The goddess is usually represented as a fair and beautiful. The colour of her vestments is milk-white, the colour of enlightenment and knowledge. Since white is a combination of all hues it shows that She has all the qualities or Gunas. Since white also depicts huelesness, it indicates that She is devoid of all Gunas. Hence, She is referred to as Trigunatmika (having the three gunas—Sattva, Rajas, and Tamas) - and at the same time being Nirguna (without any gunas). She has three eyes. Her accoutrements tend to be those of a Rishi (seer). She is also usually depicted with jatamukuta or a crown of matted hair, as Shiva is usually depicted. She is also shown as having a crescent moon bound in her locks, like Shiva.

 

Images of Parvati, wearing a sacred thread something not many women are associated with and as this marks the second-birth or dwija it is seems an advanced concept far beyond early pashupatas, and with her hair styled in a top knot like a Rishi (seer) survive into the Chola period (approximately ninth century A.D.). In fact, these two particularities were the only means of distinguishing her statuary from the images of the Goddess Shri of the time.

 

Her Mudras (symbolic hand gestures) are Kataka—fascination and enchantment, Hirana - the antelope, the powers of nature and the elusive, Tarjani - gesture of menace, and Chandrakal - the moon, a symbol of intelligence. Kataka must be affected by one of the foremost hands as it is a means of drawing the worshiper closer. Tarjani must be described with the left hand, which symbolises contempt, and usually in the back set of hands. If Parvati is depicted with two hands, then Tarjani and Chandrakal may be dropped but Hirana and Kataka are signature except in very modern representations, where Abhaya (fearlessness), and Varada, (beneficence), are used.

 

ASSOCIATION WITH OTHER GODDESSES

In several myths, the presence of a dark, violent side of this otherwise benign Parvati is suggested. When approached by the gods to defeat demons, Parvati morphs back to her true self, shakti, which is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible mahakali or Kali. In Linga Purana, Parvati summons Kali on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. She ran around the three worlds in her mad, blind fury and creation was endangered. To lower Kali's rage, Shiva appeared as a crying baby in the middle of a battlefield. The cries of the baby raised the maternal instinct of Kali who started breast-feeding Shiva and resorted back to her benign form as Parvati. Kali is associated and identified with Parvati as Shiva's consort.

 

In Skanda Purana, Parvati is said to have assumed a form of a warrior-goddess and defeated a demon called Durg who assumes the form of a buffalo. Thereafter, she is by the name Durga. In myths relating to her defeat of demons Sumbha and Nisumbha, Durga emerges from Parvati when Parvati sheds her outer sheath, which takes an identity of its own as a warrior goddess.

 

Although Parvati is considered to be synonymous with Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or incarnations originated from different sects, or traditions, and the distinctions from Parvati are pertinent.

 

The Shastras (sanctioned works of religious doctrine) attribute the golden colour of goddess Gauri’s skin and ornaments to the story of Parvati casting off her unwanted dark complexion after Shiva teased her, but the cult of Gauri tells a different story. Gauri is in essence a fertility Goddess, and is venerated as a corn mother which would seem to suggest that she owes her colouring to the hues of ripening grain, for which she is propitiated.

 

So whatever be said, Goddess Parvati has two main forms, what actually shaktas says out of which one is Lalita who is Supreme in Srikula family of shaktism and second one is Durga or kali who is supreme in kalikula family.

 

WORSHIP AND FESTIVALS

The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, ninth of Bhadrapada Shukla paksha. She is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.

 

In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.

 

Another very popular festival in regard to the Mother Parvati is Navratri, in which all her manfestations are worshiped for nine days. Actually the festival is associated with Her warrior appearance is Mother Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kashmunda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.

 

Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. It is believed that Parvati spends a month at her parent's home now. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing.Down south in Tamil Nadu and Andhra The Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and the unwidowed women of the family fast for the whole day and prepare sweets and worship the goddess for the well-being of the family.

 

FAMOUS TEMPLES

Annapurneshwari Temple, Cherukunnu, Kannur, Kerala is dedicated to an aspect of Parvati.

 

WIKIPEDIA

 

This picture appeared in the edition of the Eastern Evening News dated Friday, October 2, 1914. The accompanying caption read:-

 

W. TICE OF SHERINGHAM, one of the Hogue survivors. Although he had served his time in the Navy, he was one of the first to volunteer on the declaration of war. He was picked up after being in the water one and a half hours.

 

There is no match on the Commonwealth War Graves Commission website so seems likely he survived the war.

 

His Register of Seamans’ Services shows that 158800 William John Tice was serving aboard HMS Hogue on the day that she sank.

discovery.nationalarchives.gov.uk/details/r/D6679333

 

The Seamans Register shows that William John Tice was born Gresham, Norfolk on the 7th January 1871. His occupation was Fishmonger. He initially enlisted on the 14th January 1891 for a 12 year term. He was then described as 5 feet 6 and a half inches tall with black hair, blue eyes and a fresh complexion. He extended his engagement on the 4th November 1902, by which stage he had grown to be 5 feet 8 inches.

 

The record of ships he served in and ranks are:-

Pembroke……14/01/91 – 19/01/91……Stoker Cl2

Wildfire……….20/01/91 – 17/04/91……Stoker Cl2

Pembroke……18/04/91 – 08/02/92…….Stoker Cl2

…………..(Stoker from 30/09/91)…………………

Sans Pareil…..09/02/92 – 17/04/95……Stoker

Pembroke II….18/04/95 – 02/10/95……Stoker

Sans Pareil…..03/10/95 – 21/02/98……Stoker

Pembroke……22/02/98 – 09/05/98…….Stoker

Illustrious…….10/05/98 – 30/06/99…….Stoker

Hibernia………01/07/99 – 16/08/99……Stoker

Illustrious…….17/08/99 – 08/06/00…….Stoker

Pembroke……09/06/00 – 28/02/01…….Stoker

…………..(Leading Stoker from 01/11/90)……..

Anson……….01/03/01 – 22/06/02………Leading Stoker 2nd Class

Leith Belhevie.23/06/02 – 17/06/03……..”Btm”

Scotland……..18/06/03 – 08/10/04……..”Btm”

Bridge O’Don…09/10/04 – 27/08/06……”Btm”

Belhelvie……..28/08/06 – 16/04/07…….”Btm”

…………(“Com Btm” from 15/10/06)…………

Eastern Morton..17/04/07 – 16/10/07…..”Com Btm”

Wells……………17/10/07 – 15/07/09…..”Com Btm”

Sheringham……16/07/09 – 18/01/13

………….(P.O.II (CG) from 01/04/10)

He was then pensioned off.

 

He joined the Fleet Reserve on the 4th October 1913. He was mobilised on the 2nd August 1914 and sent to the Hogue, being with her when she sunk on the 22nd September 1914. His rank was then Senior Petty Officer Class II. The rest of his Great War service came under the pay station Pembroke II. He was released from the service on the 27th September 1919.

 

He qualified for a War Gratuity and received the 1914 Star, Victory Medal and British War Medal, having also qualified for Good Conduct Medals during his pre-war service.

 

No match on Picture Norfolk, the County Image Archive.

  

7th January 1871 – Birth????.....................

 

(Sourced from his Register of Seamans’ Services)

 

However the birth of a William John Tice was registered with the Civil Authorities in the Erpingham District of Norfolk, (which included Sheringham and Gresham), in the January to March quarter, (Q1), of 1873. This doesn’t tie in with the age on the Seamans’ Register but it is consistant with the ages shown on the censuses including those when he was serving in the Royal Navy.

 

The baptism of a William John Tice, no date of birth recorded, took place at All Saints, Gresham, on the 2nd March 1873. His parents were Richard, a Shoe maker, and Ellen. The family lived at Gresham.

Source: www.freereg.org.uk/search_records/591be6dcf493fd4f7493a5d...

 

This was the only baptism of a Tice at Gresham in the period 1850 – 1900. I could not track down an obvious church marriage of Richard and Ellen. A Richard Tice married an “Elinor” Wells in the Aylsham District of Norfolk in the Janury to March quarter, (Q1), of 1872.

 

1871 Census of England and Wales

 

As the parents of the William John Tice baptised at Gresham in 1873 did not appear to have married until 1872, I would not expect them to be recorded as a married couple on this census of for there to be any match for William.

 

There is a 19 year old Richard Tice, an unmarried Shoemaker born Sustead, Norfolk, who was recorded living with his parents at a dwelling in that village. There is no obvious match for his future wife Elinor or any potential William Tice.

 

While I am inclined to believe the year of birth of William on his Register of Seamans’ Service record is a most likely a clerical error, there are potentially other scenarios. One that should not be discounted is that William was born in 1871, but with a different surname, his mother a single parent. When his mother married, the child took his new fathers’ surname. This could mean that the mother isn’t Elinor at all. A complication of this is that only with new laws in 1872 did civil registration of births, marriages and deaths become more effective, with fines and court apperances for non-compliance. So pre-1872 absense of a matching birth may simply mean the parent(s) chose not to register him, rather than there was no birth to register, leaving a genealogist trying to prove the proverbial “negative”.

 

1881 Census of England and Wales

 

The most likely match is the 8 year old William John , born Gresham, Norfolk, who was recorded living with his parents at the High Street, Sheringham. On the source I use for census look ups the surname has been transcribed at “Tyer”, but could just as easily be “Tyce” as a result of the census takers handwriting. The parents were Richard, aged 29, a Shoemaker born Sustead, and “Ellena”, (or “Hellena”), aged 29 and born Barningham, Norfolk.

 

As well as William their other children are:-

Rebecca J……aged 7….born North Ormsby, Yorkshire

Robert G……aged 5…..born Great Ormsby, Yorkshire

James ?.........aged 4……born Guisborough, Yorkshire

Earnest A…..aged 1……born Sustead, Norfolk

Arthur R….aged 3 months…born Sustead, Norfolk.

 

1891 Census of England and Wales

 

The 18 year old Stoker William John Tice, born Sheringham, Norfolk, was recorded aboard HMS Wildfire on the night of Sunday, April 5th 1891 when the census was taken. Wildfire was actualy a shore establishment at Sheerness, although it did have a ship of the same name which formed part of the base. The census returns shows the base located in the Sheppey District of Kent. While the location and rank pretty much tie in with his register of seamans’ services, his age and place of birth don’t.

 

His parents were recorded living at a Cottage, on West Cliff, Lower Sheringham. The family has expanded with the addition of daughters Agnes M, (6), Nellie E, (3) and Dorothy E, (1) – all born Sheringham.

 

1895 Marriage………………….

 

The marriage of a William John Tice to a Christiana Lambert was recorded in the Medway District of Kent in the October to December quarter, (Q4), of 1895.

 

1901 Census of England and Wales

 

His service history shows him with HMS Anson at the time the various UK censuses were taken. As such he would have been recorded on the Census of England regardless of where he was in the world, unless he was in an area coverd by another British Empire census.

 

HMS Anson.

 

She was assigned to the Channel Fleet in mid-1889 as a flagship for the fleet's second-in-command. Two years later, the passenger ship SS Utopia sank with the loss of 562 lives after colliding with Anson in the Bay of Gibraltar. In mid-1893, Anson was transferred to the Mediterranean Fleet, subsequently returning home in 1900 when she was assigned to the Reserve Fleet.

 

She returned home and paid off at Devonport in January 1901, re-commissioning for the newly formed Home Fleet in March of the same year. She served as guard ship at Queensferry under Captain William Fisher in 1902, and took part in the fleet review held at Spithead on 16 August 1902 for the coronation of King Edward VII.

Source: en.wikipedia.org/wiki/HMS_Anson_(1886)

 

So either with the Home Fleet or if she taken up her role at Queensferry, it is likely the ship and her crew were in Scottish waters at the time of the Census and so are likely to be detailed on the 1901 Census of Scotland.

 

Working backwards from the details recorded on the 1911 Census of England and Wales, his wife Christiana Tice, was recorded as the married head of the household of one of the two households recorded at 60 Saunders Street, Gillingham. She was then aged 24 and was shown as born Chatham, Kent. Living with her are her two sons, William, (3) and George, (2), both born Gillingham. Being recorded as head of the household doesn’t automatically mean she and William were estranged at this time. It was quite common practice in coastal locations where many of the men folk worked away at sea for long periods for the woman to be recorded as the head.

  

1911 Census of England and Wales

 

The 38 year old William J. Tice, a Royal Navy Coastguard born Gresham, Norfolk was recorded as the married head of the household at the Coast Guard, West End, Sheringham. He lived there with his wife of 15 years, Christiana, (aged 34 and born Luton “Kent”). So far the couple have had two children, who were then both still alive and living with them. They were:-

William S.R. Tice…….aged 13…….born Gillingham, Kent

George R. Tice………..aged 12……born Gillingham, Kent

 

Until September 1911 the quarterly index published by the General Registrars Office did not show information about the mothers’ maiden name. A check of the General Registrars Office Index of Birth for England and Wales 1911 – 1983 shows no likely additional children of William and Christiana.

  

On the day – 22nd September 1914…………………

 

The Action of 22 September 1914 was a German U-boat ambush that took place during the First World War, in which three obsolete Royal Navy cruisers, manned mainly by reservists and sometimes referred to as the livebait squadron, were sunk by a German submarine while on patrol.

 

Approximately 1,450 sailors were killed and there was a public outcry in Britain at the losses. The sinkings eroded confidence in the British government and damaged the reputation of the Royal Navy, at a time when many countries were still considering which side they might support in the war.

 

The cruisers were part of the Southern Force (Rear-Admiral Arthur Christian) composed of the flagship Euryalus, the light cruiser Amethyst and the 7th Cruiser Squadron (7th CS, also known as Cruiser Squadron C, Rear-Admiral H. H. Campbell), comprising the Cressy-class armoured cruisers Bacchante, Aboukir, Hogue and Cressy, the 1st and 3rd Destroyer flotillas, ten submarines of the 8th Oversea Flotilla and the attached Active-class scout cruiser, HMS Fearless. The force was assigned patrol duties in the North Sea, supporting destroyers and submarines of the Harwich Force to guard against incursions by the Kaiserliche Marine (Imperial German Navy) into the English Channel.

 

Although concerns had been expressed about the vulnerability of these ships, particularly to attack by more modern German cruisers, no changes had been made before the events of 22 September; there was less concern about submarine attacks. The War Orders of 28 July 1914, which conformed to pre-war assumptions about attacks by destroyers rather than submarines, had not been modified. The orders required the ships to patrol the area "south of the 54th parallel clear of enemy torpedo craft and destroyers" with the support of Cruiser Force C, during the day. The Harwich Patrol was given two patrol areas, at the Dogger Bank and further south in the Broad Fourteens; usually three of the cruisers were to the north, closer to the Dogger Bank and sailed south during the night. The cruisers shifted area to the Broad Fourteens and reinforced the fourth cruiser there during troops movements from Britain to France. Heading south meant sailing towards German bases and becoming more vulnerable to submarine attack

 

The U-boat was treated equally lightly by the Imperial German Navy; in the first six weeks of the war, the U-boat arm had lost two boats and seen little result for their effort. On the morning of 22 September, U-9 (Kapitänleutnant Otto Weddigen) passed through the Broad Fourteens on her way back to base. On 16 September, Christian had been allowed to keep two cruisers to the north and one at the Broad Fourteens but had kept them together in a central position, able to support operations in both areas. Next day, the destroyer escorts had been forced to depart by heavy weather, which continued so bad that neither patrol could be reformed. The Admiralty ordered that the ships were to cancel the Dogger Patrol and cover the Broad Fourteens until the weather abated. On 20 September, Euryalus returned to port to re-fuel and by 22 September, Aboukir, Hogue and Cressy were on patrol under the command of Captain J. E. Drummond of Aboukir.

 

At 06:00 on 22 September, the weather had calmed and the ships were patrolling at 10 knots (19 km/h; 12 mph), line abreast, 2 nmi (3.7 km; 2.3 mi) apart. Lookouts were posted for submarine periscopes or ships and one gun either side of each ship was manned. U-9 had been ordered to attack British transports at Ostend but had been forced to dive and shelter from the storm. On surfacing, she spotted the British ships and moved to attack.

 

At 06:20, the submarine fired a torpedo at the nearest ship from a range of 550 yd (500 m) and struck Aboukir on the starboard side, flooding the engine room and causing the ship to stop immediately. No submarines had been sighted, so Drummond assumed that the ship had hit a mine and ordered the other two cruisers to close in to help. After 25 minutes, Aboukir capsized and sank five minutes later. Only one boat could be launched, because of damage from the explosion and the failure of steam-powered winches needed to launch them.

 

U-9 rose to periscope depth from her dive after firing the torpedo, to observe two British cruisers engaged in the rescue of men from the sinking ship. Weddigen fired two more torpedoes at Hogue, from 300 yd (270 m). As the torpedoes left the submarine, her bows rose out of the water and she was spotted by Hogue, which opened fire before the submarine dived. The two torpedoes struck Hogue; within five minutes, Captain Wilmot Nicholson gave the order to abandon ship and after 10 minutes she capsized before sinking at 07:15.

 

Watchers on Cressy had seen the submarine, opened fire and made a failed attempt to ram, then turned to pick up survivors. At 07:20, U-9 fired two torpedoes toward Cressy from her stern torpedo tubes at a range of 1,000 yd (910 m). One torpedo missed, so the submarine turned and fired her remaining bow torpedo at 550 yd (500 m). The first torpedo struck the starboard side at around 07:25, the second the port beam at 07:30. The ship capsized to starboard and floated upside down until 07:55. Two Dutch sailing trawlers in the vicinity declined to close with Cressy for fear of mines.

 

Distress calls had been received by Commodore Tyrwhitt, who, with the destroyer squadron, had already been at sea returning to the cruisers, now that the weather had improved. At 08:30, the Dutch steamship Flora approached the scene (having seen the sinkings) and rescued 286 men. A second steamer—Titan—picked up another 147. More were rescued by the two Lowestoft sailing trawlers Coriander and J.G.C., before the destroyers arrived at 10:45, 837 men were rescued while 1,397 men and 62 officers—mostly part-time men from the Royal Naval Reserve rather than regular sailors—had been killed. The destroyers began a search for the submarine, which had little electrical power remaining to travel underwater and could only make 14 knots (26 km/h; 16 mph) on the surface. The submarine submerged for the night before returning home the next day.

en.wikipedia.org/wiki/Action_of_22_September_1914

  

Postscript…………………….

 

The death of a William J Tice, aged 53, was recorded in the Medway District of Kent in the July to September quarter, (Q3), of 1934.

 

The 1934 Probate Calendar records that a William John Tice, of Christiana Lodge, Maidstone Road, Rainham, Kent, died on the 7th September 1934 at the Royal Naval Hospital, Gillingham, Kent. Probate was granted at the London Court on the 3rd December 1934 to Christiana Tice, widow.

probatesearch.service.gov.uk/Calendar#calendar

  

Mildly photoshopped to minimise impact of damage present on the original image.

Better complexion for the lingerie?

To the dear memory of

ROBERT CRANE CLAXTON

Beloved husband of

ELIZABETH CLAXTON

Died March 13th 1928,

Aged 80 years.

 

I head the voice of Jesus say,

Come unto me and rest.

 

Also in memory of

their dear son

THOMAS KILWICH CLAXTON

Sapper 250th Mining Company

R.E.B.E.F.

Died in Etaples Hospital from

wounds received on Menin Road

September 22nd and buried in

Cemetery there October 4th 1917.

Aged 34 years.

 

CLAXTON, THOMAS KILWICK

Rank:…………………......Sapper

Service No:…………….156345

Date of Death:……….04/10/1917

Regiment:………………Royal Engineers

…………………………......250th Tunnelling Coy.

Grave Reference:…XXVII. E. 9.

Cemetery:……………..ETAPLES MILITARY CEMETERY

CWGC: www.cwgc.org/find-war-dead/casualty/499954/CLAXTON,%20THO...

 

SDGW records that Sapper Thomas Kilwick Claxton Died of Wounds on the 4th October 1917 whilst serving with the 250th Tunnelling Company, Royal Engineers. He was born and enlisted Lowestoft. No place of residence is shown.

 

The Medal Index Card for Sapper 156345 Thomas K Claxton, Royal Engineers, is held at the National Archive under reference WO 372/4/153785

He had previously been Private 3/9504 in the Suffolk Regiment.

discovery.nationalarchives.gov.uk/details/r/D1833410

 

Some of his Army Service Records survived the burning down in the Blitz of the Warehouse where they were all stored, although they are burnt and torn and water damaged.

 

He enlisted on the 29th August 1914, embarked for France on the 7th October 1914, joining up with the 2nd Suffolks on the 5th November 1914. His Suffolk Serial number looks like 3/9564, although its heavily faded. At his medical at Bury St Edmunds on the 30th August 1914 he was recorded as 31 years and 2 months old, 5 feet 11.5 inches tall, weighed 163lbs, and had a fair complexion with Green eyes and light brown hair. There were no distinguishing marks.

 

His marriage to Alice Maud Davis, spinster, has been recorded, but the section relating to where and when has been ripped. The couple have two children recorded.

Thomas Llewellyn born 24th May 1909 at Lowestoft. Baptised Lowestoft 17th June-99(?)

(Thomas’ birth was originally recorded as 1899 but that was amended)

Robert Henry born 5th May 1912 at Lowestoft. Baptised Lowestoft 15th June 1912.

 

He was wounded in action on the 18th September 1915, receiving a Gun Shot Wound to his Left Hand and ??? – (the next entries of his service record have been subject to water damage, probably from the fire-fighting). He was admitted first to 52 Field Ambulance, then 7(?) Field Ambulance and the 50th Casualty Clearing Station. He was in the UK from the 21st October 1915 to the 25th October 1915 before returning to France. The next entries in the location column are difficult to make out, best guess would be that he rejoined the Battalion but was then attached to another unit, possibly a Tunnelling Company. In a note dated 13th February 1916 he rejoined the 2nd Suffolks.

 

In a note dated 30th April he was attached to the 250th Tunnelling Company R.E. effective 23rd April 1916. He was subsequently transferred to the Royal Engineers, although this was backdated to the 9th April 1916. His formal transfer request gives his civilian occupation as “Excavator”.

 

He was “re-mustered”as a Tunneller on the 23rd June 1916 downgraded to Tunnellers Mate on the 22nd September 1916, (“for laziness”), and then Tunneller again on the 7th December 1916. He received his mortal wounds, recorded as Gun Shot Wounds to the Back and a Compound fracture of the left femur on the 22nd September 1917. He died at No.7 Canadian General Hospital on the 4th October 1917.

 

His personal effects were to be sent to Mrs Alice M. Claxton, of Exhibition Stores, 87 High Street, Lowestoft according to a memo dated 26th March 1918.

 

A pension was awarded to Harrys’ widow and two children.

 

At the end of the War the Government decided to pay a War Gratuity to all men who had seen active service. In the case of Thomas this involved sending Army Form W.5080 to the last known next of kin, asking for details of surviving relatives following the current priority list for inheritance.

 

Alice Maud, his widow, completed the form in March 1920. The form has suffered considerably from water damage and fading. She was still living at 87 High Street, Lowestoft. The couple had three children who were still alive – Robert Henry, (born May 1912), Thomas Llewellyn, (born May 1909) and Elsie May, (born September 1889). Obviously that last date at first glance does not make sense.

 

Thomas’ father was Robert Crane Claxton. He and his wife Elizabeth live at 37 Crown Street, Lowestoft.

 

The section for Harrys’ brothers is just about readable. They were Albert William, (?), aged 44, of 139 Gipsy Road, Norwich and William (?) Henry (?), aged 28, of 19 Yale Road, New Barsford(?). I think there are 5 sisters but other than the age of the oldest being 42, the rest is indecipherable.

 

The 1918 Probate Calendar records that Thomas Kilwick Claxton, of 87 High Street, Lowestoft, Sapper 156345 of the 250th Tunnelling Company, Royal Engineers, died at Etaples in France on the 4th October 1917. Administration of his estate was awarded at the Ipswich Court on the 27th March 1918 to a widow, Alice Maud Claxton. His effects were valued at £65 19d 1d.

probatesearch.service.gov.uk/Calendar?surname=Claxton&amp...

 

From the Norwich Mercury Births, Deaths and Marriages column, Saturday, October 20, 1917.

 

DIED OF WOUNDS

 

CLAXTON – In loving memory of Sapper T.K.Claxton, R.E. Thomas Claxton, the dearly beloved husband of Maud Claxton, Exhibition Stores, Lowestoft, who died of wounds, October 4th 1917.

 

“ He (????) beside his comrades,

In hallowed graves unknown,

But his name is written in letters of love,

In the hearts he left at home.”

 

From his sorrowing Wife and Children, Father and Mother, Sisters and Brothers.

 

1883 – Birth

 

The birth of a Thomas Kilwick Claxton was recorded in the July to September quarter, (Q3), of 1883 in the Mutford District of Suffolk.

 

1891 Censuses of England & Wales and Scotland

 

I could not initially find Thomas on this census, but having found in 1901 and 1911 it proved possible to track him – the Genealogy site I use has mistranscribed him and his family as having the surname “Clayton”.

 

Parents are Robert, (aged 43, a Coal Dealer, born Lowestoft) and Elizabeth, (aged 39, born Lowestoft). Children living with them at this time are:-

Robert…..aged 15...born Lowestoft…Post Errand Boy

Ellen…….aged 13..born Lowestoft

Elizabeth..aged 11..born Lowestoft

Gertrude…aged 10..born Lowestoft

Thomas….aged 7…born Lowestoft

May……..aged 5....born Lowestoft

Maud……aged 2…born Lowestoft

 

The most likely match for his future wife is a 10 year old Alice M Davis, born Lowestoft, who was recorded living at 37 Seago Street, Lowestoft. This was the household of her parents Henry, (45, a Mariner, born Kessingland, Suffolk) and Emma, (45, born Halesworth, Suffolk). As well as Alice the couple have 4 other children living with them

 

Alice is probably also on the 1881 census. Aged 8 months she was living, along with her twin sister Ethel as 45 Raglan Street West, Lowestoft. The adult in the household is her married mother Emma, (aged 35, born Halesworth). Emma give her relationship to the head of the household as Wife and her occupation looks like Sailors Wife, although this has been scored through probably by the census enumerator – this has been done for two other entries by women on the same page where they have made similar statements in the occupation column.

 

1901 Censuses of England & Wales and Scotland

 

The 17 year old Thomas Claxton, born Lowestoft and a Coal Dealer, was recorded living at 121 Wollaston Road, Lowestoft. This was the household of his parents, Robert, (aged 53, Coal Dealer, born Lowestoft) and Elizabeth, (aged 49, born Lowestoft). As well as Thomas their other children living with them are:-

Robert……aged 25……born Lowestoft….Groom

Gertrude…aged 20…….born Lowestoft

Thomas…..aged 17……born Lowestoft

May………aged 15……born Lowestoft

Maud……..aged 12……born Lowestoft

William…..aged 8……..born Lowestoft

 

The 20 year old Alice Maud Davis, single and a Dressmaker working at home, was still recorded living with her parents Henry, (55, Mariner employed by J J Colman) and Emma, (55), at 37 Seago Street, Lowestoft. Henry and Emma have four other unmarried children living with them and a grand-daughter, “Elsea” Davis, aged 19 months and born Lowestoft.

 

1908 – Marriage

 

The marriage of a Thomas Kilwick Claxton to an Alice Maud Davis was recorded in the Mutford District of Suffolk in the July to September quarter, (Q3), of 1908.

 

24th May 1909 – birth of son Thomas Llewellyn

 

(Source – Army Service records)

 

The birth of a Thomas Llewellyn Claxton was recorded in the Mutford District in the April to June quarter, (Q2), of 1909.

 

1911 Census of England and Wales

 

The 27 year old Thomas Kilwick Claxton, a married Seaman in the Coal Trade(?), was recorded as the head of the household at 22 Avondale Road, Lowestoft. He lives there with his wife Alice Maud, (aged 30, born Lowestoft). The couple state they have been married 2 years and have had just the one child, but two are recorded living with them. The eldest is Elsie Mary Claxton, aged 11 and born Lowestoft. The youngest is Thomas Llewellyn Claxton, aged 1 and born Lowestoft.

 

His widowed mother Elizabeth, (59), was recorded as the head of the household at 121 Wollaston Road, Lowestoft. She states she was married 36 years and has had 8 children, all then still alive. Still single and living with her are Gertrude, (30, Fishing Net Mender), Maud, (22, Tailoress), and William, (18, Printer).

 

Post August 1911 it had become compulsory when registering the birth of a child with the Civil Authorities in England and Wales to also record the mothers maiden name. A check of the General Registrars Office Index of Births for England and Wales produces just the one likely additional child – a Robert H Claxton, mothers maiden name Davis, whose birth was registered in the Mutford District in the April to June quarter, (Q2), of 1912. This would tie in with the Robert Henry who was born 5th May 1912 according to his fathers service records.

 

On the day

 

We know from his Service record that he received his mortal wounds, recorded as Gun Shot Wounds to the Back and a Compound fracture of the left femur on the 22nd September 1917.

 

250th Tunnelling Company, Royal Engineers was formed in Rouen in October 1915. They dug the deep-level mines at Petit Bois, Peckham and Spanbroekmolen under the Messines Ridge and sucessfully detonated their mines at 3.10am on the 7th of June 1917.

www.plugstreet-archaeology.com/250TunnellingCoyRE.php

en.wikipedia.org/wiki/250th_Tunnelling_Company

www.longlongtrail.co.uk/army/regiments-and-corps/the-corp...

 

After the blowing of the tunnels under the Messines Ridge, the offensive and defensive tunnelling war practically came to an end. While there was still work to do in terms of building deep-dug-outs, the book Armageddon’s Walls: British Pill Boxes 1914-1918 makes reference to the 250th Tunnelling Company being utilised in the building of these from pre-fabricated sections in late 1917 \ early 1918.

books.google.co.uk/books?id=jmttBQAAQBAJ&pg=SL1-PA29&...

 

Photo shoot meet-up with a model from model mayhem

  

Vishnu (/ˈvɪʃnuː/; Sanskrit: Viṣṇu) is a popular Hindu deity, the Supreme God of Vaishnavism (one of the three principal denominations of Hinduism) and one of the three supreme deities (Trimurti) of Hinduism. He is also known as Lord Narayana and Lord Hari. As one of the five primary forms of God in the Smarta tradition, He is conceived as "the Preserver or the Protector" within the Trimurti, the Hindu Trinity of the divinity.

 

In Hindu sacred texts, Vishnu is usually described as having dark complexion of water-filled clouds and as having four arms. He is depicted as a blue being, holding a padma (lotus flower) in the lower left hand, the Kaumodaki gada (mace) in the lower right hand, the Panchajanya shankha (conch) in the upper left hand and the discus weapon Sudarshana Chakra in the upper right hand.

 

Adherents of Hinduism believe Vishnu's eternal and supreme abode beyond the material universe is called Vaikuntha, which is also known as Paramdhama, the realm of eternal bliss and happiness and the final or highest place for liberated souls who have attained Moksha. Vaikuntha is situated beyond the material universe and hence, cannot be perceived or measured by material science or logic. Vishnu's other abode within the material universe is Ksheera Sagara (the ocean of milk), where he reclines and rests on Ananta Shesha, (the king of the serpent deities, commonly shown with a thousand heads). In almost all Hindu denominations, Vishnu is either worshipped directly or in the form of his ten avatars, the most famous of whom are Rama and Krishna.

 

The Puranabharati, an ancient text, describes these as the dashavatara, or the ten avatars of Vishnu. Among the ten described, nine have occurred in the past and one will take place in the future as Lord Kalki, at the end of Kali Yuga, (the fourth and final stage in the cycle of yugas that the world goes through). These incarnations take place in all Yugas in cosmic scales; the avatars and their stories show that gods are indeed unimaginable, unthinkable and inconceivable. The Bhagavad Gita mentions their purpose as being to rejuvenate Dharma, to vanquish those negative forces of evil that threaten dharma, and also to display His divine nature in front of all souls.

 

The Trimurti (three forms) is a concept in Hinduism "in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahma the creator, Vishnu the maintainer, preserver or protector and Shiva the destroyer or transformer." These three deities have also been called "the Hindu triad" or the "Great Trinity", all having the same meaning of three in One. They are the different forms or manifestation of One person the Supreme Being or Narayana/Svayam Bhagavan.

 

Vishnu is also venerated as Mukunda, which means God who is the giver of mukti or moksha (liberation from the cycle of rebirths) to his devotees or the worthy ones who deserve salvation from the material world.

 

ETYMOLOGY

The traditional explanation of the name Vishnu involves the root viś, meaning "to settle" (cognate with Latin vicus, English -wich "village," Slavic: vas -ves), or also (in the Rigveda) "to enter into, to pervade," glossing the name as "the All-Pervading One". Yaska, an early commentator on the Vedas, in his Nirukta, (etymological interpretation), defines Vishnu as viṣṇur viṣvater vā vyaśnoter vā, "one who enters everywhere". He also writes, atha yad viṣito bhavati tad viṣnurbhavati, "that which is free from fetters and bondages is Vishnu".

 

Adi Shankara in his commentary on the Sahasranama states derivation from viś, with a meaning "presence everywhere" ("As he pervades everything, vevesti, he is called Vishnu"). Adi Shankara states (regarding Vishnu Purana, 3.1.45): "The Power of the Supreme Being has entered within the universe. The root viś means 'enter into'." Swami Chinmayananda, in his translation of Vishnu Sahasranama further elaborates on that verse: "The root vis means to enter. The entire world of things and beings is pervaded by Him and the Upanishad emphatically insists in its mantra 'whatever that is there is the world of change.' Hence, it means that He is not limited by space, time or substance. Chinmayananda states that, that which pervades everything is Vishnu."

 

SACRET TEXTS - SHRUTI & SMRITI

Shruti is considered to be solely of divine origin. It is preserved as a whole, instead of verse by verse. It includes the four Vedas (Rigveda, Yajurveda, Samaveda and Atharvaveda) the Brahmanas, the Aranyakas and the Upanishads with commentaries on them.

 

Smṛti refers to all the knowledge derived and inculcated after Shruti had been received. Smrti is not 'divine' in origin, but was 'remembered' by later Rishis (sages by insight, who were the scribes) by transcendental means and passed down through their followers. It includes the Bhagavata Purana and the Vishnu Purana which are Sattva Puranas. These both declare Vishnu as Para Brahman Supreme Lord who creates unlimited universes and enters each one of them as Lord of Universe.

 

SHRUTI

 

VAISHNAVA CANON

The Vaishnava canon presents Vishnu as the supreme being, rather than another name for the Sun God, who also bore the name Suryanarayana and is considered only as a form of Vishnu.

 

VEDAS

In the Yajur Veda, Taittiriya Aranyaka (10-13-1), Narayana suktam, Lord Narayana is mentioned as the supreme being. The first verse of Narayana Suktam mentions the words "paramam padam", which literally mean "highest post" and may be understood as the "supreme abode for all souls". This is also known as Param Dhama, Paramapadam, or Vaikuntha. Rig Veda 1:22:20a also mentions the same "paramam padam". This special status is not given to any deity in the Vedas apart from Lord Vishnu/Narayana.[citation needed] Narayana is one of the thousand names of Vishnu as mentioned in the Vishnu Sahasranama. It describes Vishnu as the All-Pervading essence of all beings, the master of - and beyond - the past, present and future, one who supports, sustains and governs the Universe and originates and develops all elements within. This illustrates the omnipresent characteristic of Vishnu. Vishnu governs the aspect of preservation and sustenance of the universe, so he is called "Preserver of the universe".

 

Vishnu is the Supreme God who takes manifest forms or avatars across various ages or periods to save humanity from evil beings, demons or Asuras. According to the extant Hindu texts and traditions, Lord Vishnu is considered to be resident in the direction of the "Makara Rashi" (the "Shravana Nakshatra"), which is about coincident with the Capricorn constellation. In some of the extant Puranas, and Vaishnava traditions, Vishnu's eye is considered to be situated at the infinitely distant Southern Celestial Pole.

 

Following the defeat of Indra and his displacement as the Lord of Heaven or Swarga, Indra asks Lord Vishnu for help and thus Lord Vishnu takes his incarnations or avatars to Earth to save mankind, thus showing his position as Supreme God to all of creation.

 

In the Puranas, Indra frequently appears proud and haughty. These bad qualities are temporarily removed when Brahma and/or Shiva give boons to Asuras or Rakshasas such as Hiranyaksha, Hiranyakashipu and Ravana, who are then able to defeat Indra in wars between Devas and Asuras. The received boons often made Asuras virtually indestructible.

 

Indra has no option but to seek help from Vishnu. Indra prays before Vishnu for protection and the Supreme Lord obliges him by taking avatars and generating himself on Earth in various forms, first as a water-dweller (Matsya, fish), then as an amphibious creature (Kurma avatar or Tortoise), then as a half-man-half-animal (Varaha the pig-faced, human-bodied Lord, and Narasimha the Lord with lion's face and claws and a human body). Later, Vishnu appears as human beings (Vamana the short-heighted person), Parashurama, Rama, Krishna, Buddha and finally as Kalki for performing his task of protecting his devotees from demons and anti-religious entities.

 

Vishnu's supremacy is attested by his victories over those very powerful entities. It is further attested by the accepted iconography and sculptures of Vishnu in reclining position as producing Brahma emerging from his navel. Brahma the creator is thus created in turn by Vishnu out of his own person. Instead Vishnu takes various avatars to slay or defeat those demons. But it is to be noted that Vishnu also provided boons to Akupresura, a bear faced demon who was destroyed by Lord Shiva.

 

Vishnu's actions lowered Indra's ranking among Hindu deities and led to the ascendancy of Vishnu.

 

Few temples are dedicated to the Sun or Suryanarayana, nor indeed Indra, nor does Indra figure largely in the Hindu religion.

 

Indra is almost completely absent from the deities considered as the chief or most important deity.

 

RIGVEDA

In the Rigveda, Vishnu is mentioned 93 times. He is frequently invoked alongside other deities, especially Indra, whom he helps in killing Vritra and with whom he drinks Soma. His distinguishing characteristic in the Vedas is his association with light. Two Rigvedic hymns in Mandala 7 are dedicated to Vishnu. In 7.99, Vishnu is addressed as the god who separates heaven and earth, a characteristic he shares with Indra.

 

The Rig Veda describes Vishnu as younger brother to Indra as Vamana. In Vaishnava canon the 'Vishnu' who is younger brother to Indra is identified as Vamana, Avatar of Vishnu, hence referred to as Vishnu by Vaishnavites. Vishnu is the Supreme God who lives in the highest celestial region, contrasted against those who live in the atmospheric or terrestrial regions. Vishnu is content with mere prayer, unlike almost all of the other gods who receive sacrificial offerings such as Havis, which is given using clarified butter, or Soma. Later foreign translators have view that Vedas place Indra in a superior position to Vishnu's Avatar of Vamana but in fact Vamana helps Indra by restoring his Kingdom.

 

An alternate translation is provided by Wilson according to Sayana:

 

When Thy (younger brother) Viṣṇu (Vamana) by (his) strength stepped his three paces, then verily thy beloved horses bore thee. (Rigveda 8:12:27)

 

Wilson mentions Griffith's possible translation as a footnote. However the following verse from Rigveda renders the above translation by Wilson more probable.

 

Him whose three places that are filled with sweetness, imperishable, joy as it may list them, Who verily alone upholds the threefold, the earth, the heaven, and all living creatures. (Rig veda 1:154:4)

 

Wilson offers an alternate translation for Rigveda 10:113:2:

 

Viṣṇu offering the portion of Soma, glorifies by his own vigor that greatness of his. Indra, the lord of heaven, with the associated gods having slain Vritra, became deserving of honour. (Rigveda 10:113:2)

 

This verse sees Vishnu as one who is glorified by his own strength, while Indra became deserving of honor after having slain Vritra only in association with other gods.

 

However Vishnu's praise for other gods does not imply worship. Wilson translates:

 

Viṣṇu, the mighty giver of dwellings praises thee, and Mitra and Varuna; the company of Maruts imitates thee in exhilaration. (Rigveda 8:15:9) (page 280)

 

The following verses show categorically Vishnu as distinguished from other gods in Rigveda.

 

He who presents (offering) to Viṣṇu, the ancient, the creator, the recent, the self-born; he who celebrates the great birth of that mighty one; he verily possessed of abundance, attains (the station) that is to be sought (by all). (Rigveda 1:156:2) (page 98)

 

No being that is or that has been born, divine Viṣṇu, has attained the utmost limit of thy magnitude, by which thou hast upheld the vast and beautiful heaven, and sustained the eastern horizon of Earth.(Rigveda 7:99:2) (page 196)

 

The divine Viṣṇu, the best of the doers of good deeds, who came to the pious instituter of rite (Indra), to assist (at its celebration), knowing (the desires of the worshiper), and present at the three connected period (of worship), shows favor to the Arya, and admits the author of the ceremony to a share of the sacrifice. (Rigveda 1:156:5) (page 99)

 

Jan Gonda, the late Indologist, states that Vishnu, although remaining in the background of Indra's exploits, contributes by his presence, or is key to Indra's success. Vishnu is more than a mere companion, equal in rank or power to Indra, or sometime the one who made Indra's success possible.

 

Descriptions of Vishnu as younger to Indra are found in only the hymns to Indra, but in a kathenotheism religion like that of the Rigveda, each god, for a time, is supreme in the mind of the devotee.

 

In the Rig Vedic texts, the deity or god referred to as Vishnu is the Sun God, who also bears the name 'Suryanarayana'. By contrast, the 'Vishnu' referred to in 'Vishnu Purana', 'Vishnu Sahasranamam' and 'Purusha Sooktham' is Lord Narayana, the Consort of Lakshmi. Vaishnavites make a further distinction by extolling the qualities of Vishnu by highlighting his differences from other deities such as Shiva,[citation needed] Brahma or Surya.

 

THREE STEPS

Hymn 7.100 refers to the celebrated 'three steps' of Vishnu (as Trivikrama) by which he strode over the universe and in three places planted his step. The 'Vishnu Suktam' (RV 1.154) says that the first and second of Vishnu's strides (those encompassing the earth and air) are visible to men and the third is in the heights of heaven (sky). This last place is described as Vishnu's supreme abode in RV 1.22.20:

 

The princes evermore behold / that loftiest place where Vishnu is / Laid as it were an eye in heaven.(trans. Griffith)

 

Griffith's "princes" are the sūri, either "inciters" or lords of a sacrifice, or priests charged with pressing the Soma. The verse is quoted as expressing Vishnu's supremacy by Vaishnavites.

 

Though such solar aspects have been associated with Vishnu by tradition as well as modern-scholarship, he was not just the representation of the sun, as he moves both vertically and horizontally.

 

In hymns 1.22.17, 1.154.3, 1.154.4 he strides across the earth with three steps, in 6.49.13, 7.100.3 strides across the earth three times and in 1.154.1, 1.155.5,7.29.7 he strides vertically, with the final step in the heavens. The same Veda also says he strode wide and created space in the cosmos for Indra to fight Vritra. By his stride he made dwelling for men possible, the three forming a symbolic representation of the dwelling's all-encompassing nature. This nature and benevolence to men were Vishnu's enduring attributes. As the triple-strider he is known as Trivikrama and as Urukrama, for the strides were wide.

 

BRAHMANAS

The Brahmanas are commentaries on the Vedas and form part of the Shruti literature. They are concerned with the detail of the proper performance of rituals. In the Rigveda, Shakala Shakha: Aitareya Brahmana Verse 1 declares: agnir vai devānām ava mo viṣṇuḥ paramus, tadantareṇa sarvā anyā devatā - Agni is the lowest or youngest god and Vishnu is the greatest and the highest God.

 

The Brahmanas assert the supremacy of Lord Vishnu, addressing him as "Gajapati", the one whom all sacrifices are meant to please. Lord Vishnu accepts all sacrifices to the demigods and allots the respective fruits to the performer In one incident, a demonic person performs a sacrifice by abducting the Rishis (sages), who meditate by constantly chanting God's name. The sacrifice is meant to destroy Indra. But the rishis, who worship Indra as a demigod, alter one pronunciation of the Veda Mantra, reversing the purpose of the sacrifice. When the fruit of the sacrifice is given and the demon is on the verge of dying, he calls to Vishnu, whom he addresses as Supreme Godhead and "the father of all living entities including himself".

 

Aitareya Brahmana 1:1:1 mentions Vishnu as the Supreme God. But in the Vaishnava canon, in different ages, with Vishnu in different avatars, his relationship with the asuras or demons, was always adversarial. The asuras always caused harm, while the sages and devas or celestial beings, did penance and called to Vishnu for protection. Vishnu always obliged by taking an avatar to vanquish the asuras. In the Vaishnava canon, Vishnu never gave or granted any boons to the asuras, distinguishing him from the gods Shiva and Brahma, who did. He is the only God called upon to save good beings by defeating or killing the asuras.

 

Sayana writes that in Aitareya Brahmana 1:1:1 the declaration agnir vai devānām ava mo viṣṇuḥ paramus,tadantareṇa sarvā anyā devatā does not indicate any hierarchy among gods. Even in Rigveda Samhita, avama and parama are not applied to denote rank and dignity, but only to mark place and locality.

 

In Rigveda 1:108:9,: yadindrāghnī avamasyāṃ pṛthivyāṃ madhyamasyāṃ paramasyāmuta sthaḥ | i.e., in the lowest place, the middle (place), and the highest (place). Agni, the fire, has, among the gods, the lowest place; for he resides with man on the earth; while the other gods are either in the air, or in the sky. Vishnu occupies the highest place. The words avama and parama are understood as 'First' and 'Last' respectively. To support this claim, Sayana adduces the mantra (1,4. As'val. Sr. S. 4, 2), agnir mukham prathamo devathanam samathanam uttamo vishnur asit, i.e., Agni was the first of the deities assembled, (and) Vishnu the last.

 

In the Kausitaki Brahmana (7.1) Agni is called Aaradhya (instead of avama), and Visnu parardha(instead of parama),i.e., belonging to the lower and higher halves (or forming the lower and higher halves). The Vishnu Purana gives tremendous importance to the worship of Vishnu and mentions that sacrifices are to begin only with both the lighting of fire or 'Agni', pouring of sacrificial offerings to Vishnu in 'Agni' so that those offerings reach and are accepted by Vishnu. Worship of Vishnu through Yajnas (or Homams) and other rituals, will not achieve the desired result if Agni's role is neglected.

 

Muller says "Although the gods are sometimes distinctly invoked as the great and the small, the young and the old (Rig veda 1:27:13), this is only an attempt to find the most comprehensive expression for the divine powers, and nowhere is any of the gods represented as the subordinate to others. It would be easy to find, in the numerous hymns of the Veda, passages in which almost every single god is represented as supreme and absolute."

 

However this notion is not completely correct as per the following verses, which shows Rigveda describe one or more gods as subject to other god(s).

 

Him whose high law not Varuna nor Indra, not Mitra, Aryaman, nor Rudra breaketh, Nor evil-hearted fiends, here for my welfare him I invoke, God Savitar, with worship. (Rigveda 2.038.09)

 

I invite to this place, with reverential salutations, for my good, that divine Savita, whose functions neither Indra, nor Varun.a, nor Mitra nor Aryaman nor Rudra nor the enemies (of the gods), impede. (Rigveda 2.038.09)

 

SMRITI

 

VISHNU SMRITI

The Vishnu Smṛti, is one of the later books of the Dharmashastra tradition of Hinduism and the only one that focuses on the bhakti tradition and the required daily puja to Vishnu, rather than the means of knowing dharma. It is also known for its handling of the controversial subject of the practice of sati (self-immolation of a widow on her husband's funeral pyre). The text was composed by an individual or group. The author(s) created a collection of the commonly known legal maxims that were attributed to Vishnu into one book, as Indian oral culture began to be recorded more formally.

 

BHAGAVATA PURANA

Vishnu is the only Bhagavan as declared in the Bhagavata 1:2:11 in the verse: vadanti tat tattva-vidas tattvam yaj jnanam advayam brahmeti paramatmeti bhagavan iti sabdyate, translated as "Learned transcendentalists who know the Absolute Truth call this non-dual substance as Brahman, Paramātma and Bhagavan."

 

VISHNU PURANA

In the Vishnu Purana (6:5:79) the personality named Parashara Rishi defines six bhagas:

 

aiśvaryasya samagrasya vīryasya yaśasaḥ śriyaḥ

jñāna-vairāgyayoś caiva ṣannāḥ bhaga itīṇganā

 

Jiva Gosvami explains the verse in Gopala Champu (Pūrva 15:73) and Bhagavata Sandarbha 46:10:

 

jñāna-śakti-balaiśvarya-vīrya-tejām.sy aśeṣataḥ

bhagavac-chabda-vācyāni vinā heyair guṇādibhiḥ

 

"The substantives of the word bhagavat (bhagavat-śabda-vācyāni) are unlimited (aśeṣataḥ) knowledge (jñāna), energies (śakti), strength (bala), opulence (aiśvarya), heroism (vīrya), splendor (tejas), without (vinā) objectionable (heyair) qualities (guṇādibhiḥ)."

 

SANGAM LITERATURE

Tamil Sangam literature (300BCE to 500CE) mentions mAyOn, or the dark one, as the supreme deity who creates, sustains and destroys the universe. Paripadal 3 describes the glory of Thirumal in the most superlative terms.

 

Paripadal by kaduvan iLaveyinanAr:

 

"thIyinuL theRal nI poovinuL naaRRa nI kallinuL maNiyu nI sollinuL vaaymai aRaththinuL anbu nI maRaththinuL mainthu nI vEthaththu maRai nI boothaththu madhalu nI vencudar oLiyu nI thingaLuL aLiyu nI anaiththu nI anaiththinut poruLu nI"

 

The last line states that Lord Vishnu is the supreme deity who is the inner controller (Antaryamin) of the entire universe. This is one of the Lord's glories, which is first mentioned in Vedas and later propounded by Alwars in Prabhandams and Sri Vaishnavaite Acharyas in various commentaries

 

The Sri Ranganathaswamy Temple and Vishnu, Lakshmi is mentioned in Tamil works of literature of the Sangam era, including the epic Silapadikaram (book 11, lines 35–40):

 

āyiram viritteḻu talaiyuṭai aruntiṟaṟ

 

pāyaṟ paḷḷip palartoḻu tētta viritiraik kāviri viyaṉperu turuttit tiruvamar mārpaṉ kiṭanta vaṇṇamum

 

On a magnificent cot having a thousand heads spread out, worshipped and praised by many, in an islet surrounded by Kaveri with bellowing waves, is the lying posture of the one who has Lakshmi sitting in his chest.

 

THEOLOGICAL ATTRIBUTES

The actual number of Vishnu's auspicious qualities is countless, although his six most-important "divine glories" are:

 

Jnana (Omniscience); defined as the power to know about all beings simultaneously;

Aishvarya (Sovereignty), derived from the word Ishvara which means unchallenged rule over all;

Shakti (Power or Energy), the capacity to make the impossible possible;

Bala (Strength), the capacity to support everything by will and without any fatigue;

Virya (Vigour), the power to retain immateriality as the Supreme Spirit or Being in spite of being the material cause of mutable creations;

Tejas (Splendor), which expresses self-sufficiency and the capacity to overpower everything by spiritual effulgence.

 

Other important qualities attributed to Vishnu are Gambhirya (inestimatable grandeur), Audarya (generosity), and Karunya (compassion). Natya Shastra lists Vishnu as the presiding deity of the Sṛngara rasa.

 

The Rigveda says: Vishnu can travel in three strides. The first stride is the Earth. The second stride is the visible sky. The third stride cannot be seen by men and is the heaven where the gods and the righteous dead live. (This feature of three strides also appears in the story of his avatar Vamana/Trivikrama.) The Sanskrit for "to stride" is the root kram; its reduplicated perfect is chakram (guņa grade) or chakra (zero-grade), and in the Rigveda he is called by epithets such as vi-chakra-māņas = "he who has made 3 strides". The Sanskrit word chakra also means "wheel". That may have suggested the idea of Vishnu carrying a chakra.

 

FIVE FORMS

In Shree Vaishnavism, another school dating from around the 10th century AD, Vishnu assumes five forms:

 

In the Para Form, Para is the highest form of Vishnu found only in Sri Vaikunta also called Moksha, along with his consort Lakshmi, (and Bhumi Devi and Nila devi, avatars of Lakshmi) and surrounded by liberated souls like Ananta, Garuda, and a host of Muktas (liberated souls).

In the Vyuha form, Vishnu assumes four forms, which exercise different cosmic functions and controls activities of living beings.

In the Vibhava form, Vishnu assumes various manifestations, called Vibhavas, more popularly known as Avataras from time to time, to protect the virtuous, punish evil-doers and re-establish righteousness.

In the Antaryami; "Dwelling within" or "Suksma Vasudeva" form, Vishnu exists within the souls of all living beings and in every substance.

In the Arcavatara or Image manifestation, Vishnu is visible and therefore easily approachable by devotees since Para, Vyuha, Vibhava and Antaryami forms can only be imagined or meditated upon because they are beyond our reach. Such images can be

Revealed by Vishnu, for example, a self-manifested (Swayambhu) icon (murti), e.g. The Mahavishnu Temple at Tirunelli, The Sri Ranganathaswamy Temple at Srirangam, The Tirumala Venkateshwara Temple, etc.; or

Installed by Devas or celestial beings such as such as Guruvayur Temple installed by Vayu; or

Installed by humans, and consecrated according to Vaishnava Agama shastras or scriptures such as Lord Jagannatha of Jagannath Temple (Puri) at Puri.

 

RELATIONS WITH OTHER DEITIES

 

SHIVA

The three gods of the Trimurti clan are inseparable and in harmony in view of their common vision and universal good. They are perfectly ideal in all respects.

 

Both Asuras and Devas played supportive roles in this story by keeping company with Vishnu in his incarnated forms. Hanuman is a vanara who is completely dedicated to Rama. He gives Vishnu company and obeys his command, while playing an important part in Rama's life. He is regarded in Vaishnava canon because it is through blessings that Hanuman is born. Thus, Hanuman, Vishnu's constant companion, with his idol appearing temples of Rama, Krishna and Narasimha, i.e. all of Vishnu's avatars, is considered by Vaishnavas.

 

Syncretic forces produced stories in which the two deities were shown in cooperative relationships and combined forms. Harihara is the name of a combined deity form of both Vishnu (Hari) and Shiva (Hara). This dual form, which is also called Harirudra, is mentioned in the Mahabharata.

 

LAKSHMI

Vishnu's consort is Lakshmi, the goddess of wealth (also known as Maya). The Samvit (the primary intelligence/dark matter) of the universe is Vishnu, while the other five attributes emerge from this samvit and hence Maya or dark energy of the universe is Lakshmee is his ahamata, activity, or Vishnu's Power. This power of God, Maya or Shakti, is personified and has multiple names: Shree, Lakshmi, Maya, Vishnumaya or Mahamaya. She is said to manifest as Kriyashakti, (Creative Activity) and Bhutishakti (Creation). This world requires Vishnu's creativity. He therefore needs Lakshmi to always be with Him. Her various avatars as Lord Vishnu's consorts are Varahavatar (Bhoodevi) or Bhoomi, Ramavatar Seeta, Krishnavatar Rukmini)

 

SARASWATI & GANGA

According to Brahma Vaivarta Purana, Lord Vishnu had three wives Lakshmi, Saraswati and Ganga. Due to their constant quarrelsome nature among them. Once Ganga tried to be close with Vishnu, this rebuked Saraswati but Lakshmi tried to pacify them but faced a curse rather. As per the curse, Lakshmi to appear as Tulasi. Sarawati cursed Ganga to run as a river in the world and Saraswati was cursed to run as a river in the netherworld. After this, Lord Vishnu transformed and became Brahma and Shiva to pacify Saraswati and Ganga.

 

GARUDA

Vishnu's mount (Vahana) is Garuda, the eagle. Vishnu is commonly depicted as riding on his shoulders.

 

ICONOGRAPHY

According to various Puranas, Vishnu is the ultimate omnipresent reality and is shapeless and omnipresent. However, a strict iconography governs his representation, whether in pictures, icons, or idols:

 

He has four arms and is male: The four arms indicate his all-powerful and all-pervasive nature. His physical existence is represented by the two arms in the front, while the two arms at the back represent his presence in the spiritual world. The Upanishad Gopal Uttartapani describes the four arms.

The Shreevatsa mark is on his chest, symbolizing his consort Lakshmi.

He wears the auspicious "Kaustubha" jewel around his neck and a garland of vaijayanti flowers (Vanamala). Lakshmi dwells in this jewel, on Vishnu's chest.

A crown adorns his head: The crown symbolizes his supreme authority. This crown sometimes includes a peacock feather, borrowing from his Krishna-avatar.

He wears two earrings: The earrings represent inherent opposites in creation — knowledge and ignorance; happiness and unhappiness; pleasure and pain.

He rests on Ananta, the immortal and infinite snake.

 

Vishnu is always to be depicted holding four attributes:

 

A conch shell or Shankha, named Panchajanya, is held by the upper left hand. It represents Vishnu's power to create and maintain the universe. Panchajanya represents the five elements or Panchabhoota – water, fire, air, earth and sky or space. It also represents the five airs or Pranas that are within the body and mind. The conch symbolizes that Vishnu is the primeval Divine sound of creation and continuity. It also represented as Om. In the Bhagavad Gita, Krishna avatara states that of sound vibrations, 'He is Om'.

The Chakra, a sharp, spinning, discus-like weapon, named "Sudarshana", is held by the upper right hand. It symbolizes the purified spiritualized mind. The name Sudarshana is derived from two words – Su, which means good, superior, and Darshana, which means vision or sight; together. The Chakra represents destruction of ego in the awakening and realization of the soul's original nature and god, burning away spiritual ignorance and illusion, and developing higher spiritual vision and insight to realize god.

A mace or Gada, named "Kaumodaki", is held by the lower right hand. It symbolizes that Vishnu's divine power is the source of all spiritual, mental and physical strength. It also signifies Vishnu's power to destroy materialistic or demonic tendencies (Anarthas) that prevent people from reaching god. Vishnu's mace is the power of the Divine within us to spiritually purify and uplift us from our materialistic bonds.

A lotus flower or Padma is held by the lower left hand. It represents spiritual liberation, Divine perfection, purity and the unfolding of Spiritual consciousness within the individual. The lotus opening its petals in the light of the Sun is indicative of the expansion and awakening of our long dormant, original spiritual consciousness in the light of god. The lotus symbolizes that god is the power and source from which the universe and the individual soul emerges. It also represents Divine Truth or Satya, the originator of the rules of conduct or Dharma, and Divine Vedic knowledge or Jnana. The lotus also symbolizes that Vishnu is the embodiment of spiritual perfection and purity and that He is the wellspring of these qualities and that the individual soul must seek to awaken these intrinsic Divine qualities from Vishnu by surrendering to and linking with Him.

 

To this may be added, conventionally, the vanamaala flower garland, Vishnu's bow (Shaarnga/Kodand) and his sword Nandaka. A verse of the Vishnu Sahasranama stotram states;vanamālī gadhī shārngī shanki chakri cha nandaki / shrīmān nārāyaņo vişņo vāsudevo abhirakşatu//; translation: Protect us Oh Lord Narayana who wears the forest garland,who has the mace, conch, sword and the wheel. And who is called Vishnu and the Vasudeva.

 

In general, Vishnu's body is depicted in one of the following three ways:

 

Standing on a lotus flower, often with Lakshmi, his consort, beside him on a similar pedestal.

Reclining on the coiled-up thousand-hooded Shesha Naga, with Lakshmi seated at his feet; the assemblage rests on the "Kshira Sagar" (ocean of milk). In this representation, Brahma is depicted as sitting on a lotus that grows out of Vishnu's navel.

Riding on the back of his eagle mount, known as Garuda. Another name for Garuda is "Veda atma"; Soul of the Vedas. The flapping of his wings symbolizes the power of the Divine Truth of Vedic wisdom. Also the eagle represents the soul. Garuda carrying Vishnu symbolizes the soul or jiva atma carrying the Super soul or Param atma within it.

 

AVATARS

Ten avatars (dashavatara) of Vishnu are the most prominent: Apart from the most prominent incarnations there are believed to more.

 

The most commonly believed incarnations of Vishnu are:

 

Matsya, the fish that kills Damanaka to save the vedas and also saves Manu from a great flood that submerges the entire Earth.

Kurma, the turtle that helps the Devas and Asuras churn the ocean for the nectar of immortality.

Varaha, the boar that rescues the Earth and kills Hiranyaksha.

Narasimha, the half-lion half human, who defeats the demon Hiranyakashipu.

Vamana, the dwarf that grows into a giant to save the world from King Bali.

Parashurama, "Rama of the battle axe", a sage who appeared in the Treta Yuga. He killed Kartavirya Arjuna's army and clan and then killed all the kshatriyas 21 times.

Rama, the prince and king of Ayodhya who killed the Demon King Raavan.

Krishna, the eighth avatar of Vishnu, who takes part in the Mahabharata epic. Krishna is worshipped as the Supreme Avatar of Vishnu (Supreme Personality of Godhead) in Gaudiya-Vaishnava philosophy.

Buddha, the ninth avatar of Vishnu.

Kalki, the tenth Avatar of Vishnu and said to be the harbinger of the end Kali Yuga. This avatar of Vishnu is yet to come.

 

Some versions of the above list include Hayagreeva among the Dashavataras while some include Buddha as ninth avatar of Vishnu. Another 22 avatars are given in Chapter 3, Canto 1 of the Bhagavata Purana, although it states that "the incarnations of the Lord are innumerable, like rivulets flowing from inexhaustible sources of water".

 

BEYOND HINDUISM

 

SIKHISM

Guru Granth Sahib of Sikhism mentions Vishnu, one verse goes:

 

The true Vaishnaav, the devotee of Vishnu, is the one with whom God is thoroughly pleased. He dwells apart from Maya. Performing good deeds, he does not seek rewards. Spotlessly pure is the religion of such a Vaishnaav; he has no desire for the fruits of his labors. He is absorbed in devotional worship and the singing of Kirtan, the songs of the Lords Glory. Within his mind and body, he meditates in remembrance on the Lord of the Universe. He is kind to all creatures. He holds fast to the Naam, and inspires others to chant it. O Nanak, such a Vaishnaav obtains the supreme status.

 

BUDDHISM

While some Hindus consider Buddha as an incarnation of Vishnu, Buddhists in Sri Lanka venerate Vishnu as the custodian deity of Sri Lanka and protector of Buddhism. Lord Vishnu is also known as upulvan, or uthpala varna, meaning "Blue Lotus coloured". Some postulates that Uthpala varna was a local deity who later merged with Vishnu while another belief is that Uthpala Varna was an early form of Vishnu before he became a supreme deity in Puranic Hinduism. According to Chronicles "Mahawamsa", "Chulawamsa" and folklore in Sri Lanka, Buddha himself handed over the custodianship to Vishnu. Others believe that Buddha entrusted this task to Sakra(Indra) and Sakra delegated this task of custodianship to god Vishnu. In contrary to vedic Hinduism, in assimilation of Hindu god Vishnu into Sinhalese Buddhism, Vishnu becomes a mortal being and a Bodhisattva aspiring Buddhahood. Additionally, Vishnu is considered as the god of home and hearth representing mercy, goodness, order and stability. Many Buddhist and Hindu shrines are dedicated to Vishnu in Sri Lanka. In addition to specific Vishnu "Kovils" or "devalayas", all Buddhist temples necessarily house shrine rooms (Devalayas) closer to the main Buddhist shrine dedicated to Vishnu. John Holt in his groundbreaking study examines the assimilation, transformation, and subordination of the Hindu deity Vishnu within the contexts of Sri Lankan history and Sinhala Buddhist religious culture. He then explores the role and rationale of medieval Sinhala kings in assimilating Visnu into Sinhala Buddhism. According to Holt the veneration of Vishnu in Sri Lanka is evidence of a remarkable ability, over many centuries, to reiterate and reinvent culture as other ethnicities have been absorbed into their own. Though the Vishnu cult in Ceylon was formally endorsed by Kandyan kings in early 1700s, Holt states that vishnu images and shrines are among conspicuous ruins in the medieval capital Polonnaruwa. In Buddhist mythology, when Vishnu failed to traverse the universe in three steps, he was given the title "Ardha Vishnu (Half-Vishnu)" and when Vishnu banished demons from the Vaishali (Vishala)in India, he became "Mulu Vishnu or Whole Vishnu". The extreme significance of god Vishnu in Sinhala society is reflected in recitals of the traditional "Offerings to dwarfs and crossing the door frame (bahirwayanta dola pideem saha uluwahu peneema)" that starts with Sri Vishnu invocation.In the recitals,mentioning of the aspiring Buddhahood of Vishnu which is of prime importance to Buddhists and wishes for him to live five thousand and more years highlight the central role of Vishnu in the psyche of Sri Lankan Buddhists.

 

OTHERS

James Freeman Clarke, Richard Leviton, James Cowles Prichard, and others have noted the similarities between Vishnu and Ancient Egyptian God Horus.

 

During an excavation in an abandoned village of Russia in the Volga region, archaeologist Alexander Kozhevin excavated an ancient idol of Vishnu. The idol dates from between the 7th and 10th centuries. In the interview Kozhevin, stated that, "We may consider it incredible, but we have ground to assert that Middle-Volga region was the original land of Ancient Rus. This is a hypothesis, but a hypothesis, which requires thorough research"

 

THOUSAND NAMES OF VISHNU

Vishnu's many names and followers are collected in the Vishnu Sahasranama, (Vishnu's thousand names) from within the larger work Mahabharata. The character Bheeshma recites the names before Krishna on the battlefield of Kurukshetra, praising him (Vishnu) as the supreme god. These Sahasranama are regarded as the essence of all Vedas by followers of Vaishnavism, who believe sincere chanting of Vishnu Sahasranama results in spiritual well-being and a greater awareness of God.

 

The names are generally derived from the Anantakalyanagunas (meaning: infinite auspicious attributes).

 

According to the Siddhartha-samhita there are twenty-four forms of Lord Vishnu. The twenty-four forms are

 

Vasudeva

Sankarshana

Pradyumna

Anirudha

Keshava

Narayana

Madhava

Govinda

Vishnu

Madhusudana

Trivikrama

Vamana

Sridhara

Hrishikesha

Padmanabha

Damodara

Purushottama

Achyuta

Narasimha

Janardana

Hari

Krishna

Adhokshaja

 

Upulvan, Uthpala Varna - In Sri Lanka, Vishnu is also referred to as Upulvan ( Blue Lotus Coloured)

 

WIKIPEDIA

Toronto Fan Expo 2017

Ever wondered how Kira would look like if she had African roots? (The image on the left was edited to give her a darker complexion.)

This picture appeared in the edition of the Eastern Evening News dated Wednesday, September 30, 1914. The accompanying caption read:-

 

ON BOARD THE LOST CRUISERS

 

THOMAS MARTIN ALLEN, R.N.R., of West Lynn, who was lost in H.M.S. Aboukir. He was captain of one of the Lynn Conservancy Board’s steam tugs.

 

Seaman ALLEN, THOMAS MARTIN

Service Number:……………… 3133C

Died:…………………………… 22/09/1914

Unit:……………………………..H.M.S. "Aboukir."

Service:…………………………Royal Naval Reserve

Commemorated at CHATHAM NAVAL MEMORIAL

Source: www.cwgc.org/find-war-dead/casualty/3048329/allen,-thomas...

 

The WW1 Naval Casualties database records Seaman 3133. C. (CH) Thomas Martin Allen, Royal Naval Reserve was killed or died as a direct result of enemy action on the 22nd September 1914 whilst serving aboard HMS Aboukir. His body was not recovered for burial. Martin was born on the 7th April 1883 at King’s Lynn. The next of kin informed of his death was his widow, Rose, of 64, Checker Street, King’s Lynn.

 

Thomas Martin Allen, born Kings Lynn, Norfolk on the 7th April 1883 has Royal Naval Reservis papers with service number B 1417 held at the National Archive under reference BT 377/7/23743

discovery.nationalarchives.gov.uk/details/r/D8483496

 

These show his parents as Samuel and Mary. He joined the Royal Naval Reserve from the 1st July 1903. He is described as 5 feet 5 inches tall, with a fresh complexion. He lived at West Lynn Norfolk. In his civilian life he is shown working on several Lynn based Tugs. The records go to the end of 1913. In 1910 he spent time at sea aboard the Hogue.

discovery.nationalarchives.gov.uk/details/r/D8483496

 

From the start of 1914 he has a new set of records under servive number C 3133, which are held at the National Archive under reference BT 377/7/35371

As well as the physical details given previously his eye colour is given as blue and his home address as 64 Checker Street, Kings Lynn. He spent a month at sea from the 25th February 1914 to the 24th March 1914 aboard HMS Formidable. His civilian life was as a mate on a tug. He is recorded as Missing from HMS Aboukir when it was sunkby torpedo September 22nd 1914.

 

It looks like he had served previously to joining the Royal Naval Reserve as it is noted that he had two months training aboard HMS Dido from the 3rd April 1903 to the 30th June 1903. When Naval Prize money was paid out to his widow, Mrs R. Allen, in July 1921 her address then was given as ‘Opposite the Swan Inn, West Lynn’. He is recorded as having served 10 years 4 and 3 /5th months in the reserves.

discovery.nationalarchives.gov.uk/details/r/D8495118

  

No match on Picture Norfolk, the County Image Archive.

 

The Government Probate Service holds no obvious Civil Probate for this man.

 

Thomas is remembered on the War Memorials at Kings Lynn and in the churchs of West Lynn and South Lynn All Saints. In writing about these memorials the Roll of Honour website notes that: His parents lived at West Lynn. Married with three children, lived at 64 Checker Street, King's Lynn. Had been master of the King's Lynn Conservancy Board tug 'T. Brown' from July, 1914. Called up 2/8/1914. Served on the Aboukir with his brother William who last saw Thomas signalling the Cressy and the Hogue shortly after the Aboukir had been hit.

Source: www.roll-of-honour.com/Norfolk/SouthLynnAllSaints.html

 

His entry in De Ruvignys multi-volume Roll of Honour adds nothing additional.

  

7th April 1883 – birth and baptism……………

 

(Sourced WW1 Naval Casualties and his Royal Naval Reserve service records).

 

The birth of a Thomas Martin Allen was registered with the Civil Authorities in the King Lynn District of Norfolk in the April to June quarter, (Q2), of 1883.

His mothers’ maiden name was Reynolds.

 

The baptism of a Thomas Martin Allen, born 7th April 1883, took place at St Nicholas, Kings Lynn, on the 6th June 1883. His parents were Samuel Henry, a fisherman, and Mary. The family lived at North Street, Kings Lynn.

www.freereg.org.uk/search_records/5818d91de93790eca3f23e3...

 

1891 Census of England and Wales

 

The 7 year old Thomas Allen, born “Lynn”, Norfolk, was recorded living at George Street, Kings Lynn. This was the household of his parents, Samuel H., (aged 42, a Fisherman, born Lynn), and Mary, (aged 39, born Lynn). As well as Thomas the couples other children living with them are:-

Saul(?) H………aged 15…born Lynn……Fisherman

Josiah…………aged 13(?)..born Lynn……Errand Boy

William……….aged 10…..born Lynn

John……………aged 5…..born Lynn

Mary E………...aged 3……born Lynn.

Also in the household is Thomas’ maternal grandmother, the 85 year old widow Mary Weston. Recorded as living on own means, she was born Saddlebow, Norfolk.

 

1901 Census of England and Wales

 

The Allen family were now recorded living at The Swann Inn, St Peters Place, West Lynn.

Father Samuel, (52), is now recorded as an Innkeeper. He lives there with wife Mary, (50), and children William, (20, Fish Hawker), Thomas M, (17, Iron Moulder), John, (15, General Labourer), Mary, (13) and Martha M, (6) – all born Kings Lynn.

 

A site dedicated to the history of Norfolk Public Houses shows that Samuel took over the license by 1900, (and possibly as early as 1896), and had relinquished it by 1904.

www.norfolkpubs.co.uk/norfolkw/westlynn/wklwsw.htm

 

1908 Marriage………………………

 

The marriage of a Thomas M. Allen to a Rosannah Seekings was recorded in the Kings Lynn District in the April to June quarter, (Q2), of 1908.

 

It actually took place at St. Peter, West Lynn on the 17th May 1908. Thomas Martin Allen, then aged 25 and a bachelor, was married to Rosanna Seekings, 26 and a Spinster. He was a Seaman living in West Lynn and his father was Samuel Allen, fisherman. She lived in South Lynn and her father was John Seekings, Labourer. Witnesses were Albert Seekings and Mary Allen. The marriage followed the reading of the banns.

www.freereg.org.uk/search_records/58184242e93790eb7f77446...

 

1911 Census of England and Wales

 

The 27 year old Seaman, Thomas Martin Allen, was recorded as the married head of the household at, (possibly No.30), Providence Street, Kings Lynn. He lives there with his wife of 2 years, Rosanna, (aged 29, born Clenchwarton, Norfolk) and their 1 year old son, Thomas John, who was born West Lynn.

 

His parents were now recorded living “Near the Swan”, West Lynn. Father Samuel Henry, (36), has gone back to being a self-employed Fisherman. He and Mary, (60), have been married 36 years. They don’t state how many children they have had. Living with them is their unmarried son, John, aged 25 and a “Fishermans Son working Fishen”.

 

Until September 1911 the quarterly index published by the General Registrars Office did not show information about the mothers’ maiden name. A check of the General Registrars Office Index of Birth for England and Wales 1911 – 1983 shows potentially two additional children of Thomas and Rosanna – the Roll of Honour site does state them to have had three in total.

 

The candidates, all in the Kings Lynn district with mothers maiden name Seekings are:

Albert G Allen……..Q2 1911

Ethel R. Allen………Q2 1913

 

Family in the Great War…………………….

 

The Roll of Honour site has already referred to his brother William being aboard the Aboukir.

 

The would be D 1947 William Allen, Royal Naval Reserve, who joined that organisations predecessor in September 1898. He was born at Kings Lynn on the 9th November 1877. Following the sinking of the Aboukir he was hospitalised and then had a couple of shore postings before being invalided out and awarded a pension in February 1915.

discovery.nationalarchives.gov.uk/details/r/D8501674

 

There is also a B 2498 John Allen, Royal Naval Reserve, who was born King’s Lynn on the 1st December 1884. He joined in December 1904. Sadly he drowned in the Lynn Channel of The Wash on the 29th December 1913.

discovery.nationalarchives.gov.uk/details/r/D8484574

  

On the day…………………………………

 

The Action of 22 September 1914 was a German U-boat ambush that took place during the First World War, in which three obsolete Royal Navy cruisers, manned mainly by reservists and sometimes referred to as the livebait squadron, were sunk by a German submarine while on patrol.

 

Approximately 1,450 sailors were killed and there was a public outcry in Britain at the losses. The sinkings eroded confidence in the British government and damaged the reputation of the Royal Navy, at a time when many countries were still considering which side they might support in the war.

 

The cruisers were part of the Southern Force (Rear-Admiral Arthur Christian) composed of the flagship Euryalus, the light cruiser Amethyst and the 7th Cruiser Squadron (7th CS, also known as Cruiser Squadron C, Rear-Admiral H. H. Campbell), comprising the Cressy-class armoured cruisers Bacchante, Aboukir, Hogue and Cressy, the 1st and 3rd Destroyer flotillas, ten submarines of the 8th Oversea Flotilla and the attached Active-class scout cruiser, HMS Fearless. The force was assigned patrol duties in the North Sea, supporting destroyers and submarines of the Harwich Force to guard against incursions by the Kaiserliche Marine (Imperial German Navy) into the English Channel.

 

Although concerns had been expressed about the vulnerability of these ships, particularly to attack by more modern German cruisers, no changes had been made before the events of 22 September; there was less concern about submarine attacks. The War Orders of 28 July 1914, which conformed to pre-war assumptions about attacks by destroyers rather than submarines, had not been modified. The orders required the ships to patrol the area "south of the 54th parallel clear of enemy torpedo craft and destroyers" with the support of Cruiser Force C, during the day. The Harwich Patrol was given two patrol areas, at the Dogger Bank and further south in the Broad Fourteens; usually three of the cruisers were to the north, closer to the Dogger Bank and sailed south during the night. The cruisers shifted area to the Broad Fourteens and reinforced the fourth cruiser there during troops movements from Britain to France. Heading south meant sailing towards German bases and becoming more vulnerable to submarine attack

 

The U-boat was treated equally lightly by the Imperial German Navy; in the first six weeks of the war, the U-boat arm had lost two boats and seen little result for their effort. On the morning of 22 September, U-9 (Kapitänleutnant Otto Weddigen) passed through the Broad Fourteens on her way back to base. On 16 September, Christian had been allowed to keep two cruisers to the north and one at the Broad Fourteens but had kept them together in a central position, able to support operations in both areas. Next day, the destroyer escorts had been forced to depart by heavy weather, which continued so bad that neither patrol could be reformed. The Admiralty ordered that the ships were to cancel the Dogger Patrol and cover the Broad Fourteens until the weather abated. On 20 September, Euryalus returned to port to re-fuel and by 22 September, Aboukir, Hogue and Cressy were on patrol under the command of Captain J. E. Drummond of Aboukir.

 

At 06:00 on 22 September, the weather had calmed and the ships were patrolling at 10 knots (19 km/h; 12 mph), line abreast, 2 nmi (3.7 km; 2.3 mi) apart. Lookouts were posted for submarine periscopes or ships and one gun either side of each ship was manned. U-9 had been ordered to attack British transports at Ostend but had been forced to dive and shelter from the storm. On surfacing, she spotted the British ships and moved to attack.

 

At 06:20, the submarine fired a torpedo at the nearest ship from a range of 550 yd (500 m) and struck Aboukir on the starboard side, flooding the engine room and causing the ship to stop immediately. No submarines had been sighted, so Drummond assumed that the ship had hit a mine and ordered the other two cruisers to close in to help. After 25 minutes, Aboukir capsized and sank five minutes later. Only one boat could be launched, because of damage from the explosion and the failure of steam-powered winches needed to launch them.

 

U-9 rose to periscope depth from her dive after firing the torpedo, to observe two British cruisers engaged in the rescue of men from the sinking ship. Weddigen fired two more torpedoes at Hogue, from 300 yd (270 m). As the torpedoes left the submarine, her bows rose out of the water and she was spotted by Hogue, which opened fire before the submarine dived. The two torpedoes struck Hogue; within five minutes, Captain Wilmot Nicholson gave the order to abandon ship and after 10 minutes she capsized before sinking at 07:15.

 

Watchers on Cressy had seen the submarine, opened fire and made a failed attempt to ram, then turned to pick up survivors. At 07:20, U-9 fired two torpedoes toward Cressy from her stern torpedo tubes at a range of 1,000 yd (910 m). One torpedo missed, so the submarine turned and fired her remaining bow torpedo at 550 yd (500 m). The first torpedo struck the starboard side at around 07:25, the second the port beam at 07:30. The ship capsized to starboard and floated upside down until 07:55. Two Dutch sailing trawlers in the vicinity declined to close with Cressy for fear of mines.

 

Distress calls had been received by Commodore Tyrwhitt, who, with the destroyer squadron, had already been at sea returning to the cruisers, now that the weather had improved. At 08:30, the Dutch steamship Flora approached the scene (having seen the sinkings) and rescued 286 men. A second steamer—Titan—picked up another 147. More were rescued by the two Lowestoft sailing trawlers Coriander and J.G.C., before the destroyers arrived at 10:45, 837 men were rescued while 1,397 men and 62 officers—mostly part-time men from the Royal Naval Reserve rather than regular sailors—had been killed. The destroyers began a search for the submarine, which had little electrical power remaining to travel underwater and could only make 14 knots (26 km/h; 16 mph) on the surface. The submarine submerged for the night before returning home the next day.

en.wikipedia.org/wiki/Action_of_22_September_1914

  

Postscript………………….

 

After his death a pension was awarded to his widow Rosanna Allen, and their three children Thomas John, Albert George and Ethel Rosanna. (Source - Naval Pension Ledger)

 

Mildly photoshopped to minimise impact of damage present on the original image.

 

The MM theme for next Monday is spiky. This is an old Avon complexion beauty brush that needs some deep cleaning. Brought it home after we sold my mom’s house.

When fashion becomes your passion, then no body can stop you from being Miss Universe. Nothing matters, your height, your looks, your complexion, your upbringing. Anything that matters is your passion towards fashion. Fashion is an Art and the style is your creativity towards it.

Vishnu (/ˈvɪʃnuː/; Sanskrit: Viṣṇu) is a popular Hindu deity, the Supreme God of Vaishnavism (one of the three principal denominations of Hinduism) and one of the three supreme deities (Trimurti) of Hinduism. He is also known as Lord Narayana and Lord Hari. As one of the five primary forms of God in the Smarta tradition, He is conceived as "the Preserver or the Protector" within the Trimurti, the Hindu Trinity of the divinity.

 

In Hindu sacred texts, Vishnu is usually described as having dark complexion of water-filled clouds and as having four arms. He is depicted as a blue being, holding a padma (lotus flower) in the lower left hand, the Kaumodaki gada (mace) in the lower right hand, the Panchajanya shankha (conch) in the upper left hand and the discus weapon Sudarshana Chakra in the upper right hand.

 

Adherents of Hinduism believe Vishnu's eternal and supreme abode beyond the material universe is called Vaikuntha, which is also known as Paramdhama, the realm of eternal bliss and happiness and the final or highest place for liberated souls who have attained Moksha. Vaikuntha is situated beyond the material universe and hence, cannot be perceived or measured by material science or logic. Vishnu's other abode within the material universe is Ksheera Sagara (the ocean of milk), where he reclines and rests on Ananta Shesha, (the king of the serpent deities, commonly shown with a thousand heads). In almost all Hindu denominations, Vishnu is either worshipped directly or in the form of his ten avatars, the most famous of whom are Rama and Krishna.

 

The Puranabharati, an ancient text, describes these as the dashavatara, or the ten avatars of Vishnu. Among the ten described, nine have occurred in the past and one will take place in the future as Lord Kalki, at the end of Kali Yuga, (the fourth and final stage in the cycle of yugas that the world goes through). These incarnations take place in all Yugas in cosmic scales; the avatars and their stories show that gods are indeed unimaginable, unthinkable and inconceivable. The Bhagavad Gita mentions their purpose as being to rejuvenate Dharma, to vanquish those negative forces of evil that threaten dharma, and also to display His divine nature in front of all souls.

 

The Trimurti (three forms) is a concept in Hinduism "in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahma the creator, Vishnu the maintainer, preserver or protector and Shiva the destroyer or transformer." These three deities have also been called "the Hindu triad" or the "Great Trinity", all having the same meaning of three in One. They are the different forms or manifestation of One person the Supreme Being or Narayana/Svayam Bhagavan.

 

Vishnu is also venerated as Mukunda, which means God who is the giver of mukti or moksha (liberation from the cycle of rebirths) to his devotees or the worthy ones who deserve salvation from the material world.

 

ETYMOLOGY

The traditional explanation of the name Vishnu involves the root viś, meaning "to settle" (cognate with Latin vicus, English -wich "village," Slavic: vas -ves), or also (in the Rigveda) "to enter into, to pervade," glossing the name as "the All-Pervading One". Yaska, an early commentator on the Vedas, in his Nirukta, (etymological interpretation), defines Vishnu as viṣṇur viṣvater vā vyaśnoter vā, "one who enters everywhere". He also writes, atha yad viṣito bhavati tad viṣnurbhavati, "that which is free from fetters and bondages is Vishnu".

 

Adi Shankara in his commentary on the Sahasranama states derivation from viś, with a meaning "presence everywhere" ("As he pervades everything, vevesti, he is called Vishnu"). Adi Shankara states (regarding Vishnu Purana, 3.1.45): "The Power of the Supreme Being has entered within the universe. The root viś means 'enter into'." Swami Chinmayananda, in his translation of Vishnu Sahasranama further elaborates on that verse: "The root vis means to enter. The entire world of things and beings is pervaded by Him and the Upanishad emphatically insists in its mantra 'whatever that is there is the world of change.' Hence, it means that He is not limited by space, time or substance. Chinmayananda states that, that which pervades everything is Vishnu."

 

SACRET TEXTS - SHRUTI & SMRITI

Shruti is considered to be solely of divine origin. It is preserved as a whole, instead of verse by verse. It includes the four Vedas (Rigveda, Yajurveda, Samaveda and Atharvaveda) the Brahmanas, the Aranyakas and the Upanishads with commentaries on them.

 

Smṛti refers to all the knowledge derived and inculcated after Shruti had been received. Smrti is not 'divine' in origin, but was 'remembered' by later Rishis (sages by insight, who were the scribes) by transcendental means and passed down through their followers. It includes the Bhagavata Purana and the Vishnu Purana which are Sattva Puranas. These both declare Vishnu as Para Brahman Supreme Lord who creates unlimited universes and enters each one of them as Lord of Universe.

 

SHRUTI

 

VAISHNAVA CANON

The Vaishnava canon presents Vishnu as the supreme being, rather than another name for the Sun God, who also bore the name Suryanarayana and is considered only as a form of Vishnu.

 

VEDAS

In the Yajur Veda, Taittiriya Aranyaka (10-13-1), Narayana suktam, Lord Narayana is mentioned as the supreme being. The first verse of Narayana Suktam mentions the words "paramam padam", which literally mean "highest post" and may be understood as the "supreme abode for all souls". This is also known as Param Dhama, Paramapadam, or Vaikuntha. Rig Veda 1:22:20a also mentions the same "paramam padam". This special status is not given to any deity in the Vedas apart from Lord Vishnu/Narayana.[citation needed] Narayana is one of the thousand names of Vishnu as mentioned in the Vishnu Sahasranama. It describes Vishnu as the All-Pervading essence of all beings, the master of - and beyond - the past, present and future, one who supports, sustains and governs the Universe and originates and develops all elements within. This illustrates the omnipresent characteristic of Vishnu. Vishnu governs the aspect of preservation and sustenance of the universe, so he is called "Preserver of the universe".

 

Vishnu is the Supreme God who takes manifest forms or avatars across various ages or periods to save humanity from evil beings, demons or Asuras. According to the extant Hindu texts and traditions, Lord Vishnu is considered to be resident in the direction of the "Makara Rashi" (the "Shravana Nakshatra"), which is about coincident with the Capricorn constellation. In some of the extant Puranas, and Vaishnava traditions, Vishnu's eye is considered to be situated at the infinitely distant Southern Celestial Pole.

 

Following the defeat of Indra and his displacement as the Lord of Heaven or Swarga, Indra asks Lord Vishnu for help and thus Lord Vishnu takes his incarnations or avatars to Earth to save mankind, thus showing his position as Supreme God to all of creation.

 

In the Puranas, Indra frequently appears proud and haughty. These bad qualities are temporarily removed when Brahma and/or Shiva give boons to Asuras or Rakshasas such as Hiranyaksha, Hiranyakashipu and Ravana, who are then able to defeat Indra in wars between Devas and Asuras. The received boons often made Asuras virtually indestructible.

 

Indra has no option but to seek help from Vishnu. Indra prays before Vishnu for protection and the Supreme Lord obliges him by taking avatars and generating himself on Earth in various forms, first as a water-dweller (Matsya, fish), then as an amphibious creature (Kurma avatar or Tortoise), then as a half-man-half-animal (Varaha the pig-faced, human-bodied Lord, and Narasimha the Lord with lion's face and claws and a human body). Later, Vishnu appears as human beings (Vamana the short-heighted person), Parashurama, Rama, Krishna, Buddha and finally as Kalki for performing his task of protecting his devotees from demons and anti-religious entities.

 

Vishnu's supremacy is attested by his victories over those very powerful entities. It is further attested by the accepted iconography and sculptures of Vishnu in reclining position as producing Brahma emerging from his navel. Brahma the creator is thus created in turn by Vishnu out of his own person. Instead Vishnu takes various avatars to slay or defeat those demons. But it is to be noted that Vishnu also provided boons to Akupresura, a bear faced demon who was destroyed by Lord Shiva.

 

Vishnu's actions lowered Indra's ranking among Hindu deities and led to the ascendancy of Vishnu.

 

Few temples are dedicated to the Sun or Suryanarayana, nor indeed Indra, nor does Indra figure largely in the Hindu religion.

 

Indra is almost completely absent from the deities considered as the chief or most important deity.

 

RIGVEDA

In the Rigveda, Vishnu is mentioned 93 times. He is frequently invoked alongside other deities, especially Indra, whom he helps in killing Vritra and with whom he drinks Soma. His distinguishing characteristic in the Vedas is his association with light. Two Rigvedic hymns in Mandala 7 are dedicated to Vishnu. In 7.99, Vishnu is addressed as the god who separates heaven and earth, a characteristic he shares with Indra.

 

The Rig Veda describes Vishnu as younger brother to Indra as Vamana. In Vaishnava canon the 'Vishnu' who is younger brother to Indra is identified as Vamana, Avatar of Vishnu, hence referred to as Vishnu by Vaishnavites. Vishnu is the Supreme God who lives in the highest celestial region, contrasted against those who live in the atmospheric or terrestrial regions. Vishnu is content with mere prayer, unlike almost all of the other gods who receive sacrificial offerings such as Havis, which is given using clarified butter, or Soma. Later foreign translators have view that Vedas place Indra in a superior position to Vishnu's Avatar of Vamana but in fact Vamana helps Indra by restoring his Kingdom.

 

An alternate translation is provided by Wilson according to Sayana:

 

When Thy (younger brother) Viṣṇu (Vamana) by (his) strength stepped his three paces, then verily thy beloved horses bore thee. (Rigveda 8:12:27)

 

Wilson mentions Griffith's possible translation as a footnote. However the following verse from Rigveda renders the above translation by Wilson more probable.

 

Him whose three places that are filled with sweetness, imperishable, joy as it may list them, Who verily alone upholds the threefold, the earth, the heaven, and all living creatures. (Rig veda 1:154:4)

 

Wilson offers an alternate translation for Rigveda 10:113:2:

 

Viṣṇu offering the portion of Soma, glorifies by his own vigor that greatness of his. Indra, the lord of heaven, with the associated gods having slain Vritra, became deserving of honour. (Rigveda 10:113:2)

 

This verse sees Vishnu as one who is glorified by his own strength, while Indra became deserving of honor after having slain Vritra only in association with other gods.

 

However Vishnu's praise for other gods does not imply worship. Wilson translates:

 

Viṣṇu, the mighty giver of dwellings praises thee, and Mitra and Varuna; the company of Maruts imitates thee in exhilaration. (Rigveda 8:15:9) (page 280)

 

The following verses show categorically Vishnu as distinguished from other gods in Rigveda.

 

He who presents (offering) to Viṣṇu, the ancient, the creator, the recent, the self-born; he who celebrates the great birth of that mighty one; he verily possessed of abundance, attains (the station) that is to be sought (by all). (Rigveda 1:156:2) (page 98)

 

No being that is or that has been born, divine Viṣṇu, has attained the utmost limit of thy magnitude, by which thou hast upheld the vast and beautiful heaven, and sustained the eastern horizon of Earth.(Rigveda 7:99:2) (page 196)

 

The divine Viṣṇu, the best of the doers of good deeds, who came to the pious instituter of rite (Indra), to assist (at its celebration), knowing (the desires of the worshiper), and present at the three connected period (of worship), shows favor to the Arya, and admits the author of the ceremony to a share of the sacrifice. (Rigveda 1:156:5) (page 99)

 

Jan Gonda, the late Indologist, states that Vishnu, although remaining in the background of Indra's exploits, contributes by his presence, or is key to Indra's success. Vishnu is more than a mere companion, equal in rank or power to Indra, or sometime the one who made Indra's success possible.

 

Descriptions of Vishnu as younger to Indra are found in only the hymns to Indra, but in a kathenotheism religion like that of the Rigveda, each god, for a time, is supreme in the mind of the devotee.

 

In the Rig Vedic texts, the deity or god referred to as Vishnu is the Sun God, who also bears the name 'Suryanarayana'. By contrast, the 'Vishnu' referred to in 'Vishnu Purana', 'Vishnu Sahasranamam' and 'Purusha Sooktham' is Lord Narayana, the Consort of Lakshmi. Vaishnavites make a further distinction by extolling the qualities of Vishnu by highlighting his differences from other deities such as Shiva,[citation needed] Brahma or Surya.

 

THREE STEPS

Hymn 7.100 refers to the celebrated 'three steps' of Vishnu (as Trivikrama) by which he strode over the universe and in three places planted his step. The 'Vishnu Suktam' (RV 1.154) says that the first and second of Vishnu's strides (those encompassing the earth and air) are visible to men and the third is in the heights of heaven (sky). This last place is described as Vishnu's supreme abode in RV 1.22.20:

 

The princes evermore behold / that loftiest place where Vishnu is / Laid as it were an eye in heaven.(trans. Griffith)

 

Griffith's "princes" are the sūri, either "inciters" or lords of a sacrifice, or priests charged with pressing the Soma. The verse is quoted as expressing Vishnu's supremacy by Vaishnavites.

 

Though such solar aspects have been associated with Vishnu by tradition as well as modern-scholarship, he was not just the representation of the sun, as he moves both vertically and horizontally.

 

In hymns 1.22.17, 1.154.3, 1.154.4 he strides across the earth with three steps, in 6.49.13, 7.100.3 strides across the earth three times and in 1.154.1, 1.155.5,7.29.7 he strides vertically, with the final step in the heavens. The same Veda also says he strode wide and created space in the cosmos for Indra to fight Vritra. By his stride he made dwelling for men possible, the three forming a symbolic representation of the dwelling's all-encompassing nature. This nature and benevolence to men were Vishnu's enduring attributes. As the triple-strider he is known as Trivikrama and as Urukrama, for the strides were wide.

 

BRAHMANAS

The Brahmanas are commentaries on the Vedas and form part of the Shruti literature. They are concerned with the detail of the proper performance of rituals. In the Rigveda, Shakala Shakha: Aitareya Brahmana Verse 1 declares: agnir vai devānām ava mo viṣṇuḥ paramus, tadantareṇa sarvā anyā devatā - Agni is the lowest or youngest god and Vishnu is the greatest and the highest God.

 

The Brahmanas assert the supremacy of Lord Vishnu, addressing him as "Gajapati", the one whom all sacrifices are meant to please. Lord Vishnu accepts all sacrifices to the demigods and allots the respective fruits to the performer In one incident, a demonic person performs a sacrifice by abducting the Rishis (sages), who meditate by constantly chanting God's name. The sacrifice is meant to destroy Indra. But the rishis, who worship Indra as a demigod, alter one pronunciation of the Veda Mantra, reversing the purpose of the sacrifice. When the fruit of the sacrifice is given and the demon is on the verge of dying, he calls to Vishnu, whom he addresses as Supreme Godhead and "the father of all living entities including himself".

 

Aitareya Brahmana 1:1:1 mentions Vishnu as the Supreme God. But in the Vaishnava canon, in different ages, with Vishnu in different avatars, his relationship with the asuras or demons, was always adversarial. The asuras always caused harm, while the sages and devas or celestial beings, did penance and called to Vishnu for protection. Vishnu always obliged by taking an avatar to vanquish the asuras. In the Vaishnava canon, Vishnu never gave or granted any boons to the asuras, distinguishing him from the gods Shiva and Brahma, who did. He is the only God called upon to save good beings by defeating or killing the asuras.

 

Sayana writes that in Aitareya Brahmana 1:1:1 the declaration agnir vai devānām ava mo viṣṇuḥ paramus,tadantareṇa sarvā anyā devatā does not indicate any hierarchy among gods. Even in Rigveda Samhita, avama and parama are not applied to denote rank and dignity, but only to mark place and locality.

 

In Rigveda 1:108:9,: yadindrāghnī avamasyāṃ pṛthivyāṃ madhyamasyāṃ paramasyāmuta sthaḥ | i.e., in the lowest place, the middle (place), and the highest (place). Agni, the fire, has, among the gods, the lowest place; for he resides with man on the earth; while the other gods are either in the air, or in the sky. Vishnu occupies the highest place. The words avama and parama are understood as 'First' and 'Last' respectively. To support this claim, Sayana adduces the mantra (1,4. As'val. Sr. S. 4, 2), agnir mukham prathamo devathanam samathanam uttamo vishnur asit, i.e., Agni was the first of the deities assembled, (and) Vishnu the last.

 

In the Kausitaki Brahmana (7.1) Agni is called Aaradhya (instead of avama), and Visnu parardha(instead of parama),i.e., belonging to the lower and higher halves (or forming the lower and higher halves). The Vishnu Purana gives tremendous importance to the worship of Vishnu and mentions that sacrifices are to begin only with both the lighting of fire or 'Agni', pouring of sacrificial offerings to Vishnu in 'Agni' so that those offerings reach and are accepted by Vishnu. Worship of Vishnu through Yajnas (or Homams) and other rituals, will not achieve the desired result if Agni's role is neglected.

 

Muller says "Although the gods are sometimes distinctly invoked as the great and the small, the young and the old (Rig veda 1:27:13), this is only an attempt to find the most comprehensive expression for the divine powers, and nowhere is any of the gods represented as the subordinate to others. It would be easy to find, in the numerous hymns of the Veda, passages in which almost every single god is represented as supreme and absolute."

 

However this notion is not completely correct as per the following verses, which shows Rigveda describe one or more gods as subject to other god(s).

 

Him whose high law not Varuna nor Indra, not Mitra, Aryaman, nor Rudra breaketh, Nor evil-hearted fiends, here for my welfare him I invoke, God Savitar, with worship. (Rigveda 2.038.09)

 

I invite to this place, with reverential salutations, for my good, that divine Savita, whose functions neither Indra, nor Varun.a, nor Mitra nor Aryaman nor Rudra nor the enemies (of the gods), impede. (Rigveda 2.038.09)

 

SMRITI

 

VISHNU SMRITI

The Vishnu Smṛti, is one of the later books of the Dharmashastra tradition of Hinduism and the only one that focuses on the bhakti tradition and the required daily puja to Vishnu, rather than the means of knowing dharma. It is also known for its handling of the controversial subject of the practice of sati (self-immolation of a widow on her husband's funeral pyre). The text was composed by an individual or group. The author(s) created a collection of the commonly known legal maxims that were attributed to Vishnu into one book, as Indian oral culture began to be recorded more formally.

 

BHAGAVATA PURANA

Vishnu is the only Bhagavan as declared in the Bhagavata 1:2:11 in the verse: vadanti tat tattva-vidas tattvam yaj jnanam advayam brahmeti paramatmeti bhagavan iti sabdyate, translated as "Learned transcendentalists who know the Absolute Truth call this non-dual substance as Brahman, Paramātma and Bhagavan."

 

VISHNU PURANA

In the Vishnu Purana (6:5:79) the personality named Parashara Rishi defines six bhagas:

 

aiśvaryasya samagrasya vīryasya yaśasaḥ śriyaḥ

jñāna-vairāgyayoś caiva ṣannāḥ bhaga itīṇganā

 

Jiva Gosvami explains the verse in Gopala Champu (Pūrva 15:73) and Bhagavata Sandarbha 46:10:

 

jñāna-śakti-balaiśvarya-vīrya-tejām.sy aśeṣataḥ

bhagavac-chabda-vācyāni vinā heyair guṇādibhiḥ

 

"The substantives of the word bhagavat (bhagavat-śabda-vācyāni) are unlimited (aśeṣataḥ) knowledge (jñāna), energies (śakti), strength (bala), opulence (aiśvarya), heroism (vīrya), splendor (tejas), without (vinā) objectionable (heyair) qualities (guṇādibhiḥ)."

 

SANGAM LITERATURE

Tamil Sangam literature (300BCE to 500CE) mentions mAyOn, or the dark one, as the supreme deity who creates, sustains and destroys the universe. Paripadal 3 describes the glory of Thirumal in the most superlative terms.

 

Paripadal by kaduvan iLaveyinanAr:

 

"thIyinuL theRal nI poovinuL naaRRa nI kallinuL maNiyu nI sollinuL vaaymai aRaththinuL anbu nI maRaththinuL mainthu nI vEthaththu maRai nI boothaththu madhalu nI vencudar oLiyu nI thingaLuL aLiyu nI anaiththu nI anaiththinut poruLu nI"

 

The last line states that Lord Vishnu is the supreme deity who is the inner controller (Antaryamin) of the entire universe. This is one of the Lord's glories, which is first mentioned in Vedas and later propounded by Alwars in Prabhandams and Sri Vaishnavaite Acharyas in various commentaries

 

The Sri Ranganathaswamy Temple and Vishnu, Lakshmi is mentioned in Tamil works of literature of the Sangam era, including the epic Silapadikaram (book 11, lines 35–40):

 

āyiram viritteḻu talaiyuṭai aruntiṟaṟ

 

pāyaṟ paḷḷip palartoḻu tētta viritiraik kāviri viyaṉperu turuttit tiruvamar mārpaṉ kiṭanta vaṇṇamum

 

On a magnificent cot having a thousand heads spread out, worshipped and praised by many, in an islet surrounded by Kaveri with bellowing waves, is the lying posture of the one who has Lakshmi sitting in his chest.

 

THEOLOGICAL ATTRIBUTES

The actual number of Vishnu's auspicious qualities is countless, although his six most-important "divine glories" are:

 

Jnana (Omniscience); defined as the power to know about all beings simultaneously;

Aishvarya (Sovereignty), derived from the word Ishvara which means unchallenged rule over all;

Shakti (Power or Energy), the capacity to make the impossible possible;

Bala (Strength), the capacity to support everything by will and without any fatigue;

Virya (Vigour), the power to retain immateriality as the Supreme Spirit or Being in spite of being the material cause of mutable creations;

Tejas (Splendor), which expresses self-sufficiency and the capacity to overpower everything by spiritual effulgence.

 

Other important qualities attributed to Vishnu are Gambhirya (inestimatable grandeur), Audarya (generosity), and Karunya (compassion). Natya Shastra lists Vishnu as the presiding deity of the Sṛngara rasa.

 

The Rigveda says: Vishnu can travel in three strides. The first stride is the Earth. The second stride is the visible sky. The third stride cannot be seen by men and is the heaven where the gods and the righteous dead live. (This feature of three strides also appears in the story of his avatar Vamana/Trivikrama.) The Sanskrit for "to stride" is the root kram; its reduplicated perfect is chakram (guņa grade) or chakra (zero-grade), and in the Rigveda he is called by epithets such as vi-chakra-māņas = "he who has made 3 strides". The Sanskrit word chakra also means "wheel". That may have suggested the idea of Vishnu carrying a chakra.

 

FIVE FORMS

In Shree Vaishnavism, another school dating from around the 10th century AD, Vishnu assumes five forms:

 

In the Para Form, Para is the highest form of Vishnu found only in Sri Vaikunta also called Moksha, along with his consort Lakshmi, (and Bhumi Devi and Nila devi, avatars of Lakshmi) and surrounded by liberated souls like Ananta, Garuda, and a host of Muktas (liberated souls).

In the Vyuha form, Vishnu assumes four forms, which exercise different cosmic functions and controls activities of living beings.

In the Vibhava form, Vishnu assumes various manifestations, called Vibhavas, more popularly known as Avataras from time to time, to protect the virtuous, punish evil-doers and re-establish righteousness.

In the Antaryami; "Dwelling within" or "Suksma Vasudeva" form, Vishnu exists within the souls of all living beings and in every substance.

In the Arcavatara or Image manifestation, Vishnu is visible and therefore easily approachable by devotees since Para, Vyuha, Vibhava and Antaryami forms can only be imagined or meditated upon because they are beyond our reach. Such images can be

Revealed by Vishnu, for example, a self-manifested (Swayambhu) icon (murti), e.g. The Mahavishnu Temple at Tirunelli, The Sri Ranganathaswamy Temple at Srirangam, The Tirumala Venkateshwara Temple, etc.; or

Installed by Devas or celestial beings such as such as Guruvayur Temple installed by Vayu; or

Installed by humans, and consecrated according to Vaishnava Agama shastras or scriptures such as Lord Jagannatha of Jagannath Temple (Puri) at Puri.

 

RELATIONS WITH OTHER DEITIES

 

SHIVA

The three gods of the Trimurti clan are inseparable and in harmony in view of their common vision and universal good. They are perfectly ideal in all respects.

 

Both Asuras and Devas played supportive roles in this story by keeping company with Vishnu in his incarnated forms. Hanuman is a vanara who is completely dedicated to Rama. He gives Vishnu company and obeys his command, while playing an important part in Rama's life. He is regarded in Vaishnava canon because it is through blessings that Hanuman is born. Thus, Hanuman, Vishnu's constant companion, with his idol appearing temples of Rama, Krishna and Narasimha, i.e. all of Vishnu's avatars, is considered by Vaishnavas.

 

Syncretic forces produced stories in which the two deities were shown in cooperative relationships and combined forms. Harihara is the name of a combined deity form of both Vishnu (Hari) and Shiva (Hara). This dual form, which is also called Harirudra, is mentioned in the Mahabharata.

 

LAKSHMI

Vishnu's consort is Lakshmi, the goddess of wealth (also known as Maya). The Samvit (the primary intelligence/dark matter) of the universe is Vishnu, while the other five attributes emerge from this samvit and hence Maya or dark energy of the universe is Lakshmee is his ahamata, activity, or Vishnu's Power. This power of God, Maya or Shakti, is personified and has multiple names: Shree, Lakshmi, Maya, Vishnumaya or Mahamaya. She is said to manifest as Kriyashakti, (Creative Activity) and Bhutishakti (Creation). This world requires Vishnu's creativity. He therefore needs Lakshmi to always be with Him. Her various avatars as Lord Vishnu's consorts are Varahavatar (Bhoodevi) or Bhoomi, Ramavatar Seeta, Krishnavatar Rukmini)

 

SARASWATI & GANGA

According to Brahma Vaivarta Purana, Lord Vishnu had three wives Lakshmi, Saraswati and Ganga. Due to their constant quarrelsome nature among them. Once Ganga tried to be close with Vishnu, this rebuked Saraswati but Lakshmi tried to pacify them but faced a curse rather. As per the curse, Lakshmi to appear as Tulasi. Sarawati cursed Ganga to run as a river in the world and Saraswati was cursed to run as a river in the netherworld. After this, Lord Vishnu transformed and became Brahma and Shiva to pacify Saraswati and Ganga.

 

GARUDA

Vishnu's mount (Vahana) is Garuda, the eagle. Vishnu is commonly depicted as riding on his shoulders.

 

ICONOGRAPHY

According to various Puranas, Vishnu is the ultimate omnipresent reality and is shapeless and omnipresent. However, a strict iconography governs his representation, whether in pictures, icons, or idols:

 

He has four arms and is male: The four arms indicate his all-powerful and all-pervasive nature. His physical existence is represented by the two arms in the front, while the two arms at the back represent his presence in the spiritual world. The Upanishad Gopal Uttartapani describes the four arms.

The Shreevatsa mark is on his chest, symbolizing his consort Lakshmi.

He wears the auspicious "Kaustubha" jewel around his neck and a garland of vaijayanti flowers (Vanamala). Lakshmi dwells in this jewel, on Vishnu's chest.

A crown adorns his head: The crown symbolizes his supreme authority. This crown sometimes includes a peacock feather, borrowing from his Krishna-avatar.

He wears two earrings: The earrings represent inherent opposites in creation — knowledge and ignorance; happiness and unhappiness; pleasure and pain.

He rests on Ananta, the immortal and infinite snake.

 

Vishnu is always to be depicted holding four attributes:

 

A conch shell or Shankha, named Panchajanya, is held by the upper left hand. It represents Vishnu's power to create and maintain the universe. Panchajanya represents the five elements or Panchabhoota – water, fire, air, earth and sky or space. It also represents the five airs or Pranas that are within the body and mind. The conch symbolizes that Vishnu is the primeval Divine sound of creation and continuity. It also represented as Om. In the Bhagavad Gita, Krishna avatara states that of sound vibrations, 'He is Om'.

The Chakra, a sharp, spinning, discus-like weapon, named "Sudarshana", is held by the upper right hand. It symbolizes the purified spiritualized mind. The name Sudarshana is derived from two words – Su, which means good, superior, and Darshana, which means vision or sight; together. The Chakra represents destruction of ego in the awakening and realization of the soul's original nature and god, burning away spiritual ignorance and illusion, and developing higher spiritual vision and insight to realize god.

A mace or Gada, named "Kaumodaki", is held by the lower right hand. It symbolizes that Vishnu's divine power is the source of all spiritual, mental and physical strength. It also signifies Vishnu's power to destroy materialistic or demonic tendencies (Anarthas) that prevent people from reaching god. Vishnu's mace is the power of the Divine within us to spiritually purify and uplift us from our materialistic bonds.

A lotus flower or Padma is held by the lower left hand. It represents spiritual liberation, Divine perfection, purity and the unfolding of Spiritual consciousness within the individual. The lotus opening its petals in the light of the Sun is indicative of the expansion and awakening of our long dormant, original spiritual consciousness in the light of god. The lotus symbolizes that god is the power and source from which the universe and the individual soul emerges. It also represents Divine Truth or Satya, the originator of the rules of conduct or Dharma, and Divine Vedic knowledge or Jnana. The lotus also symbolizes that Vishnu is the embodiment of spiritual perfection and purity and that He is the wellspring of these qualities and that the individual soul must seek to awaken these intrinsic Divine qualities from Vishnu by surrendering to and linking with Him.

 

To this may be added, conventionally, the vanamaala flower garland, Vishnu's bow (Shaarnga/Kodand) and his sword Nandaka. A verse of the Vishnu Sahasranama stotram states;vanamālī gadhī shārngī shanki chakri cha nandaki / shrīmān nārāyaņo vişņo vāsudevo abhirakşatu//; translation: Protect us Oh Lord Narayana who wears the forest garland,who has the mace, conch, sword and the wheel. And who is called Vishnu and the Vasudeva.

 

In general, Vishnu's body is depicted in one of the following three ways:

 

Standing on a lotus flower, often with Lakshmi, his consort, beside him on a similar pedestal.

Reclining on the coiled-up thousand-hooded Shesha Naga, with Lakshmi seated at his feet; the assemblage rests on the "Kshira Sagar" (ocean of milk). In this representation, Brahma is depicted as sitting on a lotus that grows out of Vishnu's navel.

Riding on the back of his eagle mount, known as Garuda. Another name for Garuda is "Veda atma"; Soul of the Vedas. The flapping of his wings symbolizes the power of the Divine Truth of Vedic wisdom. Also the eagle represents the soul. Garuda carrying Vishnu symbolizes the soul or jiva atma carrying the Super soul or Param atma within it.

 

AVATARS

Ten avatars (dashavatara) of Vishnu are the most prominent: Apart from the most prominent incarnations there are believed to more.

 

The most commonly believed incarnations of Vishnu are:

 

Matsya, the fish that kills Damanaka to save the vedas and also saves Manu from a great flood that submerges the entire Earth.

Kurma, the turtle that helps the Devas and Asuras churn the ocean for the nectar of immortality.

Varaha, the boar that rescues the Earth and kills Hiranyaksha.

Narasimha, the half-lion half human, who defeats the demon Hiranyakashipu.

Vamana, the dwarf that grows into a giant to save the world from King Bali.

Parashurama, "Rama of the battle axe", a sage who appeared in the Treta Yuga. He killed Kartavirya Arjuna's army and clan and then killed all the kshatriyas 21 times.

Rama, the prince and king of Ayodhya who killed the Demon King Raavan.

Krishna, the eighth avatar of Vishnu, who takes part in the Mahabharata epic. Krishna is worshipped as the Supreme Avatar of Vishnu (Supreme Personality of Godhead) in Gaudiya-Vaishnava philosophy.

Buddha, the ninth avatar of Vishnu.

Kalki, the tenth Avatar of Vishnu and said to be the harbinger of the end Kali Yuga. This avatar of Vishnu is yet to come.

 

Some versions of the above list include Hayagreeva among the Dashavataras while some include Buddha as ninth avatar of Vishnu. Another 22 avatars are given in Chapter 3, Canto 1 of the Bhagavata Purana, although it states that "the incarnations of the Lord are innumerable, like rivulets flowing from inexhaustible sources of water".

 

BEYOND HINDUISM

 

SIKHISM

Guru Granth Sahib of Sikhism mentions Vishnu, one verse goes:

 

The true Vaishnaav, the devotee of Vishnu, is the one with whom God is thoroughly pleased. He dwells apart from Maya. Performing good deeds, he does not seek rewards. Spotlessly pure is the religion of such a Vaishnaav; he has no desire for the fruits of his labors. He is absorbed in devotional worship and the singing of Kirtan, the songs of the Lords Glory. Within his mind and body, he meditates in remembrance on the Lord of the Universe. He is kind to all creatures. He holds fast to the Naam, and inspires others to chant it. O Nanak, such a Vaishnaav obtains the supreme status.

 

BUDDHISM

While some Hindus consider Buddha as an incarnation of Vishnu, Buddhists in Sri Lanka venerate Vishnu as the custodian deity of Sri Lanka and protector of Buddhism. Lord Vishnu is also known as upulvan, or uthpala varna, meaning "Blue Lotus coloured". Some postulates that Uthpala varna was a local deity who later merged with Vishnu while another belief is that Uthpala Varna was an early form of Vishnu before he became a supreme deity in Puranic Hinduism. According to Chronicles "Mahawamsa", "Chulawamsa" and folklore in Sri Lanka, Buddha himself handed over the custodianship to Vishnu. Others believe that Buddha entrusted this task to Sakra(Indra) and Sakra delegated this task of custodianship to god Vishnu. In contrary to vedic Hinduism, in assimilation of Hindu god Vishnu into Sinhalese Buddhism, Vishnu becomes a mortal being and a Bodhisattva aspiring Buddhahood. Additionally, Vishnu is considered as the god of home and hearth representing mercy, goodness, order and stability. Many Buddhist and Hindu shrines are dedicated to Vishnu in Sri Lanka. In addition to specific Vishnu "Kovils" or "devalayas", all Buddhist temples necessarily house shrine rooms (Devalayas) closer to the main Buddhist shrine dedicated to Vishnu. John Holt in his groundbreaking study examines the assimilation, transformation, and subordination of the Hindu deity Vishnu within the contexts of Sri Lankan history and Sinhala Buddhist religious culture. He then explores the role and rationale of medieval Sinhala kings in assimilating Visnu into Sinhala Buddhism. According to Holt the veneration of Vishnu in Sri Lanka is evidence of a remarkable ability, over many centuries, to reiterate and reinvent culture as other ethnicities have been absorbed into their own. Though the Vishnu cult in Ceylon was formally endorsed by Kandyan kings in early 1700s, Holt states that vishnu images and shrines are among conspicuous ruins in the medieval capital Polonnaruwa. In Buddhist mythology, when Vishnu failed to traverse the universe in three steps, he was given the title "Ardha Vishnu (Half-Vishnu)" and when Vishnu banished demons from the Vaishali (Vishala)in India, he became "Mulu Vishnu or Whole Vishnu". The extreme significance of god Vishnu in Sinhala society is reflected in recitals of the traditional "Offerings to dwarfs and crossing the door frame (bahirwayanta dola pideem saha uluwahu peneema)" that starts with Sri Vishnu invocation.In the recitals,mentioning of the aspiring Buddhahood of Vishnu which is of prime importance to Buddhists and wishes for him to live five thousand and more years highlight the central role of Vishnu in the psyche of Sri Lankan Buddhists.

 

OTHERS

James Freeman Clarke, Richard Leviton, James Cowles Prichard, and others have noted the similarities between Vishnu and Ancient Egyptian God Horus.

 

During an excavation in an abandoned village of Russia in the Volga region, archaeologist Alexander Kozhevin excavated an ancient idol of Vishnu. The idol dates from between the 7th and 10th centuries. In the interview Kozhevin, stated that, "We may consider it incredible, but we have ground to assert that Middle-Volga region was the original land of Ancient Rus. This is a hypothesis, but a hypothesis, which requires thorough research"

 

THOUSAND NAMES OF VISHNU

Vishnu's many names and followers are collected in the Vishnu Sahasranama, (Vishnu's thousand names) from within the larger work Mahabharata. The character Bheeshma recites the names before Krishna on the battlefield of Kurukshetra, praising him (Vishnu) as the supreme god. These Sahasranama are regarded as the essence of all Vedas by followers of Vaishnavism, who believe sincere chanting of Vishnu Sahasranama results in spiritual well-being and a greater awareness of God.

 

The names are generally derived from the Anantakalyanagunas (meaning: infinite auspicious attributes).

 

According to the Siddhartha-samhita there are twenty-four forms of Lord Vishnu. The twenty-four forms are

 

Vasudeva

Sankarshana

Pradyumna

Anirudha

Keshava

Narayana

Madhava

Govinda

Vishnu

Madhusudana

Trivikrama

Vamana

Sridhara

Hrishikesha

Padmanabha

Damodara

Purushottama

Achyuta

Narasimha

Janardana

Hari

Krishna

Adhokshaja

 

Upulvan, Uthpala Varna - In Sri Lanka, Vishnu is also referred to as Upulvan ( Blue Lotus Coloured)

 

WIKIPEDIA

www.kristiandale.com/blog

MM context for spiky

"Fetch" has taken on a different complexion recently. Maybe it's that Duncan has felt that he was on vacation, too, so he didn't need to return the object to us? Regardless. It was a new game in New Hampshire. If he wasn't standing on the rock, watching the disc drift off in the water, he was hiding in the bushes, dropping it - and grabbing it again before it got too close to us.

  

Anna May Wong stars with George Raft and Jean Parker in this dark crime drama set in London's Limehouse district.

It's "Never the twain shall meet" time again, this time in London's Limehouse district. George Raft stars as Harry Young, a half-caste saloonkeeper who shelters beleaguered white girl Toni (Jean Parker) from her tormentors (shades of Broken Blossoms). Harry falls in love with the girl, but mixing of the races was still a Hollywood no-no in 1934, so tragedy results -- except for Toni, who finds happiness in the arms of Eric Benton (Kent Taylor), a man of "her own kind." The highly eclectic cast includes Anna May Wong as Raft's obligatory cast-off sweetheart Tu Tuan, former 2-reel comic Billy Bevan, and in a tiny uncredited role, Ann Sheridan. To avoid confusion with another Limehouse Blues, this one was retitled East End Chant for television.

FIRST ASIAN AMERICAN STAR!

Written by PHILIP LEIBFRIED

 

Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!

Excerpt from : That Old Feeling: Anna May Wong

Part II of Richard Corliss' tribute to the pioneer Chinese-American star.

Daughter of the Dragon. Paramount 1931.

Based on a Fu Manchu novel by Sax Rohmer.

Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."

The Personal Anna May Wong

This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."

The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she

had been Anna May White?

Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.

  

Filmography:

The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.

Shame. Fox 1921. Bits of Life. Assoc. First National 1921.

The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923

The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.

Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924

The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.

Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.

The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.

A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.

Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.

Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.

The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.

Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).

The City Butterfly. German 1929. Across to Singapore. MGM 1928.

The Crimson City. Warner Bros. 1928. Song. German 1928

Chinatown Charlie. First National 1928. Piccadilly, British International 1929.

Elstree Calling. British International 1930. The Flame of Love. British International 1930.

Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.

Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.

A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.

Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.

Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.

Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.

The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924

 

Shanghai Express 1932

 

Name:- Heena Bhalla

Age- 23 years

Height- 5' 8.5''

Vital stats- 34-28-34

Complexion- Wheatish

Hair- Light golden brown

Eyes- Brown.

@marieangebovell

Candid street shot taken in Edinburgh. With this complexion what else could I call it?

FIRST ASIAN AMERICAN STAR!

Written by PHILIP LEIBFRIED

 

Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!

Excerpt from : That Old Feeling: Anna May Wong

Part II of Richard Corliss' tribute to the pioneer Chinese-American star.

Daughter of the Dragon. Paramount 1931.

Based on a Fu Manchu novel by Sax Rohmer.

Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."

The Personal Anna May Wong

This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."

The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she

had been Anna May White?

Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.

  

Filmography:

The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.

Shame. Fox 1921. Bits of Life. Assoc. First National 1921.

The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923

The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.

Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924

The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.

Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.

The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.

A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.

Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.

Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.

The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.

Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).

The City Butterfly. German 1929. Across to Singapore. MGM 1928.

The Crimson City. Warner Bros. 1928. Song. German 1928

Chinatown Charlie. First National 1928. Piccadilly, British International 1929.

Elstree Calling. British International 1930. The Flame of Love. British International 1930.

Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.

Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.

A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.

Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.

Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.

Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.

The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924

 

Shanghai Express 1932

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Photos by Carolyn DiLoreto

 

September 18, 2015 - USC Kaufman Artist in Residence Desmond Richardson leads BFA student dancers in repertory class. Co-Artistic Director of Complexions Contemporary Dance, Richardson is widely regarded as one of the most prolific dancers of our time.

FIRST ASIAN AMERICAN STAR!

Written by PHILIP LEIBFRIED

 

Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!

Excerpt from : That Old Feeling: Anna May Wong

Part II of Richard Corliss' tribute to the pioneer Chinese-American star.

Daughter of the Dragon. Paramount 1931.

Based on a Fu Manchu novel by Sax Rohmer.

Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."

The Personal Anna May Wong

This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."

The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she

had been Anna May White?

Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.

  

Filmography:

The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.

Shame. Fox 1921. Bits of Life. Assoc. First National 1921.

The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923

The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.

Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924

The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.

Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.

The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.

A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.

Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.

Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.

The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.

Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).

The City Butterfly. German 1929. Across to Singapore. MGM 1928.

The Crimson City. Warner Bros. 1928. Song. German 1928

Chinatown Charlie. First National 1928. Piccadilly, British International 1929.

Elstree Calling. British International 1930. The Flame of Love. British International 1930.

Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.

Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.

A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.

Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.

Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.

Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.

The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924

 

Shanghai Express 1932

Glorious makeup job by Squirrel Junkie! And the deep scratches/gouges and ingrained dirt = gone! Her complexion is a thousand times improved! Wow! And no more grubby yellow eyeballs, either!

The first Chinese-American movie star, Anna May Wong, a highly regarded and talented actress, had a series of major roles in successful films through the 1920s and 1930s. Unfortunately, these parts slowly dwindled during the 1940s due to racism and the "Yellow Peril" Americans felt during the war with Japan. She stars here in the lead role, as Lan Ying Lin, in this suspenseful crime drama directed by Robert Florey. Lin is hunting down her father's killers and aiding FBI agent Kim Lee (Philip Ahn) in an investigation into human traffickers played by J. Carrol Naish and Larry "Buster" Crabbe.

FIRST ASIAN AMERICAN STAR!

Written by PHILIP LEIBFRIED

 

Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!

Excerpt from : That Old Feeling: Anna May Wong

Part II of Richard Corliss' tribute to the pioneer Chinese-American star.

Daughter of the Dragon. Paramount 1931.

Based on a Fu Manchu novel by Sax Rohmer.

Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."

The Personal Anna May Wong

This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."

The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she

had been Anna May White?

Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.

  

Filmography:

The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.

Shame. Fox 1921. Bits of Life. Assoc. First National 1921.

The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923

The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.

Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924

The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.

Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.

The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.

A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.

Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.

Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.

The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.

Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).

The City Butterfly. German 1929. Across to Singapore. MGM 1928.

The Crimson City. Warner Bros. 1928. Song. German 1928

Chinatown Charlie. First National 1928. Piccadilly, British International 1929.

Elstree Calling. British International 1930. The Flame of Love. British International 1930.

Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.

Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.

A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.

Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.

Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.

Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.

The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924

 

Shanghai Express 1932

 

Anna May Wong plays Kim Ling, a dutiful daughter determined to reclaim the good name of her father, a Chinese general. To prove his innocence, she travels to the jungle work farm of Gregory Prin (J. Carrol Naish), who has the evidence she needs. With the help of secret agent Anthony Quinn, she clears her father and brings Prin down.

Anna May Wong and J. Carroll Naish, so memorably teamed in Paramount's Dangerous to Know, are costarred once more in Island of Lost Men. Naish plays ruthless jungle plantation owner Gregory Prin, who runs his domain like a dictatorship and treats his workers little better than slaves. Into Prin's world comes Kim Ling (Wong), daughter of a disgraced Chinese general. Kim Ling hopes to clear her father's name by bringing his primary accuser, Prin, to justice. The native-uprising finale is rendered in gloriously gruesome detail. A remake of the 1931 Charles Laughton-Carole Lombard starrer White Woman, Island of Lost Men also offers early but well-rounded performances by Anthony Quinn (as a Chinese patriot!) and Broderick Crawford.

FIRST ASIAN AMERICAN STAR!

Written by PHILIP LEIBFRIED

 

Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!

Excerpt from : That Old Feeling: Anna May Wong

Part II of Richard Corliss' tribute to the pioneer Chinese-American star.

Daughter of the Dragon. Paramount 1931.

Based on a Fu Manchu novel by Sax Rohmer.

Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."

The Personal Anna May Wong

This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."

The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she

had been Anna May White?

Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.

  

Filmography:

The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.

Shame. Fox 1921. Bits of Life. Assoc. First National 1921.

The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923

The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.

Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924

The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.

Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.

The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.

A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.

Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.

Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.

The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.

Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).

The City Butterfly. German 1929. Across to Singapore. MGM 1928.

The Crimson City. Warner Bros. 1928. Song. German 1928

Chinatown Charlie. First National 1928. Piccadilly, British International 1929.

Elstree Calling. British International 1930. The Flame of Love. British International 1930.

Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.

Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.

A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.

Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.

Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.

Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.

The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924

 

Shanghai Express 1932

 

Anna May Wong, Akim Tamiroff, Gail Patrick and Lloyd Nolan star in this thrilling crime drama.Based on a play by Edgar Wallace.

Racketeer Steve Recka, art patron and political power-maker, rules his town and Madame Lan Ying, his beautiful Oriental friend and hostess (read: mistress), with an iron hand. He meets Margaret Van Kase, a socialite not impressed by his power nor his wealth, having no money herself, and Steve makes frantic efforts to win her and turns away from the loyal Lin Yang. Margaret ignores him as she plans to wed Philip Easton, a penniless bond salesman. The furious Recka, poses as a friend to Easton, while planning to ruin him. His henchmen kidnap Easton when he is carrying a large assignment of bonds, and he is branded as a runaway thief. The only doubters are Margaret and Police Inspector Brandon, who knows Recka's methods and suspects foul play. Easton is found in an abandoned house and arrested as the gangsters have taken the bonds and tipped the police where to find him. Recka offers to clear Easton if Margaret will become his bride and, while her hatred for Recka is intense, her love

FIRST ASIAN AMERICAN STAR!

Written by PHILIP LEIBFRIED

 

Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!

Excerpt from : That Old Feeling: Anna May Wong

Part II of Richard Corliss' tribute to the pioneer Chinese-American star.

Daughter of the Dragon. Paramount 1931.

Based on a Fu Manchu novel by Sax Rohmer.

Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."

The Personal Anna May Wong

This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."

The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she

had been Anna May White?

Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.

  

Filmography:

The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.

Shame. Fox 1921. Bits of Life. Assoc. First National 1921.

The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923

The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.

Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924

The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.

Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.

The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.

A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.

Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.

Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.

The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.

Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).

The City Butterfly. German 1929. Across to Singapore. MGM 1928.

The Crimson City. Warner Bros. 1928. Song. German 1928

Chinatown Charlie. First National 1928. Piccadilly, British International 1929.

Elstree Calling. British International 1930. The Flame of Love. British International 1930.

Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.

Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.

A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.

Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.

Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.

Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.

The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924

 

Shanghai Express 1932

 

 

Anna May Wong stars and Joseph H. Lewis ("Gun Crazy") directs in this World War II adventure film set in Southeast Asia.

Of the two PRC Anna May Wong vehicles filmed during the 1942-43 season, Bombs Over Burma is marginally the best, thanks to the cinematic savvy of writer-director Joseph H. Lewis. Relying more on strong visuals than clever dialogue, the film details the contributions of the courageous Chinese guerilla fighters in keeping the Burma Road safe for Allied transport vehicles during WW2. During the arduous construction of the serpentine thoroughfare, a number of Chinese workers are killed by a mysterious saboteur. It turns out that the assailant is English nobleman Sir Roger Howe (Leslie Denison), who is actually a Nazi agent. Chinese schoolteacher Lin Yung (Anna May Wong) is the freedom fighter responsible for the unmasking and ultimate destruction of the duplicitous Sir Roger (the villain's death scene is the film's hands-down highlight).

FIRST ASIAN AMERICAN STAR!

Written by PHILIP LEIBFRIED

 

Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!

Excerpt from : That Old Feeling: Anna May Wong

Part II of Richard Corliss' tribute to the pioneer Chinese-American star.

Daughter of the Dragon. Paramount 1931.

Based on a Fu Manchu novel by Sax Rohmer.

Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."

The Personal Anna May Wong

This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."

The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she

had been Anna May White?

Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.

  

Filmography:

The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.

Shame. Fox 1921. Bits of Life. Assoc. First National 1921.

The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923

The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.

Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924

The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.

Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.

The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.

A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.

Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.

Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.

The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.

Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).

The City Butterfly. German 1929. Across to Singapore. MGM 1928.

The Crimson City. Warner Bros. 1928. Song. German 1928

Chinatown Charlie. First National 1928. Piccadilly, British International 1929.

Elstree Calling. British International 1930. The Flame of Love. British International 1930.

Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.

Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.

A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.

Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.

Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.

Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.

The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924

 

Shanghai Express 1932