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Corporal Tom CUTTS Military Medal 6/891 - "displayed the utmost coolness, gallantry, and devotion to duty" by SandyEm

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Corporal Tom CUTTS 6/891

Canterbury Regiment

Died 18 April 1977

Aged 93 years

1st New Zealand Expeditionary Force

Born: 10 Sep 1883, Mexborough, Yorks., England

Occupation: Miner

Red hair; Grey eyes and ruddy complexion

Enlistment address: Roa, NZ

Employer: Paparua Coal Mining co., Roa.

Next of Kin: Rachel CUTTS, Powell Street, Warslan Dale [sic], Yorkshire, England

Previous military: 12 months South Africa 28th Battalion, 129th Coy. Imperial Yeomanry. [Disbandment].SEE BOTTOM OF THIS BIO FOR FURTHER INFORMATION.

September 1915: Admitted to hospital - Rheumatism

October 1915: Admitted to hospital - Myalgia

12 May 1916: When under orders to embark for active services absenting himself without leave from the draft parade of the Canterbury Regiment until apprehended by the Civil Police Worsbro’Dale [sic] Yorkshire 19 May 1916

[Received detention for 21 days; 8 days pay forfeiture and had to pay 6/1- expenses incurred by Yorkshire constable in effecting his arrest]

9 September 1916: Charged with drunkenness in the field. 14 days forfeit pay. Automatically relinquished Lance Corporal title.

25 August 1917: 7 days forfeiture of pay for being outside billeting area and obstructing NCO [non commissioned officer].

19 Jan 1918: Appointed Corporal

8 June 1918: To hospital sick

31 May 1918: Awarded Military Medal for acts of gallantry in the field.

L.G. 29 August 1918, p10142, Rec No. 2124

"Operations on British Front opposite Beaumont Hamel 26 March 1918 and subsequent days. For conspicuous Gallantry and devotion to duty. On 5th of April 1918, Corporal Cutts was serving as Medical Corporal in the Battalion R.A.P. During the morning, enemy artillery heavily and persistently shelled the immediate vicinity of the Aid Post, eventually making it impossible to continue work there. In proceeding to another position Lieutenant R. Harris R.M.O. was killed outright. Amidst heavy shelling Corporal Cutts selected a new aid post, made two trips to the original post to procure splints and dressings, reorganised his stretcher bearers, and commenced tending the wounded in the shell hole throughout the bombardment. When properly established, he advised Battalion Headquarters of his move. This is the third occasion in the operations of the last six months that this N.C.O. has displayed the utmost coolness, gallantry, and devotion to duty."

1 July 1919: Remission of his earlier fines awarded.

He married Rachel SLATER at Swinton, Yorks, England and had 3 children:

William Thomas CUTTS born Swinton 11 Nov. 1903

Edith CUTTS born Swinton 17 Oct. 1907 and

Jack CUTTS born Swinton 7 July 1909

[Note that a Rachel CUTTS born 10 May 1884 and died 1972 in NZ(1)]

Note the different names for the same place within his records.

Warsbro’Dale

Warslow Dale near Barnsley, Yorks. England

Warslan Dale

After googling I’m going to go with Worsbrough. en.wikipedia.org/wiki/Worsbrough

His Cenotaph database record:

muse.aucklandmuseum.com/databases/Cenotaph/41567.detail?O...

Evening Post, Volume XCV, Issue 119, 20 May 1918, Page 8

Notice of his Military Medal award for act of gallantry in the field

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

His military records are available to read online:

archway.archives.govt.nz/ViewFullItem.do?code=20994856&am...

His probate is available:

archway.archives.govt.nz/ViewFullItem.do?code=13082042

BOER WAR INFORMATION:

39496 Pte. T Cutts, [Westminster Dragoons]129th Squadron, 28th Imperial Yeomanry.

Queen's South Africa Medal (QSA) roll (WO 100/129 pg 182)

QSA with Cape Colony and South Africa 1902 clasps.

Thanks to Mark WILKIE of angloboerwar.com for providing this.

Further CUTTS family information:

Findmypast.co.uk

BMD Transcripts

Birth:

CUTTS, Tom

Registration district: Doncaster

County: Yorkshire

Year of registration: 1883

Quarter of registration: Oct-Nov-Dec

Vol: 9C Page No: 671

Marriage:

CUTTS, Tom married SLATER, Rachel

Registration district: Rotherham

County: Yorkshire

Year of registration: 1904

Vol: 9C Page No: 1162

1891 English census

Ecclesiastical Parish of St Margaretts [sic]

Registration district: Rotheram

Civil Parish: Swinton

Address: 102 Queen Street, Swinton, Yorkshire

CUTTS family

Maria, Head, Widow, 41, born 1850 Everton, Lincs., Laundress

[The earlier 1871 census shows Maria’s husband as William CUTTS, labourer aged 25 born 1846 in the village of Adwick le Street]

George William, Son, Single, 20, born 1871 Mexborough, Yorks., Coal Miner

Alice, Daughter, 14, born 1877 Everton, Lincs., Assisting mother at home

Charles, Son, 11, born 1880 Swinton, Yorks., Scholar

Irena, Daughter, 8, born 1883 Swinton, Yorks., Scholar

Tom, Son, 6, born 1885 Mexborough, Yorks., Scholar

Edith Annie, Daughter, 5, born 1887 Mexborough, Yorks., Scholar

Emily, Daughter, 4, born 1887 Mexborough, Yorks.,, Scholar

Fred, Son, 2, born 1889 Swinton, Yorks.,

1901 Census English Census

Ecclesiastical Parish of St Margarets

Registration district: Rotheram

Civil Parish: Swinton

Address: 46 Wath Road, Swinton, Yorkshire

Maria, aged 51, is still a widow and has no occupation listed

[In the Death entries there is a Maria CUTTS death registered at Halifax in first quarter of 1938 aged 87, I’d say that would be her]

Sarah Jane, another daughter has appeared, Single, 25, born 1876 Old Denaby, Yorks,, confectioners Assistant

Tom, 17 [birth year now states 1884], Trammer in coal mine.

Fred, 11 [birth year now states 1890]

William, aged 9 born 1892, Swinton, Yorks, another son has appeared indicating Maria was pregnant at the previous census and therefore had only just become a widow at that time. The only William CUTTS dying around this time that is listed in the Parish records collection on FMP was one who was buried on 7 Dec 1890 aged 44 [date of birth c1846 so fits in], place of burial is Sheffield; Dedication: St Philip]. Dates are slightly out with William Jnr’s birth year and William Snr’s death year but this is not unusual for records of the time.

1911 Census England

Registration district: Rotheram

Civil Parish: Swinton

Address: 23 Cambridge Street Roman Terrace near Mexborough, Yorkshire

Their house had 4 rooms.

CUTTS, Tom, Head, Married, 27 [born 1884], Coal miner Hewer

CUTTS, Rachel, Wife, Married 6 years, 26, born 1885 Ardwick on Dern Yorks.

CUTTS, William Thomas, Son, 5, born 1906 Swinton

CUTTS, Edith, Daughter, 3, born 1908 Swinton

CUTTS, John, Son, 1, born 1910 Swinton

Passenger Lists

Mr Tom CUTTS

Departure date: 6 July 1956

Port of dep: London

Dest. Port: New Zealand

Ship: Rangitoto

Contract ticket no.: 1478, CUTTS Mr Tom; class of travel – 1; Port – Wellington; Sex - M, 10.9.83, M[arried], Address in the UK: C/- Mrs Brookes 64 Newlands Pk Grove, Scarborough; retired; Country of last permanent residence: NZ; Country of intended permanent residence:NZ.

[Possibly was coming back from a holiday in the UK ?]

REFERENCES:

Cenotaph database

Military records

(1)www.dia.govt.nz

India - Odisha - Bhubaneswar - Odisha State Museum - Chamunda by Manfred Sommer

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Chamunda (Sanskrit: चामुण्डा, Cāmuṇḍā), also known as Chamundi, Chamundeshwari and Charchika, is a fearsome aspect of Devi, the Hindu Divine Mother and one of the seven Matrikas (mother goddesses). She is also one of the chief Yoginis, a group of sixty-four or eighty-one Tantric goddesses, who are attendants of the warrior goddess Durga. The name is a combination of Chanda and Munda, two monsters whom Chamunda killed. She is closely associated with Kali, another fierce aspect of Devi. She is sometimes identified with goddesses Parvati, Chandi or Durga as well. The goddess is often portrayed as haunting cremation grounds or fig trees. The goddess is worshipped by ritual animal sacrifices along with offerings of wine and in the ancient times, human sacrifices were offered too. Originally a tribal goddess, Chamunda was assimilated in Hinduism and later entered the Jain pantheon too. Though in Jainism, the rites of her worship include vegetarian offerings, and not the meat and liquor offerings.

ORIGINS

Ramakrishna Gopal Bhandarkar says that Chamunda was originally an indigenous goddess worshipped by the Munda peoples of the Vindhya range of central India. These tribes were known to offer goddesses animal as well as human sacrifices along with ritual offerings of liquor. These methods of worship were retained in Tantric worship of Chamunda, after assimilation in Hinduism. He proposes the fierce nature of this goddess is due of her association with Vedic Rudra (identified as Shiva in modern Hinduism), identified with fire god Agni at times. Wangu also backs the theory of the tribal origins of the goddess.

ICONOGRAPHY

The black or red coloured Chamunda is described as wearing a garland of severed heads or skulls (Mundamala). She is described as having four, eight, ten or twelve arms, holding a Damaru (drum), trishula (trident), sword, a snake, skull-mace (khatvanga), thunderbolt, a severed head and panapatra (drinking vessel, wine cup) or skull-cup (kapala), filled with blood. Standing on a corpse of a man (shava or preta) or seated on a defeated demon or corpse (pretasana), she is described as having a skeletal body with three eyes, a terrifying face, drooping breasts, protruding teeth, long nails and a sunken belly. She has a scorpion sitting on her navel like a decoration. Chamunda is depicted adorned by ornaments of bones, skulls, serpents and scorpions, symbols of disease and death. She also wears a Yajnopavita (a sacred thread worn by mostly Hindu male priests) of skulls. She wears a jata mukuta, that is, headdress formed of piled, matted hair tied with snakes or skull ornaments. Sometimes, a crescent moon is seen on her head. Her socket eyes are described as burning the world with flames. She is accompanied by fiends and goblins. She is also shown surrounded by skeletons or ghosts and beasts like jackals, who are shown eating the flesh of the corpse which the goddess sits or stands on. The jackals and her fearsome companions are sometimes depicted as drinking blood from the skull-cup or blood dripping from the severed head, implying that Chamunda drinks the blood of the defeated enemies. This quality of drinking blood is a usual characteristic of all Matrikas, and Chamunda in particular. At times, she is depicted seated on an owl, her vahana (mount or vehicle). Her banner figures an eagle.

These characteristics, a contrast to usual Hindu goddess depiction with full breasts and a beautiful face, are symbols of old age, death, decay and destruction.

HINDU LEGENDS

In Hindu scripture Devi Mahatmya, Chamunda emerged as Chandika Jayasundara from an eyebrow of goddess Kaushiki, a goddess created from "sheath" of Durga and was assigned the task of eliminating the demons Chanda and Munda, generals of demon kings Shumbha-Nishumbha. She fought a fierce battle with the demons, ultimately killing them. Goddess Chandika Jayasundara took the slain heads of the two demons to goddess Kaushiki, who became immensely pleased. Kaushiki blessed Chandika Jayasundara and bestowed upon her the title of “Chamunda", to commemorate the latter's victory over the demons.

According to a later episode of Devi Mahatmya, Durga created Matrikas from herself and with their help slaughtered the demon army of Shumbha-Nisumha. In this version, Kali is described as a Matrika who sucked all the blood of the demon Raktabija. Kali is given the epithet Chamunda in the text. Thus, the Devi Mahatmya identifies Chamunda with Kali.

In Varaha Purana, the story of Raktabija is retold, but here each of Matrikas appears from the body of another Matrika. Chamunda appears from the foot of the lion-headed goddess Narshmi. Here, Chamunda is considered a representation of the vice of tale-telling (pasunya). The Varaha Purana text clearly mentions two separate goddesses Chamunda and Kali, unlike Devi Mahatmya.

According to another legend, Chamunda appeared from the frown of the benign goddess Parvati to kill demons Chanda and Munda. Here, Chamunda is viewed as a form of Parvati.

Matsya Purana tells a different story of Chamunda's origins. She with other matrikas was created by Shiva to help him kill the demon Andhakasura, who has an ability - like Raktabija - to generate from his dripping blood. Chamunda with the other matrikas drinks the blood of the demon ultimately helping Shiva kill him. Ratnakara, in his text Haravijaya, also describes this feat of Chamunda, but solely credits Chamunda, not the other matrikas of sipping the blood of Andhaka. Having drunk the blood, Chamunda's complexion changed to blood-red. The text further says that Chamunda does a dance of destruction, playing a musical instrument whose shaft is Mount Meru, the spring is the cosmic snake Shesha and gourd is the crescent moon. She plays the instrument during the deluge that drowns the world.

ASSOCIATION WITH MATRIKAS

Chamunda is included in the Saptamatrika (seven Matrikas or mothers) lists in the Hindu texts like Mahabharata (Chapter 'Vana-parva'), Devi Purana and Vishnudharmottara Purana. She is often depicted in the Saptamatrika group in sculptures, examples of which are Ellora and Elephanta caves. Though she is always portrayed last (rightmost) in the group, she is sometimes referred to as the leader of the group. While other Matrikas are considered as Shaktis (powers) of male divinities and resemble them in their appearance, Chamunda is the only Matrika who is a Shakti of the great Goddess Devi rather than a male god. She is also the only Matrika who enjoys independent worship of her own; all other Matrikas are always worshipped together.

Devi Purana describe a pentad of Matrikas who help Ganesha to kill demons. Further, sage Mandavya is described as worshipping the Māṭrpaňcaka (the five mothers), Chamunda being one of them. The mothers are described as established by creator god Brahma for saving king Harishchandra from calamities. Apart from usual meaning of Chamunda as slayer of demons Chanda and Munda, Devi Purana gives a different explanation: Chanda means terrible while Munda stands for Brahma's head or lord or husband.

In Vishnudharmottara Purana - where the Matrikas are compared to vices - Chamunda is considered as a manifestation of depravity. Every matrika is considered guardian of a compas direction. Chamunda is assigned the direction of south-west.

Chamunda, being a Matrika, is considered one of the chief Yoginis, who are considered to be daughters or manifestations of the Matrikas. In the context of a group of sixty-four yoginis, Chamunda is believed to have created seven other yoginis, together forming a group of eight. In the context of eighty-one yoginis, Chamunda heads a group of nine yoginis.

HINDU WORSHIP

A South Indian inscription describes ritual sacrifices of sheep to Chamunda. In Bhavabhuti's eighth century Sanskrit play, Malatimadhva describes a devotee of the goddess trying to sacrifice the heroine to Chamunda's temple, near a cremation ground, where the goddess temple is situated. A stone inscription at Gangadhar, Rajasthan, deals with a construction to a shrine to Chamunda and the other Matrikas, "who are attended by Dakinis (female demons)" and rituals of daily Tantric worship (Tantrobhuta) like the ritual of Bali (offering of grain).

Many Kshatriyas and even the Jain community worship her also as her Kuladevi "family deity". The Chapa dynasty worshiped her as their kuladevi.The Kutch Gurjar Kshatriyas also worship her as kuladevi and temples are located in Sinugra and Chandiya. Alungal family, a lineage of Mukkuva caste - (Hindu caste of Shudra origin) in Kerala - also worship chamundi in Chandika form, as Kuladevta and temple is situated in Thalikulam village of Thrissur, Kerala . This is an example of Chamunda worship across different caste sects.

TEMPLES

In the Kangra district of Himachal Pradesh, around 10 kilometres west of Palampur, is the renowned Chamunda Devi Temple which depicts scenes from the Devi Mahatmya, the Ramayana and the Mahabharata. The goddess's image is flanked by the images of Hanuman and Bhairava. Another temple, Chamunda Nandikeshwar Dham, also found in Kangra, is dedicated to Shiva and Chamunda. According to a legend, Chamunda was enshrined as chief deity "Rudra Chamunda", in the battle between the demon Jalandhara and Shiva. In Gujarat, two Chamunda shrines are located on the hills of Chotila and Panera. Kichakeshwari Temple, located near the Baripada, Charchika Temple, near Banki and Vaital Deula in Bhubaneswar, Odisha. Another temple is Chamundeshwari Temple on Chamundi Hill, Mysore. Here, the goddess is identified with Durga, who killed the buffalo demon. Chamundeshwari or Durga, the fierce form of Shakti, a tutelary deity held in reverence for centuries by the Maharaja of Mysore. The Chamunda Mataji temple in Mehrangarh Fort, Jodhpur, was established in 1460 after the idol of the goddess Chamunda - the Kuladevi and iṣṭa-devatā (tutelary deity) of the Parihar rulers - was moved from the old capital of Mandore by the then-ruler Jodha of Mandore. The goddess is still worshipped by the royal family of Jodhpur and other citizens of the city. The temple witnesses festivities in Dussehra - the festival of the goddess. Another temple, Sri Chamundeshwari Kshetram is located near Jogipet, in Medak District in Telangana State.

IN JAINISM

Early Jainism was dismissive of Chamunda, a goddess who demands blood sacrifice, which is against the principle of Jain vegetarianism. Some Jain legends portray Chamunda as a goddess defeated by monks like Jinadatta and Jinaprabhasuri.

Another legend tells the story of conversion of Chamunda into a Jain goddess. According to this story, Chamunda sculpted the Mahavira image for the temple in Osian, Jodhpur and was happy with the conversions of the Oswals to Jainism. At the time of Navratri, a festival that celebrates the Divine Mother, Chamunda expected animal sacrifices from the converted Jains. The vegetarian Jains, however, were unable to meet her demand. Ratnaprabhasuri intervened, and as a result, Chamunda accepted vegetarian offerings, forgoing her demand for meat and liquor. Ratnaprabhsuri further named her Sacciya, one who had told the truth, as Chamunda had told him the truth that a rainy season stay in Osian would be beneficial for him. She also became the protective goddess of the temple and remained the clan goddess, Kuladevi, of the Oswals. The Sachiya Mata Temple in Osian was built in her honour. Some Jain scriptures warn of dire consequences of worship of Chamunda by the Hindu rites and rituals.

WIKIPEDIA

Dictio. by Enya "Noah" Casal Sio

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She: Cristina Martinez.

Edgar Anido, Complexions Contemporary Ballet, UMKC Dance Class, 9-9-13 by UMKC-Conservatory

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Edgar Anido, dancer with NYC's Complexions Contemporary Ballet, works with UMKC Conservatory dance students during his artist residency, Sept. 2013.

photos: Janet Rogers, UMKC

East Indian Woman Listening to Music by Chris Nuzzaco

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License This Photo View My Tutorials Visit My Website

Strobist: See my blog for in depth tutorials - One AC slave flash fired thru diffusion fabric directly above camera position.

This is a shot from a lifestyle commercial shoot I did for Images Bazaar earlier this year.

A desi babe listens to music on her ipod while wearing big puffy headphones and dancing.

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Nepal - Changu Narayan - Changu Narayan Temple - Vishnu And Garuda - 56b by Manfred Sommer

VISHNU

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."

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.

India - Tamil Nadu - Kumbakonam - Vishnu - 1d by Manfred Sommer

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.