Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

MOUNT KAILASH INNER PARIKRAMA 2010

Mt. Kailash Inner Parikrama (Kora)

Mt. Kailash (6714m), Asia's most sacred mountain, is located in a high and isolated enclave of West Tibet . It is one of three pilgrimages sites in the area, known collectively as Kangri Tsosum. All are said to be at the heart of the ancient Shangshung kingdom, the supposed land of origin of the pre-Buddist Bonpos. Mt Kailash is their sould-mountain, which they also call Yungdrung Gu Tse, the Nine-story Swastika Mountain .

 

It is a 53-km pilgrim path around Mt. Kailash . It begins and ends at Darchen, a small settlement at the mountain south base and in the process visits four monasteries crosses the high Drolma La Pass (5636m). Three days is perhaps the minimum time required to walk leisurely around the mountain: spend two nights in or near Drira Phuk and Zutrul Phuk Monasteries. If conditions permit, try to stay four or five days, which would allow time for short trips to the inner regions of the area.

Mount Kailash (also Mount kailas; Tibetan: གངས་རིན་པོ་ཆེKangrinboqê or Gang Rinpoche; simplified Chinese: 冈仁波齐峰,Gāngrénbōqí fēng, Sanskrit: कैलास Kailāsa) is a peak in the Kailas Range (Gangdisê Mountains), which forms part of the Transhimalaya in Tibet. It lies near the source of some of the longest rivers in Asia: the Indus River, the Sutlej River (a major tributary of the Indus River), the Brahmaputra River, and the Karnali River (a tributary of the River Ganga). It is considered a sacred place in four religions: Bön, Buddhism, Hinduism andJainism. The mountain lies near Lake Manasarovar and Lake Rakshastalin Tibet.

According to Hinduism, Lord Shiva, the destroyer of ignorance and illusion, resides at the summit of a legendary mountain named Kailās, where he sits in a state of perpetual meditation along with his wife Pārvatī.

According to Charles Allen, one description in the Vishnu Purana of the mountain states that its four faces are made of crystal, ruby, gold, and lapis lazuli. It is a pillar of the world and is located at the heart of six mountain ranges symbolizing a lotus.

Every year, thousands make a pilgrimage to Kailash, following a tradition going back thousands of years. Pilgrims of several religions believe that circumambulating Mount Kailash on foot is a holy ritual that will bring good fortune. The peregrination is made in a clockwise direction by Hindus and Buddhists. Followers of the Jain andBönpo religions circumambulate the mountain in a counterclockwise direction. The path around Mount Kailash is 52 km (32 mi) long.

Some pilgrims believe that the entire walk around Kailash should be made in a single day, which is not considered an easy task. A person in good shape walking fast would take perhaps 15 hours to complete the 52 km trek. Some of the devout do accomplish this feat, little daunted by the uneven terrain, altitude sickness and harsh conditions faced in the process. Indeed, other pilgrims venture a much more demanding regimen, performing body-lengthprostrations over the entire length of the circumambulation: The pilgrim bends down, kneels, prostrates full-length, makes a mark with his fingers, rises to his knees, prays, and then crawls forward on hands and knees to the mark made by his/her fingers before repeating the process. It requires at least four weeks of physical endurance to perform the circumambulation while following this regimen. The mountain is located in a particularly remote and inhospitable area of the Tibetan Himalayas. A few modern amenities, such as benches, resting places and refreshment kiosks, exist to aid the pilgrims in their devotions. According to all religions that revere the mountain, setting foot on its slopes is a dire sin. It is claimed that many people who ventured to defy the taboo have died in the process[citation needed]. It is a popular belief that the stairways on Mount Kailash lead to heaven.

Following the political and border disturbances across the Chinese-Indian boundary, pilgrimage to the legendary abode of Lord Shiva was stopped from 1954 to 1978. Thereafter, a limited number of Indian pilgrims have been allowed to visit the place, under the supervision of the Chinese and Indian governments either by a lengthy and hazardous trek over the Himalayan terrain, travel by land from Kathmandu or from Lhasa where flights from Kathmandu are available to Lhasa and thereafter travel over the great Tibetan plateau by car. The journey takes four night stops, finally arriving at Darchen at elevation of 4,600 m (15,100 ft), small outpost that swells with pilgrims at certain times of year. Despite its minimal infrastructure, modest guest houses are available for foreign pilgrims, whereas Tibetan pilgrims generally sleep in their own tents. A small regional medical center serving far-western Tibet and funded by the Swiss Ngari Korsum Foundation was built here in 1997.

Walking around the holy mountain—a part of its official park—has to be done on foot, pony or yak, taking some three days of trekking starting from a height of around 15,000 ft (4,600 m) past the Tarboche (flagpole) to cross the Drölma pass 18,200 ft (5,500 m), and encamping for two nights en route. First, near the meadow of Dirapuk gompa, some 2 to 3 km (1.2 to 1.9 mi) before the pass and second, after crossing the pass and going downhill as far as possible (viewing Gauri Kund in the distance). By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

Shiva (/ˈʃivə/; Sanskrit: Śiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism.[2][3] He is one of the five primary forms of God in the Smarta tradition,[2] and "the Destroyer" or "the Transformer"[4] among the Trimurti, the Hindu Trinity of the primary aspects of the divine.

 

At the highest level, Shiva is regarded limitless, transcendent, unchanging and formless.[5][6][7][8][9] Shiva also has many benevolent and fearsome forms.[10] In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash,[4] as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.[11][12][13]

 

The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument. Shiva is usually worshiped in the aniconic form of Lingam

The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word is[17] means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.[18]

 

The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).[19][20][21]

 

The Sanskrit word śaiva means "relating to the god Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect.[22] It is used as an adjective to characterize certain beliefs and practices, such as Shaivism.[23]

 

The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.[24][25]

 

Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."[26] Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".[27]

 

Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great god"; mahā "Great" and deva "god"),[28][29] Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"),[30][31] and Parameśvara ("Supreme Lord").[32]

 

There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva.[33] The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition.[34] Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.[35][36]The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.[37][38]The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure.[38] How the persona of Shiva converged as a composite deity is not well documented.[39] According to Vijay Nath:

 

Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."[40]

 

Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.[41]

 

An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes.[42] The foremost center of worship of Khandoba in Maharashtra is in Jejuri.[43] Khandoba has been assimilated as a form of Shiva himself,[44] in which case he is worshipped in the form of a lingam.[42][45] Khandoba's varied associations also include an identification with Surya[42] and Karttikeya.[46]Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic[47][48][49] figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra.[47][50][51][52] Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.

 

While some academics like Gavin Flood[53][54] and John Keay have expressed doubts. John Keay writes that "He may indeed be an early manifestation of Lord Shiva as Pashu- pati", but a couple of his specialties of this figure does not match with Rudra.[55] Writing in 1997 Doris Srinivasan rejected Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man.[56] According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.[57]

 

Writing in 2002, Gregory L. Possehl concluded that while it would be appropriate to recognize the figure as a deity, its association with the water buffalo, and its posture as one of ritual discipline.[58]Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.[59]Shiva as we know him today shares many features with the Vedic god Rudra,[60] and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.

 

Hindu text Rig Veda, which is dated to between 1700 and 1100 BC based on linguistic and philological evidence.[61] A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods.[62] Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.

 

The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:

 

Rudra is called "The Archer" (Sanskrit: Śarva),[63] and the arrow is an essential attribute of Rudra.[64] This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.[65]

 

The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill",[66] and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness".[65] The names Dhanvin ("Bowman")[67] and Bāṇahasta ("Archer", literally "Armed with arrows in his hands")[67][68] also refer to archery.

 

Agni[edit]

Rudra and Agni have a close relationship.[69][70] The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva.[71] The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra."[72] The interconnections between the two deities are complex, and according to Stella Kramrisch:

 

The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.[73]

 

In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities.[74] Agni is said to be a bull,[75] and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned.[76][77] In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.[78]

 

Indra[edit]

According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra.[79] Doniger gives several reasons for her hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3,[80] 6.45.17,[81][82] and 8.93.3.[83]) Indra, like Shiva, is likened to a bull.[84][85] In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.[86]

 

The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion,[87][88] and the Indo-Iranian religion.[89] According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran.[90] It was "a syncretic mixture of old Central Asian and new Indo-European elements",[90] which borrowed "distinctive religious beliefs and practices"[89] from the Bactria–Margiana Culture.[89] At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma.[91] According to Anthony,

 

Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.[92]

 

Later Vedic literature[edit]

Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BC), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BC to 100 AD also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.[54][93]

 

Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.[94][95]

 

Puranic literature[edit]

The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.[96]

 

Tantric literature[edit]

The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.[97]Shaivism[edit]

Main articles: Shaivism and History of Shaivism

Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.

 

Panchayatana puja[edit]

Main article: Panchayatana puja

Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century AD Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.[98]

 

Trimurti[edit]

Main article: Trimurti

The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer.[99][100] These three deities have been called "the Hindu triad"[101] or the "Great Trinity",[102] often addressed as "Brahma-Vishnu-Maheshwara."

Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite. It is often not shown but Shiva has 6 heads, of which only five (Isana, Tatpurusha, Vamana, Aghora, Sadyojata) are visible while the 6th (Adhomukh) can only be seen by the enlightened.

Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes,[103] called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources.[104] In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes".[105] However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers".[106][107] These three mother-goddesses who are collectively called the Ambikās.[108] Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā.[109] It has been mentioned that when Shiva loses his temper, his third eye opens which can reduce most things to ashes.

Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon.[110] The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown")[111][112][113] refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva.[114] The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon.[115] The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.

Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence.[116] Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy.[117] These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism.[118] One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.[119]

Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair",[120] and Kapardin, "endowed with matted hair"[121] or "wearing his hair wound in a braid in a shell-like (kaparda) fashion".[122] A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly.[123] His hair is said to be like molten gold in color or being yellowish-white.

Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat").[124][125] Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue.[126][127] (See Maha Shivaratri.)Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva.[128][129] The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair.[130] The flow of the Ganges also represents the nectar of immortality.

Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin,[116] an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.[131]

Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.[132]

Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.

Trident: (Trishula): Shiva's particular weapon is the trident.[116] His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.

Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru).[133][134] This is one of the attributes of Shiva in his famous dancing representation[135] known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum.[136] This drum is particularly used as an emblem by members of the Kāpālika sect.[137]

Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.

Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana).[138][139] Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle"[140] and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra.[141] Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.

Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".[142]

5 heads: Shiva is known as panchavactra means 5 heads which indicates 5 elements.

Arms: Shiva has 4 arms which resembles 4 vedas

Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode.[116] In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.[143]

Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.[144]

LINGAM

Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important.[145][146][147] These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness".[148] Shiva also means "one in whom the whole creation sleeps after dissolution".[148] Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself.[148] Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol,[149][150] although this interpretation is disputed by others, including Christopher Isherwood,[151] Vivekananda,[152] Swami Sivananda,[153] and S.N. Balagangadhara.[154]

JYOTHIRLINGAM

The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga.[155][156] In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.[156]

 

The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.[157]Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali[158] and Chandika.[159] Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).

 

The five mantras[edit]

Five is a sacred number for Shiva.[160] One of his most important mantras has five syllables (namaḥ śivāya).[161]

 

Shiva's body is said to consist of five mantras, called the pañcabrahmans.[162] As forms of God, each of these have their own names and distinct iconography:[163]

 

Sadyojāta

Vāmadeva

Aghora

Tatpuruṣha

Īsāna

These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action.[164][165] Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes.[166] The overall meaning of these associations is summarized by Stella Kramrisch:

 

Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.[167]

 

According to the Pañcabrahma Upanishad:

 

One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)[168]

 

Forms and roles[edit]

According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[169] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.

NATARAJA

The depiction of Shiva as Nataraja (Sanskrit: naṭarāja, "Lord of Dance") is popular.[199][200] The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama.[201] His association with dance and also with music is prominent in the Puranic period.[202] In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular.[203] The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya.[204][205] and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati.[206][207] Lasya is regarded as the female counterpart of Tandava.[207] The Tandava-Lasya dances are associated with the destruction-creation of the world.[208][209][210]

 

Dakshinamurthy[edit]

Main article: Dakshinamurthy

Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति),[211] literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras.[212] This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu.[213] Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.[214]

ARDHANARISWARA:

An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman".[215] According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras.[216] Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[217] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism.[218] The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars.[219] According to the Svetasvatara Upanishad, he has four avatars.[220]

 

In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”.[221] Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).[222][223]

 

Other traditions regard the sage Durvasa,[224][225][226][227] the sage Agastya, the philosopher Adi Shankara and Ashwatthama as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati.[228] The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.[229]

Buddhism[edit]

Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna.[230] In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.[231]

 

Sikhism[edit]

The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi."[232] In the same chapter, it also says, "Shiva speaks, the Siddhas speak."

 

In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.[233]

 

Others[edit]

The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty,[234] and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan.[235] In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita").[235] He is clad in tiger skin while his attendants are wearing Sodgian dress.[235] In Eastern Turkestan in the Taklamakan Desert.[235] There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls.[235] Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh.[235][236] It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.[236]

 

Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.

 

In Indonesia, Shiva is also worshiped as Batara Guru. In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hinduism is "Maharaja Dewa" (Mahadeva).[237]

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

The Ellora caves, locally known as ‘Verul Leni’ is located on the Aurangabad-Chalisgaon road at a distance of 30 km north-northwest of Aurangabad, the district headquarters. The name Ellora itself inspires everyone as it represents one of the largest rock-hewn monastic-temple complexes in the entire world. Ellora is also world famous for the largest single monolithic excavation in the world, the great Kailasa (Cave 16). The visit to these caves is enjoyed maximum during monsoon, when every stream is filled with rainwater, and the entire environ is lush green. The monsoon is not only a season of rains in this part, the local visitors are attracted to visit these ideal locations to have a glimpse of the mother nature in full bloom.

Ellora Caves - Aurangabad district of Maharashtra - India

 

Kailasa Temple

 

en.wikipedia.org/wiki/Kailasa_temple,_Ellora

 

en.wikipedia.org/wiki/Ellora_Caves

The Kurukshetra War is a mythological war described in the Indian epic Mahabharata as a conflict that arose from a dynastic succession struggle between two groups of cousins of an Indo-Aryan kingdom called Kuru, the Kauravas and Pandavas, for the throne of Hastinapura. It involved a number of ancient kingdoms participating as allies of the rival groups.

 

The Kurukshetra War is believed to date variously from 6000 BCE to 500 BCE based on the astronomical and literary information from Mahabharata. The history of the Kurukshetra War is also traced to the Battle of the Ten Kings mentioned in Rigveda.

 

The location of the battle is described as having occurred in Kurukshetra in the modern state of Haryana

 

Mahabharata states that the war started on Kartheeka Bahula Amavasya (the end of the Kartheeka and the start of the Margasira lunar month), moon on Jyesta star, on Tuesday early morning. A solar eclipse also happened on that day, and this Muhurtha was kept by Krishna himself. The Bhagavad Gita was told on that early morning, before the war began. The war lasted only eighteen days, during which vast armies from all over the Indian (Bharatha) Subcontinent fought alongside the two rivals. Despite only referring to these eighteen days, the war narrative forms more than a quarter of the book, suggesting its relative importance within the epic, which overall spans decades of the warring families.

 

The narrative describes individual battles of various heroes of both sides, battle-field deaths of some of the prominent heroes, military formations employed on each day by both armies, war diplomacy, meetings and discussions among the heroes and commanders before commencement of war on each day and the weapons used. The chapters (parvas) dealing with the war (from chapter six to ten) are considered amongst the oldest in the entire Mahabharat.

 

HISTORICAL CONTEXT

Though the Kurukshetra War is not mentioned in Vedic literature, its prominence in later literature led historians such as A. L. Basham to conclude that, "certainly a great war took place and succeeding generations looked upon it as marking an end of an epoch". Popular tradition holds that the war marks the transition to Kaliyuga and thus dates it to 3102 BCE; another tradition places the war in 15th century BCE. However historians regard these dates as too early and inconsistent with the available archaeological and literary evidence. Basham considers the beginning of the 9th century BCE as a more plausible date for the events. Similarly, Michael Witzel concludes that the general setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.

 

Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit(Arjun's grandson) and the accession of Mahapadma Nanda, commonly dated to 382 BCE, which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies.

 

Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna(Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna and thus approximately 950 BCE for the Bharata battle.

 

B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.

 

There have been a number of theories put forward:

 

- The most widely accepted date is 10th century BCE or 950 BCE, according to archeological evidence.

- B. N. Achar states a date of 3067 BCE using planetary positions listed in the Mahabharata.

- S. Balakrishna concluded a date of 2559 BCE using consecutive lunar eclipses.

- P. V. Holey states a date of November 13, 3143 BCE using planetary positions and calendar systems.

- R. N. Iyengar concluded a date of 1478 BCE using double eclipses and Saturn+Jupiter conjunctions.

- P. R. Sarkar estimates a date of 1298 BCE for the war of Kurukshetra.

- P. V. Vartak calculates a date of October 16, 5561 BCE using planetary positions.

- K. Sadananda, based on translation work, states that the Kurukshetra War started on November 22 3067 BCE.

 

The reconstruction of the history of Vedic India is based on text-internal details. Linguistically, the Vedic texts could be classified in five chronological strata as Rigvedic, Mantra, Samhita, Brahmana, Sutra, and Epic and Paninian. The Mantra language period includes both the mantra and prose language of the Atharvaveda(Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita(containing some 75 mantras not in the Rigveda) and the mantras of the Yajurveda. Many of these texts are largely derived from the Rigveda, but have undergone certain changes, both by linguistic change and by reinterpretation. Conspicuous changes include the change of vishva "all" by sarva and the spread of the kuru- verbal stem for Rigvedic krno-). This is from the time of the early Iron Age in north-western India, corresponding to the Black and Red Ware(BRW) culture and the kingdom of the Kurus, dating from ca. the 10th century BCE. The Samhita prose period marks the beginning of the collection and codification of a Vedic canon. An important linguistic change is the complete loss of the injunctive. The Brahmana part ('commentary' on mantras and ritual) of the Black Yajurveda(MS, KS, TS) belongs to this period. Archaeologically, the Painted Grey Ware(PGW) culture from ca. 900 BCE corresponds and the shift of the political center from the Kurus to the Pancalas on the Ganges.

 

BACKGROUND

Mahabharata, one of the most important Hindu epics, is an account of the life and deeds of several generations of a ruling dynasty called the Kuru clan. Central to the epic is an account of a war that took place between two rival families belonging to this clan. Kurukshetra (literally "field of the Kurus"), was the battleground on which this war, known as the Kurukshetra War, was fought. Kurukshetra was also known as "Dharmakshetra"(the "field of Dharma"), or field of righteousness. Mahabharata tells that this site was chosen for the war because a sin committed on this land was forgiven on account of the sanctity of this land.

 

The Kuru territories were divided into two and were ruled by Dhritarashtra(with his capital at Hastinapura) and Yudhishthira of the Pandavas(with his capital at Indraprastha). The immediate dispute between the Kauravas(sons of Dhritarashtra) and the Pandavas arose from a game of dice, which Duryodhana won by deceit, forcing their Pandava cousins to transfer their entire territories to the Kauravas (to Hastinapura) and to "go into exile" for thirteen years. The dispute escalated into a full scale war when Prince Duryodhana, the eldest of the Kauravas, driven by jealousy, refused to restore the Pandavas their territories after the exile as earlier decided, as Duryodhana objected that they were discovered while in exile, and that no return of their kingdom was agreed upon.

 

Prior to the war, the disinherited Pandavas in the kingdom of Matsya, advised by Krishna, tried to find a diplomatic and peaceful solution to the conflict. Balarama, Krishna's older brother, advised the Pandavas to send an emissary to get the support of the elders of the family, like Bhishma, Dhritarashtra, Drona, Kripa etc., with the message "Let us avoid armed conflict as much as possible. Only that which is accrued in peace is worthwhile. Out of war, nothing but wrong can issue". While the emissary was in the Kaurava court, the Pandavas continued with war preparations. They sent messages requesting assistance to a number of neighbouring kingdoms. Their ambassador of peace was insulted and turned away by Duryodhana, who was intent on war, defying the counsel of elders like Bhishma. After several failed attempts at peace, war seemed inevitable. The two sides to the war were the Pandavas and the Kauravas (the official Kuru tribe now ruling both Hastinapura and Indraprastha), both with their allies.

 

Jaya, the core of Mahabharata, is structured in the form of a dialogue between Kuru king Dhritarashtra and Sanjaya, his advisor and chariot driver. Sanjaya narrates each incident of the Kurukshetra War, fought in 18 days, as and when it happened. Dhritarashtra sometimes asks questions and doubts and sometimes laments, knowing about the destruction caused by the war, to his sons, friends and kinsmen. He also feels guilty, due to his own role, that led to this war, destructive to the entire Indian subcontinent.

 

In the beginning Sanjaya gives a description of the various continents of the Earth, the other planets, and focuses on the Indian Subcontinent, then gives an elaborate list of hundreds of kingdoms, tribes, provinces, cities, towns, villages, rivers, mountains, forests etc. of the(ancient) Indian Subcontinent(Bharata Varsha). He also explains about the 'military formations adopted by each side on each day, the death of each hero and the details of each war-racing. Some 18 chapters of Vyasa's Jaya constitutes the Bhagavad Gita, one of the sacred texts of the Hindus. Thus, this work of Vyasa, called Jaya, deals with diverse subjects like geography, history, warfare, religion and morality. According to Mahabharata itself, the Jaya was recited to the King Janamejaya, the great-grandson of Arjuna, by Vaisampayana, a disciple of Vyasa (then called the Bharata). The recitation of Vaisampayana to Janamejaya was then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year-long sacrifice for King Saunaka Kulapati in the Naimisha forest (then called the Mahabharata).

 

COMBATANTS

The Kurus formed a kingdom in the Vedic period of India. They formed the first political center after the Rigvedic period, after their emergence from the Punjab, and it was there that the codification and redaction of the Vedic texts began. Archaeologically, they most likely correspond to the Black and Red Ware Culture of the 12th to 9th centuries BC, at the beginning of the Iron Age in western India. Panchala was the second urban center of Vedic civilization, as its focus moved east from the Punjab, after the focus of power had been with the Kurus in the early Iron Age. This period is associated with the Painted Grey Ware culture, arising around 1100 BCE, and declining from 600 BCE, with the end of the Vedic period. The ruling confederacy, the Panchalas, as their name suggests, probably consisted of five clans - the Krivis, the Turvashas, The Keshins, the Srinjayas and the Somakas. Drupada, whose daughter Draupadi was married to the Pandavas belonged to the Somaka clan. However, the Mahabharata and the Puranas consider the ruling clan of the northern Panchala as an offshoot of the Bharata clan and Divodasa, Sudas, Srinjaya, Somaka and Drupada(also called Yajnasena) were the most notable rulers of this clan.

 

KRISHNA`S PEACE MISSION

As a last attempt at peace, Krishna travelled to Hastinapur to persuade the Kauravas to embark upon a peaceful path with him. At Hastinapur, Krishna took his meals and stayed at the house of the minister, Vidura, a religious man and a devotee of Krishna. Duryodhana was insulted that Krishna had turned down his invitation to dine with him and stay in his royal palace. Determined to stop the peace mission, Duryodhana plotted to arrest Krishna.

 

At the formal presentation of the peace proposal by Krishna at the court of Hastinapur, Krishna asked Duryodhana to give back Indraprastha or if not at least five villages, one for each of the Pandavas, but Duryodhana said he could not give land even as much as tip of a needle, Krishna's peace proposals were ignored and Duryodhana publicly ordered his soldiers to arrest Krishna. Krishna laughed and displayed his divine form, radiating intense light. Furious at the insult inflicted upon Him, Lord Krishna cursed Duryodhana that his downfall was certain, to the shock of Dhirtharastra, who tried to pacify the Lord.

 

His peace mission being rejected by Duryodhana, Krishna returned to Upaplavya to inform the Pandavas that the only course left to uphold the principles of virtue and righteousness was inevitable - war. During the course of his return, Krishna met Karna, Kunti's firstborn(before Yudhisthira) and said to help his brothers, but, being helped by Duryodhana, Karna said to Krishna that he would battle against Pandavas.

 

WAR PREPARATIONS

Krishna had a large force called the Narayani Sena and was himself a great warrior. Duryodhana and Arjuna thus both went to Krishna at Dwarka to ask for his help. Duryodhana arrived first and found Krishna asleep. Being arrogant and viewing himself as equal to Krishna, Duryodhana chose a seat at Krishna's head and waited for him to rouse. Arjuna arrived later and being a humble devotee of Krishna, chose to sit and wait at Krishna's feet. When Krishna woke up, he saw Arjuna first and gave him the first right to make his request. Krishna told Arjuna and Duryodhana that he would give the Narayani Sena, to one side and himself as a non-combatant to the other. Since Arjuna was given the first opportunity to choose, Duryodhana was worried that Arjuna would choose the mighty army of Krishna. When given the choice of either Krishna's army or Krishna himself on their side, Arjuna on behalf of the Pandavas chose Krishna, unarmed on his own, relieving Duryodhana, who thought Arjuna to be the greatest fool. Later Arjuna requested Krishna to be his charioteer and Krishna, being an intimate friend of Arjuna, agreed wholeheartedly and hence received the name Parthasarthy, or 'charioteer of the son of Pritha'. Both Duryodhana and Arjuna returned satisfied.

 

While camping at a place called Upaplavya, in the territory of Virata, the Pandavas gathered their armies. Contingents arrived from all parts of the country and soon the Pandavas had a large force of seven divisions. The Kauravas managed to raise an even larger army of eleven divisions. Many kingdoms of ancient India such as Dwaraka, Kasi, Kekaya, Magadha, Chedi, Matsya, Pandya, and the Yadus of Mathura were allied with the Pandavas; while the allies of the Kauravas comprised the kings of Pragjyotisha, Kalinga, Anga, Kekaya, Sindhudesa, Avanti in Madhyadesa, Gandharas, Bahlikas, Mahishmati, Kambojas(with the Yavanas, Sakas, Trilinga, Tusharas) and many others.

 

PANDAVA ARMY

Seeing that there was now no hope for peace, Yudhisthira, the eldest of the Pandavas, asked his brothers to organize their army. The Pandavas accumulated seven Akshauhinis army with the help of their allies. Each of these divisions were led by Drupada, Virata, Dhristadyumna, Shikhandi, Satyaki, Chekitana and Bhima. After consulting his commanders, the Pandavas appointed Dhristadyumna as the supreme commander of the Pandava army. Mahabharata says that kingdoms from all over ancient India supplied troops or provided logistic support on the Pandava side. Some of these were: Kekaya, Pandya, Cholas, Magadha and many more.

 

KAURAVA ARMY

The Kaurava army consisted of 11 Akshauhinis. Duryodhana requested Bhishma to command the Kaurava army. Bhishma accepted on the condition that, while he would fight the battle sincerely, he would not harm the five Pandava brothers. In addition, Bhishma said that Karna would not fight under him as long as he is in the battlefied. It is believed by many that Bhishma pushed Karna into taking this decision due to his affection towards the Pandavas - the Kauravas would be overwhelmingly powerful if both he and Karna appeared in battle simultaneously. However the excuse he used to prevent their simultaneous fighting was that his guru(Parshurama) was insulted by Karna. He also knew that Karna was a Kaunteya(Son of Kunti) from the day he met him in Ranakshetra when Karna offered Arjuna to fight against him and Bhishma wanted to keep Karna out, so that there will be someone to lead the army once he is unable to continue with the war. Regardless, Duryodhana agreed to Bhishma's conditions and made him the supreme commander of the Kaurava army, while Karna was debarred from fighting. But Karna enters the war later when Bhishma is wounded by Arjuna. Apart from the one hundred Kaurava brothers, headed by Duryodhana himself and his brother Dushasana, the second eldest son of Dhritarashtra, the Kauravas were assisted on the battlefield by Drona and his son Ashwatthama, the Kaurava's brother-in-law Jayadratha, the Brahmin Kripa, Kritavarma, Shalya, Sudakshina, Bhurisrava, Bahlika, Shakuni and many more who were bound by their loyalty towards either Hastinapura or Dhritarashtra.

 

NEUTRAL PARTIES

The kingdom of Vidarbha, with its King Rukmi, Vidura, the ex-prime minister of Hastinapur and younger brother to Dhritarashtra and Balarama were the only neutrals in this war. Rukmi wanted to join the war, but Duryodhana and Arjuna refused to allow him, because he boasted about his war strength and army. Vidura did not want to see the bloodshed of the war, although he was a good battle strategist. The powerful Balarama refused to fight at Kurukshetra, because he was both Bhima and Duryodhana's wrestling coach.

 

ARMY DIVISIONS & WEAPONRY

Each army consisted of several divisions; the Kauravas had 11 while the Pandavas had 7. A division(akshauhini) includes 21,870 chariots and chariot-riders, 21,870 War elephants and riders, 65,610 Cavalry and 109,350 foot-soldiers(in a ratio of 1:1:3:5). The combined number of warriors and soldiers in both armies was approximately 3.94 million. Each Akshauhini was under a commander or a general, apart from the Commander in chief or the generalissimo who was the head of the entire army.

 

During the Kurukshetra War, the weapons used included: the bow, the weapon of choice for Arjuna, Bhishma, Drona, Karna, Satyaki, Vikarna and Abhimanyu; the mace, chosen by Bhima and Duryodhana, the spear, chosen by Yudhistira and Shalya; the sword chosen by Nakula, Dushasana, Dhristadymna and other Kauravas; and the axe chosen by Sahadeva.

 

MILITARY FORMATIONS

At various times during battle, the supreme commander of either army ordered special formations(vyuhas). Each formation had a specific purpose; some were defensive while others were offensive. Each formation had its specific strengths and weaknesses. The Mahābhārata lists the following:

 

Krauncha vyuha(heron formation)

Makara vyuha(crocodile formation)

Kurma vyuha(tortoise or turtle formation)

Trishula vyuha(trident formation)

Chakrvyuha(wheel or discus formation)

Kamala vyuha or Padma vyuha(lotus formation)

Garud vyuha(eagle formation)

Oormi vyuha(ocean formation)

Mandala vyuha(galaxy formation)

Vajra vyuha(diamond or thunderbolt formation)

Shakata vyuha(box or cart formation)

Asura vyuha(demon formation)

Deva vyuha(divine formation)

Soochi vyuha(needle formation)

Sringataka vyuha(horned formation)

Chandrakala vyuha(crescent or curved blade formation)

Mala vyuha(garland formation)

 

It is not clear what the formations actually indicate. They may be arrangements of bear resemblance to animals, or they may be names given to battle strategies.

 

CLASSIFICATION OF WARRIORS BY BHISHMA

Bhishma, the grandsire of both Kauravas and Pandavas, analysed each warrior on both sides of the army. As per Bhishma at the tale of Rathi and Maharathi there are 3 types of warriors. They are Rathi, Atirathi and Maharathi. He classified every warrior on both sides of the army following his judgement and knowledge of the science of weapons. According to him the highest level of a warrior is Maharathi.

 

*Rathi: A warrior capable of attacking 5,000 warriors simultaneously.

 

*Atirathi: A warrior capable of contending with 12 Rathi class warriors or 60,000 warriors simultaneously

 

*Maharathi: A warrior capable of fighting 12 Atirathi class warriors or 720,000 warriors simultaneously, circumspect in his mastery of all forms of weapons and combat skills.

 

FROM KAURAVA SIDE

Rathis,* Sudhakshina, the ruler of the Kamvojas, *Sakuni, King of Gandhar and uncle of Kauravas, *Duryodhana's son Lakshmana and the son of Dushasana, *Jayadrath, the king of the Sindhu and brother in law of Kauravas, *All 99 brothers of Duryodhana, including Dushasan, are single Rathis, *Duryodhana is classified as a warrior equal to 8 Rathis.

 

Atirathis

- Bhoja chief Kritavarman

- The ruler of the Madras,Salya

- Bhurisravas, the son of Somadatta

- Kripa, also known as Kripacharya, the son of Saradwat

 

Maharathis

- Alambhusha, the Chief of Rakshasas

- The ruler of Pragjyotisha, the brave Bhagadatta

- Vrishasena, the son of Karna,

- Guru Drona

- Asvathama, the son of Guru Drona and the avatar of Lord Shiva. (Even though he was classified as a Maharatha, in reality he was peerless and equal to Lord Shiva in battle according to Bhishma; but the only pre-condition is that Asvathama has to become extremely angry to unleash his full potential)

- Karna is equal to 2 Maharathi.

- Bhishma, even though he never classified himself. Later it was revealed that Bhishma was equal to 2 Maharatha warriors. (But at the tale of Rathi and Atirathi, Bhishma classified him as just half a Rathi in order to weaken his morale when fighting against his brothers, the Pandavas, at the request of Lord Krishna)

 

FROM PANDAVA SIDE

Rathis

- Uttamaujas

- Sikhandi, the son of the king of the Panchalas

- Yudishtira the son of Pandu and Kunti, is a Ratha.

- Nakul and Sahadeva are single Rathis

- Bhima is regarded as equal to 8 Rathas.

 

Atirathis

- Satyaki of the Vrishni race,

- Dhrishtadyumna the son of Drupuda

- Kuntibhoja,the maternal uncle of Pandavas

- Ghatotkacha, prince of Rakshasas and master of all illusions, son Bhima and Hidimva.

 

Maharathis

- Virata King

- Drupuda, King of Panchalas

- Dhrishtaketu, the son of Sisupala, the king of the Chedis

- All sons of Draupadi are Maharathas

- Abhimanyu,the son of Arjuna is equal to 2 Maharatha.

- Arjuna is equal to 2 Maharatha warrior

 

RULES OF ENGAGEMENT

The two supreme commanders met and framed "rules of ethical conduct", dharmayuddha, for the war. The rules included:

 

- Fighting must begin no earlier than sunrise and end exactly at sunset.

- More than one warriors may not attack a single warrior.

- Two warriors may "duel", or engage in prolonged personal combat, only if they carry the same weapons and they are on the same type of mount(on foot, on a horse, on an elephant, or in a chariot).

- No warrior may kill or injure a warrior who has surrendered.

- One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war.

- No warrior may kill or injure an unarmed warrior.

- No warrior may kill or injure an unconscious warrior.

- No warrior may kill or injure a person or animal not taking part in the war.

- No warrior may kill or injure a warrior whose back is turned away.

- No warrior may attack a woman.

- No warrior may strike an animal not considered a direct threat.

- The rules specific to each weapon must be followed. For example, it is prohibited to strike below the waist in mace warfare.

- Warriors may not engage in any unfair warfare.

 

COURSE OF WAR

The Kurukshetra War lasted eighteen days. It was fought only during daylight hours; fighting ceased at sunset. Each day the battle was characterised by numerous individual combats, as well as mass raids against entire enemy divisions. The victor or the vanquished on each day was determined not by any territories gained, but by the body count. This was a war to the death. The victor was the survivor. If the text is taken to be chronologically accurate, this was one of the bloodiest wars in the history of mankind. Arjuna, in a fit of extreme anger over the death of his son Abhimanyu, alone killed one akshauhini of Kaurava soldiers in a single day. The war left an extremely large number of widows and orphans and led to an economic depression and the beginning of Kali Yuga.

 

BEFORE THE BATTLE

It has been observed that the year in which the Mahabharata War took place, the year had three solar eclipses on earth in a span of thirty days. Eclipses are considered ill for life on earth according to Hindu astrology.

 

On the first day of the war, as would be on all the following days, the Kaurava army stood facing west and the Pandava army stood facing east. The Kaurava army was formed such that it faced all sides: elephants formed its body; the kings, its head; and the steeds, its wings. Bhishma, in consultation with his commanders Drona, Bahlika and Kripa, remained in the rear.

 

The Pandava army was organised by Yudhisthira and Arjuna in the Vajra formation. Because the Pandava army was smaller than the Kaurava's, they decided to employ the tactic of each warrior engaging as many enemies as possible. This involved an element of surprise, with the bowmen showering arrows hiding behind the frontal attackers. The attackers in the front were equipped with short-range weapons like maces, battle-axes, swords and lances.

 

Ten divisions(Akshauhinis) of the Kaurava army were arranged in a formidable phalanx. The eleventh was put under the immediate command of Bhishma, partly to protect him. The safety of the supreme commander Bhishma was central to Duryodhana's strategy, as he had placed all his hope on the great warrior's abilities. Dushasana, the younger brother of Duryodhana, was the military officer in-charge of Bhishma's protection.

 

THE BHAGVAD GITA

When the war was declared and the two armies were facing each other, Arjuna realised that he would have to kill his dear great-granduncle(Bhishma), on whose lap he had played as a child and his respected teacher(Drona), who had held his hand and taught him how to hold the bow and arrow, making him the greatest archer in the world. Arjuna felt weak and sickened at the prospect of killing his entire family, including his 100 cousins and friends such as Ashwatthama. Despondent and confused about what is right and what is wrong, Arjuna turned to Krishna for divine advice and teachings. Krishna, who Arjuna chose as his charioteer, advised him of his duty. This conversation forms the Bhagavad Gita, one of the most respected religious and philosophical texts in the Hindu religion. Krishna instructs Arjuna not to yield to degrading impotence and to fight his kin, for that was the only way to righteousness. He also reminded him that this was a war between righteousness and unrighteousness(dharma and adharma) and it was Arjuna's duty to slay anyone who supported the cause of unrighteousness, or sin. Krishna then revealed his divine form and explained that he is born on earth in each aeon when evil raises its head. It also forms one of the foremost treatise on the several aspects of Yoga and mystical knowledge.

 

Before the battle began, Yudhisthira did something unexpected. He suddenly dropped his weapons, took off his armour and started walking towards the Kaurava army with folded hands in prayer. The Pandava brothers and the Kauravas looked on in disbelief, thinking Yudhisthira was surrendering before the first arrow was shot. Yudhisthira's purpose became clear, however, when he fell on Bhishma's feet to seek his blessing for success in battle. Bhishma, grandfather to both the Pandavas and Kauravas, blessed Yudhisthira. Yudhisthira returned to his chariot and the battle was ready to commence.

 

DAY 1

When the battle was commenced, Bhishma went through the Pandava army wreaking havoc wherever he went but Abhimanyu, Arjuna's son, seeing this went straight at Bhishma, defeated his bodyguards and directly attacked the commander of the Kaurava forces. The Pandavas suffered numerous losses and were defeated at the end of the first day. Virata's sons, Uttara and Sweta, were slain by Shalya and Bhishma. Krishna consoled the distraught Yudhisthira saying that eventually victory would be his.

 

DAY 2

The second day of the war commenced with a confident Kaurava army facing the Pandavas. Arjuna, realising that something needed to be done quickly to reverse the Pandava losses, decided that he must try to kill Bhishma. Krishna skillfully located Bhishma's chariot and steered Arjuna toward him. Arjuna tried to engage Bhishma in a duel, but the Kaurava soldiers placed around Bhishma to protect him attacked Arjuna to try to prevent him from directly engaging Bhishma. Arjuna and Bhishma fought a fierce battle that raged for hours. Drona and Dhristadyumna similarly engaged in a duel during which Drona broke Dhristadyumna's bow numerous times. Bhima intervened and rescued Dhristadyumna. Duryodhana sent the Kalinga forces to attack Bhima and most of them lost their lives at his hands. Bhishma immediately came to relieve the battered Kalinga forces. Satyaki, who was assisting Bhima, shot at Bhishma's charioteer and killed him. Bhishma's horses, with no one to control them, bolted carrying Bhishma away from the battlefield. The Kaurava army had suffered great losses at the end of the second day.

 

DAY 3

On the third day, Bhishma arranged the Kaurava forces in the formation of an eagle with himself leading from the front, while Duryodhana's forces protected the rear. Bhishma wanted to be sure of avoiding any mishap. The Pandavas countered this by using the crescent formation with Bhima and Arjuna at the head of the right and the left horns, respectively. The Kauravas concentrated their attack on Arjuna's position. Arjuna's chariot was soon covered with arrows and javelins. Arjuna, with amazing skill, built a fortification around his chariot with an unending stream of arrows from his bow. Abhimanyu and Satyaki combined to defeat the Gandhara forces of Shakuni. Bhima and his son Ghatotkacha attacked Duryodhana in the rear. Bhima's arrows hit Duryodhana, who swooned in his chariot. His charioteer immediately drove them out of danger. Duryodhana's forces, however, saw their leader fleeing the battlefield and soon scattered. Bhishma soon restored order and Duryodhana returned to lead the army. He was angry at Bhishma, however, at what he saw as leniency towards the five Pandava brothers and spoke harshly at his commander. Bhishma, stung by this unfair charge, fell on the Pandava army with renewed vigor. It was as if there were more than one Bhishma on the field.

 

Arjuna and Krishna attacked Bhishma trying to restore order. Arjuna and Bhishma again engaged in a fierce duel, however Arjuna's heart was not in the battle as he did not like the idea of attacking his grand-uncle. During the battle, Bhishma killed numerous soldiers of Arjuna's armies.

 

DAY 4

The fourth-day of the battle was noted for the valour shown by Bhima. Bhishma commanded the Kaurava army to move on the offensive from the outset. While Abhimanyu was still in his mother's womb, Arjuna had taught Abhimanyu on how to break and enter the chakra vyuha. But, before explaining how to exit the chakra Vyuha, Arjuna was interrupted by Krishna(other story: Abhimanyu's mother falls asleep while Arjuna was explaining her). Thus from birth, Abhimanyu only knew how to enter the Chakra vyuha but didn't know how to come out of it. When the Kauravas formed the chakravyuha, Abhimanyu entered it but was surrounded and attacked by a number of Kaurava princes. Arjuna joined the fray in aid of Abhimanyu. Bhima appeared on the scene with his mace aloft and started attacking the Kauravas. Duryodhana sent a huge force of elephants at Bhima. When Bhima saw the mass of elephants approaching, he got down from his chariot and attacked them single handedly with his iron mace. They scattered and stampeded into the Kaurava forces killing many. Duryodhana ordered an all-out attack on Bhima. Bhima withstood all that was thrown at him and attacked Duryodhana's brothers, killing eight of them. Bhima was soon struck by an arrow on the chest and sat down in his chariot dazed.

 

Duryodhana was distraught at the loss of his brothers. Duryodhana, overwhelmed by sorrow at the loss of his brothers, went to Bhishma at the end of the fourth day of the battle and asked his commander how could the Pandavas, facing a superior force against them, still prevail and win. Bhishma replied that the Pandavas had justice on their side and advised Duryodhana to seek peace.

 

DAYS 5-9

When the battle resumed on the fifth day, the slaughter continued. The Pandava army again suffered against Bhishma's attacks. Satyaki bore the brunt of Drona's attacks and soon could not withstand them. Bhima drove by and rescued Satyaki. Arjuna fought and killed thousands of soldiers sent by Duryodhana to attack him. The unimaginable carnage continued during the ensuing days of the battle.

 

The sixth day was marked by a prodigious slaughter. Drona caused immeasurable loss of life on the Pandava side. The formations of both the armies were broken. On day 7 Drona slays Shankya, son of Virata. On the eighth day Bhima killed eight of Dhritarashtra's sons.

 

On the ninth day Krishna, overwhelmed by anger at the apparent inability of Arjuna to defeat Bhishma, rushed towards the Kaurava commander, the wheel of a fallen chariot in his hands. Bhishma lays down his arms and is ready to die at the hands of the Lord, but Arjuna stops him, reminding of his promise not to wield a weapon. Realizing that the war could not be won as long as Bhishma was standing, Krishna suggested the strategy of placing a eunuch in the field to face him. Some sources however state that it was Yudhistira who visits Bhishma's camp at night asking him for help. To this Bhishma says that he would not fight a eunuch.

 

DAY 10

On the tenth day, the Pandavas, unable to withstand Bhishma's prowess, decided to put Shikhandi, who had been a woman in a prior life in front of Bhishma, as Bhishma has taken a vow not to attack a woman. Shikhandi's arrows fell on Bhishma without hindrance. Arjuna positioned himself behind Shikhandi, protecting himself from Bhishma's attack and aimed his arrows at the weak points in Bhishma's armour. Soon, with arrows sticking from every part of his body, the great warrior fell from his chariot. His body did not touch the ground as it was held aloft by the arrows protruding from his body.

 

The Kauravas and Pandavas gathered around Bhishma and at his request, Arjuna placed three arrows under Bhishma's head to support it. Bhishma had promised his father, King Shantanu, that he would live until Hastinapur were secured from all directions. To keep this promise, Bhishma used the boon of "Ichcha Mrityu"(self wished death) given to him by his father. After the war was over, when Hastinapur had become safe from all sides and after giving lessons on politics and Vishnu Sahasranama to the Pandavas, Bhishma died on the first day of Uttarayana.

 

DAY 11

With Bhishma unable to continue, Karna entered the battlefield, much to Duryodhana's joy. He made Drona the supreme commander of the Kaurava forces. Karna and Duryodhana wanted to capture Yudhisthira alive. Killing Yudhisthira in battle would only enrage the Pandavas more, whereas holding him as hostage would be strategically useful. Drona formulated his battle plans for the eleventh day to this aim. He cut down Yudhisthira's bow and the Pandava army feared that their leader would be taken prisoner. Arjuna rushed to the scene, however and with a flood of arrows made Drona retreat.

 

DAY 12

With his attempts to capture Yudhisthira thwarted, Drona confided to Duryodhana that it would be difficult as long as Arjuna was around. He summoned King Bhagadatta, the monarch of Pragjyotisha(modern day Assam, India). Bhagadatta had thousands of gigantic elephants in his stable and was considered the strongest warrior on this planet in elephant warfare. Bhagadatta attacked Arjuna with his gigantic elephant named Suprateeka. It was a fierce battle in which Bhagadatta matched Arjuna astra for astra but Arjuna slew him. Drona continued to try and capture Yudhisthira. The Pandavas however fought hard and delivered severe blows to the Kaurava army.

 

DAY 13

The King of Trigartadesa, Susharma along with his 3 brothers and 35 sons who were fighting on the Kaurava side made a pact that they would make sure that Arjuna comes and doesn't break the Chakra Vuyh and kill him or die. They went into the battlefield on the twelfth day and challenged Arjuna. Arjuna gave them a fierce fight in which the brothers fell dead after fighting a brave fight. Drona continued to try and capture Yudhisthira.

 

On the other side of the battlefield, the remaining four Pandavas and their allies were finding it impossible to break Dronacharya's "Chakra Vyuh" formation. As Arjuna was busy fighting with the Trigartadesa princes and the Prajayogastha monarch on the other side of the battlefield, he could not be summoned to break the Chakra Vyuha formation, which could only be broken by entering and exiting the formation. Yudhisthira instructed, Abhimanyu, one of Arjuna's sons to break the Chakra vyuha formation. Abhimanyu knew the secret of entering the Chakra vyuh formation, but did not know how to exit it. Abhimanyu slew tens of thousands of warriors. He also killed Duryodhana's son. Duryodhana got enraged and ordered Durmashana, who was Dushasana's son to attack Abhimanyu but he died under the hands of Abhimanyu. Next he ordered his men to attack Abhimanyu all at once. Abhimanyu fought but was surrounded and killed by many warriors in a combined attack.

 

Upon learning of the death of his son, Arjuna vowed to kill Jayadratha on the morrow before the battle ended at sunset, otherwise he would throw himself into the fire.

 

DAY 14

While searching for Jayadrath on the battlefield, Arjuna slew an akshauhini(battle formation that consisted of 21,870 chariots(Sanskrit ratha); 21,870 elephants; 65,610 cavalry and 109,350 infantry) of Kaurav soldiers. The Shakatavuyha Kaurav army tightly protected Jayadratha, however, preventing Arjuna from attacking him. Finally, in late afternoon, Arjuna found Jayadratha guarded by the mighty Kaurav army. Seeing his friend's plight, Lord Krishna raised his Sudarshan Chakra to cover the sun, faking a sunset. Arjun fought a powerful battle with Jayadrath and finally defeated him. Then, Arjuna shot a powerful arrow decapitating Jayadrath. While Arjuna destroying the rest of the Shakatavuyha, Vikarna, the third eldest Kaurava, challenged Arjuna to an archery fight. Arjuna asks Bhima to decimate Vikarna, but Bhima refused to, because Vikarna defended the Pandavas during the Vastranam. Bhima and Vikarna showered arrows at each other. Later Bhima throws his mace at Vikarna, killing him. The muscular Pandava was devastated and mourned his death saying he was a man of Dharma and it was a pity how he lived his life.

 

The battle continued past sunset. When the bright moon rose, Ghatotkacha, son of Bhima slaughtered numerous warriors, attacking while flying in the air. Karna stood against him and both fought fiercely until Karna released the Shakti, a divine weapon given to him by Indra. Ghatotkacha increased his size and fell dead on the Kaurav army killing thousands of them.

 

DAY 15

After King Drupada and King Virata were slain by Drona, Bhima and Dhristadyumna fought him on the fifteenth day. Because Drona was very powerful and inconquerable having the irresistible Brahmadanda, Krishna hinted to Yudhisthira that Drona would give up his arms if his son Ashwatthama was dead. Bhima proceeded to kill an elephant named Ashwatthama and loudly proclaimed that Ashwatthama was dead. Drona approached Yudhisthira to seek the truth of his son's death. Yudhisthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant, The latter part of his proclamation(Naro va Kunjaro va) were drowned out by sound of the conch blown by Krishna intentionally (a different version of the story is that Yudhisthira pronounced the last words so feebly that Drona could not hear the word elephant). Prior to this incident, the chariot of Yudhisthira, proclaimed as Dharma raja(King of righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

 

Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna to avenge his father's death and satisfy his vow. Later, the Pandava's mother Kunti secretly met her abandoned son Karna and requested him to spare the Pandavas, as they were his younger brothers. Karna promised Kunti that he would spare them except for Arjuna, but also added that he would not fire a same weapon against Arjun twice.

 

DAY 16

On the sixteenth day, Karna was made the supreme commander of the Kuru army. Karna fought valiantly but was surrounded and attacked by Pandava generals, who were unable to prevail upon him. Karna inflicted heavy damage on the Pandava army, which fled. Then Arjuna successfully resisted Karna's weapons with his own and also inflicted casualties upon the Kaurava army. The sun soon set and with darkness and dust making the assessment of proceedings difficult, the Kaurava army retreated for the day.

 

On the same day, Bhima swung his mace and shattered Dushasana's chariot. Bhima seized Dushasana, ripped his right hand from shoulder and killed him, tearing open his chest and drinking his blood and carrying some to smear on Draupadi's untied hair, thus fulfilling his vow made when Draupadi was humiliated.

 

DAY 17

On the seventeenth day, Karna defeated the Pandava brothers Nakul, Bhima, Sahadeva and Yudhisthira in battle but spared their lives. Later, Karna resumed duelling with Arjuna. During their duel, Karna's chariot wheel got stuck in the mud and Karna asked for a pause. Krishna reminded Arjuna about Karna's ruthlessness unto Abhimanyu while he was similarly left without chariot and weapons. Hearing his son's fate, Arjuna shot his arrow and decapitated Karna. Before the day's battle, Karna's sacred armour ('Kavacha') and earrings ('Kundala') were taken as alms by Lord Indra when asked for, which resulted in his death by Arjuna's arrows.

 

DAY 18

On the 18th day, Shalya took over as the commander-in-chief of the remaining Kaurava forces. Yudhishthira killed king Shalya in a spear combat and Sahadeva killed Shakuni. Realizing that he had been defeated, Duryodhana fled the battlefield and took refuge in the lake, where the Pandavas caught up with him. Under the supervision of the now returned Balarama, a mace battle took place between Bhima and Duryodhana. Bhima flouted the rules(under instructions from Krishna) to strike Duryodhana beneath the waist in which he was mortally wounded.

 

Ashwatthama, Kripacharya, and Kritavarma met Duryodhana at his deathbed and promised to avenge the actions of Bhima. They attacked the Pandavas' camp later that night and killed all the Pandavas' remaining army including their children. Amongst the dead were Dhristadyumna and Shikhandi. Other than the Pandavas and Krishna, only Satyaki and Yuyutsu survived.

 

AFTERMATH

At the end of the 18th day, only twelve warriors survived the war - the five Pandavas, Krishna, Satyaki, Ashwatthama, Kripacharya, Yuyutsu, Vrishakethu(son of Karna) and Kritvarma. Vrishakethu was the only son of Karna who survived the horrific slaughter. He later came under the patronage of the Pandavas. During the campaign that preceded the Ashvamedha yagna, Vrishakethu accompanied Arjuna and participated in the battles with Sudhava and Babruvahana. During that campaign Vrishakethu married the daughter of King Yavanatha. It is said, Arjuna developed great affection for Vrishakethu, his nephew. Yudhisthira was crowned king of Hastinapur. He renounced the throne after ruling for 36 years, passing on the crown to Arjuna's grandson Parikshit. He then left for the Himalayas with Draupadi and his brothers in what was to be their last journey. Draupadi and four Pandavas - Bhima, Arjuna, Nakula and Sahadeva died during the journey. Yudhisthira, the lone survivor and being of pious heart, was invited by Dharma to enter the heavens as a mortal.

 

WIKIPEDIA

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

🚩 🇮🇳 The Kailasa temple (Cave 16) is the largest of the 34 Buddhist, Jain and Hindu cave temples and monasteries known collectively as the Ellora Caves, ranging for over 2 kilometres (1.5 miles) along the sloping basalt cliff at the site. Most of the excavation of the temple is generally attributed to the eighth century Rashtrakuta king Krishna I(r. c. 756 – 773), with some elements completed later. The temple architecture shows traces of Pallava and Chalukya styles. The temple contains a number of relief and free-standing sculptures on a grand scale equal to the architecture, though only traces remain of the paintings which originally decorated it.

Kailasa temple lacks a dedicatory inscription, but there is no doubt that it was commissioned by a Rashtrakuta ruler. Its construction is generally attributed to the Rashtrakuta king Krishna I (r. 756-773 CE), based on two epigraphs that link the temple to "Krishnaraja"

The Vadodara copper-plate inscription (c. 812-813 CE) of Karkaraja II (a ruler of a Rashtrakuta branch of Gujarat) records the grant of a village in present-day Gujarat. It mentions Krishnaraja as the patron of Kailasanatha, and also mentions a Shiva temple at Elapura (Ellora). It states that the king constructed a temple so wondrous that even the gods and the architect were astonished. Most scholars believe that this is a reference to the Kailasa Shiva temple at Elora.

 

The Kadaba grant of Govinda Prabhutavarsha similarly appears to credit Krishnaraja with the construction of the temple.

 

However, the attribution of the temple to Krishna I is not completely certain because these epigraphs are not physically connected to the caves, and do not date Krishnaraja's reign. Moreover, the land grants issued by Krishna's successors do not contain any references to the Kailsa temple.

 

The Kailasa temple features the use of multiple distinct architectural and sculptural styles. This, combined with its relatively large size, has led some scholars to believe that its construction spanned the reigns of multiple kings.

MOUNT KAILASH INNER PARIKRAMA 2010

Mt. Kailash Inner Parikrama (Kora)

Mt. Kailash (6714m), Asia's most sacred mountain, is located in a high and isolated enclave of West Tibet . It is one of three pilgrimages sites in the area, known collectively as Kangri Tsosum. All are said to be at the heart of the ancient Shangshung kingdom, the supposed land of origin of the pre-Buddist Bonpos. Mt Kailash is their sould-mountain, which they also call Yungdrung Gu Tse, the Nine-story Swastika Mountain .

 

It is a 53-km pilgrim path around Mt. Kailash . It begins and ends at Darchen, a small settlement at the mountain south base and in the process visits four monasteries crosses the high Drolma La Pass (5636m). Three days is perhaps the minimum time required to walk leisurely around the mountain: spend two nights in or near Drira Phuk and Zutrul Phuk Monasteries. If conditions permit, try to stay four or five days, which would allow time for short trips to the inner regions of the area.

Mount Kailash (also Mount kailas; Tibetan: གངས་རིན་པོ་ཆེKangrinboqê or Gang Rinpoche; simplified Chinese: 冈仁波齐峰,Gāngrénbōqí fēng, Sanskrit: कैलास Kailāsa) is a peak in the Kailas Range (Gangdisê Mountains), which forms part of the Transhimalaya in Tibet. It lies near the source of some of the longest rivers in Asia: the Indus River, the Sutlej River (a major tributary of the Indus River), the Brahmaputra River, and the Karnali River (a tributary of the River Ganga). It is considered a sacred place in four religions: Bön, Buddhism, Hinduism andJainism. The mountain lies near Lake Manasarovar and Lake Rakshastalin Tibet.

According to Hinduism, Lord Shiva, the destroyer of ignorance and illusion, resides at the summit of a legendary mountain named Kailās, where he sits in a state of perpetual meditation along with his wife Pārvatī.

According to Charles Allen, one description in the Vishnu Purana of the mountain states that its four faces are made of crystal, ruby, gold, and lapis lazuli. It is a pillar of the world and is located at the heart of six mountain ranges symbolizing a lotus.

Every year, thousands make a pilgrimage to Kailash, following a tradition going back thousands of years. Pilgrims of several religions believe that circumambulating Mount Kailash on foot is a holy ritual that will bring good fortune. The peregrination is made in a clockwise direction by Hindus and Buddhists. Followers of the Jain andBönpo religions circumambulate the mountain in a counterclockwise direction. The path around Mount Kailash is 52 km (32 mi) long.

Some pilgrims believe that the entire walk around Kailash should be made in a single day, which is not considered an easy task. A person in good shape walking fast would take perhaps 15 hours to complete the 52 km trek. Some of the devout do accomplish this feat, little daunted by the uneven terrain, altitude sickness and harsh conditions faced in the process. Indeed, other pilgrims venture a much more demanding regimen, performing body-lengthprostrations over the entire length of the circumambulation: The pilgrim bends down, kneels, prostrates full-length, makes a mark with his fingers, rises to his knees, prays, and then crawls forward on hands and knees to the mark made by his/her fingers before repeating the process. It requires at least four weeks of physical endurance to perform the circumambulation while following this regimen. The mountain is located in a particularly remote and inhospitable area of the Tibetan Himalayas. A few modern amenities, such as benches, resting places and refreshment kiosks, exist to aid the pilgrims in their devotions. According to all religions that revere the mountain, setting foot on its slopes is a dire sin. It is claimed that many people who ventured to defy the taboo have died in the process[citation needed]. It is a popular belief that the stairways on Mount Kailash lead to heaven.

Following the political and border disturbances across the Chinese-Indian boundary, pilgrimage to the legendary abode of Lord Shiva was stopped from 1954 to 1978. Thereafter, a limited number of Indian pilgrims have been allowed to visit the place, under the supervision of the Chinese and Indian governments either by a lengthy and hazardous trek over the Himalayan terrain, travel by land from Kathmandu or from Lhasa where flights from Kathmandu are available to Lhasa and thereafter travel over the great Tibetan plateau by car. The journey takes four night stops, finally arriving at Darchen at elevation of 4,600 m (15,100 ft), small outpost that swells with pilgrims at certain times of year. Despite its minimal infrastructure, modest guest houses are available for foreign pilgrims, whereas Tibetan pilgrims generally sleep in their own tents. A small regional medical center serving far-western Tibet and funded by the Swiss Ngari Korsum Foundation was built here in 1997.

Walking around the holy mountain—a part of its official park—has to be done on foot, pony or yak, taking some three days of trekking starting from a height of around 15,000 ft (4,600 m) past the Tarboche (flagpole) to cross the Drölma pass 18,200 ft (5,500 m), and encamping for two nights en route. First, near the meadow of Dirapuk gompa, some 2 to 3 km (1.2 to 1.9 mi) before the pass and second, after crossing the pass and going downhill as far as possible (viewing Gauri Kund in the distance). By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

The Uma-Mahesvara is a depiction of the great Hindu god Shiva in an affectionate mode. He holds his wife Uma (also called Parvati) on his left knee, and Nandi, the bull that is the deity’s ‘vehicle,’ rests below them. To Nandi’s right is Ganesha, the couple’s elephant-headed son, and to the left is their other son, Kartikeya. Shiva, the creator and destroyer, is portrayed here in the benign mode in which he grants blessings. Made for a temple exterior, perhaps as part of a frieze, this sculpture was meant to be viewed from the right and below as devotees circled the building. Beautifully fashioned and gracefully sensual, it conveys a sense of the complex sculptural programs of classic Hindu temples in India.

____________________________

 

Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.

 

Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.

 

The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.

 

Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.

 

ETYMOLOGY & OTHER NAMES

The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.

 

The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).

 

The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.

 

The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.

 

Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".

 

Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").

 

There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.

 

The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.

 

ASSIMILATION OF TRADITIONS

The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:

 

Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."

 

Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.

 

An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.

 

INDUS VALLEY ORIGINS

Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.

 

This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.

 

INDO-EUROPEAN ORIGINS

Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.

 

RUDRA

Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.

 

The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.

 

The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:

 

Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.

 

The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.

 

AGNI

Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:

 

The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.

 

In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.

 

INDRA

According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.

 

The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,

 

Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.

 

LATER VEDIC LITERATURE

Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.

 

Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.

 

PURANIC LITERATURE

The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.

 

TANTRIC LITERATURE

The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.

 

POSITION WITHIN HINDUISM

 

SHAIVISM

Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.

 

PANCHAYATANA PUJA

Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.

 

TRIMURTI

The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."

 

ICONOGRAPHY AND PROPERTIES

 

ATTRIBUTES

Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.

 

Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.

 

Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.

 

Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.

 

Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.

 

Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)

 

Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.

 

Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.

 

Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.

 

Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.

 

Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.

 

Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.

 

Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.

 

Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.

 

Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".

 

Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.

 

Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.

 

LINGAM

Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.

 

JYOTIRLINGA

The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.

 

The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.

 

SHAKTI

Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).

 

THE FIVE MANTRAS

Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).

 

Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:

 

Sadyojāta

Vāmadeva

Aghora

Tatpuruṣha

Īsāna

 

These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:

 

Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.

 

According to the Pañcabrahma Upanishad:

 

One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)

 

FORMES AND ROLES

According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.

 

DESTROYER AND BENEFACTOR

In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.

 

The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.

 

In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.

 

ASCETIC AND HOUSEHOLDER

He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.

 

As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.

 

Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.

 

NATARAJA

he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.

 

DAKSHINAMURTHY

Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.

 

ARDANARISHVARA

An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.

 

TRIRUPANTAKA

Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.

 

OTHER FORMS, AVATARS IDENTIFICATIONS

Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.

 

In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).

 

Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.

 

FESTIVALS

Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.

 

BEYOND HINDUISM

 

BUDDHISM

Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.

 

SIKHISM

The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."

 

In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.

 

OTHERS

The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.

 

Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.

 

In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.

 

WIKIPEDIA

別稱黃星鳳蝶

Papilio (Chilasa) epycides subsp. melanoleucus (Ney, 1911)

 

Etymology：

Chilasa：來自喜馬拉雅山脈一座山峰 Kailasa。

epycides：來自義大利西西里島沿海古城 Syracuse 的將軍 Epicydes 的改寫，即 i 與 y 的位置互調。

melanoleucus：由希臘語 melano (黑色) 與 leucos (白色) 所組成。

 

鱗翅目 Order Lepidoptera

鳳蝶科 Family Papilionidae

斑鳳蝶屬 Genus Papilio (Chilasa)

Ellora Caves - Aurangabad district of Maharashtra - India

 

Kailasa Temple

 

en.wikipedia.org/wiki/Kailasa_temple,_Ellora

 

en.wikipedia.org/wiki/Ellora_Caves

Ellora, India

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

The Kurukshetra War is a mythological war described in the Indian epic Mahabharata as a conflict that arose from a dynastic succession struggle between two groups of cousins of an Indo-Aryan kingdom called Kuru, the Kauravas and Pandavas, for the throne of Hastinapura. It involved a number of ancient kingdoms participating as allies of the rival groups.

 

The Kurukshetra War is believed to date variously from 6000 BCE to 500 BCE based on the astronomical and literary information from Mahabharata. The history of the Kurukshetra War is also traced to the Battle of the Ten Kings mentioned in Rigveda.

 

The location of the battle is described as having occurred in Kurukshetra in the modern state of Haryana

 

Mahabharata states that the war started on Kartheeka Bahula Amavasya (the end of the Kartheeka and the start of the Margasira lunar month), moon on Jyesta star, on Tuesday early morning. A solar eclipse also happened on that day, and this Muhurtha was kept by Krishna himself. The Bhagavad Gita was told on that early morning, before the war began. The war lasted only eighteen days, during which vast armies from all over the Indian (Bharatha) Subcontinent fought alongside the two rivals. Despite only referring to these eighteen days, the war narrative forms more than a quarter of the book, suggesting its relative importance within the epic, which overall spans decades of the warring families.

 

The narrative describes individual battles of various heroes of both sides, battle-field deaths of some of the prominent heroes, military formations employed on each day by both armies, war diplomacy, meetings and discussions among the heroes and commanders before commencement of war on each day and the weapons used. The chapters (parvas) dealing with the war (from chapter six to ten) are considered amongst the oldest in the entire Mahabharat.

 

HISTORICAL CONTEXT

Though the Kurukshetra War is not mentioned in Vedic literature, its prominence in later literature led historians such as A. L. Basham to conclude that, "certainly a great war took place and succeeding generations looked upon it as marking an end of an epoch". Popular tradition holds that the war marks the transition to Kaliyuga and thus dates it to 3102 BCE; another tradition places the war in 15th century BCE. However historians regard these dates as too early and inconsistent with the available archaeological and literary evidence. Basham considers the beginning of the 9th century BCE as a more plausible date for the events. Similarly, Michael Witzel concludes that the general setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.

 

Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit(Arjun's grandson) and the accession of Mahapadma Nanda, commonly dated to 382 BCE, which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies.

 

Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna(Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna and thus approximately 950 BCE for the Bharata battle.

 

B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.

 

There have been a number of theories put forward:

 

- The most widely accepted date is 10th century BCE or 950 BCE, according to archeological evidence.

- B. N. Achar states a date of 3067 BCE using planetary positions listed in the Mahabharata.

- S. Balakrishna concluded a date of 2559 BCE using consecutive lunar eclipses.

- P. V. Holey states a date of November 13, 3143 BCE using planetary positions and calendar systems.

- R. N. Iyengar concluded a date of 1478 BCE using double eclipses and Saturn+Jupiter conjunctions.

- P. R. Sarkar estimates a date of 1298 BCE for the war of Kurukshetra.

- P. V. Vartak calculates a date of October 16, 5561 BCE using planetary positions.

- K. Sadananda, based on translation work, states that the Kurukshetra War started on November 22 3067 BCE.

 

The reconstruction of the history of Vedic India is based on text-internal details. Linguistically, the Vedic texts could be classified in five chronological strata as Rigvedic, Mantra, Samhita, Brahmana, Sutra, and Epic and Paninian. The Mantra language period includes both the mantra and prose language of the Atharvaveda(Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita(containing some 75 mantras not in the Rigveda) and the mantras of the Yajurveda. Many of these texts are largely derived from the Rigveda, but have undergone certain changes, both by linguistic change and by reinterpretation. Conspicuous changes include the change of vishva "all" by sarva and the spread of the kuru- verbal stem for Rigvedic krno-). This is from the time of the early Iron Age in north-western India, corresponding to the Black and Red Ware(BRW) culture and the kingdom of the Kurus, dating from ca. the 10th century BCE. The Samhita prose period marks the beginning of the collection and codification of a Vedic canon. An important linguistic change is the complete loss of the injunctive. The Brahmana part ('commentary' on mantras and ritual) of the Black Yajurveda(MS, KS, TS) belongs to this period. Archaeologically, the Painted Grey Ware(PGW) culture from ca. 900 BCE corresponds and the shift of the political center from the Kurus to the Pancalas on the Ganges.

 

BACKGROUND

Mahabharata, one of the most important Hindu epics, is an account of the life and deeds of several generations of a ruling dynasty called the Kuru clan. Central to the epic is an account of a war that took place between two rival families belonging to this clan. Kurukshetra (literally "field of the Kurus"), was the battleground on which this war, known as the Kurukshetra War, was fought. Kurukshetra was also known as "Dharmakshetra"(the "field of Dharma"), or field of righteousness. Mahabharata tells that this site was chosen for the war because a sin committed on this land was forgiven on account of the sanctity of this land.

 

The Kuru territories were divided into two and were ruled by Dhritarashtra(with his capital at Hastinapura) and Yudhishthira of the Pandavas(with his capital at Indraprastha). The immediate dispute between the Kauravas(sons of Dhritarashtra) and the Pandavas arose from a game of dice, which Duryodhana won by deceit, forcing their Pandava cousins to transfer their entire territories to the Kauravas (to Hastinapura) and to "go into exile" for thirteen years. The dispute escalated into a full scale war when Prince Duryodhana, the eldest of the Kauravas, driven by jealousy, refused to restore the Pandavas their territories after the exile as earlier decided, as Duryodhana objected that they were discovered while in exile, and that no return of their kingdom was agreed upon.

 

Prior to the war, the disinherited Pandavas in the kingdom of Matsya, advised by Krishna, tried to find a diplomatic and peaceful solution to the conflict. Balarama, Krishna's older brother, advised the Pandavas to send an emissary to get the support of the elders of the family, like Bhishma, Dhritarashtra, Drona, Kripa etc., with the message "Let us avoid armed conflict as much as possible. Only that which is accrued in peace is worthwhile. Out of war, nothing but wrong can issue". While the emissary was in the Kaurava court, the Pandavas continued with war preparations. They sent messages requesting assistance to a number of neighbouring kingdoms. Their ambassador of peace was insulted and turned away by Duryodhana, who was intent on war, defying the counsel of elders like Bhishma. After several failed attempts at peace, war seemed inevitable. The two sides to the war were the Pandavas and the Kauravas (the official Kuru tribe now ruling both Hastinapura and Indraprastha), both with their allies.

 

Jaya, the core of Mahabharata, is structured in the form of a dialogue between Kuru king Dhritarashtra and Sanjaya, his advisor and chariot driver. Sanjaya narrates each incident of the Kurukshetra War, fought in 18 days, as and when it happened. Dhritarashtra sometimes asks questions and doubts and sometimes laments, knowing about the destruction caused by the war, to his sons, friends and kinsmen. He also feels guilty, due to his own role, that led to this war, destructive to the entire Indian subcontinent.

 

In the beginning Sanjaya gives a description of the various continents of the Earth, the other planets, and focuses on the Indian Subcontinent, then gives an elaborate list of hundreds of kingdoms, tribes, provinces, cities, towns, villages, rivers, mountains, forests etc. of the(ancient) Indian Subcontinent(Bharata Varsha). He also explains about the 'military formations adopted by each side on each day, the death of each hero and the details of each war-racing. Some 18 chapters of Vyasa's Jaya constitutes the Bhagavad Gita, one of the sacred texts of the Hindus. Thus, this work of Vyasa, called Jaya, deals with diverse subjects like geography, history, warfare, religion and morality. According to Mahabharata itself, the Jaya was recited to the King Janamejaya, the great-grandson of Arjuna, by Vaisampayana, a disciple of Vyasa (then called the Bharata). The recitation of Vaisampayana to Janamejaya was then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year-long sacrifice for King Saunaka Kulapati in the Naimisha forest (then called the Mahabharata).

 

COMBATANTS

The Kurus formed a kingdom in the Vedic period of India. They formed the first political center after the Rigvedic period, after their emergence from the Punjab, and it was there that the codification and redaction of the Vedic texts began. Archaeologically, they most likely correspond to the Black and Red Ware Culture of the 12th to 9th centuries BC, at the beginning of the Iron Age in western India. Panchala was the second urban center of Vedic civilization, as its focus moved east from the Punjab, after the focus of power had been with the Kurus in the early Iron Age. This period is associated with the Painted Grey Ware culture, arising around 1100 BCE, and declining from 600 BCE, with the end of the Vedic period. The ruling confederacy, the Panchalas, as their name suggests, probably consisted of five clans - the Krivis, the Turvashas, The Keshins, the Srinjayas and the Somakas. Drupada, whose daughter Draupadi was married to the Pandavas belonged to the Somaka clan. However, the Mahabharata and the Puranas consider the ruling clan of the northern Panchala as an offshoot of the Bharata clan and Divodasa, Sudas, Srinjaya, Somaka and Drupada(also called Yajnasena) were the most notable rulers of this clan.

 

KRISHNA`S PEACE MISSION

As a last attempt at peace, Krishna travelled to Hastinapur to persuade the Kauravas to embark upon a peaceful path with him. At Hastinapur, Krishna took his meals and stayed at the house of the minister, Vidura, a religious man and a devotee of Krishna. Duryodhana was insulted that Krishna had turned down his invitation to dine with him and stay in his royal palace. Determined to stop the peace mission, Duryodhana plotted to arrest Krishna.

 

At the formal presentation of the peace proposal by Krishna at the court of Hastinapur, Krishna asked Duryodhana to give back Indraprastha or if not at least five villages, one for each of the Pandavas, but Duryodhana said he could not give land even as much as tip of a needle, Krishna's peace proposals were ignored and Duryodhana publicly ordered his soldiers to arrest Krishna. Krishna laughed and displayed his divine form, radiating intense light. Furious at the insult inflicted upon Him, Lord Krishna cursed Duryodhana that his downfall was certain, to the shock of Dhirtharastra, who tried to pacify the Lord.

 

His peace mission being rejected by Duryodhana, Krishna returned to Upaplavya to inform the Pandavas that the only course left to uphold the principles of virtue and righteousness was inevitable - war. During the course of his return, Krishna met Karna, Kunti's firstborn(before Yudhisthira) and said to help his brothers, but, being helped by Duryodhana, Karna said to Krishna that he would battle against Pandavas.

 

WAR PREPARATIONS

Krishna had a large force called the Narayani Sena and was himself a great warrior. Duryodhana and Arjuna thus both went to Krishna at Dwarka to ask for his help. Duryodhana arrived first and found Krishna asleep. Being arrogant and viewing himself as equal to Krishna, Duryodhana chose a seat at Krishna's head and waited for him to rouse. Arjuna arrived later and being a humble devotee of Krishna, chose to sit and wait at Krishna's feet. When Krishna woke up, he saw Arjuna first and gave him the first right to make his request. Krishna told Arjuna and Duryodhana that he would give the Narayani Sena, to one side and himself as a non-combatant to the other. Since Arjuna was given the first opportunity to choose, Duryodhana was worried that Arjuna would choose the mighty army of Krishna. When given the choice of either Krishna's army or Krishna himself on their side, Arjuna on behalf of the Pandavas chose Krishna, unarmed on his own, relieving Duryodhana, who thought Arjuna to be the greatest fool. Later Arjuna requested Krishna to be his charioteer and Krishna, being an intimate friend of Arjuna, agreed wholeheartedly and hence received the name Parthasarthy, or 'charioteer of the son of Pritha'. Both Duryodhana and Arjuna returned satisfied.

 

While camping at a place called Upaplavya, in the territory of Virata, the Pandavas gathered their armies. Contingents arrived from all parts of the country and soon the Pandavas had a large force of seven divisions. The Kauravas managed to raise an even larger army of eleven divisions. Many kingdoms of ancient India such as Dwaraka, Kasi, Kekaya, Magadha, Chedi, Matsya, Pandya, and the Yadus of Mathura were allied with the Pandavas; while the allies of the Kauravas comprised the kings of Pragjyotisha, Kalinga, Anga, Kekaya, Sindhudesa, Avanti in Madhyadesa, Gandharas, Bahlikas, Mahishmati, Kambojas(with the Yavanas, Sakas, Trilinga, Tusharas) and many others.

 

PANDAVA ARMY

Seeing that there was now no hope for peace, Yudhisthira, the eldest of the Pandavas, asked his brothers to organize their army. The Pandavas accumulated seven Akshauhinis army with the help of their allies. Each of these divisions were led by Drupada, Virata, Dhristadyumna, Shikhandi, Satyaki, Chekitana and Bhima. After consulting his commanders, the Pandavas appointed Dhristadyumna as the supreme commander of the Pandava army. Mahabharata says that kingdoms from all over ancient India supplied troops or provided logistic support on the Pandava side. Some of these were: Kekaya, Pandya, Cholas, Magadha and many more.

 

KAURAVA ARMY

The Kaurava army consisted of 11 Akshauhinis. Duryodhana requested Bhishma to command the Kaurava army. Bhishma accepted on the condition that, while he would fight the battle sincerely, he would not harm the five Pandava brothers. In addition, Bhishma said that Karna would not fight under him as long as he is in the battlefied. It is believed by many that Bhishma pushed Karna into taking this decision due to his affection towards the Pandavas - the Kauravas would be overwhelmingly powerful if both he and Karna appeared in battle simultaneously. However the excuse he used to prevent their simultaneous fighting was that his guru(Parshurama) was insulted by Karna. He also knew that Karna was a Kaunteya(Son of Kunti) from the day he met him in Ranakshetra when Karna offered Arjuna to fight against him and Bhishma wanted to keep Karna out, so that there will be someone to lead the army once he is unable to continue with the war. Regardless, Duryodhana agreed to Bhishma's conditions and made him the supreme commander of the Kaurava army, while Karna was debarred from fighting. But Karna enters the war later when Bhishma is wounded by Arjuna. Apart from the one hundred Kaurava brothers, headed by Duryodhana himself and his brother Dushasana, the second eldest son of Dhritarashtra, the Kauravas were assisted on the battlefield by Drona and his son Ashwatthama, the Kaurava's brother-in-law Jayadratha, the Brahmin Kripa, Kritavarma, Shalya, Sudakshina, Bhurisrava, Bahlika, Shakuni and many more who were bound by their loyalty towards either Hastinapura or Dhritarashtra.

 

NEUTRAL PARTIES

The kingdom of Vidarbha, with its King Rukmi, Vidura, the ex-prime minister of Hastinapur and younger brother to Dhritarashtra and Balarama were the only neutrals in this war. Rukmi wanted to join the war, but Duryodhana and Arjuna refused to allow him, because he boasted about his war strength and army. Vidura did not want to see the bloodshed of the war, although he was a good battle strategist. The powerful Balarama refused to fight at Kurukshetra, because he was both Bhima and Duryodhana's wrestling coach.

 

ARMY DIVISIONS & WEAPONRY

Each army consisted of several divisions; the Kauravas had 11 while the Pandavas had 7. A division(akshauhini) includes 21,870 chariots and chariot-riders, 21,870 War elephants and riders, 65,610 Cavalry and 109,350 foot-soldiers(in a ratio of 1:1:3:5). The combined number of warriors and soldiers in both armies was approximately 3.94 million. Each Akshauhini was under a commander or a general, apart from the Commander in chief or the generalissimo who was the head of the entire army.

 

During the Kurukshetra War, the weapons used included: the bow, the weapon of choice for Arjuna, Bhishma, Drona, Karna, Satyaki, Vikarna and Abhimanyu; the mace, chosen by Bhima and Duryodhana, the spear, chosen by Yudhistira and Shalya; the sword chosen by Nakula, Dushasana, Dhristadymna and other Kauravas; and the axe chosen by Sahadeva.

 

MILITARY FORMATIONS

At various times during battle, the supreme commander of either army ordered special formations(vyuhas). Each formation had a specific purpose; some were defensive while others were offensive. Each formation had its specific strengths and weaknesses. The Mahābhārata lists the following:

 

Krauncha vyuha(heron formation)

Makara vyuha(crocodile formation)

Kurma vyuha(tortoise or turtle formation)

Trishula vyuha(trident formation)

Chakrvyuha(wheel or discus formation)

Kamala vyuha or Padma vyuha(lotus formation)

Garud vyuha(eagle formation)

Oormi vyuha(ocean formation)

Mandala vyuha(galaxy formation)

Vajra vyuha(diamond or thunderbolt formation)

Shakata vyuha(box or cart formation)

Asura vyuha(demon formation)

Deva vyuha(divine formation)

Soochi vyuha(needle formation)

Sringataka vyuha(horned formation)

Chandrakala vyuha(crescent or curved blade formation)

Mala vyuha(garland formation)

 

It is not clear what the formations actually indicate. They may be arrangements of bear resemblance to animals, or they may be names given to battle strategies.

 

CLASSIFICATION OF WARRIORS BY BHISHMA

Bhishma, the grandsire of both Kauravas and Pandavas, analysed each warrior on both sides of the army. As per Bhishma at the tale of Rathi and Maharathi there are 3 types of warriors. They are Rathi, Atirathi and Maharathi. He classified every warrior on both sides of the army following his judgement and knowledge of the science of weapons. According to him the highest level of a warrior is Maharathi.

 

*Rathi: A warrior capable of attacking 5,000 warriors simultaneously.

 

*Atirathi: A warrior capable of contending with 12 Rathi class warriors or 60,000 warriors simultaneously

 

*Maharathi: A warrior capable of fighting 12 Atirathi class warriors or 720,000 warriors simultaneously, circumspect in his mastery of all forms of weapons and combat skills.

 

FROM KAURAVA SIDE

Rathis,* Sudhakshina, the ruler of the Kamvojas, *Sakuni, King of Gandhar and uncle of Kauravas, *Duryodhana's son Lakshmana and the son of Dushasana, *Jayadrath, the king of the Sindhu and brother in law of Kauravas, *All 99 brothers of Duryodhana, including Dushasan, are single Rathis, *Duryodhana is classified as a warrior equal to 8 Rathis.

 

Atirathis

- Bhoja chief Kritavarman

- The ruler of the Madras,Salya

- Bhurisravas, the son of Somadatta

- Kripa, also known as Kripacharya, the son of Saradwat

 

Maharathis

- Alambhusha, the Chief of Rakshasas

- The ruler of Pragjyotisha, the brave Bhagadatta

- Vrishasena, the son of Karna,

- Guru Drona

- Asvathama, the son of Guru Drona and the avatar of Lord Shiva. (Even though he was classified as a Maharatha, in reality he was peerless and equal to Lord Shiva in battle according to Bhishma; but the only pre-condition is that Asvathama has to become extremely angry to unleash his full potential)

- Karna is equal to 2 Maharathi.

- Bhishma, even though he never classified himself. Later it was revealed that Bhishma was equal to 2 Maharatha warriors. (But at the tale of Rathi and Atirathi, Bhishma classified him as just half a Rathi in order to weaken his morale when fighting against his brothers, the Pandavas, at the request of Lord Krishna)

 

FROM PANDAVA SIDE

Rathis

- Uttamaujas

- Sikhandi, the son of the king of the Panchalas

- Yudishtira the son of Pandu and Kunti, is a Ratha.

- Nakul and Sahadeva are single Rathis

- Bhima is regarded as equal to 8 Rathas.

 

Atirathis

- Satyaki of the Vrishni race,

- Dhrishtadyumna the son of Drupuda

- Kuntibhoja,the maternal uncle of Pandavas

- Ghatotkacha, prince of Rakshasas and master of all illusions, son Bhima and Hidimva.

 

Maharathis

- Virata King

- Drupuda, King of Panchalas

- Dhrishtaketu, the son of Sisupala, the king of the Chedis

- All sons of Draupadi are Maharathas

- Abhimanyu,the son of Arjuna is equal to 2 Maharatha.

- Arjuna is equal to 2 Maharatha warrior

 

RULES OF ENGAGEMENT

The two supreme commanders met and framed "rules of ethical conduct", dharmayuddha, for the war. The rules included:

 

- Fighting must begin no earlier than sunrise and end exactly at sunset.

- More than one warriors may not attack a single warrior.

- Two warriors may "duel", or engage in prolonged personal combat, only if they carry the same weapons and they are on the same type of mount(on foot, on a horse, on an elephant, or in a chariot).

- No warrior may kill or injure a warrior who has surrendered.

- One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war.

- No warrior may kill or injure an unarmed warrior.

- No warrior may kill or injure an unconscious warrior.

- No warrior may kill or injure a person or animal not taking part in the war.

- No warrior may kill or injure a warrior whose back is turned away.

- No warrior may attack a woman.

- No warrior may strike an animal not considered a direct threat.

- The rules specific to each weapon must be followed. For example, it is prohibited to strike below the waist in mace warfare.

- Warriors may not engage in any unfair warfare.

 

COURSE OF WAR

The Kurukshetra War lasted eighteen days. It was fought only during daylight hours; fighting ceased at sunset. Each day the battle was characterised by numerous individual combats, as well as mass raids against entire enemy divisions. The victor or the vanquished on each day was determined not by any territories gained, but by the body count. This was a war to the death. The victor was the survivor. If the text is taken to be chronologically accurate, this was one of the bloodiest wars in the history of mankind. Arjuna, in a fit of extreme anger over the death of his son Abhimanyu, alone killed one akshauhini of Kaurava soldiers in a single day. The war left an extremely large number of widows and orphans and led to an economic depression and the beginning of Kali Yuga.

 

BEFORE THE BATTLE

It has been observed that the year in which the Mahabharata War took place, the year had three solar eclipses on earth in a span of thirty days. Eclipses are considered ill for life on earth according to Hindu astrology.

 

On the first day of the war, as would be on all the following days, the Kaurava army stood facing west and the Pandava army stood facing east. The Kaurava army was formed such that it faced all sides: elephants formed its body; the kings, its head; and the steeds, its wings. Bhishma, in consultation with his commanders Drona, Bahlika and Kripa, remained in the rear.

 

The Pandava army was organised by Yudhisthira and Arjuna in the Vajra formation. Because the Pandava army was smaller than the Kaurava's, they decided to employ the tactic of each warrior engaging as many enemies as possible. This involved an element of surprise, with the bowmen showering arrows hiding behind the frontal attackers. The attackers in the front were equipped with short-range weapons like maces, battle-axes, swords and lances.

 

Ten divisions(Akshauhinis) of the Kaurava army were arranged in a formidable phalanx. The eleventh was put under the immediate command of Bhishma, partly to protect him. The safety of the supreme commander Bhishma was central to Duryodhana's strategy, as he had placed all his hope on the great warrior's abilities. Dushasana, the younger brother of Duryodhana, was the military officer in-charge of Bhishma's protection.

 

THE BHAGVAD GITA

When the war was declared and the two armies were facing each other, Arjuna realised that he would have to kill his dear great-granduncle(Bhishma), on whose lap he had played as a child and his respected teacher(Drona), who had held his hand and taught him how to hold the bow and arrow, making him the greatest archer in the world. Arjuna felt weak and sickened at the prospect of killing his entire family, including his 100 cousins and friends such as Ashwatthama. Despondent and confused about what is right and what is wrong, Arjuna turned to Krishna for divine advice and teachings. Krishna, who Arjuna chose as his charioteer, advised him of his duty. This conversation forms the Bhagavad Gita, one of the most respected religious and philosophical texts in the Hindu religion. Krishna instructs Arjuna not to yield to degrading impotence and to fight his kin, for that was the only way to righteousness. He also reminded him that this was a war between righteousness and unrighteousness(dharma and adharma) and it was Arjuna's duty to slay anyone who supported the cause of unrighteousness, or sin. Krishna then revealed his divine form and explained that he is born on earth in each aeon when evil raises its head. It also forms one of the foremost treatise on the several aspects of Yoga and mystical knowledge.

 

Before the battle began, Yudhisthira did something unexpected. He suddenly dropped his weapons, took off his armour and started walking towards the Kaurava army with folded hands in prayer. The Pandava brothers and the Kauravas looked on in disbelief, thinking Yudhisthira was surrendering before the first arrow was shot. Yudhisthira's purpose became clear, however, when he fell on Bhishma's feet to seek his blessing for success in battle. Bhishma, grandfather to both the Pandavas and Kauravas, blessed Yudhisthira. Yudhisthira returned to his chariot and the battle was ready to commence.

 

DAY 1

When the battle was commenced, Bhishma went through the Pandava army wreaking havoc wherever he went but Abhimanyu, Arjuna's son, seeing this went straight at Bhishma, defeated his bodyguards and directly attacked the commander of the Kaurava forces. The Pandavas suffered numerous losses and were defeated at the end of the first day. Virata's sons, Uttara and Sweta, were slain by Shalya and Bhishma. Krishna consoled the distraught Yudhisthira saying that eventually victory would be his.

 

DAY 2

The second day of the war commenced with a confident Kaurava army facing the Pandavas. Arjuna, realising that something needed to be done quickly to reverse the Pandava losses, decided that he must try to kill Bhishma. Krishna skillfully located Bhishma's chariot and steered Arjuna toward him. Arjuna tried to engage Bhishma in a duel, but the Kaurava soldiers placed around Bhishma to protect him attacked Arjuna to try to prevent him from directly engaging Bhishma. Arjuna and Bhishma fought a fierce battle that raged for hours. Drona and Dhristadyumna similarly engaged in a duel during which Drona broke Dhristadyumna's bow numerous times. Bhima intervened and rescued Dhristadyumna. Duryodhana sent the Kalinga forces to attack Bhima and most of them lost their lives at his hands. Bhishma immediately came to relieve the battered Kalinga forces. Satyaki, who was assisting Bhima, shot at Bhishma's charioteer and killed him. Bhishma's horses, with no one to control them, bolted carrying Bhishma away from the battlefield. The Kaurava army had suffered great losses at the end of the second day.

 

DAY 3

On the third day, Bhishma arranged the Kaurava forces in the formation of an eagle with himself leading from the front, while Duryodhana's forces protected the rear. Bhishma wanted to be sure of avoiding any mishap. The Pandavas countered this by using the crescent formation with Bhima and Arjuna at the head of the right and the left horns, respectively. The Kauravas concentrated their attack on Arjuna's position. Arjuna's chariot was soon covered with arrows and javelins. Arjuna, with amazing skill, built a fortification around his chariot with an unending stream of arrows from his bow. Abhimanyu and Satyaki combined to defeat the Gandhara forces of Shakuni. Bhima and his son Ghatotkacha attacked Duryodhana in the rear. Bhima's arrows hit Duryodhana, who swooned in his chariot. His charioteer immediately drove them out of danger. Duryodhana's forces, however, saw their leader fleeing the battlefield and soon scattered. Bhishma soon restored order and Duryodhana returned to lead the army. He was angry at Bhishma, however, at what he saw as leniency towards the five Pandava brothers and spoke harshly at his commander. Bhishma, stung by this unfair charge, fell on the Pandava army with renewed vigor. It was as if there were more than one Bhishma on the field.

 

Arjuna and Krishna attacked Bhishma trying to restore order. Arjuna and Bhishma again engaged in a fierce duel, however Arjuna's heart was not in the battle as he did not like the idea of attacking his grand-uncle. During the battle, Bhishma killed numerous soldiers of Arjuna's armies.

 

DAY 4

The fourth-day of the battle was noted for the valour shown by Bhima. Bhishma commanded the Kaurava army to move on the offensive from the outset. While Abhimanyu was still in his mother's womb, Arjuna had taught Abhimanyu on how to break and enter the chakra vyuha. But, before explaining how to exit the chakra Vyuha, Arjuna was interrupted by Krishna(other story: Abhimanyu's mother falls asleep while Arjuna was explaining her). Thus from birth, Abhimanyu only knew how to enter the Chakra vyuha but didn't know how to come out of it. When the Kauravas formed the chakravyuha, Abhimanyu entered it but was surrounded and attacked by a number of Kaurava princes. Arjuna joined the fray in aid of Abhimanyu. Bhima appeared on the scene with his mace aloft and started attacking the Kauravas. Duryodhana sent a huge force of elephants at Bhima. When Bhima saw the mass of elephants approaching, he got down from his chariot and attacked them single handedly with his iron mace. They scattered and stampeded into the Kaurava forces killing many. Duryodhana ordered an all-out attack on Bhima. Bhima withstood all that was thrown at him and attacked Duryodhana's brothers, killing eight of them. Bhima was soon struck by an arrow on the chest and sat down in his chariot dazed.

 

Duryodhana was distraught at the loss of his brothers. Duryodhana, overwhelmed by sorrow at the loss of his brothers, went to Bhishma at the end of the fourth day of the battle and asked his commander how could the Pandavas, facing a superior force against them, still prevail and win. Bhishma replied that the Pandavas had justice on their side and advised Duryodhana to seek peace.

 

DAYS 5-9

When the battle resumed on the fifth day, the slaughter continued. The Pandava army again suffered against Bhishma's attacks. Satyaki bore the brunt of Drona's attacks and soon could not withstand them. Bhima drove by and rescued Satyaki. Arjuna fought and killed thousands of soldiers sent by Duryodhana to attack him. The unimaginable carnage continued during the ensuing days of the battle.

 

The sixth day was marked by a prodigious slaughter. Drona caused immeasurable loss of life on the Pandava side. The formations of both the armies were broken. On day 7 Drona slays Shankya, son of Virata. On the eighth day Bhima killed eight of Dhritarashtra's sons.

 

On the ninth day Krishna, overwhelmed by anger at the apparent inability of Arjuna to defeat Bhishma, rushed towards the Kaurava commander, the wheel of a fallen chariot in his hands. Bhishma lays down his arms and is ready to die at the hands of the Lord, but Arjuna stops him, reminding of his promise not to wield a weapon. Realizing that the war could not be won as long as Bhishma was standing, Krishna suggested the strategy of placing a eunuch in the field to face him. Some sources however state that it was Yudhistira who visits Bhishma's camp at night asking him for help. To this Bhishma says that he would not fight a eunuch.

 

DAY 10

On the tenth day, the Pandavas, unable to withstand Bhishma's prowess, decided to put Shikhandi, who had been a woman in a prior life in front of Bhishma, as Bhishma has taken a vow not to attack a woman. Shikhandi's arrows fell on Bhishma without hindrance. Arjuna positioned himself behind Shikhandi, protecting himself from Bhishma's attack and aimed his arrows at the weak points in Bhishma's armour. Soon, with arrows sticking from every part of his body, the great warrior fell from his chariot. His body did not touch the ground as it was held aloft by the arrows protruding from his body.

 

The Kauravas and Pandavas gathered around Bhishma and at his request, Arjuna placed three arrows under Bhishma's head to support it. Bhishma had promised his father, King Shantanu, that he would live until Hastinapur were secured from all directions. To keep this promise, Bhishma used the boon of "Ichcha Mrityu"(self wished death) given to him by his father. After the war was over, when Hastinapur had become safe from all sides and after giving lessons on politics and Vishnu Sahasranama to the Pandavas, Bhishma died on the first day of Uttarayana.

 

DAY 11

With Bhishma unable to continue, Karna entered the battlefield, much to Duryodhana's joy. He made Drona the supreme commander of the Kaurava forces. Karna and Duryodhana wanted to capture Yudhisthira alive. Killing Yudhisthira in battle would only enrage the Pandavas more, whereas holding him as hostage would be strategically useful. Drona formulated his battle plans for the eleventh day to this aim. He cut down Yudhisthira's bow and the Pandava army feared that their leader would be taken prisoner. Arjuna rushed to the scene, however and with a flood of arrows made Drona retreat.

 

DAY 12

With his attempts to capture Yudhisthira thwarted, Drona confided to Duryodhana that it would be difficult as long as Arjuna was around. He summoned King Bhagadatta, the monarch of Pragjyotisha(modern day Assam, India). Bhagadatta had thousands of gigantic elephants in his stable and was considered the strongest warrior on this planet in elephant warfare. Bhagadatta attacked Arjuna with his gigantic elephant named Suprateeka. It was a fierce battle in which Bhagadatta matched Arjuna astra for astra but Arjuna slew him. Drona continued to try and capture Yudhisthira. The Pandavas however fought hard and delivered severe blows to the Kaurava army.

 

DAY 13

The King of Trigartadesa, Susharma along with his 3 brothers and 35 sons who were fighting on the Kaurava side made a pact that they would make sure that Arjuna comes and doesn't break the Chakra Vuyh and kill him or die. They went into the battlefield on the twelfth day and challenged Arjuna. Arjuna gave them a fierce fight in which the brothers fell dead after fighting a brave fight. Drona continued to try and capture Yudhisthira.

 

On the other side of the battlefield, the remaining four Pandavas and their allies were finding it impossible to break Dronacharya's "Chakra Vyuh" formation. As Arjuna was busy fighting with the Trigartadesa princes and the Prajayogastha monarch on the other side of the battlefield, he could not be summoned to break the Chakra Vyuha formation, which could only be broken by entering and exiting the formation. Yudhisthira instructed, Abhimanyu, one of Arjuna's sons to break the Chakra vyuha formation. Abhimanyu knew the secret of entering the Chakra vyuh formation, but did not know how to exit it. Abhimanyu slew tens of thousands of warriors. He also killed Duryodhana's son. Duryodhana got enraged and ordered Durmashana, who was Dushasana's son to attack Abhimanyu but he died under the hands of Abhimanyu. Next he ordered his men to attack Abhimanyu all at once. Abhimanyu fought but was surrounded and killed by many warriors in a combined attack.

 

Upon learning of the death of his son, Arjuna vowed to kill Jayadratha on the morrow before the battle ended at sunset, otherwise he would throw himself into the fire.

 

DAY 14

While searching for Jayadrath on the battlefield, Arjuna slew an akshauhini(battle formation that consisted of 21,870 chariots(Sanskrit ratha); 21,870 elephants; 65,610 cavalry and 109,350 infantry) of Kaurav soldiers. The Shakatavuyha Kaurav army tightly protected Jayadratha, however, preventing Arjuna from attacking him. Finally, in late afternoon, Arjuna found Jayadratha guarded by the mighty Kaurav army. Seeing his friend's plight, Lord Krishna raised his Sudarshan Chakra to cover the sun, faking a sunset. Arjun fought a powerful battle with Jayadrath and finally defeated him. Then, Arjuna shot a powerful arrow decapitating Jayadrath. While Arjuna destroying the rest of the Shakatavuyha, Vikarna, the third eldest Kaurava, challenged Arjuna to an archery fight. Arjuna asks Bhima to decimate Vikarna, but Bhima refused to, because Vikarna defended the Pandavas during the Vastranam. Bhima and Vikarna showered arrows at each other. Later Bhima throws his mace at Vikarna, killing him. The muscular Pandava was devastated and mourned his death saying he was a man of Dharma and it was a pity how he lived his life.

 

The battle continued past sunset. When the bright moon rose, Ghatotkacha, son of Bhima slaughtered numerous warriors, attacking while flying in the air. Karna stood against him and both fought fiercely until Karna released the Shakti, a divine weapon given to him by Indra. Ghatotkacha increased his size and fell dead on the Kaurav army killing thousands of them.

 

DAY 15

After King Drupada and King Virata were slain by Drona, Bhima and Dhristadyumna fought him on the fifteenth day. Because Drona was very powerful and inconquerable having the irresistible Brahmadanda, Krishna hinted to Yudhisthira that Drona would give up his arms if his son Ashwatthama was dead. Bhima proceeded to kill an elephant named Ashwatthama and loudly proclaimed that Ashwatthama was dead. Drona approached Yudhisthira to seek the truth of his son's death. Yudhisthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant, The latter part of his proclamation(Naro va Kunjaro va) were drowned out by sound of the conch blown by Krishna intentionally (a different version of the story is that Yudhisthira pronounced the last words so feebly that Drona could not hear the word elephant). Prior to this incident, the chariot of Yudhisthira, proclaimed as Dharma raja(King of righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

 

Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna to avenge his father's death and satisfy his vow. Later, the Pandava's mother Kunti secretly met her abandoned son Karna and requested him to spare the Pandavas, as they were his younger brothers. Karna promised Kunti that he would spare them except for Arjuna, but also added that he would not fire a same weapon against Arjun twice.

 

DAY 16

On the sixteenth day, Karna was made the supreme commander of the Kuru army. Karna fought valiantly but was surrounded and attacked by Pandava generals, who were unable to prevail upon him. Karna inflicted heavy damage on the Pandava army, which fled. Then Arjuna successfully resisted Karna's weapons with his own and also inflicted casualties upon the Kaurava army. The sun soon set and with darkness and dust making the assessment of proceedings difficult, the Kaurava army retreated for the day.

 

On the same day, Bhima swung his mace and shattered Dushasana's chariot. Bhima seized Dushasana, ripped his right hand from shoulder and killed him, tearing open his chest and drinking his blood and carrying some to smear on Draupadi's untied hair, thus fulfilling his vow made when Draupadi was humiliated.

 

DAY 17

On the seventeenth day, Karna defeated the Pandava brothers Nakul, Bhima, Sahadeva and Yudhisthira in battle but spared their lives. Later, Karna resumed duelling with Arjuna. During their duel, Karna's chariot wheel got stuck in the mud and Karna asked for a pause. Krishna reminded Arjuna about Karna's ruthlessness unto Abhimanyu while he was similarly left without chariot and weapons. Hearing his son's fate, Arjuna shot his arrow and decapitated Karna. Before the day's battle, Karna's sacred armour ('Kavacha') and earrings ('Kundala') were taken as alms by Lord Indra when asked for, which resulted in his death by Arjuna's arrows.

 

DAY 18

On the 18th day, Shalya took over as the commander-in-chief of the remaining Kaurava forces. Yudhishthira killed king Shalya in a spear combat and Sahadeva killed Shakuni. Realizing that he had been defeated, Duryodhana fled the battlefield and took refuge in the lake, where the Pandavas caught up with him. Under the supervision of the now returned Balarama, a mace battle took place between Bhima and Duryodhana. Bhima flouted the rules(under instructions from Krishna) to strike Duryodhana beneath the waist in which he was mortally wounded.

 

Ashwatthama, Kripacharya, and Kritavarma met Duryodhana at his deathbed and promised to avenge the actions of Bhima. They attacked the Pandavas' camp later that night and killed all the Pandavas' remaining army including their children. Amongst the dead were Dhristadyumna and Shikhandi. Other than the Pandavas and Krishna, only Satyaki and Yuyutsu survived.

 

AFTERMATH

At the end of the 18th day, only twelve warriors survived the war - the five Pandavas, Krishna, Satyaki, Ashwatthama, Kripacharya, Yuyutsu, Vrishakethu(son of Karna) and Kritvarma. Vrishakethu was the only son of Karna who survived the horrific slaughter. He later came under the patronage of the Pandavas. During the campaign that preceded the Ashvamedha yagna, Vrishakethu accompanied Arjuna and participated in the battles with Sudhava and Babruvahana. During that campaign Vrishakethu married the daughter of King Yavanatha. It is said, Arjuna developed great affection for Vrishakethu, his nephew. Yudhisthira was crowned king of Hastinapur. He renounced the throne after ruling for 36 years, passing on the crown to Arjuna's grandson Parikshit. He then left for the Himalayas with Draupadi and his brothers in what was to be their last journey. Draupadi and four Pandavas - Bhima, Arjuna, Nakula and Sahadeva died during the journey. Yudhisthira, the lone survivor and being of pious heart, was invited by Dharma to enter the heavens as a mortal.

 

WIKIPEDIA

MOUNT KAILASH INNER PARIKRAMA 2010

Mt. Kailash Inner Parikrama (Kora)

Mt. Kailash (6714m), Asia's most sacred mountain, is located in a high and isolated enclave of West Tibet . It is one of three pilgrimages sites in the area, known collectively as Kangri Tsosum. All are said to be at the heart of the ancient Shangshung kingdom, the supposed land of origin of the pre-Buddist Bonpos. Mt Kailash is their sould-mountain, which they also call Yungdrung Gu Tse, the Nine-story Swastika Mountain .

 

It is a 53-km pilgrim path around Mt. Kailash . It begins and ends at Darchen, a small settlement at the mountain south base and in the process visits four monasteries crosses the high Drolma La Pass (5636m). Three days is perhaps the minimum time required to walk leisurely around the mountain: spend two nights in or near Drira Phuk and Zutrul Phuk Monasteries. If conditions permit, try to stay four or five days, which would allow time for short trips to the inner regions of the area.

Mount Kailash (also Mount kailas; Tibetan: གངས་རིན་པོ་ཆེKangrinboqê or Gang Rinpoche; simplified Chinese: 冈仁波齐峰,Gāngrénbōqí fēng, Sanskrit: कैलास Kailāsa) is a peak in the Kailas Range (Gangdisê Mountains), which forms part of the Transhimalaya in Tibet. It lies near the source of some of the longest rivers in Asia: the Indus River, the Sutlej River (a major tributary of the Indus River), the Brahmaputra River, and the Karnali River (a tributary of the River Ganga). It is considered a sacred place in four religions: Bön, Buddhism, Hinduism andJainism. The mountain lies near Lake Manasarovar and Lake Rakshastalin Tibet.

According to Hinduism, Lord Shiva, the destroyer of ignorance and illusion, resides at the summit of a legendary mountain named Kailās, where he sits in a state of perpetual meditation along with his wife Pārvatī.

According to Charles Allen, one description in the Vishnu Purana of the mountain states that its four faces are made of crystal, ruby, gold, and lapis lazuli. It is a pillar of the world and is located at the heart of six mountain ranges symbolizing a lotus.

Every year, thousands make a pilgrimage to Kailash, following a tradition going back thousands of years. Pilgrims of several religions believe that circumambulating Mount Kailash on foot is a holy ritual that will bring good fortune. The peregrination is made in a clockwise direction by Hindus and Buddhists. Followers of the Jain andBönpo religions circumambulate the mountain in a counterclockwise direction. The path around Mount Kailash is 52 km (32 mi) long.

Some pilgrims believe that the entire walk around Kailash should be made in a single day, which is not considered an easy task. A person in good shape walking fast would take perhaps 15 hours to complete the 52 km trek. Some of the devout do accomplish this feat, little daunted by the uneven terrain, altitude sickness and harsh conditions faced in the process. Indeed, other pilgrims venture a much more demanding regimen, performing body-lengthprostrations over the entire length of the circumambulation: The pilgrim bends down, kneels, prostrates full-length, makes a mark with his fingers, rises to his knees, prays, and then crawls forward on hands and knees to the mark made by his/her fingers before repeating the process. It requires at least four weeks of physical endurance to perform the circumambulation while following this regimen. The mountain is located in a particularly remote and inhospitable area of the Tibetan Himalayas. A few modern amenities, such as benches, resting places and refreshment kiosks, exist to aid the pilgrims in their devotions. According to all religions that revere the mountain, setting foot on its slopes is a dire sin. It is claimed that many people who ventured to defy the taboo have died in the process[citation needed]. It is a popular belief that the stairways on Mount Kailash lead to heaven.

Following the political and border disturbances across the Chinese-Indian boundary, pilgrimage to the legendary abode of Lord Shiva was stopped from 1954 to 1978. Thereafter, a limited number of Indian pilgrims have been allowed to visit the place, under the supervision of the Chinese and Indian governments either by a lengthy and hazardous trek over the Himalayan terrain, travel by land from Kathmandu or from Lhasa where flights from Kathmandu are available to Lhasa and thereafter travel over the great Tibetan plateau by car. The journey takes four night stops, finally arriving at Darchen at elevation of 4,600 m (15,100 ft), small outpost that swells with pilgrims at certain times of year. Despite its minimal infrastructure, modest guest houses are available for foreign pilgrims, whereas Tibetan pilgrims generally sleep in their own tents. A small regional medical center serving far-western Tibet and funded by the Swiss Ngari Korsum Foundation was built here in 1997.

Walking around the holy mountain—a part of its official park—has to be done on foot, pony or yak, taking some three days of trekking starting from a height of around 15,000 ft (4,600 m) past the Tarboche (flagpole) to cross the Drölma pass 18,200 ft (5,500 m), and encamping for two nights en route. First, near the meadow of Dirapuk gompa, some 2 to 3 km (1.2 to 1.9 mi) before the pass and second, after crossing the pass and going downhill as far as possible (viewing Gauri Kund in the distance). By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.

 

Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.

 

The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.

 

Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.

 

ETYMOLOGY & OTHER NAMES

The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.

 

The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).

 

The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.

 

The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.

 

Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".

 

Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").

 

There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.

 

The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.

 

ASSIMILATION OF TRADITIONS

The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:

 

Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."

 

Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.

 

An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.

 

INDUS VALLEY ORIGINS

Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.

 

This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.

 

INDO-EUROPEAN ORIGINS

Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.

 

RUDRA

Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.

 

The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.

 

The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:

 

Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.

 

The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.

 

AGNI

Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:

 

The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.

 

In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.

 

INDRA

According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.

 

The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,

 

Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.

 

LATER VEDIC LITERATURE

Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.

 

Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.

 

PURANIC LITERATURE

The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.

 

TANTRIC LITERATURE

The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.

 

POSITION WITHIN HINDUISM

 

SHAIVISM

Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.

 

PANCHAYATANA PUJA

Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.

 

TRIMURTI

The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."

 

ICONOGRAPHY AND PROPERTIES

 

ATTRIBUTES

Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.

 

Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.

 

Crescent moon: (The epithets "Chandrasekhara/Chandramouli") - Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.

 

Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.

 

Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.

 

Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)

 

Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.

 

Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.

 

Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.

 

Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.

 

Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.

 

Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.

 

Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.

 

Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.

 

Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".

 

Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.

 

Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.

 

LINGAM

Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.

 

JYOTIRLINGA

The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.

 

The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.

 

SHAKTI

Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).

 

THE FIVE MANTRAS

Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).

 

Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:

 

Sadyojāta

Vāmadeva

Aghora

Tatpuruṣha

Īsāna

 

These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:

 

Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.

 

According to the Pañcabrahma Upanishad:

 

One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)

 

FORMES AND ROLES

According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.

 

DESTROYER AND BENEFACTOR

In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.

 

The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.

 

In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.

 

ASCETIC AND HOUSEHOLDER

He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.

 

As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.

 

Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.

 

NATARAJA

he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.

 

DAKSHINAMURTHY

Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.

 

ARDANARISHVARA

An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.

 

TRIRUPANTAKA

Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.

 

OTHER FORMS, AVATARS IDENTIFICATIONS

Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.

 

In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).

 

Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.

 

FESTIVALS

Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.

 

BEYOND HINDUISM

 

BUDDHISM

Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.

 

SIKHISM

The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."

 

In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.

 

OTHERS

The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.

 

Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.

 

In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.

 

WIKIPEDIA

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

The Kurukshetra War is a mythological war described in the Indian epic Mahabharata as a conflict that arose from a dynastic succession struggle between two groups of cousins of an Indo-Aryan kingdom called Kuru, the Kauravas and Pandavas, for the throne of Hastinapura. It involved a number of ancient kingdoms participating as allies of the rival groups.

 

The Kurukshetra War is believed to date variously from 6000 BCE to 500 BCE based on the astronomical and literary information from Mahabharata. The history of the Kurukshetra War is also traced to the Battle of the Ten Kings mentioned in Rigveda.

 

The location of the battle is described as having occurred in Kurukshetra in the modern state of Haryana

 

Mahabharata states that the war started on Kartheeka Bahula Amavasya (the end of the Kartheeka and the start of the Margasira lunar month), moon on Jyesta star, on Tuesday early morning. A solar eclipse also happened on that day, and this Muhurtha was kept by Krishna himself. The Bhagavad Gita was told on that early morning, before the war began. The war lasted only eighteen days, during which vast armies from all over the Indian (Bharatha) Subcontinent fought alongside the two rivals. Despite only referring to these eighteen days, the war narrative forms more than a quarter of the book, suggesting its relative importance within the epic, which overall spans decades of the warring families.

 

The narrative describes individual battles of various heroes of both sides, battle-field deaths of some of the prominent heroes, military formations employed on each day by both armies, war diplomacy, meetings and discussions among the heroes and commanders before commencement of war on each day and the weapons used. The chapters (parvas) dealing with the war (from chapter six to ten) are considered amongst the oldest in the entire Mahabharat.

 

HISTORICAL CONTEXT

Though the Kurukshetra War is not mentioned in Vedic literature, its prominence in later literature led historians such as A. L. Basham to conclude that, "certainly a great war took place and succeeding generations looked upon it as marking an end of an epoch". Popular tradition holds that the war marks the transition to Kaliyuga and thus dates it to 3102 BCE; another tradition places the war in 15th century BCE. However historians regard these dates as too early and inconsistent with the available archaeological and literary evidence. Basham considers the beginning of the 9th century BCE as a more plausible date for the events. Similarly, Michael Witzel concludes that the general setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.

 

Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit(Arjun's grandson) and the accession of Mahapadma Nanda, commonly dated to 382 BCE, which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies.

 

Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna(Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna and thus approximately 950 BCE for the Bharata battle.

 

B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.

 

There have been a number of theories put forward:

 

- The most widely accepted date is 10th century BCE or 950 BCE, according to archeological evidence.

- B. N. Achar states a date of 3067 BCE using planetary positions listed in the Mahabharata.

- S. Balakrishna concluded a date of 2559 BCE using consecutive lunar eclipses.

- P. V. Holey states a date of November 13, 3143 BCE using planetary positions and calendar systems.

- R. N. Iyengar concluded a date of 1478 BCE using double eclipses and Saturn+Jupiter conjunctions.

- P. R. Sarkar estimates a date of 1298 BCE for the war of Kurukshetra.

- P. V. Vartak calculates a date of October 16, 5561 BCE using planetary positions.

- K. Sadananda, based on translation work, states that the Kurukshetra War started on November 22 3067 BCE.

 

The reconstruction of the history of Vedic India is based on text-internal details. Linguistically, the Vedic texts could be classified in five chronological strata as Rigvedic, Mantra, Samhita, Brahmana, Sutra, and Epic and Paninian. The Mantra language period includes both the mantra and prose language of the Atharvaveda(Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita(containing some 75 mantras not in the Rigveda) and the mantras of the Yajurveda. Many of these texts are largely derived from the Rigveda, but have undergone certain changes, both by linguistic change and by reinterpretation. Conspicuous changes include the change of vishva "all" by sarva and the spread of the kuru- verbal stem for Rigvedic krno-). This is from the time of the early Iron Age in north-western India, corresponding to the Black and Red Ware(BRW) culture and the kingdom of the Kurus, dating from ca. the 10th century BCE. The Samhita prose period marks the beginning of the collection and codification of a Vedic canon. An important linguistic change is the complete loss of the injunctive. The Brahmana part ('commentary' on mantras and ritual) of the Black Yajurveda(MS, KS, TS) belongs to this period. Archaeologically, the Painted Grey Ware(PGW) culture from ca. 900 BCE corresponds and the shift of the political center from the Kurus to the Pancalas on the Ganges.

 

BACKGROUND

Mahabharata, one of the most important Hindu epics, is an account of the life and deeds of several generations of a ruling dynasty called the Kuru clan. Central to the epic is an account of a war that took place between two rival families belonging to this clan. Kurukshetra (literally "field of the Kurus"), was the battleground on which this war, known as the Kurukshetra War, was fought. Kurukshetra was also known as "Dharmakshetra"(the "field of Dharma"), or field of righteousness. Mahabharata tells that this site was chosen for the war because a sin committed on this land was forgiven on account of the sanctity of this land.

 

The Kuru territories were divided into two and were ruled by Dhritarashtra(with his capital at Hastinapura) and Yudhishthira of the Pandavas(with his capital at Indraprastha). The immediate dispute between the Kauravas(sons of Dhritarashtra) and the Pandavas arose from a game of dice, which Duryodhana won by deceit, forcing their Pandava cousins to transfer their entire territories to the Kauravas (to Hastinapura) and to "go into exile" for thirteen years. The dispute escalated into a full scale war when Prince Duryodhana, the eldest of the Kauravas, driven by jealousy, refused to restore the Pandavas their territories after the exile as earlier decided, as Duryodhana objected that they were discovered while in exile, and that no return of their kingdom was agreed upon.

 

Prior to the war, the disinherited Pandavas in the kingdom of Matsya, advised by Krishna, tried to find a diplomatic and peaceful solution to the conflict. Balarama, Krishna's older brother, advised the Pandavas to send an emissary to get the support of the elders of the family, like Bhishma, Dhritarashtra, Drona, Kripa etc., with the message "Let us avoid armed conflict as much as possible. Only that which is accrued in peace is worthwhile. Out of war, nothing but wrong can issue". While the emissary was in the Kaurava court, the Pandavas continued with war preparations. They sent messages requesting assistance to a number of neighbouring kingdoms. Their ambassador of peace was insulted and turned away by Duryodhana, who was intent on war, defying the counsel of elders like Bhishma. After several failed attempts at peace, war seemed inevitable. The two sides to the war were the Pandavas and the Kauravas (the official Kuru tribe now ruling both Hastinapura and Indraprastha), both with their allies.

 

Jaya, the core of Mahabharata, is structured in the form of a dialogue between Kuru king Dhritarashtra and Sanjaya, his advisor and chariot driver. Sanjaya narrates each incident of the Kurukshetra War, fought in 18 days, as and when it happened. Dhritarashtra sometimes asks questions and doubts and sometimes laments, knowing about the destruction caused by the war, to his sons, friends and kinsmen. He also feels guilty, due to his own role, that led to this war, destructive to the entire Indian subcontinent.

 

In the beginning Sanjaya gives a description of the various continents of the Earth, the other planets, and focuses on the Indian Subcontinent, then gives an elaborate list of hundreds of kingdoms, tribes, provinces, cities, towns, villages, rivers, mountains, forests etc. of the(ancient) Indian Subcontinent(Bharata Varsha). He also explains about the 'military formations adopted by each side on each day, the death of each hero and the details of each war-racing. Some 18 chapters of Vyasa's Jaya constitutes the Bhagavad Gita, one of the sacred texts of the Hindus. Thus, this work of Vyasa, called Jaya, deals with diverse subjects like geography, history, warfare, religion and morality. According to Mahabharata itself, the Jaya was recited to the King Janamejaya, the great-grandson of Arjuna, by Vaisampayana, a disciple of Vyasa (then called the Bharata). The recitation of Vaisampayana to Janamejaya was then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year-long sacrifice for King Saunaka Kulapati in the Naimisha forest (then called the Mahabharata).

 

COMBATANTS

The Kurus formed a kingdom in the Vedic period of India. They formed the first political center after the Rigvedic period, after their emergence from the Punjab, and it was there that the codification and redaction of the Vedic texts began. Archaeologically, they most likely correspond to the Black and Red Ware Culture of the 12th to 9th centuries BC, at the beginning of the Iron Age in western India. Panchala was the second urban center of Vedic civilization, as its focus moved east from the Punjab, after the focus of power had been with the Kurus in the early Iron Age. This period is associated with the Painted Grey Ware culture, arising around 1100 BCE, and declining from 600 BCE, with the end of the Vedic period. The ruling confederacy, the Panchalas, as their name suggests, probably consisted of five clans - the Krivis, the Turvashas, The Keshins, the Srinjayas and the Somakas. Drupada, whose daughter Draupadi was married to the Pandavas belonged to the Somaka clan. However, the Mahabharata and the Puranas consider the ruling clan of the northern Panchala as an offshoot of the Bharata clan and Divodasa, Sudas, Srinjaya, Somaka and Drupada(also called Yajnasena) were the most notable rulers of this clan.

 

KRISHNA`S PEACE MISSION

As a last attempt at peace, Krishna travelled to Hastinapur to persuade the Kauravas to embark upon a peaceful path with him. At Hastinapur, Krishna took his meals and stayed at the house of the minister, Vidura, a religious man and a devotee of Krishna. Duryodhana was insulted that Krishna had turned down his invitation to dine with him and stay in his royal palace. Determined to stop the peace mission, Duryodhana plotted to arrest Krishna.

 

At the formal presentation of the peace proposal by Krishna at the court of Hastinapur, Krishna asked Duryodhana to give back Indraprastha or if not at least five villages, one for each of the Pandavas, but Duryodhana said he could not give land even as much as tip of a needle, Krishna's peace proposals were ignored and Duryodhana publicly ordered his soldiers to arrest Krishna. Krishna laughed and displayed his divine form, radiating intense light. Furious at the insult inflicted upon Him, Lord Krishna cursed Duryodhana that his downfall was certain, to the shock of Dhirtharastra, who tried to pacify the Lord.

 

His peace mission being rejected by Duryodhana, Krishna returned to Upaplavya to inform the Pandavas that the only course left to uphold the principles of virtue and righteousness was inevitable - war. During the course of his return, Krishna met Karna, Kunti's firstborn(before Yudhisthira) and said to help his brothers, but, being helped by Duryodhana, Karna said to Krishna that he would battle against Pandavas.

 

WAR PREPARATIONS

Krishna had a large force called the Narayani Sena and was himself a great warrior. Duryodhana and Arjuna thus both went to Krishna at Dwarka to ask for his help. Duryodhana arrived first and found Krishna asleep. Being arrogant and viewing himself as equal to Krishna, Duryodhana chose a seat at Krishna's head and waited for him to rouse. Arjuna arrived later and being a humble devotee of Krishna, chose to sit and wait at Krishna's feet. When Krishna woke up, he saw Arjuna first and gave him the first right to make his request. Krishna told Arjuna and Duryodhana that he would give the Narayani Sena, to one side and himself as a non-combatant to the other. Since Arjuna was given the first opportunity to choose, Duryodhana was worried that Arjuna would choose the mighty army of Krishna. When given the choice of either Krishna's army or Krishna himself on their side, Arjuna on behalf of the Pandavas chose Krishna, unarmed on his own, relieving Duryodhana, who thought Arjuna to be the greatest fool. Later Arjuna requested Krishna to be his charioteer and Krishna, being an intimate friend of Arjuna, agreed wholeheartedly and hence received the name Parthasarthy, or 'charioteer of the son of Pritha'. Both Duryodhana and Arjuna returned satisfied.

 

While camping at a place called Upaplavya, in the territory of Virata, the Pandavas gathered their armies. Contingents arrived from all parts of the country and soon the Pandavas had a large force of seven divisions. The Kauravas managed to raise an even larger army of eleven divisions. Many kingdoms of ancient India such as Dwaraka, Kasi, Kekaya, Magadha, Chedi, Matsya, Pandya, and the Yadus of Mathura were allied with the Pandavas; while the allies of the Kauravas comprised the kings of Pragjyotisha, Kalinga, Anga, Kekaya, Sindhudesa, Avanti in Madhyadesa, Gandharas, Bahlikas, Mahishmati, Kambojas(with the Yavanas, Sakas, Trilinga, Tusharas) and many others.

 

PANDAVA ARMY

Seeing that there was now no hope for peace, Yudhisthira, the eldest of the Pandavas, asked his brothers to organize their army. The Pandavas accumulated seven Akshauhinis army with the help of their allies. Each of these divisions were led by Drupada, Virata, Dhristadyumna, Shikhandi, Satyaki, Chekitana and Bhima. After consulting his commanders, the Pandavas appointed Dhristadyumna as the supreme commander of the Pandava army. Mahabharata says that kingdoms from all over ancient India supplied troops or provided logistic support on the Pandava side. Some of these were: Kekaya, Pandya, Cholas, Magadha and many more.

 

KAURAVA ARMY

The Kaurava army consisted of 11 Akshauhinis. Duryodhana requested Bhishma to command the Kaurava army. Bhishma accepted on the condition that, while he would fight the battle sincerely, he would not harm the five Pandava brothers. In addition, Bhishma said that Karna would not fight under him as long as he is in the battlefied. It is believed by many that Bhishma pushed Karna into taking this decision due to his affection towards the Pandavas - the Kauravas would be overwhelmingly powerful if both he and Karna appeared in battle simultaneously. However the excuse he used to prevent their simultaneous fighting was that his guru(Parshurama) was insulted by Karna. He also knew that Karna was a Kaunteya(Son of Kunti) from the day he met him in Ranakshetra when Karna offered Arjuna to fight against him and Bhishma wanted to keep Karna out, so that there will be someone to lead the army once he is unable to continue with the war. Regardless, Duryodhana agreed to Bhishma's conditions and made him the supreme commander of the Kaurava army, while Karna was debarred from fighting. But Karna enters the war later when Bhishma is wounded by Arjuna. Apart from the one hundred Kaurava brothers, headed by Duryodhana himself and his brother Dushasana, the second eldest son of Dhritarashtra, the Kauravas were assisted on the battlefield by Drona and his son Ashwatthama, the Kaurava's brother-in-law Jayadratha, the Brahmin Kripa, Kritavarma, Shalya, Sudakshina, Bhurisrava, Bahlika, Shakuni and many more who were bound by their loyalty towards either Hastinapura or Dhritarashtra.

 

NEUTRAL PARTIES

The kingdom of Vidarbha, with its King Rukmi, Vidura, the ex-prime minister of Hastinapur and younger brother to Dhritarashtra and Balarama were the only neutrals in this war. Rukmi wanted to join the war, but Duryodhana and Arjuna refused to allow him, because he boasted about his war strength and army. Vidura did not want to see the bloodshed of the war, although he was a good battle strategist. The powerful Balarama refused to fight at Kurukshetra, because he was both Bhima and Duryodhana's wrestling coach.

 

ARMY DIVISIONS & WEAPONRY

Each army consisted of several divisions; the Kauravas had 11 while the Pandavas had 7. A division(akshauhini) includes 21,870 chariots and chariot-riders, 21,870 War elephants and riders, 65,610 Cavalry and 109,350 foot-soldiers(in a ratio of 1:1:3:5). The combined number of warriors and soldiers in both armies was approximately 3.94 million. Each Akshauhini was under a commander or a general, apart from the Commander in chief or the generalissimo who was the head of the entire army.

 

During the Kurukshetra War, the weapons used included: the bow, the weapon of choice for Arjuna, Bhishma, Drona, Karna, Satyaki, Vikarna and Abhimanyu; the mace, chosen by Bhima and Duryodhana, the spear, chosen by Yudhistira and Shalya; the sword chosen by Nakula, Dushasana, Dhristadymna and other Kauravas; and the axe chosen by Sahadeva.

 

MILITARY FORMATIONS

At various times during battle, the supreme commander of either army ordered special formations(vyuhas). Each formation had a specific purpose; some were defensive while others were offensive. Each formation had its specific strengths and weaknesses. The Mahābhārata lists the following:

 

Krauncha vyuha(heron formation)

Makara vyuha(crocodile formation)

Kurma vyuha(tortoise or turtle formation)

Trishula vyuha(trident formation)

Chakrvyuha(wheel or discus formation)

Kamala vyuha or Padma vyuha(lotus formation)

Garud vyuha(eagle formation)

Oormi vyuha(ocean formation)

Mandala vyuha(galaxy formation)

Vajra vyuha(diamond or thunderbolt formation)

Shakata vyuha(box or cart formation)

Asura vyuha(demon formation)

Deva vyuha(divine formation)

Soochi vyuha(needle formation)

Sringataka vyuha(horned formation)

Chandrakala vyuha(crescent or curved blade formation)

Mala vyuha(garland formation)

 

It is not clear what the formations actually indicate. They may be arrangements of bear resemblance to animals, or they may be names given to battle strategies.

 

CLASSIFICATION OF WARRIORS BY BHISHMA

Bhishma, the grandsire of both Kauravas and Pandavas, analysed each warrior on both sides of the army. As per Bhishma at the tale of Rathi and Maharathi there are 3 types of warriors. They are Rathi, Atirathi and Maharathi. He classified every warrior on both sides of the army following his judgement and knowledge of the science of weapons. According to him the highest level of a warrior is Maharathi.

 

*Rathi: A warrior capable of attacking 5,000 warriors simultaneously.

 

*Atirathi: A warrior capable of contending with 12 Rathi class warriors or 60,000 warriors simultaneously

 

*Maharathi: A warrior capable of fighting 12 Atirathi class warriors or 720,000 warriors simultaneously, circumspect in his mastery of all forms of weapons and combat skills.

 

FROM KAURAVA SIDE

Rathis,* Sudhakshina, the ruler of the Kamvojas, *Sakuni, King of Gandhar and uncle of Kauravas, *Duryodhana's son Lakshmana and the son of Dushasana, *Jayadrath, the king of the Sindhu and brother in law of Kauravas, *All 99 brothers of Duryodhana, including Dushasan, are single Rathis, *Duryodhana is classified as a warrior equal to 8 Rathis.

 

Atirathis

- Bhoja chief Kritavarman

- The ruler of the Madras,Salya

- Bhurisravas, the son of Somadatta

- Kripa, also known as Kripacharya, the son of Saradwat

 

Maharathis

- Alambhusha, the Chief of Rakshasas

- The ruler of Pragjyotisha, the brave Bhagadatta

- Vrishasena, the son of Karna,

- Guru Drona

- Asvathama, the son of Guru Drona and the avatar of Lord Shiva. (Even though he was classified as a Maharatha, in reality he was peerless and equal to Lord Shiva in battle according to Bhishma; but the only pre-condition is that Asvathama has to become extremely angry to unleash his full potential)

- Karna is equal to 2 Maharathi.

- Bhishma, even though he never classified himself. Later it was revealed that Bhishma was equal to 2 Maharatha warriors. (But at the tale of Rathi and Atirathi, Bhishma classified him as just half a Rathi in order to weaken his morale when fighting against his brothers, the Pandavas, at the request of Lord Krishna)

 

FROM PANDAVA SIDE

Rathis

- Uttamaujas

- Sikhandi, the son of the king of the Panchalas

- Yudishtira the son of Pandu and Kunti, is a Ratha.

- Nakul and Sahadeva are single Rathis

- Bhima is regarded as equal to 8 Rathas.

 

Atirathis

- Satyaki of the Vrishni race,

- Dhrishtadyumna the son of Drupuda

- Kuntibhoja,the maternal uncle of Pandavas

- Ghatotkacha, prince of Rakshasas and master of all illusions, son Bhima and Hidimva.

 

Maharathis

- Virata King

- Drupuda, King of Panchalas

- Dhrishtaketu, the son of Sisupala, the king of the Chedis

- All sons of Draupadi are Maharathas

- Abhimanyu,the son of Arjuna is equal to 2 Maharatha.

- Arjuna is equal to 2 Maharatha warrior

 

RULES OF ENGAGEMENT

The two supreme commanders met and framed "rules of ethical conduct", dharmayuddha, for the war. The rules included:

 

- Fighting must begin no earlier than sunrise and end exactly at sunset.

- More than one warriors may not attack a single warrior.

- Two warriors may "duel", or engage in prolonged personal combat, only if they carry the same weapons and they are on the same type of mount(on foot, on a horse, on an elephant, or in a chariot).

- No warrior may kill or injure a warrior who has surrendered.

- One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war.

- No warrior may kill or injure an unarmed warrior.

- No warrior may kill or injure an unconscious warrior.

- No warrior may kill or injure a person or animal not taking part in the war.

- No warrior may kill or injure a warrior whose back is turned away.

- No warrior may attack a woman.

- No warrior may strike an animal not considered a direct threat.

- The rules specific to each weapon must be followed. For example, it is prohibited to strike below the waist in mace warfare.

- Warriors may not engage in any unfair warfare.

 

COURSE OF WAR

The Kurukshetra War lasted eighteen days. It was fought only during daylight hours; fighting ceased at sunset. Each day the battle was characterised by numerous individual combats, as well as mass raids against entire enemy divisions. The victor or the vanquished on each day was determined not by any territories gained, but by the body count. This was a war to the death. The victor was the survivor. If the text is taken to be chronologically accurate, this was one of the bloodiest wars in the history of mankind. Arjuna, in a fit of extreme anger over the death of his son Abhimanyu, alone killed one akshauhini of Kaurava soldiers in a single day. The war left an extremely large number of widows and orphans and led to an economic depression and the beginning of Kali Yuga.

 

BEFORE THE BATTLE

It has been observed that the year in which the Mahabharata War took place, the year had three solar eclipses on earth in a span of thirty days. Eclipses are considered ill for life on earth according to Hindu astrology.

 

On the first day of the war, as would be on all the following days, the Kaurava army stood facing west and the Pandava army stood facing east. The Kaurava army was formed such that it faced all sides: elephants formed its body; the kings, its head; and the steeds, its wings. Bhishma, in consultation with his commanders Drona, Bahlika and Kripa, remained in the rear.

 

The Pandava army was organised by Yudhisthira and Arjuna in the Vajra formation. Because the Pandava army was smaller than the Kaurava's, they decided to employ the tactic of each warrior engaging as many enemies as possible. This involved an element of surprise, with the bowmen showering arrows hiding behind the frontal attackers. The attackers in the front were equipped with short-range weapons like maces, battle-axes, swords and lances.

 

Ten divisions(Akshauhinis) of the Kaurava army were arranged in a formidable phalanx. The eleventh was put under the immediate command of Bhishma, partly to protect him. The safety of the supreme commander Bhishma was central to Duryodhana's strategy, as he had placed all his hope on the great warrior's abilities. Dushasana, the younger brother of Duryodhana, was the military officer in-charge of Bhishma's protection.

 

THE BHAGVAD GITA

When the war was declared and the two armies were facing each other, Arjuna realised that he would have to kill his dear great-granduncle(Bhishma), on whose lap he had played as a child and his respected teacher(Drona), who had held his hand and taught him how to hold the bow and arrow, making him the greatest archer in the world. Arjuna felt weak and sickened at the prospect of killing his entire family, including his 100 cousins and friends such as Ashwatthama. Despondent and confused about what is right and what is wrong, Arjuna turned to Krishna for divine advice and teachings. Krishna, who Arjuna chose as his charioteer, advised him of his duty. This conversation forms the Bhagavad Gita, one of the most respected religious and philosophical texts in the Hindu religion. Krishna instructs Arjuna not to yield to degrading impotence and to fight his kin, for that was the only way to righteousness. He also reminded him that this was a war between righteousness and unrighteousness(dharma and adharma) and it was Arjuna's duty to slay anyone who supported the cause of unrighteousness, or sin. Krishna then revealed his divine form and explained that he is born on earth in each aeon when evil raises its head. It also forms one of the foremost treatise on the several aspects of Yoga and mystical knowledge.

 

Before the battle began, Yudhisthira did something unexpected. He suddenly dropped his weapons, took off his armour and started walking towards the Kaurava army with folded hands in prayer. The Pandava brothers and the Kauravas looked on in disbelief, thinking Yudhisthira was surrendering before the first arrow was shot. Yudhisthira's purpose became clear, however, when he fell on Bhishma's feet to seek his blessing for success in battle. Bhishma, grandfather to both the Pandavas and Kauravas, blessed Yudhisthira. Yudhisthira returned to his chariot and the battle was ready to commence.

 

DAY 1

When the battle was commenced, Bhishma went through the Pandava army wreaking havoc wherever he went but Abhimanyu, Arjuna's son, seeing this went straight at Bhishma, defeated his bodyguards and directly attacked the commander of the Kaurava forces. The Pandavas suffered numerous losses and were defeated at the end of the first day. Virata's sons, Uttara and Sweta, were slain by Shalya and Bhishma. Krishna consoled the distraught Yudhisthira saying that eventually victory would be his.

 

DAY 2

The second day of the war commenced with a confident Kaurava army facing the Pandavas. Arjuna, realising that something needed to be done quickly to reverse the Pandava losses, decided that he must try to kill Bhishma. Krishna skillfully located Bhishma's chariot and steered Arjuna toward him. Arjuna tried to engage Bhishma in a duel, but the Kaurava soldiers placed around Bhishma to protect him attacked Arjuna to try to prevent him from directly engaging Bhishma. Arjuna and Bhishma fought a fierce battle that raged for hours. Drona and Dhristadyumna similarly engaged in a duel during which Drona broke Dhristadyumna's bow numerous times. Bhima intervened and rescued Dhristadyumna. Duryodhana sent the Kalinga forces to attack Bhima and most of them lost their lives at his hands. Bhishma immediately came to relieve the battered Kalinga forces. Satyaki, who was assisting Bhima, shot at Bhishma's charioteer and killed him. Bhishma's horses, with no one to control them, bolted carrying Bhishma away from the battlefield. The Kaurava army had suffered great losses at the end of the second day.

 

DAY 3

On the third day, Bhishma arranged the Kaurava forces in the formation of an eagle with himself leading from the front, while Duryodhana's forces protected the rear. Bhishma wanted to be sure of avoiding any mishap. The Pandavas countered this by using the crescent formation with Bhima and Arjuna at the head of the right and the left horns, respectively. The Kauravas concentrated their attack on Arjuna's position. Arjuna's chariot was soon covered with arrows and javelins. Arjuna, with amazing skill, built a fortification around his chariot with an unending stream of arrows from his bow. Abhimanyu and Satyaki combined to defeat the Gandhara forces of Shakuni. Bhima and his son Ghatotkacha attacked Duryodhana in the rear. Bhima's arrows hit Duryodhana, who swooned in his chariot. His charioteer immediately drove them out of danger. Duryodhana's forces, however, saw their leader fleeing the battlefield and soon scattered. Bhishma soon restored order and Duryodhana returned to lead the army. He was angry at Bhishma, however, at what he saw as leniency towards the five Pandava brothers and spoke harshly at his commander. Bhishma, stung by this unfair charge, fell on the Pandava army with renewed vigor. It was as if there were more than one Bhishma on the field.

 

Arjuna and Krishna attacked Bhishma trying to restore order. Arjuna and Bhishma again engaged in a fierce duel, however Arjuna's heart was not in the battle as he did not like the idea of attacking his grand-uncle. During the battle, Bhishma killed numerous soldiers of Arjuna's armies.

 

DAY 4

The fourth-day of the battle was noted for the valour shown by Bhima. Bhishma commanded the Kaurava army to move on the offensive from the outset. While Abhimanyu was still in his mother's womb, Arjuna had taught Abhimanyu on how to break and enter the chakra vyuha. But, before explaining how to exit the chakra Vyuha, Arjuna was interrupted by Krishna(other story: Abhimanyu's mother falls asleep while Arjuna was explaining her). Thus from birth, Abhimanyu only knew how to enter the Chakra vyuha but didn't know how to come out of it. When the Kauravas formed the chakravyuha, Abhimanyu entered it but was surrounded and attacked by a number of Kaurava princes. Arjuna joined the fray in aid of Abhimanyu. Bhima appeared on the scene with his mace aloft and started attacking the Kauravas. Duryodhana sent a huge force of elephants at Bhima. When Bhima saw the mass of elephants approaching, he got down from his chariot and attacked them single handedly with his iron mace. They scattered and stampeded into the Kaurava forces killing many. Duryodhana ordered an all-out attack on Bhima. Bhima withstood all that was thrown at him and attacked Duryodhana's brothers, killing eight of them. Bhima was soon struck by an arrow on the chest and sat down in his chariot dazed.

 

Duryodhana was distraught at the loss of his brothers. Duryodhana, overwhelmed by sorrow at the loss of his brothers, went to Bhishma at the end of the fourth day of the battle and asked his commander how could the Pandavas, facing a superior force against them, still prevail and win. Bhishma replied that the Pandavas had justice on their side and advised Duryodhana to seek peace.

 

DAYS 5-9

When the battle resumed on the fifth day, the slaughter continued. The Pandava army again suffered against Bhishma's attacks. Satyaki bore the brunt of Drona's attacks and soon could not withstand them. Bhima drove by and rescued Satyaki. Arjuna fought and killed thousands of soldiers sent by Duryodhana to attack him. The unimaginable carnage continued during the ensuing days of the battle.

 

The sixth day was marked by a prodigious slaughter. Drona caused immeasurable loss of life on the Pandava side. The formations of both the armies were broken. On day 7 Drona slays Shankya, son of Virata. On the eighth day Bhima killed eight of Dhritarashtra's sons.

 

On the ninth day Krishna, overwhelmed by anger at the apparent inability of Arjuna to defeat Bhishma, rushed towards the Kaurava commander, the wheel of a fallen chariot in his hands. Bhishma lays down his arms and is ready to die at the hands of the Lord, but Arjuna stops him, reminding of his promise not to wield a weapon. Realizing that the war could not be won as long as Bhishma was standing, Krishna suggested the strategy of placing a eunuch in the field to face him. Some sources however state that it was Yudhistira who visits Bhishma's camp at night asking him for help. To this Bhishma says that he would not fight a eunuch.

 

DAY 10

On the tenth day, the Pandavas, unable to withstand Bhishma's prowess, decided to put Shikhandi, who had been a woman in a prior life in front of Bhishma, as Bhishma has taken a vow not to attack a woman. Shikhandi's arrows fell on Bhishma without hindrance. Arjuna positioned himself behind Shikhandi, protecting himself from Bhishma's attack and aimed his arrows at the weak points in Bhishma's armour. Soon, with arrows sticking from every part of his body, the great warrior fell from his chariot. His body did not touch the ground as it was held aloft by the arrows protruding from his body.

 

The Kauravas and Pandavas gathered around Bhishma and at his request, Arjuna placed three arrows under Bhishma's head to support it. Bhishma had promised his father, King Shantanu, that he would live until Hastinapur were secured from all directions. To keep this promise, Bhishma used the boon of "Ichcha Mrityu"(self wished death) given to him by his father. After the war was over, when Hastinapur had become safe from all sides and after giving lessons on politics and Vishnu Sahasranama to the Pandavas, Bhishma died on the first day of Uttarayana.

 

DAY 11

With Bhishma unable to continue, Karna entered the battlefield, much to Duryodhana's joy. He made Drona the supreme commander of the Kaurava forces. Karna and Duryodhana wanted to capture Yudhisthira alive. Killing Yudhisthira in battle would only enrage the Pandavas more, whereas holding him as hostage would be strategically useful. Drona formulated his battle plans for the eleventh day to this aim. He cut down Yudhisthira's bow and the Pandava army feared that their leader would be taken prisoner. Arjuna rushed to the scene, however and with a flood of arrows made Drona retreat.

 

DAY 12

With his attempts to capture Yudhisthira thwarted, Drona confided to Duryodhana that it would be difficult as long as Arjuna was around. He summoned King Bhagadatta, the monarch of Pragjyotisha(modern day Assam, India). Bhagadatta had thousands of gigantic elephants in his stable and was considered the strongest warrior on this planet in elephant warfare. Bhagadatta attacked Arjuna with his gigantic elephant named Suprateeka. It was a fierce battle in which Bhagadatta matched Arjuna astra for astra but Arjuna slew him. Drona continued to try and capture Yudhisthira. The Pandavas however fought hard and delivered severe blows to the Kaurava army.

 

DAY 13

The King of Trigartadesa, Susharma along with his 3 brothers and 35 sons who were fighting on the Kaurava side made a pact that they would make sure that Arjuna comes and doesn't break the Chakra Vuyh and kill him or die. They went into the battlefield on the twelfth day and challenged Arjuna. Arjuna gave them a fierce fight in which the brothers fell dead after fighting a brave fight. Drona continued to try and capture Yudhisthira.

 

On the other side of the battlefield, the remaining four Pandavas and their allies were finding it impossible to break Dronacharya's "Chakra Vyuh" formation. As Arjuna was busy fighting with the Trigartadesa princes and the Prajayogastha monarch on the other side of the battlefield, he could not be summoned to break the Chakra Vyuha formation, which could only be broken by entering and exiting the formation. Yudhisthira instructed, Abhimanyu, one of Arjuna's sons to break the Chakra vyuha formation. Abhimanyu knew the secret of entering the Chakra vyuh formation, but did not know how to exit it. Abhimanyu slew tens of thousands of warriors. He also killed Duryodhana's son. Duryodhana got enraged and ordered Durmashana, who was Dushasana's son to attack Abhimanyu but he died under the hands of Abhimanyu. Next he ordered his men to attack Abhimanyu all at once. Abhimanyu fought but was surrounded and killed by many warriors in a combined attack.

 

Upon learning of the death of his son, Arjuna vowed to kill Jayadratha on the morrow before the battle ended at sunset, otherwise he would throw himself into the fire.

 

DAY 14

While searching for Jayadrath on the battlefield, Arjuna slew an akshauhini(battle formation that consisted of 21,870 chariots(Sanskrit ratha); 21,870 elephants; 65,610 cavalry and 109,350 infantry) of Kaurav soldiers. The Shakatavuyha Kaurav army tightly protected Jayadratha, however, preventing Arjuna from attacking him. Finally, in late afternoon, Arjuna found Jayadratha guarded by the mighty Kaurav army. Seeing his friend's plight, Lord Krishna raised his Sudarshan Chakra to cover the sun, faking a sunset. Arjun fought a powerful battle with Jayadrath and finally defeated him. Then, Arjuna shot a powerful arrow decapitating Jayadrath. While Arjuna destroying the rest of the Shakatavuyha, Vikarna, the third eldest Kaurava, challenged Arjuna to an archery fight. Arjuna asks Bhima to decimate Vikarna, but Bhima refused to, because Vikarna defended the Pandavas during the Vastranam. Bhima and Vikarna showered arrows at each other. Later Bhima throws his mace at Vikarna, killing him. The muscular Pandava was devastated and mourned his death saying he was a man of Dharma and it was a pity how he lived his life.

 

The battle continued past sunset. When the bright moon rose, Ghatotkacha, son of Bhima slaughtered numerous warriors, attacking while flying in the air. Karna stood against him and both fought fiercely until Karna released the Shakti, a divine weapon given to him by Indra. Ghatotkacha increased his size and fell dead on the Kaurav army killing thousands of them.

 

DAY 15

After King Drupada and King Virata were slain by Drona, Bhima and Dhristadyumna fought him on the fifteenth day. Because Drona was very powerful and inconquerable having the irresistible Brahmadanda, Krishna hinted to Yudhisthira that Drona would give up his arms if his son Ashwatthama was dead. Bhima proceeded to kill an elephant named Ashwatthama and loudly proclaimed that Ashwatthama was dead. Drona approached Yudhisthira to seek the truth of his son's death. Yudhisthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant, The latter part of his proclamation(Naro va Kunjaro va) were drowned out by sound of the conch blown by Krishna intentionally (a different version of the story is that Yudhisthira pronounced the last words so feebly that Drona could not hear the word elephant). Prior to this incident, the chariot of Yudhisthira, proclaimed as Dharma raja(King of righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

 

Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna to avenge his father's death and satisfy his vow. Later, the Pandava's mother Kunti secretly met her abandoned son Karna and requested him to spare the Pandavas, as they were his younger brothers. Karna promised Kunti that he would spare them except for Arjuna, but also added that he would not fire a same weapon against Arjun twice.

 

DAY 16

On the sixteenth day, Karna was made the supreme commander of the Kuru army. Karna fought valiantly but was surrounded and attacked by Pandava generals, who were unable to prevail upon him. Karna inflicted heavy damage on the Pandava army, which fled. Then Arjuna successfully resisted Karna's weapons with his own and also inflicted casualties upon the Kaurava army. The sun soon set and with darkness and dust making the assessment of proceedings difficult, the Kaurava army retreated for the day.

 

On the same day, Bhima swung his mace and shattered Dushasana's chariot. Bhima seized Dushasana, ripped his right hand from shoulder and killed him, tearing open his chest and drinking his blood and carrying some to smear on Draupadi's untied hair, thus fulfilling his vow made when Draupadi was humiliated.

 

DAY 17

On the seventeenth day, Karna defeated the Pandava brothers Nakul, Bhima, Sahadeva and Yudhisthira in battle but spared their lives. Later, Karna resumed duelling with Arjuna. During their duel, Karna's chariot wheel got stuck in the mud and Karna asked for a pause. Krishna reminded Arjuna about Karna's ruthlessness unto Abhimanyu while he was similarly left without chariot and weapons. Hearing his son's fate, Arjuna shot his arrow and decapitated Karna. Before the day's battle, Karna's sacred armour ('Kavacha') and earrings ('Kundala') were taken as alms by Lord Indra when asked for, which resulted in his death by Arjuna's arrows.

 

DAY 18

On the 18th day, Shalya took over as the commander-in-chief of the remaining Kaurava forces. Yudhishthira killed king Shalya in a spear combat and Sahadeva killed Shakuni. Realizing that he had been defeated, Duryodhana fled the battlefield and took refuge in the lake, where the Pandavas caught up with him. Under the supervision of the now returned Balarama, a mace battle took place between Bhima and Duryodhana. Bhima flouted the rules(under instructions from Krishna) to strike Duryodhana beneath the waist in which he was mortally wounded.

 

Ashwatthama, Kripacharya, and Kritavarma met Duryodhana at his deathbed and promised to avenge the actions of Bhima. They attacked the Pandavas' camp later that night and killed all the Pandavas' remaining army including their children. Amongst the dead were Dhristadyumna and Shikhandi. Other than the Pandavas and Krishna, only Satyaki and Yuyutsu survived.

 

AFTERMATH

At the end of the 18th day, only twelve warriors survived the war - the five Pandavas, Krishna, Satyaki, Ashwatthama, Kripacharya, Yuyutsu, Vrishakethu(son of Karna) and Kritvarma. Vrishakethu was the only son of Karna who survived the horrific slaughter. He later came under the patronage of the Pandavas. During the campaign that preceded the Ashvamedha yagna, Vrishakethu accompanied Arjuna and participated in the battles with Sudhava and Babruvahana. During that campaign Vrishakethu married the daughter of King Yavanatha. It is said, Arjuna developed great affection for Vrishakethu, his nephew. Yudhisthira was crowned king of Hastinapur. He renounced the throne after ruling for 36 years, passing on the crown to Arjuna's grandson Parikshit. He then left for the Himalayas with Draupadi and his brothers in what was to be their last journey. Draupadi and four Pandavas - Bhima, Arjuna, Nakula and Sahadeva died during the journey. Yudhisthira, the lone survivor and being of pious heart, was invited by Dharma to enter the heavens as a mortal.

 

WIKIPEDIA

The Kurukshetra War is a mythological war described in the Indian epic Mahabharata as a conflict that arose from a dynastic succession struggle between two groups of cousins of an Indo-Aryan kingdom called Kuru, the Kauravas and Pandavas, for the throne of Hastinapura. It involved a number of ancient kingdoms participating as allies of the rival groups.

 

The Kurukshetra War is believed to date variously from 6000 BCE to 500 BCE based on the astronomical and literary information from Mahabharata. The history of the Kurukshetra War is also traced to the Battle of the Ten Kings mentioned in Rigveda.

 

The location of the battle is described as having occurred in Kurukshetra in the modern state of Haryana

 

Mahabharata states that the war started on Kartheeka Bahula Amavasya (the end of the Kartheeka and the start of the Margasira lunar month), moon on Jyesta star, on Tuesday early morning. A solar eclipse also happened on that day, and this Muhurtha was kept by Krishna himself. The Bhagavad Gita was told on that early morning, before the war began. The war lasted only eighteen days, during which vast armies from all over the Indian (Bharatha) Subcontinent fought alongside the two rivals. Despite only referring to these eighteen days, the war narrative forms more than a quarter of the book, suggesting its relative importance within the epic, which overall spans decades of the warring families.

 

The narrative describes individual battles of various heroes of both sides, battle-field deaths of some of the prominent heroes, military formations employed on each day by both armies, war diplomacy, meetings and discussions among the heroes and commanders before commencement of war on each day and the weapons used. The chapters (parvas) dealing with the war (from chapter six to ten) are considered amongst the oldest in the entire Mahabharat.

 

HISTORICAL CONTEXT

Though the Kurukshetra War is not mentioned in Vedic literature, its prominence in later literature led historians such as A. L. Basham to conclude that, "certainly a great war took place and succeeding generations looked upon it as marking an end of an epoch". Popular tradition holds that the war marks the transition to Kaliyuga and thus dates it to 3102 BCE; another tradition places the war in 15th century BCE. However historians regard these dates as too early and inconsistent with the available archaeological and literary evidence. Basham considers the beginning of the 9th century BCE as a more plausible date for the events. Similarly, Michael Witzel concludes that the general setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.

 

Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit(Arjun's grandson) and the accession of Mahapadma Nanda, commonly dated to 382 BCE, which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies.

 

Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna(Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna and thus approximately 950 BCE for the Bharata battle.

 

B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.

 

There have been a number of theories put forward:

 

- The most widely accepted date is 10th century BCE or 950 BCE, according to archeological evidence.

- B. N. Achar states a date of 3067 BCE using planetary positions listed in the Mahabharata.

- S. Balakrishna concluded a date of 2559 BCE using consecutive lunar eclipses.

- P. V. Holey states a date of November 13, 3143 BCE using planetary positions and calendar systems.

- R. N. Iyengar concluded a date of 1478 BCE using double eclipses and Saturn+Jupiter conjunctions.

- P. R. Sarkar estimates a date of 1298 BCE for the war of Kurukshetra.

- P. V. Vartak calculates a date of October 16, 5561 BCE using planetary positions.

- K. Sadananda, based on translation work, states that the Kurukshetra War started on November 22 3067 BCE.

 

The reconstruction of the history of Vedic India is based on text-internal details. Linguistically, the Vedic texts could be classified in five chronological strata as Rigvedic, Mantra, Samhita, Brahmana, Sutra, and Epic and Paninian. The Mantra language period includes both the mantra and prose language of the Atharvaveda(Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita(containing some 75 mantras not in the Rigveda) and the mantras of the Yajurveda. Many of these texts are largely derived from the Rigveda, but have undergone certain changes, both by linguistic change and by reinterpretation. Conspicuous changes include the change of vishva "all" by sarva and the spread of the kuru- verbal stem for Rigvedic krno-). This is from the time of the early Iron Age in north-western India, corresponding to the Black and Red Ware(BRW) culture and the kingdom of the Kurus, dating from ca. the 10th century BCE. The Samhita prose period marks the beginning of the collection and codification of a Vedic canon. An important linguistic change is the complete loss of the injunctive. The Brahmana part ('commentary' on mantras and ritual) of the Black Yajurveda(MS, KS, TS) belongs to this period. Archaeologically, the Painted Grey Ware(PGW) culture from ca. 900 BCE corresponds and the shift of the political center from the Kurus to the Pancalas on the Ganges.

 

BACKGROUND

Mahabharata, one of the most important Hindu epics, is an account of the life and deeds of several generations of a ruling dynasty called the Kuru clan. Central to the epic is an account of a war that took place between two rival families belonging to this clan. Kurukshetra (literally "field of the Kurus"), was the battleground on which this war, known as the Kurukshetra War, was fought. Kurukshetra was also known as "Dharmakshetra"(the "field of Dharma"), or field of righteousness. Mahabharata tells that this site was chosen for the war because a sin committed on this land was forgiven on account of the sanctity of this land.

 

The Kuru territories were divided into two and were ruled by Dhritarashtra(with his capital at Hastinapura) and Yudhishthira of the Pandavas(with his capital at Indraprastha). The immediate dispute between the Kauravas(sons of Dhritarashtra) and the Pandavas arose from a game of dice, which Duryodhana won by deceit, forcing their Pandava cousins to transfer their entire territories to the Kauravas (to Hastinapura) and to "go into exile" for thirteen years. The dispute escalated into a full scale war when Prince Duryodhana, the eldest of the Kauravas, driven by jealousy, refused to restore the Pandavas their territories after the exile as earlier decided, as Duryodhana objected that they were discovered while in exile, and that no return of their kingdom was agreed upon.

 

Prior to the war, the disinherited Pandavas in the kingdom of Matsya, advised by Krishna, tried to find a diplomatic and peaceful solution to the conflict. Balarama, Krishna's older brother, advised the Pandavas to send an emissary to get the support of the elders of the family, like Bhishma, Dhritarashtra, Drona, Kripa etc., with the message "Let us avoid armed conflict as much as possible. Only that which is accrued in peace is worthwhile. Out of war, nothing but wrong can issue". While the emissary was in the Kaurava court, the Pandavas continued with war preparations. They sent messages requesting assistance to a number of neighbouring kingdoms. Their ambassador of peace was insulted and turned away by Duryodhana, who was intent on war, defying the counsel of elders like Bhishma. After several failed attempts at peace, war seemed inevitable. The two sides to the war were the Pandavas and the Kauravas (the official Kuru tribe now ruling both Hastinapura and Indraprastha), both with their allies.

 

Jaya, the core of Mahabharata, is structured in the form of a dialogue between Kuru king Dhritarashtra and Sanjaya, his advisor and chariot driver. Sanjaya narrates each incident of the Kurukshetra War, fought in 18 days, as and when it happened. Dhritarashtra sometimes asks questions and doubts and sometimes laments, knowing about the destruction caused by the war, to his sons, friends and kinsmen. He also feels guilty, due to his own role, that led to this war, destructive to the entire Indian subcontinent.

 

In the beginning Sanjaya gives a description of the various continents of the Earth, the other planets, and focuses on the Indian Subcontinent, then gives an elaborate list of hundreds of kingdoms, tribes, provinces, cities, towns, villages, rivers, mountains, forests etc. of the(ancient) Indian Subcontinent(Bharata Varsha). He also explains about the 'military formations adopted by each side on each day, the death of each hero and the details of each war-racing. Some 18 chapters of Vyasa's Jaya constitutes the Bhagavad Gita, one of the sacred texts of the Hindus. Thus, this work of Vyasa, called Jaya, deals with diverse subjects like geography, history, warfare, religion and morality. According to Mahabharata itself, the Jaya was recited to the King Janamejaya, the great-grandson of Arjuna, by Vaisampayana, a disciple of Vyasa (then called the Bharata). The recitation of Vaisampayana to Janamejaya was then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year-long sacrifice for King Saunaka Kulapati in the Naimisha forest (then called the Mahabharata).

 

COMBATANTS

The Kurus formed a kingdom in the Vedic period of India. They formed the first political center after the Rigvedic period, after their emergence from the Punjab, and it was there that the codification and redaction of the Vedic texts began. Archaeologically, they most likely correspond to the Black and Red Ware Culture of the 12th to 9th centuries BC, at the beginning of the Iron Age in western India. Panchala was the second urban center of Vedic civilization, as its focus moved east from the Punjab, after the focus of power had been with the Kurus in the early Iron Age. This period is associated with the Painted Grey Ware culture, arising around 1100 BCE, and declining from 600 BCE, with the end of the Vedic period. The ruling confederacy, the Panchalas, as their name suggests, probably consisted of five clans - the Krivis, the Turvashas, The Keshins, the Srinjayas and the Somakas. Drupada, whose daughter Draupadi was married to the Pandavas belonged to the Somaka clan. However, the Mahabharata and the Puranas consider the ruling clan of the northern Panchala as an offshoot of the Bharata clan and Divodasa, Sudas, Srinjaya, Somaka and Drupada(also called Yajnasena) were the most notable rulers of this clan.

 

KRISHNA`S PEACE MISSION

As a last attempt at peace, Krishna travelled to Hastinapur to persuade the Kauravas to embark upon a peaceful path with him. At Hastinapur, Krishna took his meals and stayed at the house of the minister, Vidura, a religious man and a devotee of Krishna. Duryodhana was insulted that Krishna had turned down his invitation to dine with him and stay in his royal palace. Determined to stop the peace mission, Duryodhana plotted to arrest Krishna.

 

At the formal presentation of the peace proposal by Krishna at the court of Hastinapur, Krishna asked Duryodhana to give back Indraprastha or if not at least five villages, one for each of the Pandavas, but Duryodhana said he could not give land even as much as tip of a needle, Krishna's peace proposals were ignored and Duryodhana publicly ordered his soldiers to arrest Krishna. Krishna laughed and displayed his divine form, radiating intense light. Furious at the insult inflicted upon Him, Lord Krishna cursed Duryodhana that his downfall was certain, to the shock of Dhirtharastra, who tried to pacify the Lord.

 

His peace mission being rejected by Duryodhana, Krishna returned to Upaplavya to inform the Pandavas that the only course left to uphold the principles of virtue and righteousness was inevitable - war. During the course of his return, Krishna met Karna, Kunti's firstborn(before Yudhisthira) and said to help his brothers, but, being helped by Duryodhana, Karna said to Krishna that he would battle against Pandavas.

 

WAR PREPARATIONS

Krishna had a large force called the Narayani Sena and was himself a great warrior. Duryodhana and Arjuna thus both went to Krishna at Dwarka to ask for his help. Duryodhana arrived first and found Krishna asleep. Being arrogant and viewing himself as equal to Krishna, Duryodhana chose a seat at Krishna's head and waited for him to rouse. Arjuna arrived later and being a humble devotee of Krishna, chose to sit and wait at Krishna's feet. When Krishna woke up, he saw Arjuna first and gave him the first right to make his request. Krishna told Arjuna and Duryodhana that he would give the Narayani Sena, to one side and himself as a non-combatant to the other. Since Arjuna was given the first opportunity to choose, Duryodhana was worried that Arjuna would choose the mighty army of Krishna. When given the choice of either Krishna's army or Krishna himself on their side, Arjuna on behalf of the Pandavas chose Krishna, unarmed on his own, relieving Duryodhana, who thought Arjuna to be the greatest fool. Later Arjuna requested Krishna to be his charioteer and Krishna, being an intimate friend of Arjuna, agreed wholeheartedly and hence received the name Parthasarthy, or 'charioteer of the son of Pritha'. Both Duryodhana and Arjuna returned satisfied.

 

While camping at a place called Upaplavya, in the territory of Virata, the Pandavas gathered their armies. Contingents arrived from all parts of the country and soon the Pandavas had a large force of seven divisions. The Kauravas managed to raise an even larger army of eleven divisions. Many kingdoms of ancient India such as Dwaraka, Kasi, Kekaya, Magadha, Chedi, Matsya, Pandya, and the Yadus of Mathura were allied with the Pandavas; while the allies of the Kauravas comprised the kings of Pragjyotisha, Kalinga, Anga, Kekaya, Sindhudesa, Avanti in Madhyadesa, Gandharas, Bahlikas, Mahishmati, Kambojas(with the Yavanas, Sakas, Trilinga, Tusharas) and many others.

 

PANDAVA ARMY

Seeing that there was now no hope for peace, Yudhisthira, the eldest of the Pandavas, asked his brothers to organize their army. The Pandavas accumulated seven Akshauhinis army with the help of their allies. Each of these divisions were led by Drupada, Virata, Dhristadyumna, Shikhandi, Satyaki, Chekitana and Bhima. After consulting his commanders, the Pandavas appointed Dhristadyumna as the supreme commander of the Pandava army. Mahabharata says that kingdoms from all over ancient India supplied troops or provided logistic support on the Pandava side. Some of these were: Kekaya, Pandya, Cholas, Magadha and many more.

 

KAURAVA ARMY

The Kaurava army consisted of 11 Akshauhinis. Duryodhana requested Bhishma to command the Kaurava army. Bhishma accepted on the condition that, while he would fight the battle sincerely, he would not harm the five Pandava brothers. In addition, Bhishma said that Karna would not fight under him as long as he is in the battlefied. It is believed by many that Bhishma pushed Karna into taking this decision due to his affection towards the Pandavas - the Kauravas would be overwhelmingly powerful if both he and Karna appeared in battle simultaneously. However the excuse he used to prevent their simultaneous fighting was that his guru(Parshurama) was insulted by Karna. He also knew that Karna was a Kaunteya(Son of Kunti) from the day he met him in Ranakshetra when Karna offered Arjuna to fight against him and Bhishma wanted to keep Karna out, so that there will be someone to lead the army once he is unable to continue with the war. Regardless, Duryodhana agreed to Bhishma's conditions and made him the supreme commander of the Kaurava army, while Karna was debarred from fighting. But Karna enters the war later when Bhishma is wounded by Arjuna. Apart from the one hundred Kaurava brothers, headed by Duryodhana himself and his brother Dushasana, the second eldest son of Dhritarashtra, the Kauravas were assisted on the battlefield by Drona and his son Ashwatthama, the Kaurava's brother-in-law Jayadratha, the Brahmin Kripa, Kritavarma, Shalya, Sudakshina, Bhurisrava, Bahlika, Shakuni and many more who were bound by their loyalty towards either Hastinapura or Dhritarashtra.

 

NEUTRAL PARTIES

The kingdom of Vidarbha, with its King Rukmi, Vidura, the ex-prime minister of Hastinapur and younger brother to Dhritarashtra and Balarama were the only neutrals in this war. Rukmi wanted to join the war, but Duryodhana and Arjuna refused to allow him, because he boasted about his war strength and army. Vidura did not want to see the bloodshed of the war, although he was a good battle strategist. The powerful Balarama refused to fight at Kurukshetra, because he was both Bhima and Duryodhana's wrestling coach.

 

ARMY DIVISIONS & WEAPONRY

Each army consisted of several divisions; the Kauravas had 11 while the Pandavas had 7. A division(akshauhini) includes 21,870 chariots and chariot-riders, 21,870 War elephants and riders, 65,610 Cavalry and 109,350 foot-soldiers(in a ratio of 1:1:3:5). The combined number of warriors and soldiers in both armies was approximately 3.94 million. Each Akshauhini was under a commander or a general, apart from the Commander in chief or the generalissimo who was the head of the entire army.

 

During the Kurukshetra War, the weapons used included: the bow, the weapon of choice for Arjuna, Bhishma, Drona, Karna, Satyaki, Vikarna and Abhimanyu; the mace, chosen by Bhima and Duryodhana, the spear, chosen by Yudhistira and Shalya; the sword chosen by Nakula, Dushasana, Dhristadymna and other Kauravas; and the axe chosen by Sahadeva.

 

MILITARY FORMATIONS

At various times during battle, the supreme commander of either army ordered special formations(vyuhas). Each formation had a specific purpose; some were defensive while others were offensive. Each formation had its specific strengths and weaknesses. The Mahābhārata lists the following:

 

Krauncha vyuha(heron formation)

Makara vyuha(crocodile formation)

Kurma vyuha(tortoise or turtle formation)

Trishula vyuha(trident formation)

Chakrvyuha(wheel or discus formation)

Kamala vyuha or Padma vyuha(lotus formation)

Garud vyuha(eagle formation)

Oormi vyuha(ocean formation)

Mandala vyuha(galaxy formation)

Vajra vyuha(diamond or thunderbolt formation)

Shakata vyuha(box or cart formation)

Asura vyuha(demon formation)

Deva vyuha(divine formation)

Soochi vyuha(needle formation)

Sringataka vyuha(horned formation)

Chandrakala vyuha(crescent or curved blade formation)

Mala vyuha(garland formation)

 

It is not clear what the formations actually indicate. They may be arrangements of bear resemblance to animals, or they may be names given to battle strategies.

 

CLASSIFICATION OF WARRIORS BY BHISHMA

Bhishma, the grandsire of both Kauravas and Pandavas, analysed each warrior on both sides of the army. As per Bhishma at the tale of Rathi and Maharathi there are 3 types of warriors. They are Rathi, Atirathi and Maharathi. He classified every warrior on both sides of the army following his judgement and knowledge of the science of weapons. According to him the highest level of a warrior is Maharathi.

 

*Rathi: A warrior capable of attacking 5,000 warriors simultaneously.

 

*Atirathi: A warrior capable of contending with 12 Rathi class warriors or 60,000 warriors simultaneously

 

*Maharathi: A warrior capable of fighting 12 Atirathi class warriors or 720,000 warriors simultaneously, circumspect in his mastery of all forms of weapons and combat skills.

 

FROM KAURAVA SIDE

Rathis,* Sudhakshina, the ruler of the Kamvojas, *Sakuni, King of Gandhar and uncle of Kauravas, *Duryodhana's son Lakshmana and the son of Dushasana, *Jayadrath, the king of the Sindhu and brother in law of Kauravas, *All 99 brothers of Duryodhana, including Dushasan, are single Rathis, *Duryodhana is classified as a warrior equal to 8 Rathis.

 

Atirathis

- Bhoja chief Kritavarman

- The ruler of the Madras,Salya

- Bhurisravas, the son of Somadatta

- Kripa, also known as Kripacharya, the son of Saradwat

 

Maharathis

- Alambhusha, the Chief of Rakshasas

- The ruler of Pragjyotisha, the brave Bhagadatta

- Vrishasena, the son of Karna,

- Guru Drona

- Asvathama, the son of Guru Drona and the avatar of Lord Shiva. (Even though he was classified as a Maharatha, in reality he was peerless and equal to Lord Shiva in battle according to Bhishma; but the only pre-condition is that Asvathama has to become extremely angry to unleash his full potential)

- Karna is equal to 2 Maharathi.

- Bhishma, even though he never classified himself. Later it was revealed that Bhishma was equal to 2 Maharatha warriors. (But at the tale of Rathi and Atirathi, Bhishma classified him as just half a Rathi in order to weaken his morale when fighting against his brothers, the Pandavas, at the request of Lord Krishna)

 

FROM PANDAVA SIDE

Rathis

- Uttamaujas

- Sikhandi, the son of the king of the Panchalas

- Yudishtira the son of Pandu and Kunti, is a Ratha.

- Nakul and Sahadeva are single Rathis

- Bhima is regarded as equal to 8 Rathas.

 

Atirathis

- Satyaki of the Vrishni race,

- Dhrishtadyumna the son of Drupuda

- Kuntibhoja,the maternal uncle of Pandavas

- Ghatotkacha, prince of Rakshasas and master of all illusions, son Bhima and Hidimva.

 

Maharathis

- Virata King

- Drupuda, King of Panchalas

- Dhrishtaketu, the son of Sisupala, the king of the Chedis

- All sons of Draupadi are Maharathas

- Abhimanyu,the son of Arjuna is equal to 2 Maharatha.

- Arjuna is equal to 2 Maharatha warrior

 

RULES OF ENGAGEMENT

The two supreme commanders met and framed "rules of ethical conduct", dharmayuddha, for the war. The rules included:

 

- Fighting must begin no earlier than sunrise and end exactly at sunset.

- More than one warriors may not attack a single warrior.

- Two warriors may "duel", or engage in prolonged personal combat, only if they carry the same weapons and they are on the same type of mount(on foot, on a horse, on an elephant, or in a chariot).

- No warrior may kill or injure a warrior who has surrendered.

- One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war.

- No warrior may kill or injure an unarmed warrior.

- No warrior may kill or injure an unconscious warrior.

- No warrior may kill or injure a person or animal not taking part in the war.

- No warrior may kill or injure a warrior whose back is turned away.

- No warrior may attack a woman.

- No warrior may strike an animal not considered a direct threat.

- The rules specific to each weapon must be followed. For example, it is prohibited to strike below the waist in mace warfare.

- Warriors may not engage in any unfair warfare.

 

COURSE OF WAR

The Kurukshetra War lasted eighteen days. It was fought only during daylight hours; fighting ceased at sunset. Each day the battle was characterised by numerous individual combats, as well as mass raids against entire enemy divisions. The victor or the vanquished on each day was determined not by any territories gained, but by the body count. This was a war to the death. The victor was the survivor. If the text is taken to be chronologically accurate, this was one of the bloodiest wars in the history of mankind. Arjuna, in a fit of extreme anger over the death of his son Abhimanyu, alone killed one akshauhini of Kaurava soldiers in a single day. The war left an extremely large number of widows and orphans and led to an economic depression and the beginning of Kali Yuga.

 

BEFORE THE BATTLE

It has been observed that the year in which the Mahabharata War took place, the year had three solar eclipses on earth in a span of thirty days. Eclipses are considered ill for life on earth according to Hindu astrology.

 

On the first day of the war, as would be on all the following days, the Kaurava army stood facing west and the Pandava army stood facing east. The Kaurava army was formed such that it faced all sides: elephants formed its body; the kings, its head; and the steeds, its wings. Bhishma, in consultation with his commanders Drona, Bahlika and Kripa, remained in the rear.

 

The Pandava army was organised by Yudhisthira and Arjuna in the Vajra formation. Because the Pandava army was smaller than the Kaurava's, they decided to employ the tactic of each warrior engaging as many enemies as possible. This involved an element of surprise, with the bowmen showering arrows hiding behind the frontal attackers. The attackers in the front were equipped with short-range weapons like maces, battle-axes, swords and lances.

 

Ten divisions(Akshauhinis) of the Kaurava army were arranged in a formidable phalanx. The eleventh was put under the immediate command of Bhishma, partly to protect him. The safety of the supreme commander Bhishma was central to Duryodhana's strategy, as he had placed all his hope on the great warrior's abilities. Dushasana, the younger brother of Duryodhana, was the military officer in-charge of Bhishma's protection.

 

THE BHAGVAD GITA

When the war was declared and the two armies were facing each other, Arjuna realised that he would have to kill his dear great-granduncle(Bhishma), on whose lap he had played as a child and his respected teacher(Drona), who had held his hand and taught him how to hold the bow and arrow, making him the greatest archer in the world. Arjuna felt weak and sickened at the prospect of killing his entire family, including his 100 cousins and friends such as Ashwatthama. Despondent and confused about what is right and what is wrong, Arjuna turned to Krishna for divine advice and teachings. Krishna, who Arjuna chose as his charioteer, advised him of his duty. This conversation forms the Bhagavad Gita, one of the most respected religious and philosophical texts in the Hindu religion. Krishna instructs Arjuna not to yield to degrading impotence and to fight his kin, for that was the only way to righteousness. He also reminded him that this was a war between righteousness and unrighteousness(dharma and adharma) and it was Arjuna's duty to slay anyone who supported the cause of unrighteousness, or sin. Krishna then revealed his divine form and explained that he is born on earth in each aeon when evil raises its head. It also forms one of the foremost treatise on the several aspects of Yoga and mystical knowledge.

 

Before the battle began, Yudhisthira did something unexpected. He suddenly dropped his weapons, took off his armour and started walking towards the Kaurava army with folded hands in prayer. The Pandava brothers and the Kauravas looked on in disbelief, thinking Yudhisthira was surrendering before the first arrow was shot. Yudhisthira's purpose became clear, however, when he fell on Bhishma's feet to seek his blessing for success in battle. Bhishma, grandfather to both the Pandavas and Kauravas, blessed Yudhisthira. Yudhisthira returned to his chariot and the battle was ready to commence.

 

DAY 1

When the battle was commenced, Bhishma went through the Pandava army wreaking havoc wherever he went but Abhimanyu, Arjuna's son, seeing this went straight at Bhishma, defeated his bodyguards and directly attacked the commander of the Kaurava forces. The Pandavas suffered numerous losses and were defeated at the end of the first day. Virata's sons, Uttara and Sweta, were slain by Shalya and Bhishma. Krishna consoled the distraught Yudhisthira saying that eventually victory would be his.

 

DAY 2

The second day of the war commenced with a confident Kaurava army facing the Pandavas. Arjuna, realising that something needed to be done quickly to reverse the Pandava losses, decided that he must try to kill Bhishma. Krishna skillfully located Bhishma's chariot and steered Arjuna toward him. Arjuna tried to engage Bhishma in a duel, but the Kaurava soldiers placed around Bhishma to protect him attacked Arjuna to try to prevent him from directly engaging Bhishma. Arjuna and Bhishma fought a fierce battle that raged for hours. Drona and Dhristadyumna similarly engaged in a duel during which Drona broke Dhristadyumna's bow numerous times. Bhima intervened and rescued Dhristadyumna. Duryodhana sent the Kalinga forces to attack Bhima and most of them lost their lives at his hands. Bhishma immediately came to relieve the battered Kalinga forces. Satyaki, who was assisting Bhima, shot at Bhishma's charioteer and killed him. Bhishma's horses, with no one to control them, bolted carrying Bhishma away from the battlefield. The Kaurava army had suffered great losses at the end of the second day.

 

DAY 3

On the third day, Bhishma arranged the Kaurava forces in the formation of an eagle with himself leading from the front, while Duryodhana's forces protected the rear. Bhishma wanted to be sure of avoiding any mishap. The Pandavas countered this by using the crescent formation with Bhima and Arjuna at the head of the right and the left horns, respectively. The Kauravas concentrated their attack on Arjuna's position. Arjuna's chariot was soon covered with arrows and javelins. Arjuna, with amazing skill, built a fortification around his chariot with an unending stream of arrows from his bow. Abhimanyu and Satyaki combined to defeat the Gandhara forces of Shakuni. Bhima and his son Ghatotkacha attacked Duryodhana in the rear. Bhima's arrows hit Duryodhana, who swooned in his chariot. His charioteer immediately drove them out of danger. Duryodhana's forces, however, saw their leader fleeing the battlefield and soon scattered. Bhishma soon restored order and Duryodhana returned to lead the army. He was angry at Bhishma, however, at what he saw as leniency towards the five Pandava brothers and spoke harshly at his commander. Bhishma, stung by this unfair charge, fell on the Pandava army with renewed vigor. It was as if there were more than one Bhishma on the field.

 

Arjuna and Krishna attacked Bhishma trying to restore order. Arjuna and Bhishma again engaged in a fierce duel, however Arjuna's heart was not in the battle as he did not like the idea of attacking his grand-uncle. During the battle, Bhishma killed numerous soldiers of Arjuna's armies.

 

DAY 4

The fourth-day of the battle was noted for the valour shown by Bhima. Bhishma commanded the Kaurava army to move on the offensive from the outset. While Abhimanyu was still in his mother's womb, Arjuna had taught Abhimanyu on how to break and enter the chakra vyuha. But, before explaining how to exit the chakra Vyuha, Arjuna was interrupted by Krishna(other story: Abhimanyu's mother falls asleep while Arjuna was explaining her). Thus from birth, Abhimanyu only knew how to enter the Chakra vyuha but didn't know how to come out of it. When the Kauravas formed the chakravyuha, Abhimanyu entered it but was surrounded and attacked by a number of Kaurava princes. Arjuna joined the fray in aid of Abhimanyu. Bhima appeared on the scene with his mace aloft and started attacking the Kauravas. Duryodhana sent a huge force of elephants at Bhima. When Bhima saw the mass of elephants approaching, he got down from his chariot and attacked them single handedly with his iron mace. They scattered and stampeded into the Kaurava forces killing many. Duryodhana ordered an all-out attack on Bhima. Bhima withstood all that was thrown at him and attacked Duryodhana's brothers, killing eight of them. Bhima was soon struck by an arrow on the chest and sat down in his chariot dazed.

 

Duryodhana was distraught at the loss of his brothers. Duryodhana, overwhelmed by sorrow at the loss of his brothers, went to Bhishma at the end of the fourth day of the battle and asked his commander how could the Pandavas, facing a superior force against them, still prevail and win. Bhishma replied that the Pandavas had justice on their side and advised Duryodhana to seek peace.

 

DAYS 5-9

When the battle resumed on the fifth day, the slaughter continued. The Pandava army again suffered against Bhishma's attacks. Satyaki bore the brunt of Drona's attacks and soon could not withstand them. Bhima drove by and rescued Satyaki. Arjuna fought and killed thousands of soldiers sent by Duryodhana to attack him. The unimaginable carnage continued during the ensuing days of the battle.

 

The sixth day was marked by a prodigious slaughter. Drona caused immeasurable loss of life on the Pandava side. The formations of both the armies were broken. On day 7 Drona slays Shankya, son of Virata. On the eighth day Bhima killed eight of Dhritarashtra's sons.

 

On the ninth day Krishna, overwhelmed by anger at the apparent inability of Arjuna to defeat Bhishma, rushed towards the Kaurava commander, the wheel of a fallen chariot in his hands. Bhishma lays down his arms and is ready to die at the hands of the Lord, but Arjuna stops him, reminding of his promise not to wield a weapon. Realizing that the war could not be won as long as Bhishma was standing, Krishna suggested the strategy of placing a eunuch in the field to face him. Some sources however state that it was Yudhistira who visits Bhishma's camp at night asking him for help. To this Bhishma says that he would not fight a eunuch.

 

DAY 10

On the tenth day, the Pandavas, unable to withstand Bhishma's prowess, decided to put Shikhandi, who had been a woman in a prior life in front of Bhishma, as Bhishma has taken a vow not to attack a woman. Shikhandi's arrows fell on Bhishma without hindrance. Arjuna positioned himself behind Shikhandi, protecting himself from Bhishma's attack and aimed his arrows at the weak points in Bhishma's armour. Soon, with arrows sticking from every part of his body, the great warrior fell from his chariot. His body did not touch the ground as it was held aloft by the arrows protruding from his body.

 

The Kauravas and Pandavas gathered around Bhishma and at his request, Arjuna placed three arrows under Bhishma's head to support it. Bhishma had promised his father, King Shantanu, that he would live until Hastinapur were secured from all directions. To keep this promise, Bhishma used the boon of "Ichcha Mrityu"(self wished death) given to him by his father. After the war was over, when Hastinapur had become safe from all sides and after giving lessons on politics and Vishnu Sahasranama to the Pandavas, Bhishma died on the first day of Uttarayana.

 

DAY 11

With Bhishma unable to continue, Karna entered the battlefield, much to Duryodhana's joy. He made Drona the supreme commander of the Kaurava forces. Karna and Duryodhana wanted to capture Yudhisthira alive. Killing Yudhisthira in battle would only enrage the Pandavas more, whereas holding him as hostage would be strategically useful. Drona formulated his battle plans for the eleventh day to this aim. He cut down Yudhisthira's bow and the Pandava army feared that their leader would be taken prisoner. Arjuna rushed to the scene, however and with a flood of arrows made Drona retreat.

 

DAY 12

With his attempts to capture Yudhisthira thwarted, Drona confided to Duryodhana that it would be difficult as long as Arjuna was around. He summoned King Bhagadatta, the monarch of Pragjyotisha(modern day Assam, India). Bhagadatta had thousands of gigantic elephants in his stable and was considered the strongest warrior on this planet in elephant warfare. Bhagadatta attacked Arjuna with his gigantic elephant named Suprateeka. It was a fierce battle in which Bhagadatta matched Arjuna astra for astra but Arjuna slew him. Drona continued to try and capture Yudhisthira. The Pandavas however fought hard and delivered severe blows to the Kaurava army.

 

DAY 13

The King of Trigartadesa, Susharma along with his 3 brothers and 35 sons who were fighting on the Kaurava side made a pact that they would make sure that Arjuna comes and doesn't break the Chakra Vuyh and kill him or die. They went into the battlefield on the twelfth day and challenged Arjuna. Arjuna gave them a fierce fight in which the brothers fell dead after fighting a brave fight. Drona continued to try and capture Yudhisthira.

 

On the other side of the battlefield, the remaining four Pandavas and their allies were finding it impossible to break Dronacharya's "Chakra Vyuh" formation. As Arjuna was busy fighting with the Trigartadesa princes and the Prajayogastha monarch on the other side of the battlefield, he could not be summoned to break the Chakra Vyuha formation, which could only be broken by entering and exiting the formation. Yudhisthira instructed, Abhimanyu, one of Arjuna's sons to break the Chakra vyuha formation. Abhimanyu knew the secret of entering the Chakra vyuh formation, but did not know how to exit it. Abhimanyu slew tens of thousands of warriors. He also killed Duryodhana's son. Duryodhana got enraged and ordered Durmashana, who was Dushasana's son to attack Abhimanyu but he died under the hands of Abhimanyu. Next he ordered his men to attack Abhimanyu all at once. Abhimanyu fought but was surrounded and killed by many warriors in a combined attack.

 

Upon learning of the death of his son, Arjuna vowed to kill Jayadratha on the morrow before the battle ended at sunset, otherwise he would throw himself into the fire.

 

DAY 14

While searching for Jayadrath on the battlefield, Arjuna slew an akshauhini(battle formation that consisted of 21,870 chariots(Sanskrit ratha); 21,870 elephants; 65,610 cavalry and 109,350 infantry) of Kaurav soldiers. The Shakatavuyha Kaurav army tightly protected Jayadratha, however, preventing Arjuna from attacking him. Finally, in late afternoon, Arjuna found Jayadratha guarded by the mighty Kaurav army. Seeing his friend's plight, Lord Krishna raised his Sudarshan Chakra to cover the sun, faking a sunset. Arjun fought a powerful battle with Jayadrath and finally defeated him. Then, Arjuna shot a powerful arrow decapitating Jayadrath. While Arjuna destroying the rest of the Shakatavuyha, Vikarna, the third eldest Kaurava, challenged Arjuna to an archery fight. Arjuna asks Bhima to decimate Vikarna, but Bhima refused to, because Vikarna defended the Pandavas during the Vastranam. Bhima and Vikarna showered arrows at each other. Later Bhima throws his mace at Vikarna, killing him. The muscular Pandava was devastated and mourned his death saying he was a man of Dharma and it was a pity how he lived his life.

 

The battle continued past sunset. When the bright moon rose, Ghatotkacha, son of Bhima slaughtered numerous warriors, attacking while flying in the air. Karna stood against him and both fought fiercely until Karna released the Shakti, a divine weapon given to him by Indra. Ghatotkacha increased his size and fell dead on the Kaurav army killing thousands of them.

 

DAY 15

After King Drupada and King Virata were slain by Drona, Bhima and Dhristadyumna fought him on the fifteenth day. Because Drona was very powerful and inconquerable having the irresistible Brahmadanda, Krishna hinted to Yudhisthira that Drona would give up his arms if his son Ashwatthama was dead. Bhima proceeded to kill an elephant named Ashwatthama and loudly proclaimed that Ashwatthama was dead. Drona approached Yudhisthira to seek the truth of his son's death. Yudhisthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant, The latter part of his proclamation(Naro va Kunjaro va) were drowned out by sound of the conch blown by Krishna intentionally (a different version of the story is that Yudhisthira pronounced the last words so feebly that Drona could not hear the word elephant). Prior to this incident, the chariot of Yudhisthira, proclaimed as Dharma raja(King of righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

 

Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna to avenge his father's death and satisfy his vow. Later, the Pandava's mother Kunti secretly met her abandoned son Karna and requested him to spare the Pandavas, as they were his younger brothers. Karna promised Kunti that he would spare them except for Arjuna, but also added that he would not fire a same weapon against Arjun twice.

 

DAY 16

On the sixteenth day, Karna was made the supreme commander of the Kuru army. Karna fought valiantly but was surrounded and attacked by Pandava generals, who were unable to prevail upon him. Karna inflicted heavy damage on the Pandava army, which fled. Then Arjuna successfully resisted Karna's weapons with his own and also inflicted casualties upon the Kaurava army. The sun soon set and with darkness and dust making the assessment of proceedings difficult, the Kaurava army retreated for the day.

 

On the same day, Bhima swung his mace and shattered Dushasana's chariot. Bhima seized Dushasana, ripped his right hand from shoulder and killed him, tearing open his chest and drinking his blood and carrying some to smear on Draupadi's untied hair, thus fulfilling his vow made when Draupadi was humiliated.

 

DAY 17

On the seventeenth day, Karna defeated the Pandava brothers Nakul, Bhima, Sahadeva and Yudhisthira in battle but spared their lives. Later, Karna resumed duelling with Arjuna. During their duel, Karna's chariot wheel got stuck in the mud and Karna asked for a pause. Krishna reminded Arjuna about Karna's ruthlessness unto Abhimanyu while he was similarly left without chariot and weapons. Hearing his son's fate, Arjuna shot his arrow and decapitated Karna. Before the day's battle, Karna's sacred armour ('Kavacha') and earrings ('Kundala') were taken as alms by Lord Indra when asked for, which resulted in his death by Arjuna's arrows.

 

DAY 18

On the 18th day, Shalya took over as the commander-in-chief of the remaining Kaurava forces. Yudhishthira killed king Shalya in a spear combat and Sahadeva killed Shakuni. Realizing that he had been defeated, Duryodhana fled the battlefield and took refuge in the lake, where the Pandavas caught up with him. Under the supervision of the now returned Balarama, a mace battle took place between Bhima and Duryodhana. Bhima flouted the rules(under instructions from Krishna) to strike Duryodhana beneath the waist in which he was mortally wounded.

 

Ashwatthama, Kripacharya, and Kritavarma met Duryodhana at his deathbed and promised to avenge the actions of Bhima. They attacked the Pandavas' camp later that night and killed all the Pandavas' remaining army including their children. Amongst the dead were Dhristadyumna and Shikhandi. Other than the Pandavas and Krishna, only Satyaki and Yuyutsu survived.

 

AFTERMATH

At the end of the 18th day, only twelve warriors survived the war - the five Pandavas, Krishna, Satyaki, Ashwatthama, Kripacharya, Yuyutsu, Vrishakethu(son of Karna) and Kritvarma. Vrishakethu was the only son of Karna who survived the horrific slaughter. He later came under the patronage of the Pandavas. During the campaign that preceded the Ashvamedha yagna, Vrishakethu accompanied Arjuna and participated in the battles with Sudhava and Babruvahana. During that campaign Vrishakethu married the daughter of King Yavanatha. It is said, Arjuna developed great affection for Vrishakethu, his nephew. Yudhisthira was crowned king of Hastinapur. He renounced the throne after ruling for 36 years, passing on the crown to Arjuna's grandson Parikshit. He then left for the Himalayas with Draupadi and his brothers in what was to be their last journey. Draupadi and four Pandavas - Bhima, Arjuna, Nakula and Sahadeva died during the journey. Yudhisthira, the lone survivor and being of pious heart, was invited by Dharma to enter the heavens as a mortal.

 

WIKIPEDIA

The Kurukshetra War is a mythological war described in the Indian epic Mahabharata as a conflict that arose from a dynastic succession struggle between two groups of cousins of an Indo-Aryan kingdom called Kuru, the Kauravas and Pandavas, for the throne of Hastinapura. It involved a number of ancient kingdoms participating as allies of the rival groups.

 

The Kurukshetra War is believed to date variously from 6000 BCE to 500 BCE based on the astronomical and literary information from Mahabharata. The history of the Kurukshetra War is also traced to the Battle of the Ten Kings mentioned in Rigveda.

 

The location of the battle is described as having occurred in Kurukshetra in the modern state of Haryana

 

Mahabharata states that the war started on Kartheeka Bahula Amavasya (the end of the Kartheeka and the start of the Margasira lunar month), moon on Jyesta star, on Tuesday early morning. A solar eclipse also happened on that day, and this Muhurtha was kept by Krishna himself. The Bhagavad Gita was told on that early morning, before the war began. The war lasted only eighteen days, during which vast armies from all over the Indian (Bharatha) Subcontinent fought alongside the two rivals. Despite only referring to these eighteen days, the war narrative forms more than a quarter of the book, suggesting its relative importance within the epic, which overall spans decades of the warring families.

 

The narrative describes individual battles of various heroes of both sides, battle-field deaths of some of the prominent heroes, military formations employed on each day by both armies, war diplomacy, meetings and discussions among the heroes and commanders before commencement of war on each day and the weapons used. The chapters (parvas) dealing with the war (from chapter six to ten) are considered amongst the oldest in the entire Mahabharat.

 

HISTORICAL CONTEXT

Though the Kurukshetra War is not mentioned in Vedic literature, its prominence in later literature led historians such as A. L. Basham to conclude that, "certainly a great war took place and succeeding generations looked upon it as marking an end of an epoch". Popular tradition holds that the war marks the transition to Kaliyuga and thus dates it to 3102 BCE; another tradition places the war in 15th century BCE. However historians regard these dates as too early and inconsistent with the available archaeological and literary evidence. Basham considers the beginning of the 9th century BCE as a more plausible date for the events. Similarly, Michael Witzel concludes that the general setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.

 

Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit(Arjun's grandson) and the accession of Mahapadma Nanda, commonly dated to 382 BCE, which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies.

 

Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna(Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna and thus approximately 950 BCE for the Bharata battle.

 

B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.

 

There have been a number of theories put forward:

 

- The most widely accepted date is 10th century BCE or 950 BCE, according to archeological evidence.

- B. N. Achar states a date of 3067 BCE using planetary positions listed in the Mahabharata.

- S. Balakrishna concluded a date of 2559 BCE using consecutive lunar eclipses.

- P. V. Holey states a date of November 13, 3143 BCE using planetary positions and calendar systems.

- R. N. Iyengar concluded a date of 1478 BCE using double eclipses and Saturn+Jupiter conjunctions.

- P. R. Sarkar estimates a date of 1298 BCE for the war of Kurukshetra.

- P. V. Vartak calculates a date of October 16, 5561 BCE using planetary positions.

- K. Sadananda, based on translation work, states that the Kurukshetra War started on November 22 3067 BCE.

 

The reconstruction of the history of Vedic India is based on text-internal details. Linguistically, the Vedic texts could be classified in five chronological strata as Rigvedic, Mantra, Samhita, Brahmana, Sutra, and Epic and Paninian. The Mantra language period includes both the mantra and prose language of the Atharvaveda(Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita(containing some 75 mantras not in the Rigveda) and the mantras of the Yajurveda. Many of these texts are largely derived from the Rigveda, but have undergone certain changes, both by linguistic change and by reinterpretation. Conspicuous changes include the change of vishva "all" by sarva and the spread of the kuru- verbal stem for Rigvedic krno-). This is from the time of the early Iron Age in north-western India, corresponding to the Black and Red Ware(BRW) culture and the kingdom of the Kurus, dating from ca. the 10th century BCE. The Samhita prose period marks the beginning of the collection and codification of a Vedic canon. An important linguistic change is the complete loss of the injunctive. The Brahmana part ('commentary' on mantras and ritual) of the Black Yajurveda(MS, KS, TS) belongs to this period. Archaeologically, the Painted Grey Ware(PGW) culture from ca. 900 BCE corresponds and the shift of the political center from the Kurus to the Pancalas on the Ganges.

 

BACKGROUND

Mahabharata, one of the most important Hindu epics, is an account of the life and deeds of several generations of a ruling dynasty called the Kuru clan. Central to the epic is an account of a war that took place between two rival families belonging to this clan. Kurukshetra (literally "field of the Kurus"), was the battleground on which this war, known as the Kurukshetra War, was fought. Kurukshetra was also known as "Dharmakshetra"(the "field of Dharma"), or field of righteousness. Mahabharata tells that this site was chosen for the war because a sin committed on this land was forgiven on account of the sanctity of this land.

 

The Kuru territories were divided into two and were ruled by Dhritarashtra(with his capital at Hastinapura) and Yudhishthira of the Pandavas(with his capital at Indraprastha). The immediate dispute between the Kauravas(sons of Dhritarashtra) and the Pandavas arose from a game of dice, which Duryodhana won by deceit, forcing their Pandava cousins to transfer their entire territories to the Kauravas (to Hastinapura) and to "go into exile" for thirteen years. The dispute escalated into a full scale war when Prince Duryodhana, the eldest of the Kauravas, driven by jealousy, refused to restore the Pandavas their territories after the exile as earlier decided, as Duryodhana objected that they were discovered while in exile, and that no return of their kingdom was agreed upon.

 

Prior to the war, the disinherited Pandavas in the kingdom of Matsya, advised by Krishna, tried to find a diplomatic and peaceful solution to the conflict. Balarama, Krishna's older brother, advised the Pandavas to send an emissary to get the support of the elders of the family, like Bhishma, Dhritarashtra, Drona, Kripa etc., with the message "Let us avoid armed conflict as much as possible. Only that which is accrued in peace is worthwhile. Out of war, nothing but wrong can issue". While the emissary was in the Kaurava court, the Pandavas continued with war preparations. They sent messages requesting assistance to a number of neighbouring kingdoms. Their ambassador of peace was insulted and turned away by Duryodhana, who was intent on war, defying the counsel of elders like Bhishma. After several failed attempts at peace, war seemed inevitable. The two sides to the war were the Pandavas and the Kauravas (the official Kuru tribe now ruling both Hastinapura and Indraprastha), both with their allies.

 

Jaya, the core of Mahabharata, is structured in the form of a dialogue between Kuru king Dhritarashtra and Sanjaya, his advisor and chariot driver. Sanjaya narrates each incident of the Kurukshetra War, fought in 18 days, as and when it happened. Dhritarashtra sometimes asks questions and doubts and sometimes laments, knowing about the destruction caused by the war, to his sons, friends and kinsmen. He also feels guilty, due to his own role, that led to this war, destructive to the entire Indian subcontinent.

 

In the beginning Sanjaya gives a description of the various continents of the Earth, the other planets, and focuses on the Indian Subcontinent, then gives an elaborate list of hundreds of kingdoms, tribes, provinces, cities, towns, villages, rivers, mountains, forests etc. of the(ancient) Indian Subcontinent(Bharata Varsha). He also explains about the 'military formations adopted by each side on each day, the death of each hero and the details of each war-racing. Some 18 chapters of Vyasa's Jaya constitutes the Bhagavad Gita, one of the sacred texts of the Hindus. Thus, this work of Vyasa, called Jaya, deals with diverse subjects like geography, history, warfare, religion and morality. According to Mahabharata itself, the Jaya was recited to the King Janamejaya, the great-grandson of Arjuna, by Vaisampayana, a disciple of Vyasa (then called the Bharata). The recitation of Vaisampayana to Janamejaya was then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year-long sacrifice for King Saunaka Kulapati in the Naimisha forest (then called the Mahabharata).

 

COMBATANTS

The Kurus formed a kingdom in the Vedic period of India. They formed the first political center after the Rigvedic period, after their emergence from the Punjab, and it was there that the codification and redaction of the Vedic texts began. Archaeologically, they most likely correspond to the Black and Red Ware Culture of the 12th to 9th centuries BC, at the beginning of the Iron Age in western India. Panchala was the second urban center of Vedic civilization, as its focus moved east from the Punjab, after the focus of power had been with the Kurus in the early Iron Age. This period is associated with the Painted Grey Ware culture, arising around 1100 BCE, and declining from 600 BCE, with the end of the Vedic period. The ruling confederacy, the Panchalas, as their name suggests, probably consisted of five clans - the Krivis, the Turvashas, The Keshins, the Srinjayas and the Somakas. Drupada, whose daughter Draupadi was married to the Pandavas belonged to the Somaka clan. However, the Mahabharata and the Puranas consider the ruling clan of the northern Panchala as an offshoot of the Bharata clan and Divodasa, Sudas, Srinjaya, Somaka and Drupada(also called Yajnasena) were the most notable rulers of this clan.

 

KRISHNA`S PEACE MISSION

As a last attempt at peace, Krishna travelled to Hastinapur to persuade the Kauravas to embark upon a peaceful path with him. At Hastinapur, Krishna took his meals and stayed at the house of the minister, Vidura, a religious man and a devotee of Krishna. Duryodhana was insulted that Krishna had turned down his invitation to dine with him and stay in his royal palace. Determined to stop the peace mission, Duryodhana plotted to arrest Krishna.

 

At the formal presentation of the peace proposal by Krishna at the court of Hastinapur, Krishna asked Duryodhana to give back Indraprastha or if not at least five villages, one for each of the Pandavas, but Duryodhana said he could not give land even as much as tip of a needle, Krishna's peace proposals were ignored and Duryodhana publicly ordered his soldiers to arrest Krishna. Krishna laughed and displayed his divine form, radiating intense light. Furious at the insult inflicted upon Him, Lord Krishna cursed Duryodhana that his downfall was certain, to the shock of Dhirtharastra, who tried to pacify the Lord.

 

His peace mission being rejected by Duryodhana, Krishna returned to Upaplavya to inform the Pandavas that the only course left to uphold the principles of virtue and righteousness was inevitable - war. During the course of his return, Krishna met Karna, Kunti's firstborn(before Yudhisthira) and said to help his brothers, but, being helped by Duryodhana, Karna said to Krishna that he would battle against Pandavas.

 

WAR PREPARATIONS

Krishna had a large force called the Narayani Sena and was himself a great warrior. Duryodhana and Arjuna thus both went to Krishna at Dwarka to ask for his help. Duryodhana arrived first and found Krishna asleep. Being arrogant and viewing himself as equal to Krishna, Duryodhana chose a seat at Krishna's head and waited for him to rouse. Arjuna arrived later and being a humble devotee of Krishna, chose to sit and wait at Krishna's feet. When Krishna woke up, he saw Arjuna first and gave him the first right to make his request. Krishna told Arjuna and Duryodhana that he would give the Narayani Sena, to one side and himself as a non-combatant to the other. Since Arjuna was given the first opportunity to choose, Duryodhana was worried that Arjuna would choose the mighty army of Krishna. When given the choice of either Krishna's army or Krishna himself on their side, Arjuna on behalf of the Pandavas chose Krishna, unarmed on his own, relieving Duryodhana, who thought Arjuna to be the greatest fool. Later Arjuna requested Krishna to be his charioteer and Krishna, being an intimate friend of Arjuna, agreed wholeheartedly and hence received the name Parthasarthy, or 'charioteer of the son of Pritha'. Both Duryodhana and Arjuna returned satisfied.

 

While camping at a place called Upaplavya, in the territory of Virata, the Pandavas gathered their armies. Contingents arrived from all parts of the country and soon the Pandavas had a large force of seven divisions. The Kauravas managed to raise an even larger army of eleven divisions. Many kingdoms of ancient India such as Dwaraka, Kasi, Kekaya, Magadha, Chedi, Matsya, Pandya, and the Yadus of Mathura were allied with the Pandavas; while the allies of the Kauravas comprised the kings of Pragjyotisha, Kalinga, Anga, Kekaya, Sindhudesa, Avanti in Madhyadesa, Gandharas, Bahlikas, Mahishmati, Kambojas(with the Yavanas, Sakas, Trilinga, Tusharas) and many others.

 

PANDAVA ARMY

Seeing that there was now no hope for peace, Yudhisthira, the eldest of the Pandavas, asked his brothers to organize their army. The Pandavas accumulated seven Akshauhinis army with the help of their allies. Each of these divisions were led by Drupada, Virata, Dhristadyumna, Shikhandi, Satyaki, Chekitana and Bhima. After consulting his commanders, the Pandavas appointed Dhristadyumna as the supreme commander of the Pandava army. Mahabharata says that kingdoms from all over ancient India supplied troops or provided logistic support on the Pandava side. Some of these were: Kekaya, Pandya, Cholas, Magadha and many more.

 

KAURAVA ARMY

The Kaurava army consisted of 11 Akshauhinis. Duryodhana requested Bhishma to command the Kaurava army. Bhishma accepted on the condition that, while he would fight the battle sincerely, he would not harm the five Pandava brothers. In addition, Bhishma said that Karna would not fight under him as long as he is in the battlefied. It is believed by many that Bhishma pushed Karna into taking this decision due to his affection towards the Pandavas - the Kauravas would be overwhelmingly powerful if both he and Karna appeared in battle simultaneously. However the excuse he used to prevent their simultaneous fighting was that his guru(Parshurama) was insulted by Karna. He also knew that Karna was a Kaunteya(Son of Kunti) from the day he met him in Ranakshetra when Karna offered Arjuna to fight against him and Bhishma wanted to keep Karna out, so that there will be someone to lead the army once he is unable to continue with the war. Regardless, Duryodhana agreed to Bhishma's conditions and made him the supreme commander of the Kaurava army, while Karna was debarred from fighting. But Karna enters the war later when Bhishma is wounded by Arjuna. Apart from the one hundred Kaurava brothers, headed by Duryodhana himself and his brother Dushasana, the second eldest son of Dhritarashtra, the Kauravas were assisted on the battlefield by Drona and his son Ashwatthama, the Kaurava's brother-in-law Jayadratha, the Brahmin Kripa, Kritavarma, Shalya, Sudakshina, Bhurisrava, Bahlika, Shakuni and many more who were bound by their loyalty towards either Hastinapura or Dhritarashtra.

 

NEUTRAL PARTIES

The kingdom of Vidarbha, with its King Rukmi, Vidura, the ex-prime minister of Hastinapur and younger brother to Dhritarashtra and Balarama were the only neutrals in this war. Rukmi wanted to join the war, but Duryodhana and Arjuna refused to allow him, because he boasted about his war strength and army. Vidura did not want to see the bloodshed of the war, although he was a good battle strategist. The powerful Balarama refused to fight at Kurukshetra, because he was both Bhima and Duryodhana's wrestling coach.

 

ARMY DIVISIONS & WEAPONRY

Each army consisted of several divisions; the Kauravas had 11 while the Pandavas had 7. A division(akshauhini) includes 21,870 chariots and chariot-riders, 21,870 War elephants and riders, 65,610 Cavalry and 109,350 foot-soldiers(in a ratio of 1:1:3:5). The combined number of warriors and soldiers in both armies was approximately 3.94 million. Each Akshauhini was under a commander or a general, apart from the Commander in chief or the generalissimo who was the head of the entire army.

 

During the Kurukshetra War, the weapons used included: the bow, the weapon of choice for Arjuna, Bhishma, Drona, Karna, Satyaki, Vikarna and Abhimanyu; the mace, chosen by Bhima and Duryodhana, the spear, chosen by Yudhistira and Shalya; the sword chosen by Nakula, Dushasana, Dhristadymna and other Kauravas; and the axe chosen by Sahadeva.

 

MILITARY FORMATIONS

At various times during battle, the supreme commander of either army ordered special formations(vyuhas). Each formation had a specific purpose; some were defensive while others were offensive. Each formation had its specific strengths and weaknesses. The Mahābhārata lists the following:

 

Krauncha vyuha(heron formation)

Makara vyuha(crocodile formation)

Kurma vyuha(tortoise or turtle formation)

Trishula vyuha(trident formation)

Chakrvyuha(wheel or discus formation)

Kamala vyuha or Padma vyuha(lotus formation)

Garud vyuha(eagle formation)

Oormi vyuha(ocean formation)

Mandala vyuha(galaxy formation)

Vajra vyuha(diamond or thunderbolt formation)

Shakata vyuha(box or cart formation)

Asura vyuha(demon formation)

Deva vyuha(divine formation)

Soochi vyuha(needle formation)

Sringataka vyuha(horned formation)

Chandrakala vyuha(crescent or curved blade formation)

Mala vyuha(garland formation)

 

It is not clear what the formations actually indicate. They may be arrangements of bear resemblance to animals, or they may be names given to battle strategies.

 

CLASSIFICATION OF WARRIORS BY BHISHMA

Bhishma, the grandsire of both Kauravas and Pandavas, analysed each warrior on both sides of the army. As per Bhishma at the tale of Rathi and Maharathi there are 3 types of warriors. They are Rathi, Atirathi and Maharathi. He classified every warrior on both sides of the army following his judgement and knowledge of the science of weapons. According to him the highest level of a warrior is Maharathi.

 

*Rathi: A warrior capable of attacking 5,000 warriors simultaneously.

 

*Atirathi: A warrior capable of contending with 12 Rathi class warriors or 60,000 warriors simultaneously

 

*Maharathi: A warrior capable of fighting 12 Atirathi class warriors or 720,000 warriors simultaneously, circumspect in his mastery of all forms of weapons and combat skills.

 

FROM KAURAVA SIDE

Rathis,* Sudhakshina, the ruler of the Kamvojas, *Sakuni, King of Gandhar and uncle of Kauravas, *Duryodhana's son Lakshmana and the son of Dushasana, *Jayadrath, the king of the Sindhu and brother in law of Kauravas, *All 99 brothers of Duryodhana, including Dushasan, are single Rathis, *Duryodhana is classified as a warrior equal to 8 Rathis.

 

Atirathis

- Bhoja chief Kritavarman

- The ruler of the Madras,Salya

- Bhurisravas, the son of Somadatta

- Kripa, also known as Kripacharya, the son of Saradwat

 

Maharathis

- Alambhusha, the Chief of Rakshasas

- The ruler of Pragjyotisha, the brave Bhagadatta

- Vrishasena, the son of Karna,

- Guru Drona

- Asvathama, the son of Guru Drona and the avatar of Lord Shiva. (Even though he was classified as a Maharatha, in reality he was peerless and equal to Lord Shiva in battle according to Bhishma; but the only pre-condition is that Asvathama has to become extremely angry to unleash his full potential)

- Karna is equal to 2 Maharathi.

- Bhishma, even though he never classified himself. Later it was revealed that Bhishma was equal to 2 Maharatha warriors. (But at the tale of Rathi and Atirathi, Bhishma classified him as just half a Rathi in order to weaken his morale when fighting against his brothers, the Pandavas, at the request of Lord Krishna)

 

FROM PANDAVA SIDE

Rathis

- Uttamaujas

- Sikhandi, the son of the king of the Panchalas

- Yudishtira the son of Pandu and Kunti, is a Ratha.

- Nakul and Sahadeva are single Rathis

- Bhima is regarded as equal to 8 Rathas.

 

Atirathis

- Satyaki of the Vrishni race,

- Dhrishtadyumna the son of Drupuda

- Kuntibhoja,the maternal uncle of Pandavas

- Ghatotkacha, prince of Rakshasas and master of all illusions, son Bhima and Hidimva.

 

Maharathis

- Virata King

- Drupuda, King of Panchalas

- Dhrishtaketu, the son of Sisupala, the king of the Chedis

- All sons of Draupadi are Maharathas

- Abhimanyu,the son of Arjuna is equal to 2 Maharatha.

- Arjuna is equal to 2 Maharatha warrior

 

RULES OF ENGAGEMENT

The two supreme commanders met and framed "rules of ethical conduct", dharmayuddha, for the war. The rules included:

 

- Fighting must begin no earlier than sunrise and end exactly at sunset.

- More than one warriors may not attack a single warrior.

- Two warriors may "duel", or engage in prolonged personal combat, only if they carry the same weapons and they are on the same type of mount(on foot, on a horse, on an elephant, or in a chariot).

- No warrior may kill or injure a warrior who has surrendered.

- One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war.

- No warrior may kill or injure an unarmed warrior.

- No warrior may kill or injure an unconscious warrior.

- No warrior may kill or injure a person or animal not taking part in the war.

- No warrior may kill or injure a warrior whose back is turned away.

- No warrior may attack a woman.

- No warrior may strike an animal not considered a direct threat.

- The rules specific to each weapon must be followed. For example, it is prohibited to strike below the waist in mace warfare.

- Warriors may not engage in any unfair warfare.

 

COURSE OF WAR

The Kurukshetra War lasted eighteen days. It was fought only during daylight hours; fighting ceased at sunset. Each day the battle was characterised by numerous individual combats, as well as mass raids against entire enemy divisions. The victor or the vanquished on each day was determined not by any territories gained, but by the body count. This was a war to the death. The victor was the survivor. If the text is taken to be chronologically accurate, this was one of the bloodiest wars in the history of mankind. Arjuna, in a fit of extreme anger over the death of his son Abhimanyu, alone killed one akshauhini of Kaurava soldiers in a single day. The war left an extremely large number of widows and orphans and led to an economic depression and the beginning of Kali Yuga.

 

BEFORE THE BATTLE

It has been observed that the year in which the Mahabharata War took place, the year had three solar eclipses on earth in a span of thirty days. Eclipses are considered ill for life on earth according to Hindu astrology.

 

On the first day of the war, as would be on all the following days, the Kaurava army stood facing west and the Pandava army stood facing east. The Kaurava army was formed such that it faced all sides: elephants formed its body; the kings, its head; and the steeds, its wings. Bhishma, in consultation with his commanders Drona, Bahlika and Kripa, remained in the rear.

 

The Pandava army was organised by Yudhisthira and Arjuna in the Vajra formation. Because the Pandava army was smaller than the Kaurava's, they decided to employ the tactic of each warrior engaging as many enemies as possible. This involved an element of surprise, with the bowmen showering arrows hiding behind the frontal attackers. The attackers in the front were equipped with short-range weapons like maces, battle-axes, swords and lances.

 

Ten divisions(Akshauhinis) of the Kaurava army were arranged in a formidable phalanx. The eleventh was put under the immediate command of Bhishma, partly to protect him. The safety of the supreme commander Bhishma was central to Duryodhana's strategy, as he had placed all his hope on the great warrior's abilities. Dushasana, the younger brother of Duryodhana, was the military officer in-charge of Bhishma's protection.

 

THE BHAGVAD GITA

When the war was declared and the two armies were facing each other, Arjuna realised that he would have to kill his dear great-granduncle(Bhishma), on whose lap he had played as a child and his respected teacher(Drona), who had held his hand and taught him how to hold the bow and arrow, making him the greatest archer in the world. Arjuna felt weak and sickened at the prospect of killing his entire family, including his 100 cousins and friends such as Ashwatthama. Despondent and confused about what is right and what is wrong, Arjuna turned to Krishna for divine advice and teachings. Krishna, who Arjuna chose as his charioteer, advised him of his duty. This conversation forms the Bhagavad Gita, one of the most respected religious and philosophical texts in the Hindu religion. Krishna instructs Arjuna not to yield to degrading impotence and to fight his kin, for that was the only way to righteousness. He also reminded him that this was a war between righteousness and unrighteousness(dharma and adharma) and it was Arjuna's duty to slay anyone who supported the cause of unrighteousness, or sin. Krishna then revealed his divine form and explained that he is born on earth in each aeon when evil raises its head. It also forms one of the foremost treatise on the several aspects of Yoga and mystical knowledge.

 

Before the battle began, Yudhisthira did something unexpected. He suddenly dropped his weapons, took off his armour and started walking towards the Kaurava army with folded hands in prayer. The Pandava brothers and the Kauravas looked on in disbelief, thinking Yudhisthira was surrendering before the first arrow was shot. Yudhisthira's purpose became clear, however, when he fell on Bhishma's feet to seek his blessing for success in battle. Bhishma, grandfather to both the Pandavas and Kauravas, blessed Yudhisthira. Yudhisthira returned to his chariot and the battle was ready to commence.

 

DAY 1

When the battle was commenced, Bhishma went through the Pandava army wreaking havoc wherever he went but Abhimanyu, Arjuna's son, seeing this went straight at Bhishma, defeated his bodyguards and directly attacked the commander of the Kaurava forces. The Pandavas suffered numerous losses and were defeated at the end of the first day. Virata's sons, Uttara and Sweta, were slain by Shalya and Bhishma. Krishna consoled the distraught Yudhisthira saying that eventually victory would be his.

 

DAY 2

The second day of the war commenced with a confident Kaurava army facing the Pandavas. Arjuna, realising that something needed to be done quickly to reverse the Pandava losses, decided that he must try to kill Bhishma. Krishna skillfully located Bhishma's chariot and steered Arjuna toward him. Arjuna tried to engage Bhishma in a duel, but the Kaurava soldiers placed around Bhishma to protect him attacked Arjuna to try to prevent him from directly engaging Bhishma. Arjuna and Bhishma fought a fierce battle that raged for hours. Drona and Dhristadyumna similarly engaged in a duel during which Drona broke Dhristadyumna's bow numerous times. Bhima intervened and rescued Dhristadyumna. Duryodhana sent the Kalinga forces to attack Bhima and most of them lost their lives at his hands. Bhishma immediately came to relieve the battered Kalinga forces. Satyaki, who was assisting Bhima, shot at Bhishma's charioteer and killed him. Bhishma's horses, with no one to control them, bolted carrying Bhishma away from the battlefield. The Kaurava army had suffered great losses at the end of the second day.

 

DAY 3

On the third day, Bhishma arranged the Kaurava forces in the formation of an eagle with himself leading from the front, while Duryodhana's forces protected the rear. Bhishma wanted to be sure of avoiding any mishap. The Pandavas countered this by using the crescent formation with Bhima and Arjuna at the head of the right and the left horns, respectively. The Kauravas concentrated their attack on Arjuna's position. Arjuna's chariot was soon covered with arrows and javelins. Arjuna, with amazing skill, built a fortification around his chariot with an unending stream of arrows from his bow. Abhimanyu and Satyaki combined to defeat the Gandhara forces of Shakuni. Bhima and his son Ghatotkacha attacked Duryodhana in the rear. Bhima's arrows hit Duryodhana, who swooned in his chariot. His charioteer immediately drove them out of danger. Duryodhana's forces, however, saw their leader fleeing the battlefield and soon scattered. Bhishma soon restored order and Duryodhana returned to lead the army. He was angry at Bhishma, however, at what he saw as leniency towards the five Pandava brothers and spoke harshly at his commander. Bhishma, stung by this unfair charge, fell on the Pandava army with renewed vigor. It was as if there were more than one Bhishma on the field.

 

Arjuna and Krishna attacked Bhishma trying to restore order. Arjuna and Bhishma again engaged in a fierce duel, however Arjuna's heart was not in the battle as he did not like the idea of attacking his grand-uncle. During the battle, Bhishma killed numerous soldiers of Arjuna's armies.

 

DAY 4

The fourth-day of the battle was noted for the valour shown by Bhima. Bhishma commanded the Kaurava army to move on the offensive from the outset. While Abhimanyu was still in his mother's womb, Arjuna had taught Abhimanyu on how to break and enter the chakra vyuha. But, before explaining how to exit the chakra Vyuha, Arjuna was interrupted by Krishna(other story: Abhimanyu's mother falls asleep while Arjuna was explaining her). Thus from birth, Abhimanyu only knew how to enter the Chakra vyuha but didn't know how to come out of it. When the Kauravas formed the chakravyuha, Abhimanyu entered it but was surrounded and attacked by a number of Kaurava princes. Arjuna joined the fray in aid of Abhimanyu. Bhima appeared on the scene with his mace aloft and started attacking the Kauravas. Duryodhana sent a huge force of elephants at Bhima. When Bhima saw the mass of elephants approaching, he got down from his chariot and attacked them single handedly with his iron mace. They scattered and stampeded into the Kaurava forces killing many. Duryodhana ordered an all-out attack on Bhima. Bhima withstood all that was thrown at him and attacked Duryodhana's brothers, killing eight of them. Bhima was soon struck by an arrow on the chest and sat down in his chariot dazed.

 

Duryodhana was distraught at the loss of his brothers. Duryodhana, overwhelmed by sorrow at the loss of his brothers, went to Bhishma at the end of the fourth day of the battle and asked his commander how could the Pandavas, facing a superior force against them, still prevail and win. Bhishma replied that the Pandavas had justice on their side and advised Duryodhana to seek peace.

 

DAYS 5-9

When the battle resumed on the fifth day, the slaughter continued. The Pandava army again suffered against Bhishma's attacks. Satyaki bore the brunt of Drona's attacks and soon could not withstand them. Bhima drove by and rescued Satyaki. Arjuna fought and killed thousands of soldiers sent by Duryodhana to attack him. The unimaginable carnage continued during the ensuing days of the battle.

 

The sixth day was marked by a prodigious slaughter. Drona caused immeasurable loss of life on the Pandava side. The formations of both the armies were broken. On day 7 Drona slays Shankya, son of Virata. On the eighth day Bhima killed eight of Dhritarashtra's sons.

 

On the ninth day Krishna, overwhelmed by anger at the apparent inability of Arjuna to defeat Bhishma, rushed towards the Kaurava commander, the wheel of a fallen chariot in his hands. Bhishma lays down his arms and is ready to die at the hands of the Lord, but Arjuna stops him, reminding of his promise not to wield a weapon. Realizing that the war could not be won as long as Bhishma was standing, Krishna suggested the strategy of placing a eunuch in the field to face him. Some sources however state that it was Yudhistira who visits Bhishma's camp at night asking him for help. To this Bhishma says that he would not fight a eunuch.

 

DAY 10

On the tenth day, the Pandavas, unable to withstand Bhishma's prowess, decided to put Shikhandi, who had been a woman in a prior life in front of Bhishma, as Bhishma has taken a vow not to attack a woman. Shikhandi's arrows fell on Bhishma without hindrance. Arjuna positioned himself behind Shikhandi, protecting himself from Bhishma's attack and aimed his arrows at the weak points in Bhishma's armour. Soon, with arrows sticking from every part of his body, the great warrior fell from his chariot. His body did not touch the ground as it was held aloft by the arrows protruding from his body.

 

The Kauravas and Pandavas gathered around Bhishma and at his request, Arjuna placed three arrows under Bhishma's head to support it. Bhishma had promised his father, King Shantanu, that he would live until Hastinapur were secured from all directions. To keep this promise, Bhishma used the boon of "Ichcha Mrityu"(self wished death) given to him by his father. After the war was over, when Hastinapur had become safe from all sides and after giving lessons on politics and Vishnu Sahasranama to the Pandavas, Bhishma died on the first day of Uttarayana.

 

DAY 11

With Bhishma unable to continue, Karna entered the battlefield, much to Duryodhana's joy. He made Drona the supreme commander of the Kaurava forces. Karna and Duryodhana wanted to capture Yudhisthira alive. Killing Yudhisthira in battle would only enrage the Pandavas more, whereas holding him as hostage would be strategically useful. Drona formulated his battle plans for the eleventh day to this aim. He cut down Yudhisthira's bow and the Pandava army feared that their leader would be taken prisoner. Arjuna rushed to the scene, however and with a flood of arrows made Drona retreat.

 

DAY 12

With his attempts to capture Yudhisthira thwarted, Drona confided to Duryodhana that it would be difficult as long as Arjuna was around. He summoned King Bhagadatta, the monarch of Pragjyotisha(modern day Assam, India). Bhagadatta had thousands of gigantic elephants in his stable and was considered the strongest warrior on this planet in elephant warfare. Bhagadatta attacked Arjuna with his gigantic elephant named Suprateeka. It was a fierce battle in which Bhagadatta matched Arjuna astra for astra but Arjuna slew him. Drona continued to try and capture Yudhisthira. The Pandavas however fought hard and delivered severe blows to the Kaurava army.

 

DAY 13

The King of Trigartadesa, Susharma along with his 3 brothers and 35 sons who were fighting on the Kaurava side made a pact that they would make sure that Arjuna comes and doesn't break the Chakra Vuyh and kill him or die. They went into the battlefield on the twelfth day and challenged Arjuna. Arjuna gave them a fierce fight in which the brothers fell dead after fighting a brave fight. Drona continued to try and capture Yudhisthira.

 

On the other side of the battlefield, the remaining four Pandavas and their allies were finding it impossible to break Dronacharya's "Chakra Vyuh" formation. As Arjuna was busy fighting with the Trigartadesa princes and the Prajayogastha monarch on the other side of the battlefield, he could not be summoned to break the Chakra Vyuha formation, which could only be broken by entering and exiting the formation. Yudhisthira instructed, Abhimanyu, one of Arjuna's sons to break the Chakra vyuha formation. Abhimanyu knew the secret of entering the Chakra vyuh formation, but did not know how to exit it. Abhimanyu slew tens of thousands of warriors. He also killed Duryodhana's son. Duryodhana got enraged and ordered Durmashana, who was Dushasana's son to attack Abhimanyu but he died under the hands of Abhimanyu. Next he ordered his men to attack Abhimanyu all at once. Abhimanyu fought but was surrounded and killed by many warriors in a combined attack.

 

Upon learning of the death of his son, Arjuna vowed to kill Jayadratha on the morrow before the battle ended at sunset, otherwise he would throw himself into the fire.

 

DAY 14

While searching for Jayadrath on the battlefield, Arjuna slew an akshauhini(battle formation that consisted of 21,870 chariots(Sanskrit ratha); 21,870 elephants; 65,610 cavalry and 109,350 infantry) of Kaurav soldiers. The Shakatavuyha Kaurav army tightly protected Jayadratha, however, preventing Arjuna from attacking him. Finally, in late afternoon, Arjuna found Jayadratha guarded by the mighty Kaurav army. Seeing his friend's plight, Lord Krishna raised his Sudarshan Chakra to cover the sun, faking a sunset. Arjun fought a powerful battle with Jayadrath and finally defeated him. Then, Arjuna shot a powerful arrow decapitating Jayadrath. While Arjuna destroying the rest of the Shakatavuyha, Vikarna, the third eldest Kaurava, challenged Arjuna to an archery fight. Arjuna asks Bhima to decimate Vikarna, but Bhima refused to, because Vikarna defended the Pandavas during the Vastranam. Bhima and Vikarna showered arrows at each other. Later Bhima throws his mace at Vikarna, killing him. The muscular Pandava was devastated and mourned his death saying he was a man of Dharma and it was a pity how he lived his life.

 

The battle continued past sunset. When the bright moon rose, Ghatotkacha, son of Bhima slaughtered numerous warriors, attacking while flying in the air. Karna stood against him and both fought fiercely until Karna released the Shakti, a divine weapon given to him by Indra. Ghatotkacha increased his size and fell dead on the Kaurav army killing thousands of them.

 

DAY 15

After King Drupada and King Virata were slain by Drona, Bhima and Dhristadyumna fought him on the fifteenth day. Because Drona was very powerful and inconquerable having the irresistible Brahmadanda, Krishna hinted to Yudhisthira that Drona would give up his arms if his son Ashwatthama was dead. Bhima proceeded to kill an elephant named Ashwatthama and loudly proclaimed that Ashwatthama was dead. Drona approached Yudhisthira to seek the truth of his son's death. Yudhisthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant, The latter part of his proclamation(Naro va Kunjaro va) were drowned out by sound of the conch blown by Krishna intentionally (a different version of the story is that Yudhisthira pronounced the last words so feebly that Drona could not hear the word elephant). Prior to this incident, the chariot of Yudhisthira, proclaimed as Dharma raja(King of righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

 

Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna to avenge his father's death and satisfy his vow. Later, the Pandava's mother Kunti secretly met her abandoned son Karna and requested him to spare the Pandavas, as they were his younger brothers. Karna promised Kunti that he would spare them except for Arjuna, but also added that he would not fire a same weapon against Arjun twice.

 

DAY 16

On the sixteenth day, Karna was made the supreme commander of the Kuru army. Karna fought valiantly but was surrounded and attacked by Pandava generals, who were unable to prevail upon him. Karna inflicted heavy damage on the Pandava army, which fled. Then Arjuna successfully resisted Karna's weapons with his own and also inflicted casualties upon the Kaurava army. The sun soon set and with darkness and dust making the assessment of proceedings difficult, the Kaurava army retreated for the day.

 

On the same day, Bhima swung his mace and shattered Dushasana's chariot. Bhima seized Dushasana, ripped his right hand from shoulder and killed him, tearing open his chest and drinking his blood and carrying some to smear on Draupadi's untied hair, thus fulfilling his vow made when Draupadi was humiliated.

 

DAY 17

On the seventeenth day, Karna defeated the Pandava brothers Nakul, Bhima, Sahadeva and Yudhisthira in battle but spared their lives. Later, Karna resumed duelling with Arjuna. During their duel, Karna's chariot wheel got stuck in the mud and Karna asked for a pause. Krishna reminded Arjuna about Karna's ruthlessness unto Abhimanyu while he was similarly left without chariot and weapons. Hearing his son's fate, Arjuna shot his arrow and decapitated Karna. Before the day's battle, Karna's sacred armour ('Kavacha') and earrings ('Kundala') were taken as alms by Lord Indra when asked for, which resulted in his death by Arjuna's arrows.

 

DAY 18

On the 18th day, Shalya took over as the commander-in-chief of the remaining Kaurava forces. Yudhishthira killed king Shalya in a spear combat and Sahadeva killed Shakuni. Realizing that he had been defeated, Duryodhana fled the battlefield and took refuge in the lake, where the Pandavas caught up with him. Under the supervision of the now returned Balarama, a mace battle took place between Bhima and Duryodhana. Bhima flouted the rules(under instructions from Krishna) to strike Duryodhana beneath the waist in which he was mortally wounded.

 

Ashwatthama, Kripacharya, and Kritavarma met Duryodhana at his deathbed and promised to avenge the actions of Bhima. They attacked the Pandavas' camp later that night and killed all the Pandavas' remaining army including their children. Amongst the dead were Dhristadyumna and Shikhandi. Other than the Pandavas and Krishna, only Satyaki and Yuyutsu survived.

 

AFTERMATH

At the end of the 18th day, only twelve warriors survived the war - the five Pandavas, Krishna, Satyaki, Ashwatthama, Kripacharya, Yuyutsu, Vrishakethu(son of Karna) and Kritvarma. Vrishakethu was the only son of Karna who survived the horrific slaughter. He later came under the patronage of the Pandavas. During the campaign that preceded the Ashvamedha yagna, Vrishakethu accompanied Arjuna and participated in the battles with Sudhava and Babruvahana. During that campaign Vrishakethu married the daughter of King Yavanatha. It is said, Arjuna developed great affection for Vrishakethu, his nephew. Yudhisthira was crowned king of Hastinapur. He renounced the throne after ruling for 36 years, passing on the crown to Arjuna's grandson Parikshit. He then left for the Himalayas with Draupadi and his brothers in what was to be their last journey. Draupadi and four Pandavas - Bhima, Arjuna, Nakula and Sahadeva died during the journey. Yudhisthira, the lone survivor and being of pious heart, was invited by Dharma to enter the heavens as a mortal.

 

WIKIPEDIA

MOUNT KAILASH INNER PARIKRAMA 2010

Mt. Kailash Inner Parikrama (Kora)

Mt. Kailash (6714m), Asia's most sacred mountain, is located in a high and isolated enclave of West Tibet . It is one of three pilgrimages sites in the area, known collectively as Kangri Tsosum. All are said to be at the heart of the ancient Shangshung kingdom, the supposed land of origin of the pre-Buddist Bonpos. Mt Kailash is their sould-mountain, which they also call Yungdrung Gu Tse, the Nine-story Swastika Mountain .

 

It is a 53-km pilgrim path around Mt. Kailash . It begins and ends at Darchen, a small settlement at the mountain south base and in the process visits four monasteries crosses the high Drolma La Pass (5636m). Three days is perhaps the minimum time required to walk leisurely around the mountain: spend two nights in or near Drira Phuk and Zutrul Phuk Monasteries. If conditions permit, try to stay four or five days, which would allow time for short trips to the inner regions of the area.

Mount Kailash (also Mount kailas; Tibetan: གངས་རིན་པོ་ཆེKangrinboqê or Gang Rinpoche; simplified Chinese: 冈仁波齐峰,Gāngrénbōqí fēng, Sanskrit: कैलास Kailāsa) is a peak in the Kailas Range (Gangdisê Mountains), which forms part of the Transhimalaya in Tibet. It lies near the source of some of the longest rivers in Asia: the Indus River, the Sutlej River (a major tributary of the Indus River), the Brahmaputra River, and the Karnali River (a tributary of the River Ganga). It is considered a sacred place in four religions: Bön, Buddhism, Hinduism andJainism. The mountain lies near Lake Manasarovar and Lake Rakshastalin Tibet.

According to Hinduism, Lord Shiva, the destroyer of ignorance and illusion, resides at the summit of a legendary mountain named Kailās, where he sits in a state of perpetual meditation along with his wife Pārvatī.

According to Charles Allen, one description in the Vishnu Purana of the mountain states that its four faces are made of crystal, ruby, gold, and lapis lazuli. It is a pillar of the world and is located at the heart of six mountain ranges symbolizing a lotus.

Every year, thousands make a pilgrimage to Kailash, following a tradition going back thousands of years. Pilgrims of several religions believe that circumambulating Mount Kailash on foot is a holy ritual that will bring good fortune. The peregrination is made in a clockwise direction by Hindus and Buddhists. Followers of the Jain andBönpo religions circumambulate the mountain in a counterclockwise direction. The path around Mount Kailash is 52 km (32 mi) long.

Some pilgrims believe that the entire walk around Kailash should be made in a single day, which is not considered an easy task. A person in good shape walking fast would take perhaps 15 hours to complete the 52 km trek. Some of the devout do accomplish this feat, little daunted by the uneven terrain, altitude sickness and harsh conditions faced in the process. Indeed, other pilgrims venture a much more demanding regimen, performing body-lengthprostrations over the entire length of the circumambulation: The pilgrim bends down, kneels, prostrates full-length, makes a mark with his fingers, rises to his knees, prays, and then crawls forward on hands and knees to the mark made by his/her fingers before repeating the process. It requires at least four weeks of physical endurance to perform the circumambulation while following this regimen. The mountain is located in a particularly remote and inhospitable area of the Tibetan Himalayas. A few modern amenities, such as benches, resting places and refreshment kiosks, exist to aid the pilgrims in their devotions. According to all religions that revere the mountain, setting foot on its slopes is a dire sin. It is claimed that many people who ventured to defy the taboo have died in the process[citation needed]. It is a popular belief that the stairways on Mount Kailash lead to heaven.

Following the political and border disturbances across the Chinese-Indian boundary, pilgrimage to the legendary abode of Lord Shiva was stopped from 1954 to 1978. Thereafter, a limited number of Indian pilgrims have been allowed to visit the place, under the supervision of the Chinese and Indian governments either by a lengthy and hazardous trek over the Himalayan terrain, travel by land from Kathmandu or from Lhasa where flights from Kathmandu are available to Lhasa and thereafter travel over the great Tibetan plateau by car. The journey takes four night stops, finally arriving at Darchen at elevation of 4,600 m (15,100 ft), small outpost that swells with pilgrims at certain times of year. Despite its minimal infrastructure, modest guest houses are available for foreign pilgrims, whereas Tibetan pilgrims generally sleep in their own tents. A small regional medical center serving far-western Tibet and funded by the Swiss Ngari Korsum Foundation was built here in 1997.

Walking around the holy mountain—a part of its official park—has to be done on foot, pony or yak, taking some three days of trekking starting from a height of around 15,000 ft (4,600 m) past the Tarboche (flagpole) to cross the Drölma pass 18,200 ft (5,500 m), and encamping for two nights en route. First, near the meadow of Dirapuk gompa, some 2 to 3 km (1.2 to 1.9 mi) before the pass and second, after crossing the pass and going downhill as far as possible (viewing Gauri Kund in the distance). By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

The Kurukshetra War is a mythological war described in the Indian epic Mahabharata as a conflict that arose from a dynastic succession struggle between two groups of cousins of an Indo-Aryan kingdom called Kuru, the Kauravas and Pandavas, for the throne of Hastinapura. It involved a number of ancient kingdoms participating as allies of the rival groups.

 

The Kurukshetra War is believed to date variously from 6000 BCE to 500 BCE based on the astronomical and literary information from Mahabharata. The history of the Kurukshetra War is also traced to the Battle of the Ten Kings mentioned in Rigveda.

 

The location of the battle is described as having occurred in Kurukshetra in the modern state of Haryana

 

Mahabharata states that the war started on Kartheeka Bahula Amavasya (the end of the Kartheeka and the start of the Margasira lunar month), moon on Jyesta star, on Tuesday early morning. A solar eclipse also happened on that day, and this Muhurtha was kept by Krishna himself. The Bhagavad Gita was told on that early morning, before the war began. The war lasted only eighteen days, during which vast armies from all over the Indian (Bharatha) Subcontinent fought alongside the two rivals. Despite only referring to these eighteen days, the war narrative forms more than a quarter of the book, suggesting its relative importance within the epic, which overall spans decades of the warring families.

 

The narrative describes individual battles of various heroes of both sides, battle-field deaths of some of the prominent heroes, military formations employed on each day by both armies, war diplomacy, meetings and discussions among the heroes and commanders before commencement of war on each day and the weapons used. The chapters (parvas) dealing with the war (from chapter six to ten) are considered amongst the oldest in the entire Mahabharat.

 

HISTORICAL CONTEXT

Though the Kurukshetra War is not mentioned in Vedic literature, its prominence in later literature led historians such as A. L. Basham to conclude that, "certainly a great war took place and succeeding generations looked upon it as marking an end of an epoch". Popular tradition holds that the war marks the transition to Kaliyuga and thus dates it to 3102 BCE; another tradition places the war in 15th century BCE. However historians regard these dates as too early and inconsistent with the available archaeological and literary evidence. Basham considers the beginning of the 9th century BCE as a more plausible date for the events. Similarly, Michael Witzel concludes that the general setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.

 

Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit(Arjun's grandson) and the accession of Mahapadma Nanda, commonly dated to 382 BCE, which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies.

 

Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna(Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna and thus approximately 950 BCE for the Bharata battle.

 

B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.

 

There have been a number of theories put forward:

 

- The most widely accepted date is 10th century BCE or 950 BCE, according to archeological evidence.

- B. N. Achar states a date of 3067 BCE using planetary positions listed in the Mahabharata.

- S. Balakrishna concluded a date of 2559 BCE using consecutive lunar eclipses.

- P. V. Holey states a date of November 13, 3143 BCE using planetary positions and calendar systems.

- R. N. Iyengar concluded a date of 1478 BCE using double eclipses and Saturn+Jupiter conjunctions.

- P. R. Sarkar estimates a date of 1298 BCE for the war of Kurukshetra.

- P. V. Vartak calculates a date of October 16, 5561 BCE using planetary positions.

- K. Sadananda, based on translation work, states that the Kurukshetra War started on November 22 3067 BCE.

 

The reconstruction of the history of Vedic India is based on text-internal details. Linguistically, the Vedic texts could be classified in five chronological strata as Rigvedic, Mantra, Samhita, Brahmana, Sutra, and Epic and Paninian. The Mantra language period includes both the mantra and prose language of the Atharvaveda(Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita(containing some 75 mantras not in the Rigveda) and the mantras of the Yajurveda. Many of these texts are largely derived from the Rigveda, but have undergone certain changes, both by linguistic change and by reinterpretation. Conspicuous changes include the change of vishva "all" by sarva and the spread of the kuru- verbal stem for Rigvedic krno-). This is from the time of the early Iron Age in north-western India, corresponding to the Black and Red Ware(BRW) culture and the kingdom of the Kurus, dating from ca. the 10th century BCE. The Samhita prose period marks the beginning of the collection and codification of a Vedic canon. An important linguistic change is the complete loss of the injunctive. The Brahmana part ('commentary' on mantras and ritual) of the Black Yajurveda(MS, KS, TS) belongs to this period. Archaeologically, the Painted Grey Ware(PGW) culture from ca. 900 BCE corresponds and the shift of the political center from the Kurus to the Pancalas on the Ganges.

 

BACKGROUND

Mahabharata, one of the most important Hindu epics, is an account of the life and deeds of several generations of a ruling dynasty called the Kuru clan. Central to the epic is an account of a war that took place between two rival families belonging to this clan. Kurukshetra (literally "field of the Kurus"), was the battleground on which this war, known as the Kurukshetra War, was fought. Kurukshetra was also known as "Dharmakshetra"(the "field of Dharma"), or field of righteousness. Mahabharata tells that this site was chosen for the war because a sin committed on this land was forgiven on account of the sanctity of this land.

 

The Kuru territories were divided into two and were ruled by Dhritarashtra(with his capital at Hastinapura) and Yudhishthira of the Pandavas(with his capital at Indraprastha). The immediate dispute between the Kauravas(sons of Dhritarashtra) and the Pandavas arose from a game of dice, which Duryodhana won by deceit, forcing their Pandava cousins to transfer their entire territories to the Kauravas (to Hastinapura) and to "go into exile" for thirteen years. The dispute escalated into a full scale war when Prince Duryodhana, the eldest of the Kauravas, driven by jealousy, refused to restore the Pandavas their territories after the exile as earlier decided, as Duryodhana objected that they were discovered while in exile, and that no return of their kingdom was agreed upon.

 

Prior to the war, the disinherited Pandavas in the kingdom of Matsya, advised by Krishna, tried to find a diplomatic and peaceful solution to the conflict. Balarama, Krishna's older brother, advised the Pandavas to send an emissary to get the support of the elders of the family, like Bhishma, Dhritarashtra, Drona, Kripa etc., with the message "Let us avoid armed conflict as much as possible. Only that which is accrued in peace is worthwhile. Out of war, nothing but wrong can issue". While the emissary was in the Kaurava court, the Pandavas continued with war preparations. They sent messages requesting assistance to a number of neighbouring kingdoms. Their ambassador of peace was insulted and turned away by Duryodhana, who was intent on war, defying the counsel of elders like Bhishma. After several failed attempts at peace, war seemed inevitable. The two sides to the war were the Pandavas and the Kauravas (the official Kuru tribe now ruling both Hastinapura and Indraprastha), both with their allies.

 

Jaya, the core of Mahabharata, is structured in the form of a dialogue between Kuru king Dhritarashtra and Sanjaya, his advisor and chariot driver. Sanjaya narrates each incident of the Kurukshetra War, fought in 18 days, as and when it happened. Dhritarashtra sometimes asks questions and doubts and sometimes laments, knowing about the destruction caused by the war, to his sons, friends and kinsmen. He also feels guilty, due to his own role, that led to this war, destructive to the entire Indian subcontinent.

 

In the beginning Sanjaya gives a description of the various continents of the Earth, the other planets, and focuses on the Indian Subcontinent, then gives an elaborate list of hundreds of kingdoms, tribes, provinces, cities, towns, villages, rivers, mountains, forests etc. of the(ancient) Indian Subcontinent(Bharata Varsha). He also explains about the 'military formations adopted by each side on each day, the death of each hero and the details of each war-racing. Some 18 chapters of Vyasa's Jaya constitutes the Bhagavad Gita, one of the sacred texts of the Hindus. Thus, this work of Vyasa, called Jaya, deals with diverse subjects like geography, history, warfare, religion and morality. According to Mahabharata itself, the Jaya was recited to the King Janamejaya, the great-grandson of Arjuna, by Vaisampayana, a disciple of Vyasa (then called the Bharata). The recitation of Vaisampayana to Janamejaya was then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year-long sacrifice for King Saunaka Kulapati in the Naimisha forest (then called the Mahabharata).

 

COMBATANTS

The Kurus formed a kingdom in the Vedic period of India. They formed the first political center after the Rigvedic period, after their emergence from the Punjab, and it was there that the codification and redaction of the Vedic texts began. Archaeologically, they most likely correspond to the Black and Red Ware Culture of the 12th to 9th centuries BC, at the beginning of the Iron Age in western India. Panchala was the second urban center of Vedic civilization, as its focus moved east from the Punjab, after the focus of power had been with the Kurus in the early Iron Age. This period is associated with the Painted Grey Ware culture, arising around 1100 BCE, and declining from 600 BCE, with the end of the Vedic period. The ruling confederacy, the Panchalas, as their name suggests, probably consisted of five clans - the Krivis, the Turvashas, The Keshins, the Srinjayas and the Somakas. Drupada, whose daughter Draupadi was married to the Pandavas belonged to the Somaka clan. However, the Mahabharata and the Puranas consider the ruling clan of the northern Panchala as an offshoot of the Bharata clan and Divodasa, Sudas, Srinjaya, Somaka and Drupada(also called Yajnasena) were the most notable rulers of this clan.

 

KRISHNA`S PEACE MISSION

As a last attempt at peace, Krishna travelled to Hastinapur to persuade the Kauravas to embark upon a peaceful path with him. At Hastinapur, Krishna took his meals and stayed at the house of the minister, Vidura, a religious man and a devotee of Krishna. Duryodhana was insulted that Krishna had turned down his invitation to dine with him and stay in his royal palace. Determined to stop the peace mission, Duryodhana plotted to arrest Krishna.

 

At the formal presentation of the peace proposal by Krishna at the court of Hastinapur, Krishna asked Duryodhana to give back Indraprastha or if not at least five villages, one for each of the Pandavas, but Duryodhana said he could not give land even as much as tip of a needle, Krishna's peace proposals were ignored and Duryodhana publicly ordered his soldiers to arrest Krishna. Krishna laughed and displayed his divine form, radiating intense light. Furious at the insult inflicted upon Him, Lord Krishna cursed Duryodhana that his downfall was certain, to the shock of Dhirtharastra, who tried to pacify the Lord.

 

His peace mission being rejected by Duryodhana, Krishna returned to Upaplavya to inform the Pandavas that the only course left to uphold the principles of virtue and righteousness was inevitable - war. During the course of his return, Krishna met Karna, Kunti's firstborn(before Yudhisthira) and said to help his brothers, but, being helped by Duryodhana, Karna said to Krishna that he would battle against Pandavas.

 

WAR PREPARATIONS

Krishna had a large force called the Narayani Sena and was himself a great warrior. Duryodhana and Arjuna thus both went to Krishna at Dwarka to ask for his help. Duryodhana arrived first and found Krishna asleep. Being arrogant and viewing himself as equal to Krishna, Duryodhana chose a seat at Krishna's head and waited for him to rouse. Arjuna arrived later and being a humble devotee of Krishna, chose to sit and wait at Krishna's feet. When Krishna woke up, he saw Arjuna first and gave him the first right to make his request. Krishna told Arjuna and Duryodhana that he would give the Narayani Sena, to one side and himself as a non-combatant to the other. Since Arjuna was given the first opportunity to choose, Duryodhana was worried that Arjuna would choose the mighty army of Krishna. When given the choice of either Krishna's army or Krishna himself on their side, Arjuna on behalf of the Pandavas chose Krishna, unarmed on his own, relieving Duryodhana, who thought Arjuna to be the greatest fool. Later Arjuna requested Krishna to be his charioteer and Krishna, being an intimate friend of Arjuna, agreed wholeheartedly and hence received the name Parthasarthy, or 'charioteer of the son of Pritha'. Both Duryodhana and Arjuna returned satisfied.

 

While camping at a place called Upaplavya, in the territory of Virata, the Pandavas gathered their armies. Contingents arrived from all parts of the country and soon the Pandavas had a large force of seven divisions. The Kauravas managed to raise an even larger army of eleven divisions. Many kingdoms of ancient India such as Dwaraka, Kasi, Kekaya, Magadha, Chedi, Matsya, Pandya, and the Yadus of Mathura were allied with the Pandavas; while the allies of the Kauravas comprised the kings of Pragjyotisha, Kalinga, Anga, Kekaya, Sindhudesa, Avanti in Madhyadesa, Gandharas, Bahlikas, Mahishmati, Kambojas(with the Yavanas, Sakas, Trilinga, Tusharas) and many others.

 

PANDAVA ARMY

Seeing that there was now no hope for peace, Yudhisthira, the eldest of the Pandavas, asked his brothers to organize their army. The Pandavas accumulated seven Akshauhinis army with the help of their allies. Each of these divisions were led by Drupada, Virata, Dhristadyumna, Shikhandi, Satyaki, Chekitana and Bhima. After consulting his commanders, the Pandavas appointed Dhristadyumna as the supreme commander of the Pandava army. Mahabharata says that kingdoms from all over ancient India supplied troops or provided logistic support on the Pandava side. Some of these were: Kekaya, Pandya, Cholas, Magadha and many more.

 

KAURAVA ARMY

The Kaurava army consisted of 11 Akshauhinis. Duryodhana requested Bhishma to command the Kaurava army. Bhishma accepted on the condition that, while he would fight the battle sincerely, he would not harm the five Pandava brothers. In addition, Bhishma said that Karna would not fight under him as long as he is in the battlefied. It is believed by many that Bhishma pushed Karna into taking this decision due to his affection towards the Pandavas - the Kauravas would be overwhelmingly powerful if both he and Karna appeared in battle simultaneously. However the excuse he used to prevent their simultaneous fighting was that his guru(Parshurama) was insulted by Karna. He also knew that Karna was a Kaunteya(Son of Kunti) from the day he met him in Ranakshetra when Karna offered Arjuna to fight against him and Bhishma wanted to keep Karna out, so that there will be someone to lead the army once he is unable to continue with the war. Regardless, Duryodhana agreed to Bhishma's conditions and made him the supreme commander of the Kaurava army, while Karna was debarred from fighting. But Karna enters the war later when Bhishma is wounded by Arjuna. Apart from the one hundred Kaurava brothers, headed by Duryodhana himself and his brother Dushasana, the second eldest son of Dhritarashtra, the Kauravas were assisted on the battlefield by Drona and his son Ashwatthama, the Kaurava's brother-in-law Jayadratha, the Brahmin Kripa, Kritavarma, Shalya, Sudakshina, Bhurisrava, Bahlika, Shakuni and many more who were bound by their loyalty towards either Hastinapura or Dhritarashtra.

 

NEUTRAL PARTIES

The kingdom of Vidarbha, with its King Rukmi, Vidura, the ex-prime minister of Hastinapur and younger brother to Dhritarashtra and Balarama were the only neutrals in this war. Rukmi wanted to join the war, but Duryodhana and Arjuna refused to allow him, because he boasted about his war strength and army. Vidura did not want to see the bloodshed of the war, although he was a good battle strategist. The powerful Balarama refused to fight at Kurukshetra, because he was both Bhima and Duryodhana's wrestling coach.

 

ARMY DIVISIONS & WEAPONRY

Each army consisted of several divisions; the Kauravas had 11 while the Pandavas had 7. A division(akshauhini) includes 21,870 chariots and chariot-riders, 21,870 War elephants and riders, 65,610 Cavalry and 109,350 foot-soldiers(in a ratio of 1:1:3:5). The combined number of warriors and soldiers in both armies was approximately 3.94 million. Each Akshauhini was under a commander or a general, apart from the Commander in chief or the generalissimo who was the head of the entire army.

 

During the Kurukshetra War, the weapons used included: the bow, the weapon of choice for Arjuna, Bhishma, Drona, Karna, Satyaki, Vikarna and Abhimanyu; the mace, chosen by Bhima and Duryodhana, the spear, chosen by Yudhistira and Shalya; the sword chosen by Nakula, Dushasana, Dhristadymna and other Kauravas; and the axe chosen by Sahadeva.

 

MILITARY FORMATIONS

At various times during battle, the supreme commander of either army ordered special formations(vyuhas). Each formation had a specific purpose; some were defensive while others were offensive. Each formation had its specific strengths and weaknesses. The Mahābhārata lists the following:

 

Krauncha vyuha(heron formation)

Makara vyuha(crocodile formation)

Kurma vyuha(tortoise or turtle formation)

Trishula vyuha(trident formation)

Chakrvyuha(wheel or discus formation)

Kamala vyuha or Padma vyuha(lotus formation)

Garud vyuha(eagle formation)

Oormi vyuha(ocean formation)

Mandala vyuha(galaxy formation)

Vajra vyuha(diamond or thunderbolt formation)

Shakata vyuha(box or cart formation)

Asura vyuha(demon formation)

Deva vyuha(divine formation)

Soochi vyuha(needle formation)

Sringataka vyuha(horned formation)

Chandrakala vyuha(crescent or curved blade formation)

Mala vyuha(garland formation)

 

It is not clear what the formations actually indicate. They may be arrangements of bear resemblance to animals, or they may be names given to battle strategies.

 

CLASSIFICATION OF WARRIORS BY BHISHMA

Bhishma, the grandsire of both Kauravas and Pandavas, analysed each warrior on both sides of the army. As per Bhishma at the tale of Rathi and Maharathi there are 3 types of warriors. They are Rathi, Atirathi and Maharathi. He classified every warrior on both sides of the army following his judgement and knowledge of the science of weapons. According to him the highest level of a warrior is Maharathi.

 

*Rathi: A warrior capable of attacking 5,000 warriors simultaneously.

 

*Atirathi: A warrior capable of contending with 12 Rathi class warriors or 60,000 warriors simultaneously

 

*Maharathi: A warrior capable of fighting 12 Atirathi class warriors or 720,000 warriors simultaneously, circumspect in his mastery of all forms of weapons and combat skills.

 

FROM KAURAVA SIDE

Rathis,* Sudhakshina, the ruler of the Kamvojas, *Sakuni, King of Gandhar and uncle of Kauravas, *Duryodhana's son Lakshmana and the son of Dushasana, *Jayadrath, the king of the Sindhu and brother in law of Kauravas, *All 99 brothers of Duryodhana, including Dushasan, are single Rathis, *Duryodhana is classified as a warrior equal to 8 Rathis.

 

Atirathis

- Bhoja chief Kritavarman

- The ruler of the Madras,Salya

- Bhurisravas, the son of Somadatta

- Kripa, also known as Kripacharya, the son of Saradwat

 

Maharathis

- Alambhusha, the Chief of Rakshasas

- The ruler of Pragjyotisha, the brave Bhagadatta

- Vrishasena, the son of Karna,

- Guru Drona

- Asvathama, the son of Guru Drona and the avatar of Lord Shiva. (Even though he was classified as a Maharatha, in reality he was peerless and equal to Lord Shiva in battle according to Bhishma; but the only pre-condition is that Asvathama has to become extremely angry to unleash his full potential)

- Karna is equal to 2 Maharathi.

- Bhishma, even though he never classified himself. Later it was revealed that Bhishma was equal to 2 Maharatha warriors. (But at the tale of Rathi and Atirathi, Bhishma classified him as just half a Rathi in order to weaken his morale when fighting against his brothers, the Pandavas, at the request of Lord Krishna)

 

FROM PANDAVA SIDE

Rathis

- Uttamaujas

- Sikhandi, the son of the king of the Panchalas

- Yudishtira the son of Pandu and Kunti, is a Ratha.

- Nakul and Sahadeva are single Rathis

- Bhima is regarded as equal to 8 Rathas.

 

Atirathis

- Satyaki of the Vrishni race,

- Dhrishtadyumna the son of Drupuda

- Kuntibhoja,the maternal uncle of Pandavas

- Ghatotkacha, prince of Rakshasas and master of all illusions, son Bhima and Hidimva.

 

Maharathis

- Virata King

- Drupuda, King of Panchalas

- Dhrishtaketu, the son of Sisupala, the king of the Chedis

- All sons of Draupadi are Maharathas

- Abhimanyu,the son of Arjuna is equal to 2 Maharatha.

- Arjuna is equal to 2 Maharatha warrior

 

RULES OF ENGAGEMENT

The two supreme commanders met and framed "rules of ethical conduct", dharmayuddha, for the war. The rules included:

 

- Fighting must begin no earlier than sunrise and end exactly at sunset.

- More than one warriors may not attack a single warrior.

- Two warriors may "duel", or engage in prolonged personal combat, only if they carry the same weapons and they are on the same type of mount(on foot, on a horse, on an elephant, or in a chariot).

- No warrior may kill or injure a warrior who has surrendered.

- One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war.

- No warrior may kill or injure an unarmed warrior.

- No warrior may kill or injure an unconscious warrior.

- No warrior may kill or injure a person or animal not taking part in the war.

- No warrior may kill or injure a warrior whose back is turned away.

- No warrior may attack a woman.

- No warrior may strike an animal not considered a direct threat.

- The rules specific to each weapon must be followed. For example, it is prohibited to strike below the waist in mace warfare.

- Warriors may not engage in any unfair warfare.

 

COURSE OF WAR

The Kurukshetra War lasted eighteen days. It was fought only during daylight hours; fighting ceased at sunset. Each day the battle was characterised by numerous individual combats, as well as mass raids against entire enemy divisions. The victor or the vanquished on each day was determined not by any territories gained, but by the body count. This was a war to the death. The victor was the survivor. If the text is taken to be chronologically accurate, this was one of the bloodiest wars in the history of mankind. Arjuna, in a fit of extreme anger over the death of his son Abhimanyu, alone killed one akshauhini of Kaurava soldiers in a single day. The war left an extremely large number of widows and orphans and led to an economic depression and the beginning of Kali Yuga.

 

BEFORE THE BATTLE

It has been observed that the year in which the Mahabharata War took place, the year had three solar eclipses on earth in a span of thirty days. Eclipses are considered ill for life on earth according to Hindu astrology.

 

On the first day of the war, as would be on all the following days, the Kaurava army stood facing west and the Pandava army stood facing east. The Kaurava army was formed such that it faced all sides: elephants formed its body; the kings, its head; and the steeds, its wings. Bhishma, in consultation with his commanders Drona, Bahlika and Kripa, remained in the rear.

 

The Pandava army was organised by Yudhisthira and Arjuna in the Vajra formation. Because the Pandava army was smaller than the Kaurava's, they decided to employ the tactic of each warrior engaging as many enemies as possible. This involved an element of surprise, with the bowmen showering arrows hiding behind the frontal attackers. The attackers in the front were equipped with short-range weapons like maces, battle-axes, swords and lances.

 

Ten divisions(Akshauhinis) of the Kaurava army were arranged in a formidable phalanx. The eleventh was put under the immediate command of Bhishma, partly to protect him. The safety of the supreme commander Bhishma was central to Duryodhana's strategy, as he had placed all his hope on the great warrior's abilities. Dushasana, the younger brother of Duryodhana, was the military officer in-charge of Bhishma's protection.

 

THE BHAGVAD GITA

When the war was declared and the two armies were facing each other, Arjuna realised that he would have to kill his dear great-granduncle(Bhishma), on whose lap he had played as a child and his respected teacher(Drona), who had held his hand and taught him how to hold the bow and arrow, making him the greatest archer in the world. Arjuna felt weak and sickened at the prospect of killing his entire family, including his 100 cousins and friends such as Ashwatthama. Despondent and confused about what is right and what is wrong, Arjuna turned to Krishna for divine advice and teachings. Krishna, who Arjuna chose as his charioteer, advised him of his duty. This conversation forms the Bhagavad Gita, one of the most respected religious and philosophical texts in the Hindu religion. Krishna instructs Arjuna not to yield to degrading impotence and to fight his kin, for that was the only way to righteousness. He also reminded him that this was a war between righteousness and unrighteousness(dharma and adharma) and it was Arjuna's duty to slay anyone who supported the cause of unrighteousness, or sin. Krishna then revealed his divine form and explained that he is born on earth in each aeon when evil raises its head. It also forms one of the foremost treatise on the several aspects of Yoga and mystical knowledge.

 

Before the battle began, Yudhisthira did something unexpected. He suddenly dropped his weapons, took off his armour and started walking towards the Kaurava army with folded hands in prayer. The Pandava brothers and the Kauravas looked on in disbelief, thinking Yudhisthira was surrendering before the first arrow was shot. Yudhisthira's purpose became clear, however, when he fell on Bhishma's feet to seek his blessing for success in battle. Bhishma, grandfather to both the Pandavas and Kauravas, blessed Yudhisthira. Yudhisthira returned to his chariot and the battle was ready to commence.

 

DAY 1

When the battle was commenced, Bhishma went through the Pandava army wreaking havoc wherever he went but Abhimanyu, Arjuna's son, seeing this went straight at Bhishma, defeated his bodyguards and directly attacked the commander of the Kaurava forces. The Pandavas suffered numerous losses and were defeated at the end of the first day. Virata's sons, Uttara and Sweta, were slain by Shalya and Bhishma. Krishna consoled the distraught Yudhisthira saying that eventually victory would be his.

 

DAY 2

The second day of the war commenced with a confident Kaurava army facing the Pandavas. Arjuna, realising that something needed to be done quickly to reverse the Pandava losses, decided that he must try to kill Bhishma. Krishna skillfully located Bhishma's chariot and steered Arjuna toward him. Arjuna tried to engage Bhishma in a duel, but the Kaurava soldiers placed around Bhishma to protect him attacked Arjuna to try to prevent him from directly engaging Bhishma. Arjuna and Bhishma fought a fierce battle that raged for hours. Drona and Dhristadyumna similarly engaged in a duel during which Drona broke Dhristadyumna's bow numerous times. Bhima intervened and rescued Dhristadyumna. Duryodhana sent the Kalinga forces to attack Bhima and most of them lost their lives at his hands. Bhishma immediately came to relieve the battered Kalinga forces. Satyaki, who was assisting Bhima, shot at Bhishma's charioteer and killed him. Bhishma's horses, with no one to control them, bolted carrying Bhishma away from the battlefield. The Kaurava army had suffered great losses at the end of the second day.

 

DAY 3

On the third day, Bhishma arranged the Kaurava forces in the formation of an eagle with himself leading from the front, while Duryodhana's forces protected the rear. Bhishma wanted to be sure of avoiding any mishap. The Pandavas countered this by using the crescent formation with Bhima and Arjuna at the head of the right and the left horns, respectively. The Kauravas concentrated their attack on Arjuna's position. Arjuna's chariot was soon covered with arrows and javelins. Arjuna, with amazing skill, built a fortification around his chariot with an unending stream of arrows from his bow. Abhimanyu and Satyaki combined to defeat the Gandhara forces of Shakuni. Bhima and his son Ghatotkacha attacked Duryodhana in the rear. Bhima's arrows hit Duryodhana, who swooned in his chariot. His charioteer immediately drove them out of danger. Duryodhana's forces, however, saw their leader fleeing the battlefield and soon scattered. Bhishma soon restored order and Duryodhana returned to lead the army. He was angry at Bhishma, however, at what he saw as leniency towards the five Pandava brothers and spoke harshly at his commander. Bhishma, stung by this unfair charge, fell on the Pandava army with renewed vigor. It was as if there were more than one Bhishma on the field.

 

Arjuna and Krishna attacked Bhishma trying to restore order. Arjuna and Bhishma again engaged in a fierce duel, however Arjuna's heart was not in the battle as he did not like the idea of attacking his grand-uncle. During the battle, Bhishma killed numerous soldiers of Arjuna's armies.

 

DAY 4

The fourth-day of the battle was noted for the valour shown by Bhima. Bhishma commanded the Kaurava army to move on the offensive from the outset. While Abhimanyu was still in his mother's womb, Arjuna had taught Abhimanyu on how to break and enter the chakra vyuha. But, before explaining how to exit the chakra Vyuha, Arjuna was interrupted by Krishna(other story: Abhimanyu's mother falls asleep while Arjuna was explaining her). Thus from birth, Abhimanyu only knew how to enter the Chakra vyuha but didn't know how to come out of it. When the Kauravas formed the chakravyuha, Abhimanyu entered it but was surrounded and attacked by a number of Kaurava princes. Arjuna joined the fray in aid of Abhimanyu. Bhima appeared on the scene with his mace aloft and started attacking the Kauravas. Duryodhana sent a huge force of elephants at Bhima. When Bhima saw the mass of elephants approaching, he got down from his chariot and attacked them single handedly with his iron mace. They scattered and stampeded into the Kaurava forces killing many. Duryodhana ordered an all-out attack on Bhima. Bhima withstood all that was thrown at him and attacked Duryodhana's brothers, killing eight of them. Bhima was soon struck by an arrow on the chest and sat down in his chariot dazed.

 

Duryodhana was distraught at the loss of his brothers. Duryodhana, overwhelmed by sorrow at the loss of his brothers, went to Bhishma at the end of the fourth day of the battle and asked his commander how could the Pandavas, facing a superior force against them, still prevail and win. Bhishma replied that the Pandavas had justice on their side and advised Duryodhana to seek peace.

 

DAYS 5-9

When the battle resumed on the fifth day, the slaughter continued. The Pandava army again suffered against Bhishma's attacks. Satyaki bore the brunt of Drona's attacks and soon could not withstand them. Bhima drove by and rescued Satyaki. Arjuna fought and killed thousands of soldiers sent by Duryodhana to attack him. The unimaginable carnage continued during the ensuing days of the battle.

 

The sixth day was marked by a prodigious slaughter. Drona caused immeasurable loss of life on the Pandava side. The formations of both the armies were broken. On day 7 Drona slays Shankya, son of Virata. On the eighth day Bhima killed eight of Dhritarashtra's sons.

 

On the ninth day Krishna, overwhelmed by anger at the apparent inability of Arjuna to defeat Bhishma, rushed towards the Kaurava commander, the wheel of a fallen chariot in his hands. Bhishma lays down his arms and is ready to die at the hands of the Lord, but Arjuna stops him, reminding of his promise not to wield a weapon. Realizing that the war could not be won as long as Bhishma was standing, Krishna suggested the strategy of placing a eunuch in the field to face him. Some sources however state that it was Yudhistira who visits Bhishma's camp at night asking him for help. To this Bhishma says that he would not fight a eunuch.

 

DAY 10

On the tenth day, the Pandavas, unable to withstand Bhishma's prowess, decided to put Shikhandi, who had been a woman in a prior life in front of Bhishma, as Bhishma has taken a vow not to attack a woman. Shikhandi's arrows fell on Bhishma without hindrance. Arjuna positioned himself behind Shikhandi, protecting himself from Bhishma's attack and aimed his arrows at the weak points in Bhishma's armour. Soon, with arrows sticking from every part of his body, the great warrior fell from his chariot. His body did not touch the ground as it was held aloft by the arrows protruding from his body.

 

The Kauravas and Pandavas gathered around Bhishma and at his request, Arjuna placed three arrows under Bhishma's head to support it. Bhishma had promised his father, King Shantanu, that he would live until Hastinapur were secured from all directions. To keep this promise, Bhishma used the boon of "Ichcha Mrityu"(self wished death) given to him by his father. After the war was over, when Hastinapur had become safe from all sides and after giving lessons on politics and Vishnu Sahasranama to the Pandavas, Bhishma died on the first day of Uttarayana.

 

DAY 11

With Bhishma unable to continue, Karna entered the battlefield, much to Duryodhana's joy. He made Drona the supreme commander of the Kaurava forces. Karna and Duryodhana wanted to capture Yudhisthira alive. Killing Yudhisthira in battle would only enrage the Pandavas more, whereas holding him as hostage would be strategically useful. Drona formulated his battle plans for the eleventh day to this aim. He cut down Yudhisthira's bow and the Pandava army feared that their leader would be taken prisoner. Arjuna rushed to the scene, however and with a flood of arrows made Drona retreat.

 

DAY 12

With his attempts to capture Yudhisthira thwarted, Drona confided to Duryodhana that it would be difficult as long as Arjuna was around. He summoned King Bhagadatta, the monarch of Pragjyotisha(modern day Assam, India). Bhagadatta had thousands of gigantic elephants in his stable and was considered the strongest warrior on this planet in elephant warfare. Bhagadatta attacked Arjuna with his gigantic elephant named Suprateeka. It was a fierce battle in which Bhagadatta matched Arjuna astra for astra but Arjuna slew him. Drona continued to try and capture Yudhisthira. The Pandavas however fought hard and delivered severe blows to the Kaurava army.

 

DAY 13

The King of Trigartadesa, Susharma along with his 3 brothers and 35 sons who were fighting on the Kaurava side made a pact that they would make sure that Arjuna comes and doesn't break the Chakra Vuyh and kill him or die. They went into the battlefield on the twelfth day and challenged Arjuna. Arjuna gave them a fierce fight in which the brothers fell dead after fighting a brave fight. Drona continued to try and capture Yudhisthira.

 

On the other side of the battlefield, the remaining four Pandavas and their allies were finding it impossible to break Dronacharya's "Chakra Vyuh" formation. As Arjuna was busy fighting with the Trigartadesa princes and the Prajayogastha monarch on the other side of the battlefield, he could not be summoned to break the Chakra Vyuha formation, which could only be broken by entering and exiting the formation. Yudhisthira instructed, Abhimanyu, one of Arjuna's sons to break the Chakra vyuha formation. Abhimanyu knew the secret of entering the Chakra vyuh formation, but did not know how to exit it. Abhimanyu slew tens of thousands of warriors. He also killed Duryodhana's son. Duryodhana got enraged and ordered Durmashana, who was Dushasana's son to attack Abhimanyu but he died under the hands of Abhimanyu. Next he ordered his men to attack Abhimanyu all at once. Abhimanyu fought but was surrounded and killed by many warriors in a combined attack.

 

Upon learning of the death of his son, Arjuna vowed to kill Jayadratha on the morrow before the battle ended at sunset, otherwise he would throw himself into the fire.

 

DAY 14

While searching for Jayadrath on the battlefield, Arjuna slew an akshauhini(battle formation that consisted of 21,870 chariots(Sanskrit ratha); 21,870 elephants; 65,610 cavalry and 109,350 infantry) of Kaurav soldiers. The Shakatavuyha Kaurav army tightly protected Jayadratha, however, preventing Arjuna from attacking him. Finally, in late afternoon, Arjuna found Jayadratha guarded by the mighty Kaurav army. Seeing his friend's plight, Lord Krishna raised his Sudarshan Chakra to cover the sun, faking a sunset. Arjun fought a powerful battle with Jayadrath and finally defeated him. Then, Arjuna shot a powerful arrow decapitating Jayadrath. While Arjuna destroying the rest of the Shakatavuyha, Vikarna, the third eldest Kaurava, challenged Arjuna to an archery fight. Arjuna asks Bhima to decimate Vikarna, but Bhima refused to, because Vikarna defended the Pandavas during the Vastranam. Bhima and Vikarna showered arrows at each other. Later Bhima throws his mace at Vikarna, killing him. The muscular Pandava was devastated and mourned his death saying he was a man of Dharma and it was a pity how he lived his life.

 

The battle continued past sunset. When the bright moon rose, Ghatotkacha, son of Bhima slaughtered numerous warriors, attacking while flying in the air. Karna stood against him and both fought fiercely until Karna released the Shakti, a divine weapon given to him by Indra. Ghatotkacha increased his size and fell dead on the Kaurav army killing thousands of them.

 

DAY 15

After King Drupada and King Virata were slain by Drona, Bhima and Dhristadyumna fought him on the fifteenth day. Because Drona was very powerful and inconquerable having the irresistible Brahmadanda, Krishna hinted to Yudhisthira that Drona would give up his arms if his son Ashwatthama was dead. Bhima proceeded to kill an elephant named Ashwatthama and loudly proclaimed that Ashwatthama was dead. Drona approached Yudhisthira to seek the truth of his son's death. Yudhisthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant, The latter part of his proclamation(Naro va Kunjaro va) were drowned out by sound of the conch blown by Krishna intentionally (a different version of the story is that Yudhisthira pronounced the last words so feebly that Drona could not hear the word elephant). Prior to this incident, the chariot of Yudhisthira, proclaimed as Dharma raja(King of righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

 

Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna to avenge his father's death and satisfy his vow. Later, the Pandava's mother Kunti secretly met her abandoned son Karna and requested him to spare the Pandavas, as they were his younger brothers. Karna promised Kunti that he would spare them except for Arjuna, but also added that he would not fire a same weapon against Arjun twice.

 

DAY 16

On the sixteenth day, Karna was made the supreme commander of the Kuru army. Karna fought valiantly but was surrounded and attacked by Pandava generals, who were unable to prevail upon him. Karna inflicted heavy damage on the Pandava army, which fled. Then Arjuna successfully resisted Karna's weapons with his own and also inflicted casualties upon the Kaurava army. The sun soon set and with darkness and dust making the assessment of proceedings difficult, the Kaurava army retreated for the day.

 

On the same day, Bhima swung his mace and shattered Dushasana's chariot. Bhima seized Dushasana, ripped his right hand from shoulder and killed him, tearing open his chest and drinking his blood and carrying some to smear on Draupadi's untied hair, thus fulfilling his vow made when Draupadi was humiliated.

 

DAY 17

On the seventeenth day, Karna defeated the Pandava brothers Nakul, Bhima, Sahadeva and Yudhisthira in battle but spared their lives. Later, Karna resumed duelling with Arjuna. During their duel, Karna's chariot wheel got stuck in the mud and Karna asked for a pause. Krishna reminded Arjuna about Karna's ruthlessness unto Abhimanyu while he was similarly left without chariot and weapons. Hearing his son's fate, Arjuna shot his arrow and decapitated Karna. Before the day's battle, Karna's sacred armour ('Kavacha') and earrings ('Kundala') were taken as alms by Lord Indra when asked for, which resulted in his death by Arjuna's arrows.

 

DAY 18

On the 18th day, Shalya took over as the commander-in-chief of the remaining Kaurava forces. Yudhishthira killed king Shalya in a spear combat and Sahadeva killed Shakuni. Realizing that he had been defeated, Duryodhana fled the battlefield and took refuge in the lake, where the Pandavas caught up with him. Under the supervision of the now returned Balarama, a mace battle took place between Bhima and Duryodhana. Bhima flouted the rules(under instructions from Krishna) to strike Duryodhana beneath the waist in which he was mortally wounded.

 

Ashwatthama, Kripacharya, and Kritavarma met Duryodhana at his deathbed and promised to avenge the actions of Bhima. They attacked the Pandavas' camp later that night and killed all the Pandavas' remaining army including their children. Amongst the dead were Dhristadyumna and Shikhandi. Other than the Pandavas and Krishna, only Satyaki and Yuyutsu survived.

 

AFTERMATH

At the end of the 18th day, only twelve warriors survived the war - the five Pandavas, Krishna, Satyaki, Ashwatthama, Kripacharya, Yuyutsu, Vrishakethu(son of Karna) and Kritvarma. Vrishakethu was the only son of Karna who survived the horrific slaughter. He later came under the patronage of the Pandavas. During the campaign that preceded the Ashvamedha yagna, Vrishakethu accompanied Arjuna and participated in the battles with Sudhava and Babruvahana. During that campaign Vrishakethu married the daughter of King Yavanatha. It is said, Arjuna developed great affection for Vrishakethu, his nephew. Yudhisthira was crowned king of Hastinapur. He renounced the throne after ruling for 36 years, passing on the crown to Arjuna's grandson Parikshit. He then left for the Himalayas with Draupadi and his brothers in what was to be their last journey. Draupadi and four Pandavas - Bhima, Arjuna, Nakula and Sahadeva died during the journey. Yudhisthira, the lone survivor and being of pious heart, was invited by Dharma to enter the heavens as a mortal.

 

WIKIPEDIA

The Kurukshetra War is a mythological war described in the Indian epic Mahabharata as a conflict that arose from a dynastic succession struggle between two groups of cousins of an Indo-Aryan kingdom called Kuru, the Kauravas and Pandavas, for the throne of Hastinapura. It involved a number of ancient kingdoms participating as allies of the rival groups.

 

The Kurukshetra War is believed to date variously from 6000 BCE to 500 BCE based on the astronomical and literary information from Mahabharata. The history of the Kurukshetra War is also traced to the Battle of the Ten Kings mentioned in Rigveda.

 

The location of the battle is described as having occurred in Kurukshetra in the modern state of Haryana

 

Mahabharata states that the war started on Kartheeka Bahula Amavasya (the end of the Kartheeka and the start of the Margasira lunar month), moon on Jyesta star, on Tuesday early morning. A solar eclipse also happened on that day, and this Muhurtha was kept by Krishna himself. The Bhagavad Gita was told on that early morning, before the war began. The war lasted only eighteen days, during which vast armies from all over the Indian (Bharatha) Subcontinent fought alongside the two rivals. Despite only referring to these eighteen days, the war narrative forms more than a quarter of the book, suggesting its relative importance within the epic, which overall spans decades of the warring families.

 

The narrative describes individual battles of various heroes of both sides, battle-field deaths of some of the prominent heroes, military formations employed on each day by both armies, war diplomacy, meetings and discussions among the heroes and commanders before commencement of war on each day and the weapons used. The chapters (parvas) dealing with the war (from chapter six to ten) are considered amongst the oldest in the entire Mahabharat.

 

HISTORICAL CONTEXT

Though the Kurukshetra War is not mentioned in Vedic literature, its prominence in later literature led historians such as A. L. Basham to conclude that, "certainly a great war took place and succeeding generations looked upon it as marking an end of an epoch". Popular tradition holds that the war marks the transition to Kaliyuga and thus dates it to 3102 BCE; another tradition places the war in 15th century BCE. However historians regard these dates as too early and inconsistent with the available archaeological and literary evidence. Basham considers the beginning of the 9th century BCE as a more plausible date for the events. Similarly, Michael Witzel concludes that the general setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.

 

Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit(Arjun's grandson) and the accession of Mahapadma Nanda, commonly dated to 382 BCE, which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies.

 

Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna(Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna and thus approximately 950 BCE for the Bharata battle.

 

B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.

 

There have been a number of theories put forward:

 

- The most widely accepted date is 10th century BCE or 950 BCE, according to archeological evidence.

- B. N. Achar states a date of 3067 BCE using planetary positions listed in the Mahabharata.

- S. Balakrishna concluded a date of 2559 BCE using consecutive lunar eclipses.

- P. V. Holey states a date of November 13, 3143 BCE using planetary positions and calendar systems.

- R. N. Iyengar concluded a date of 1478 BCE using double eclipses and Saturn+Jupiter conjunctions.

- P. R. Sarkar estimates a date of 1298 BCE for the war of Kurukshetra.

- P. V. Vartak calculates a date of October 16, 5561 BCE using planetary positions.

- K. Sadananda, based on translation work, states that the Kurukshetra War started on November 22 3067 BCE.

 

The reconstruction of the history of Vedic India is based on text-internal details. Linguistically, the Vedic texts could be classified in five chronological strata as Rigvedic, Mantra, Samhita, Brahmana, Sutra, and Epic and Paninian. The Mantra language period includes both the mantra and prose language of the Atharvaveda(Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita(containing some 75 mantras not in the Rigveda) and the mantras of the Yajurveda. Many of these texts are largely derived from the Rigveda, but have undergone certain changes, both by linguistic change and by reinterpretation. Conspicuous changes include the change of vishva "all" by sarva and the spread of the kuru- verbal stem for Rigvedic krno-). This is from the time of the early Iron Age in north-western India, corresponding to the Black and Red Ware(BRW) culture and the kingdom of the Kurus, dating from ca. the 10th century BCE. The Samhita prose period marks the beginning of the collection and codification of a Vedic canon. An important linguistic change is the complete loss of the injunctive. The Brahmana part ('commentary' on mantras and ritual) of the Black Yajurveda(MS, KS, TS) belongs to this period. Archaeologically, the Painted Grey Ware(PGW) culture from ca. 900 BCE corresponds and the shift of the political center from the Kurus to the Pancalas on the Ganges.

 

BACKGROUND

Mahabharata, one of the most important Hindu epics, is an account of the life and deeds of several generations of a ruling dynasty called the Kuru clan. Central to the epic is an account of a war that took place between two rival families belonging to this clan. Kurukshetra (literally "field of the Kurus"), was the battleground on which this war, known as the Kurukshetra War, was fought. Kurukshetra was also known as "Dharmakshetra"(the "field of Dharma"), or field of righteousness. Mahabharata tells that this site was chosen for the war because a sin committed on this land was forgiven on account of the sanctity of this land.

 

The Kuru territories were divided into two and were ruled by Dhritarashtra(with his capital at Hastinapura) and Yudhishthira of the Pandavas(with his capital at Indraprastha). The immediate dispute between the Kauravas(sons of Dhritarashtra) and the Pandavas arose from a game of dice, which Duryodhana won by deceit, forcing their Pandava cousins to transfer their entire territories to the Kauravas (to Hastinapura) and to "go into exile" for thirteen years. The dispute escalated into a full scale war when Prince Duryodhana, the eldest of the Kauravas, driven by jealousy, refused to restore the Pandavas their territories after the exile as earlier decided, as Duryodhana objected that they were discovered while in exile, and that no return of their kingdom was agreed upon.

 

Prior to the war, the disinherited Pandavas in the kingdom of Matsya, advised by Krishna, tried to find a diplomatic and peaceful solution to the conflict. Balarama, Krishna's older brother, advised the Pandavas to send an emissary to get the support of the elders of the family, like Bhishma, Dhritarashtra, Drona, Kripa etc., with the message "Let us avoid armed conflict as much as possible. Only that which is accrued in peace is worthwhile. Out of war, nothing but wrong can issue". While the emissary was in the Kaurava court, the Pandavas continued with war preparations. They sent messages requesting assistance to a number of neighbouring kingdoms. Their ambassador of peace was insulted and turned away by Duryodhana, who was intent on war, defying the counsel of elders like Bhishma. After several failed attempts at peace, war seemed inevitable. The two sides to the war were the Pandavas and the Kauravas (the official Kuru tribe now ruling both Hastinapura and Indraprastha), both with their allies.

 

Jaya, the core of Mahabharata, is structured in the form of a dialogue between Kuru king Dhritarashtra and Sanjaya, his advisor and chariot driver. Sanjaya narrates each incident of the Kurukshetra War, fought in 18 days, as and when it happened. Dhritarashtra sometimes asks questions and doubts and sometimes laments, knowing about the destruction caused by the war, to his sons, friends and kinsmen. He also feels guilty, due to his own role, that led to this war, destructive to the entire Indian subcontinent.

 

In the beginning Sanjaya gives a description of the various continents of the Earth, the other planets, and focuses on the Indian Subcontinent, then gives an elaborate list of hundreds of kingdoms, tribes, provinces, cities, towns, villages, rivers, mountains, forests etc. of the(ancient) Indian Subcontinent(Bharata Varsha). He also explains about the 'military formations adopted by each side on each day, the death of each hero and the details of each war-racing. Some 18 chapters of Vyasa's Jaya constitutes the Bhagavad Gita, one of the sacred texts of the Hindus. Thus, this work of Vyasa, called Jaya, deals with diverse subjects like geography, history, warfare, religion and morality. According to Mahabharata itself, the Jaya was recited to the King Janamejaya, the great-grandson of Arjuna, by Vaisampayana, a disciple of Vyasa (then called the Bharata). The recitation of Vaisampayana to Janamejaya was then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year-long sacrifice for King Saunaka Kulapati in the Naimisha forest (then called the Mahabharata).

 

COMBATANTS

The Kurus formed a kingdom in the Vedic period of India. They formed the first political center after the Rigvedic period, after their emergence from the Punjab, and it was there that the codification and redaction of the Vedic texts began. Archaeologically, they most likely correspond to the Black and Red Ware Culture of the 12th to 9th centuries BC, at the beginning of the Iron Age in western India. Panchala was the second urban center of Vedic civilization, as its focus moved east from the Punjab, after the focus of power had been with the Kurus in the early Iron Age. This period is associated with the Painted Grey Ware culture, arising around 1100 BCE, and declining from 600 BCE, with the end of the Vedic period. The ruling confederacy, the Panchalas, as their name suggests, probably consisted of five clans - the Krivis, the Turvashas, The Keshins, the Srinjayas and the Somakas. Drupada, whose daughter Draupadi was married to the Pandavas belonged to the Somaka clan. However, the Mahabharata and the Puranas consider the ruling clan of the northern Panchala as an offshoot of the Bharata clan and Divodasa, Sudas, Srinjaya, Somaka and Drupada(also called Yajnasena) were the most notable rulers of this clan.

 

KRISHNA`S PEACE MISSION

As a last attempt at peace, Krishna travelled to Hastinapur to persuade the Kauravas to embark upon a peaceful path with him. At Hastinapur, Krishna took his meals and stayed at the house of the minister, Vidura, a religious man and a devotee of Krishna. Duryodhana was insulted that Krishna had turned down his invitation to dine with him and stay in his royal palace. Determined to stop the peace mission, Duryodhana plotted to arrest Krishna.

 

At the formal presentation of the peace proposal by Krishna at the court of Hastinapur, Krishna asked Duryodhana to give back Indraprastha or if not at least five villages, one for each of the Pandavas, but Duryodhana said he could not give land even as much as tip of a needle, Krishna's peace proposals were ignored and Duryodhana publicly ordered his soldiers to arrest Krishna. Krishna laughed and displayed his divine form, radiating intense light. Furious at the insult inflicted upon Him, Lord Krishna cursed Duryodhana that his downfall was certain, to the shock of Dhirtharastra, who tried to pacify the Lord.

 

His peace mission being rejected by Duryodhana, Krishna returned to Upaplavya to inform the Pandavas that the only course left to uphold the principles of virtue and righteousness was inevitable - war. During the course of his return, Krishna met Karna, Kunti's firstborn(before Yudhisthira) and said to help his brothers, but, being helped by Duryodhana, Karna said to Krishna that he would battle against Pandavas.

 

WAR PREPARATIONS

Krishna had a large force called the Narayani Sena and was himself a great warrior. Duryodhana and Arjuna thus both went to Krishna at Dwarka to ask for his help. Duryodhana arrived first and found Krishna asleep. Being arrogant and viewing himself as equal to Krishna, Duryodhana chose a seat at Krishna's head and waited for him to rouse. Arjuna arrived later and being a humble devotee of Krishna, chose to sit and wait at Krishna's feet. When Krishna woke up, he saw Arjuna first and gave him the first right to make his request. Krishna told Arjuna and Duryodhana that he would give the Narayani Sena, to one side and himself as a non-combatant to the other. Since Arjuna was given the first opportunity to choose, Duryodhana was worried that Arjuna would choose the mighty army of Krishna. When given the choice of either Krishna's army or Krishna himself on their side, Arjuna on behalf of the Pandavas chose Krishna, unarmed on his own, relieving Duryodhana, who thought Arjuna to be the greatest fool. Later Arjuna requested Krishna to be his charioteer and Krishna, being an intimate friend of Arjuna, agreed wholeheartedly and hence received the name Parthasarthy, or 'charioteer of the son of Pritha'. Both Duryodhana and Arjuna returned satisfied.

 

While camping at a place called Upaplavya, in the territory of Virata, the Pandavas gathered their armies. Contingents arrived from all parts of the country and soon the Pandavas had a large force of seven divisions. The Kauravas managed to raise an even larger army of eleven divisions. Many kingdoms of ancient India such as Dwaraka, Kasi, Kekaya, Magadha, Chedi, Matsya, Pandya, and the Yadus of Mathura were allied with the Pandavas; while the allies of the Kauravas comprised the kings of Pragjyotisha, Kalinga, Anga, Kekaya, Sindhudesa, Avanti in Madhyadesa, Gandharas, Bahlikas, Mahishmati, Kambojas(with the Yavanas, Sakas, Trilinga, Tusharas) and many others.

 

PANDAVA ARMY

Seeing that there was now no hope for peace, Yudhisthira, the eldest of the Pandavas, asked his brothers to organize their army. The Pandavas accumulated seven Akshauhinis army with the help of their allies. Each of these divisions were led by Drupada, Virata, Dhristadyumna, Shikhandi, Satyaki, Chekitana and Bhima. After consulting his commanders, the Pandavas appointed Dhristadyumna as the supreme commander of the Pandava army. Mahabharata says that kingdoms from all over ancient India supplied troops or provided logistic support on the Pandava side. Some of these were: Kekaya, Pandya, Cholas, Magadha and many more.

 

KAURAVA ARMY

The Kaurava army consisted of 11 Akshauhinis. Duryodhana requested Bhishma to command the Kaurava army. Bhishma accepted on the condition that, while he would fight the battle sincerely, he would not harm the five Pandava brothers. In addition, Bhishma said that Karna would not fight under him as long as he is in the battlefied. It is believed by many that Bhishma pushed Karna into taking this decision due to his affection towards the Pandavas - the Kauravas would be overwhelmingly powerful if both he and Karna appeared in battle simultaneously. However the excuse he used to prevent their simultaneous fighting was that his guru(Parshurama) was insulted by Karna. He also knew that Karna was a Kaunteya(Son of Kunti) from the day he met him in Ranakshetra when Karna offered Arjuna to fight against him and Bhishma wanted to keep Karna out, so that there will be someone to lead the army once he is unable to continue with the war. Regardless, Duryodhana agreed to Bhishma's conditions and made him the supreme commander of the Kaurava army, while Karna was debarred from fighting. But Karna enters the war later when Bhishma is wounded by Arjuna. Apart from the one hundred Kaurava brothers, headed by Duryodhana himself and his brother Dushasana, the second eldest son of Dhritarashtra, the Kauravas were assisted on the battlefield by Drona and his son Ashwatthama, the Kaurava's brother-in-law Jayadratha, the Brahmin Kripa, Kritavarma, Shalya, Sudakshina, Bhurisrava, Bahlika, Shakuni and many more who were bound by their loyalty towards either Hastinapura or Dhritarashtra.

 

NEUTRAL PARTIES

The kingdom of Vidarbha, with its King Rukmi, Vidura, the ex-prime minister of Hastinapur and younger brother to Dhritarashtra and Balarama were the only neutrals in this war. Rukmi wanted to join the war, but Duryodhana and Arjuna refused to allow him, because he boasted about his war strength and army. Vidura did not want to see the bloodshed of the war, although he was a good battle strategist. The powerful Balarama refused to fight at Kurukshetra, because he was both Bhima and Duryodhana's wrestling coach.

 

ARMY DIVISIONS & WEAPONRY

Each army consisted of several divisions; the Kauravas had 11 while the Pandavas had 7. A division(akshauhini) includes 21,870 chariots and chariot-riders, 21,870 War elephants and riders, 65,610 Cavalry and 109,350 foot-soldiers(in a ratio of 1:1:3:5). The combined number of warriors and soldiers in both armies was approximately 3.94 million. Each Akshauhini was under a commander or a general, apart from the Commander in chief or the generalissimo who was the head of the entire army.

 

During the Kurukshetra War, the weapons used included: the bow, the weapon of choice for Arjuna, Bhishma, Drona, Karna, Satyaki, Vikarna and Abhimanyu; the mace, chosen by Bhima and Duryodhana, the spear, chosen by Yudhistira and Shalya; the sword chosen by Nakula, Dushasana, Dhristadymna and other Kauravas; and the axe chosen by Sahadeva.

 

MILITARY FORMATIONS

At various times during battle, the supreme commander of either army ordered special formations(vyuhas). Each formation had a specific purpose; some were defensive while others were offensive. Each formation had its specific strengths and weaknesses. The Mahābhārata lists the following:

 

Krauncha vyuha(heron formation)

Makara vyuha(crocodile formation)

Kurma vyuha(tortoise or turtle formation)

Trishula vyuha(trident formation)

Chakrvyuha(wheel or discus formation)

Kamala vyuha or Padma vyuha(lotus formation)

Garud vyuha(eagle formation)

Oormi vyuha(ocean formation)

Mandala vyuha(galaxy formation)

Vajra vyuha(diamond or thunderbolt formation)

Shakata vyuha(box or cart formation)

Asura vyuha(demon formation)

Deva vyuha(divine formation)

Soochi vyuha(needle formation)

Sringataka vyuha(horned formation)

Chandrakala vyuha(crescent or curved blade formation)

Mala vyuha(garland formation)

 

It is not clear what the formations actually indicate. They may be arrangements of bear resemblance to animals, or they may be names given to battle strategies.

 

CLASSIFICATION OF WARRIORS BY BHISHMA

Bhishma, the grandsire of both Kauravas and Pandavas, analysed each warrior on both sides of the army. As per Bhishma at the tale of Rathi and Maharathi there are 3 types of warriors. They are Rathi, Atirathi and Maharathi. He classified every warrior on both sides of the army following his judgement and knowledge of the science of weapons. According to him the highest level of a warrior is Maharathi.

 

*Rathi: A warrior capable of attacking 5,000 warriors simultaneously.

 

*Atirathi: A warrior capable of contending with 12 Rathi class warriors or 60,000 warriors simultaneously

 

*Maharathi: A warrior capable of fighting 12 Atirathi class warriors or 720,000 warriors simultaneously, circumspect in his mastery of all forms of weapons and combat skills.

 

FROM KAURAVA SIDE

Rathis,* Sudhakshina, the ruler of the Kamvojas, *Sakuni, King of Gandhar and uncle of Kauravas, *Duryodhana's son Lakshmana and the son of Dushasana, *Jayadrath, the king of the Sindhu and brother in law of Kauravas, *All 99 brothers of Duryodhana, including Dushasan, are single Rathis, *Duryodhana is classified as a warrior equal to 8 Rathis.

 

Atirathis

- Bhoja chief Kritavarman

- The ruler of the Madras,Salya

- Bhurisravas, the son of Somadatta

- Kripa, also known as Kripacharya, the son of Saradwat

 

Maharathis

- Alambhusha, the Chief of Rakshasas

- The ruler of Pragjyotisha, the brave Bhagadatta

- Vrishasena, the son of Karna,

- Guru Drona

- Asvathama, the son of Guru Drona and the avatar of Lord Shiva. (Even though he was classified as a Maharatha, in reality he was peerless and equal to Lord Shiva in battle according to Bhishma; but the only pre-condition is that Asvathama has to become extremely angry to unleash his full potential)

- Karna is equal to 2 Maharathi.

- Bhishma, even though he never classified himself. Later it was revealed that Bhishma was equal to 2 Maharatha warriors. (But at the tale of Rathi and Atirathi, Bhishma classified him as just half a Rathi in order to weaken his morale when fighting against his brothers, the Pandavas, at the request of Lord Krishna)

 

FROM PANDAVA SIDE

Rathis

- Uttamaujas

- Sikhandi, the son of the king of the Panchalas

- Yudishtira the son of Pandu and Kunti, is a Ratha.

- Nakul and Sahadeva are single Rathis

- Bhima is regarded as equal to 8 Rathas.

 

Atirathis

- Satyaki of the Vrishni race,

- Dhrishtadyumna the son of Drupuda

- Kuntibhoja,the maternal uncle of Pandavas

- Ghatotkacha, prince of Rakshasas and master of all illusions, son Bhima and Hidimva.

 

Maharathis

- Virata King

- Drupuda, King of Panchalas

- Dhrishtaketu, the son of Sisupala, the king of the Chedis

- All sons of Draupadi are Maharathas

- Abhimanyu,the son of Arjuna is equal to 2 Maharatha.

- Arjuna is equal to 2 Maharatha warrior

 

RULES OF ENGAGEMENT

The two supreme commanders met and framed "rules of ethical conduct", dharmayuddha, for the war. The rules included:

 

- Fighting must begin no earlier than sunrise and end exactly at sunset.

- More than one warriors may not attack a single warrior.

- Two warriors may "duel", or engage in prolonged personal combat, only if they carry the same weapons and they are on the same type of mount(on foot, on a horse, on an elephant, or in a chariot).

- No warrior may kill or injure a warrior who has surrendered.

- One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war.

- No warrior may kill or injure an unarmed warrior.

- No warrior may kill or injure an unconscious warrior.

- No warrior may kill or injure a person or animal not taking part in the war.

- No warrior may kill or injure a warrior whose back is turned away.

- No warrior may attack a woman.

- No warrior may strike an animal not considered a direct threat.

- The rules specific to each weapon must be followed. For example, it is prohibited to strike below the waist in mace warfare.

- Warriors may not engage in any unfair warfare.

 

COURSE OF WAR

The Kurukshetra War lasted eighteen days. It was fought only during daylight hours; fighting ceased at sunset. Each day the battle was characterised by numerous individual combats, as well as mass raids against entire enemy divisions. The victor or the vanquished on each day was determined not by any territories gained, but by the body count. This was a war to the death. The victor was the survivor. If the text is taken to be chronologically accurate, this was one of the bloodiest wars in the history of mankind. Arjuna, in a fit of extreme anger over the death of his son Abhimanyu, alone killed one akshauhini of Kaurava soldiers in a single day. The war left an extremely large number of widows and orphans and led to an economic depression and the beginning of Kali Yuga.

 

BEFORE THE BATTLE

It has been observed that the year in which the Mahabharata War took place, the year had three solar eclipses on earth in a span of thirty days. Eclipses are considered ill for life on earth according to Hindu astrology.

 

On the first day of the war, as would be on all the following days, the Kaurava army stood facing west and the Pandava army stood facing east. The Kaurava army was formed such that it faced all sides: elephants formed its body; the kings, its head; and the steeds, its wings. Bhishma, in consultation with his commanders Drona, Bahlika and Kripa, remained in the rear.

 

The Pandava army was organised by Yudhisthira and Arjuna in the Vajra formation. Because the Pandava army was smaller than the Kaurava's, they decided to employ the tactic of each warrior engaging as many enemies as possible. This involved an element of surprise, with the bowmen showering arrows hiding behind the frontal attackers. The attackers in the front were equipped with short-range weapons like maces, battle-axes, swords and lances.

 

Ten divisions(Akshauhinis) of the Kaurava army were arranged in a formidable phalanx. The eleventh was put under the immediate command of Bhishma, partly to protect him. The safety of the supreme commander Bhishma was central to Duryodhana's strategy, as he had placed all his hope on the great warrior's abilities. Dushasana, the younger brother of Duryodhana, was the military officer in-charge of Bhishma's protection.

 

THE BHAGVAD GITA

When the war was declared and the two armies were facing each other, Arjuna realised that he would have to kill his dear great-granduncle(Bhishma), on whose lap he had played as a child and his respected teacher(Drona), who had held his hand and taught him how to hold the bow and arrow, making him the greatest archer in the world. Arjuna felt weak and sickened at the prospect of killing his entire family, including his 100 cousins and friends such as Ashwatthama. Despondent and confused about what is right and what is wrong, Arjuna turned to Krishna for divine advice and teachings. Krishna, who Arjuna chose as his charioteer, advised him of his duty. This conversation forms the Bhagavad Gita, one of the most respected religious and philosophical texts in the Hindu religion. Krishna instructs Arjuna not to yield to degrading impotence and to fight his kin, for that was the only way to righteousness. He also reminded him that this was a war between righteousness and unrighteousness(dharma and adharma) and it was Arjuna's duty to slay anyone who supported the cause of unrighteousness, or sin. Krishna then revealed his divine form and explained that he is born on earth in each aeon when evil raises its head. It also forms one of the foremost treatise on the several aspects of Yoga and mystical knowledge.

 

Before the battle began, Yudhisthira did something unexpected. He suddenly dropped his weapons, took off his armour and started walking towards the Kaurava army with folded hands in prayer. The Pandava brothers and the Kauravas looked on in disbelief, thinking Yudhisthira was surrendering before the first arrow was shot. Yudhisthira's purpose became clear, however, when he fell on Bhishma's feet to seek his blessing for success in battle. Bhishma, grandfather to both the Pandavas and Kauravas, blessed Yudhisthira. Yudhisthira returned to his chariot and the battle was ready to commence.

 

DAY 1

When the battle was commenced, Bhishma went through the Pandava army wreaking havoc wherever he went but Abhimanyu, Arjuna's son, seeing this went straight at Bhishma, defeated his bodyguards and directly attacked the commander of the Kaurava forces. The Pandavas suffered numerous losses and were defeated at the end of the first day. Virata's sons, Uttara and Sweta, were slain by Shalya and Bhishma. Krishna consoled the distraught Yudhisthira saying that eventually victory would be his.

 

DAY 2

The second day of the war commenced with a confident Kaurava army facing the Pandavas. Arjuna, realising that something needed to be done quickly to reverse the Pandava losses, decided that he must try to kill Bhishma. Krishna skillfully located Bhishma's chariot and steered Arjuna toward him. Arjuna tried to engage Bhishma in a duel, but the Kaurava soldiers placed around Bhishma to protect him attacked Arjuna to try to prevent him from directly engaging Bhishma. Arjuna and Bhishma fought a fierce battle that raged for hours. Drona and Dhristadyumna similarly engaged in a duel during which Drona broke Dhristadyumna's bow numerous times. Bhima intervened and rescued Dhristadyumna. Duryodhana sent the Kalinga forces to attack Bhima and most of them lost their lives at his hands. Bhishma immediately came to relieve the battered Kalinga forces. Satyaki, who was assisting Bhima, shot at Bhishma's charioteer and killed him. Bhishma's horses, with no one to control them, bolted carrying Bhishma away from the battlefield. The Kaurava army had suffered great losses at the end of the second day.

 

DAY 3

On the third day, Bhishma arranged the Kaurava forces in the formation of an eagle with himself leading from the front, while Duryodhana's forces protected the rear. Bhishma wanted to be sure of avoiding any mishap. The Pandavas countered this by using the crescent formation with Bhima and Arjuna at the head of the right and the left horns, respectively. The Kauravas concentrated their attack on Arjuna's position. Arjuna's chariot was soon covered with arrows and javelins. Arjuna, with amazing skill, built a fortification around his chariot with an unending stream of arrows from his bow. Abhimanyu and Satyaki combined to defeat the Gandhara forces of Shakuni. Bhima and his son Ghatotkacha attacked Duryodhana in the rear. Bhima's arrows hit Duryodhana, who swooned in his chariot. His charioteer immediately drove them out of danger. Duryodhana's forces, however, saw their leader fleeing the battlefield and soon scattered. Bhishma soon restored order and Duryodhana returned to lead the army. He was angry at Bhishma, however, at what he saw as leniency towards the five Pandava brothers and spoke harshly at his commander. Bhishma, stung by this unfair charge, fell on the Pandava army with renewed vigor. It was as if there were more than one Bhishma on the field.

 

Arjuna and Krishna attacked Bhishma trying to restore order. Arjuna and Bhishma again engaged in a fierce duel, however Arjuna's heart was not in the battle as he did not like the idea of attacking his grand-uncle. During the battle, Bhishma killed numerous soldiers of Arjuna's armies.

 

DAY 4

The fourth-day of the battle was noted for the valour shown by Bhima. Bhishma commanded the Kaurava army to move on the offensive from the outset. While Abhimanyu was still in his mother's womb, Arjuna had taught Abhimanyu on how to break and enter the chakra vyuha. But, before explaining how to exit the chakra Vyuha, Arjuna was interrupted by Krishna(other story: Abhimanyu's mother falls asleep while Arjuna was explaining her). Thus from birth, Abhimanyu only knew how to enter the Chakra vyuha but didn't know how to come out of it. When the Kauravas formed the chakravyuha, Abhimanyu entered it but was surrounded and attacked by a number of Kaurava princes. Arjuna joined the fray in aid of Abhimanyu. Bhima appeared on the scene with his mace aloft and started attacking the Kauravas. Duryodhana sent a huge force of elephants at Bhima. When Bhima saw the mass of elephants approaching, he got down from his chariot and attacked them single handedly with his iron mace. They scattered and stampeded into the Kaurava forces killing many. Duryodhana ordered an all-out attack on Bhima. Bhima withstood all that was thrown at him and attacked Duryodhana's brothers, killing eight of them. Bhima was soon struck by an arrow on the chest and sat down in his chariot dazed.

 

Duryodhana was distraught at the loss of his brothers. Duryodhana, overwhelmed by sorrow at the loss of his brothers, went to Bhishma at the end of the fourth day of the battle and asked his commander how could the Pandavas, facing a superior force against them, still prevail and win. Bhishma replied that the Pandavas had justice on their side and advised Duryodhana to seek peace.

 

DAYS 5-9

When the battle resumed on the fifth day, the slaughter continued. The Pandava army again suffered against Bhishma's attacks. Satyaki bore the brunt of Drona's attacks and soon could not withstand them. Bhima drove by and rescued Satyaki. Arjuna fought and killed thousands of soldiers sent by Duryodhana to attack him. The unimaginable carnage continued during the ensuing days of the battle.

 

The sixth day was marked by a prodigious slaughter. Drona caused immeasurable loss of life on the Pandava side. The formations of both the armies were broken. On day 7 Drona slays Shankya, son of Virata. On the eighth day Bhima killed eight of Dhritarashtra's sons.

 

On the ninth day Krishna, overwhelmed by anger at the apparent inability of Arjuna to defeat Bhishma, rushed towards the Kaurava commander, the wheel of a fallen chariot in his hands. Bhishma lays down his arms and is ready to die at the hands of the Lord, but Arjuna stops him, reminding of his promise not to wield a weapon. Realizing that the war could not be won as long as Bhishma was standing, Krishna suggested the strategy of placing a eunuch in the field to face him. Some sources however state that it was Yudhistira who visits Bhishma's camp at night asking him for help. To this Bhishma says that he would not fight a eunuch.

 

DAY 10

On the tenth day, the Pandavas, unable to withstand Bhishma's prowess, decided to put Shikhandi, who had been a woman in a prior life in front of Bhishma, as Bhishma has taken a vow not to attack a woman. Shikhandi's arrows fell on Bhishma without hindrance. Arjuna positioned himself behind Shikhandi, protecting himself from Bhishma's attack and aimed his arrows at the weak points in Bhishma's armour. Soon, with arrows sticking from every part of his body, the great warrior fell from his chariot. His body did not touch the ground as it was held aloft by the arrows protruding from his body.

 

The Kauravas and Pandavas gathered around Bhishma and at his request, Arjuna placed three arrows under Bhishma's head to support it. Bhishma had promised his father, King Shantanu, that he would live until Hastinapur were secured from all directions. To keep this promise, Bhishma used the boon of "Ichcha Mrityu"(self wished death) given to him by his father. After the war was over, when Hastinapur had become safe from all sides and after giving lessons on politics and Vishnu Sahasranama to the Pandavas, Bhishma died on the first day of Uttarayana.

 

DAY 11

With Bhishma unable to continue, Karna entered the battlefield, much to Duryodhana's joy. He made Drona the supreme commander of the Kaurava forces. Karna and Duryodhana wanted to capture Yudhisthira alive. Killing Yudhisthira in battle would only enrage the Pandavas more, whereas holding him as hostage would be strategically useful. Drona formulated his battle plans for the eleventh day to this aim. He cut down Yudhisthira's bow and the Pandava army feared that their leader would be taken prisoner. Arjuna rushed to the scene, however and with a flood of arrows made Drona retreat.

 

DAY 12

With his attempts to capture Yudhisthira thwarted, Drona confided to Duryodhana that it would be difficult as long as Arjuna was around. He summoned King Bhagadatta, the monarch of Pragjyotisha(modern day Assam, India). Bhagadatta had thousands of gigantic elephants in his stable and was considered the strongest warrior on this planet in elephant warfare. Bhagadatta attacked Arjuna with his gigantic elephant named Suprateeka. It was a fierce battle in which Bhagadatta matched Arjuna astra for astra but Arjuna slew him. Drona continued to try and capture Yudhisthira. The Pandavas however fought hard and delivered severe blows to the Kaurava army.

 

DAY 13

The King of Trigartadesa, Susharma along with his 3 brothers and 35 sons who were fighting on the Kaurava side made a pact that they would make sure that Arjuna comes and doesn't break the Chakra Vuyh and kill him or die. They went into the battlefield on the twelfth day and challenged Arjuna. Arjuna gave them a fierce fight in which the brothers fell dead after fighting a brave fight. Drona continued to try and capture Yudhisthira.

 

On the other side of the battlefield, the remaining four Pandavas and their allies were finding it impossible to break Dronacharya's "Chakra Vyuh" formation. As Arjuna was busy fighting with the Trigartadesa princes and the Prajayogastha monarch on the other side of the battlefield, he could not be summoned to break the Chakra Vyuha formation, which could only be broken by entering and exiting the formation. Yudhisthira instructed, Abhimanyu, one of Arjuna's sons to break the Chakra vyuha formation. Abhimanyu knew the secret of entering the Chakra vyuh formation, but did not know how to exit it. Abhimanyu slew tens of thousands of warriors. He also killed Duryodhana's son. Duryodhana got enraged and ordered Durmashana, who was Dushasana's son to attack Abhimanyu but he died under the hands of Abhimanyu. Next he ordered his men to attack Abhimanyu all at once. Abhimanyu fought but was surrounded and killed by many warriors in a combined attack.

 

Upon learning of the death of his son, Arjuna vowed to kill Jayadratha on the morrow before the battle ended at sunset, otherwise he would throw himself into the fire.

 

DAY 14

While searching for Jayadrath on the battlefield, Arjuna slew an akshauhini(battle formation that consisted of 21,870 chariots(Sanskrit ratha); 21,870 elephants; 65,610 cavalry and 109,350 infantry) of Kaurav soldiers. The Shakatavuyha Kaurav army tightly protected Jayadratha, however, preventing Arjuna from attacking him. Finally, in late afternoon, Arjuna found Jayadratha guarded by the mighty Kaurav army. Seeing his friend's plight, Lord Krishna raised his Sudarshan Chakra to cover the sun, faking a sunset. Arjun fought a powerful battle with Jayadrath and finally defeated him. Then, Arjuna shot a powerful arrow decapitating Jayadrath. While Arjuna destroying the rest of the Shakatavuyha, Vikarna, the third eldest Kaurava, challenged Arjuna to an archery fight. Arjuna asks Bhima to decimate Vikarna, but Bhima refused to, because Vikarna defended the Pandavas during the Vastranam. Bhima and Vikarna showered arrows at each other. Later Bhima throws his mace at Vikarna, killing him. The muscular Pandava was devastated and mourned his death saying he was a man of Dharma and it was a pity how he lived his life.

 

The battle continued past sunset. When the bright moon rose, Ghatotkacha, son of Bhima slaughtered numerous warriors, attacking while flying in the air. Karna stood against him and both fought fiercely until Karna released the Shakti, a divine weapon given to him by Indra. Ghatotkacha increased his size and fell dead on the Kaurav army killing thousands of them.

 

DAY 15

After King Drupada and King Virata were slain by Drona, Bhima and Dhristadyumna fought him on the fifteenth day. Because Drona was very powerful and inconquerable having the irresistible Brahmadanda, Krishna hinted to Yudhisthira that Drona would give up his arms if his son Ashwatthama was dead. Bhima proceeded to kill an elephant named Ashwatthama and loudly proclaimed that Ashwatthama was dead. Drona approached Yudhisthira to seek the truth of his son's death. Yudhisthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant, The latter part of his proclamation(Naro va Kunjaro va) were drowned out by sound of the conch blown by Krishna intentionally (a different version of the story is that Yudhisthira pronounced the last words so feebly that Drona could not hear the word elephant). Prior to this incident, the chariot of Yudhisthira, proclaimed as Dharma raja(King of righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

 

Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna to avenge his father's death and satisfy his vow. Later, the Pandava's mother Kunti secretly met her abandoned son Karna and requested him to spare the Pandavas, as they were his younger brothers. Karna promised Kunti that he would spare them except for Arjuna, but also added that he would not fire a same weapon against Arjun twice.

 

DAY 16

On the sixteenth day, Karna was made the supreme commander of the Kuru army. Karna fought valiantly but was surrounded and attacked by Pandava generals, who were unable to prevail upon him. Karna inflicted heavy damage on the Pandava army, which fled. Then Arjuna successfully resisted Karna's weapons with his own and also inflicted casualties upon the Kaurava army. The sun soon set and with darkness and dust making the assessment of proceedings difficult, the Kaurava army retreated for the day.

 

On the same day, Bhima swung his mace and shattered Dushasana's chariot. Bhima seized Dushasana, ripped his right hand from shoulder and killed him, tearing open his chest and drinking his blood and carrying some to smear on Draupadi's untied hair, thus fulfilling his vow made when Draupadi was humiliated.

 

DAY 17

On the seventeenth day, Karna defeated the Pandava brothers Nakul, Bhima, Sahadeva and Yudhisthira in battle but spared their lives. Later, Karna resumed duelling with Arjuna. During their duel, Karna's chariot wheel got stuck in the mud and Karna asked for a pause. Krishna reminded Arjuna about Karna's ruthlessness unto Abhimanyu while he was similarly left without chariot and weapons. Hearing his son's fate, Arjuna shot his arrow and decapitated Karna. Before the day's battle, Karna's sacred armour ('Kavacha') and earrings ('Kundala') were taken as alms by Lord Indra when asked for, which resulted in his death by Arjuna's arrows.

 

DAY 18

On the 18th day, Shalya took over as the commander-in-chief of the remaining Kaurava forces. Yudhishthira killed king Shalya in a spear combat and Sahadeva killed Shakuni. Realizing that he had been defeated, Duryodhana fled the battlefield and took refuge in the lake, where the Pandavas caught up with him. Under the supervision of the now returned Balarama, a mace battle took place between Bhima and Duryodhana. Bhima flouted the rules(under instructions from Krishna) to strike Duryodhana beneath the waist in which he was mortally wounded.

 

Ashwatthama, Kripacharya, and Kritavarma met Duryodhana at his deathbed and promised to avenge the actions of Bhima. They attacked the Pandavas' camp later that night and killed all the Pandavas' remaining army including their children. Amongst the dead were Dhristadyumna and Shikhandi. Other than the Pandavas and Krishna, only Satyaki and Yuyutsu survived.

 

AFTERMATH

At the end of the 18th day, only twelve warriors survived the war - the five Pandavas, Krishna, Satyaki, Ashwatthama, Kripacharya, Yuyutsu, Vrishakethu(son of Karna) and Kritvarma. Vrishakethu was the only son of Karna who survived the horrific slaughter. He later came under the patronage of the Pandavas. During the campaign that preceded the Ashvamedha yagna, Vrishakethu accompanied Arjuna and participated in the battles with Sudhava and Babruvahana. During that campaign Vrishakethu married the daughter of King Yavanatha. It is said, Arjuna developed great affection for Vrishakethu, his nephew. Yudhisthira was crowned king of Hastinapur. He renounced the throne after ruling for 36 years, passing on the crown to Arjuna's grandson Parikshit. He then left for the Himalayas with Draupadi and his brothers in what was to be their last journey. Draupadi and four Pandavas - Bhima, Arjuna, Nakula and Sahadeva died during the journey. Yudhisthira, the lone survivor and being of pious heart, was invited by Dharma to enter the heavens as a mortal.

 

WIKIPEDIA

The Kurukshetra War is a mythological war described in the Indian epic Mahabharata as a conflict that arose from a dynastic succession struggle between two groups of cousins of an Indo-Aryan kingdom called Kuru, the Kauravas and Pandavas, for the throne of Hastinapura. It involved a number of ancient kingdoms participating as allies of the rival groups.

 

The Kurukshetra War is believed to date variously from 6000 BCE to 500 BCE based on the astronomical and literary information from Mahabharata. The history of the Kurukshetra War is also traced to the Battle of the Ten Kings mentioned in Rigveda.

 

The location of the battle is described as having occurred in Kurukshetra in the modern state of Haryana

 

Mahabharata states that the war started on Kartheeka Bahula Amavasya (the end of the Kartheeka and the start of the Margasira lunar month), moon on Jyesta star, on Tuesday early morning. A solar eclipse also happened on that day, and this Muhurtha was kept by Krishna himself. The Bhagavad Gita was told on that early morning, before the war began. The war lasted only eighteen days, during which vast armies from all over the Indian (Bharatha) Subcontinent fought alongside the two rivals. Despite only referring to these eighteen days, the war narrative forms more than a quarter of the book, suggesting its relative importance within the epic, which overall spans decades of the warring families.

 

The narrative describes individual battles of various heroes of both sides, battle-field deaths of some of the prominent heroes, military formations employed on each day by both armies, war diplomacy, meetings and discussions among the heroes and commanders before commencement of war on each day and the weapons used. The chapters (parvas) dealing with the war (from chapter six to ten) are considered amongst the oldest in the entire Mahabharat.

 

HISTORICAL CONTEXT

Though the Kurukshetra War is not mentioned in Vedic literature, its prominence in later literature led historians such as A. L. Basham to conclude that, "certainly a great war took place and succeeding generations looked upon it as marking an end of an epoch". Popular tradition holds that the war marks the transition to Kaliyuga and thus dates it to 3102 BCE; another tradition places the war in 15th century BCE. However historians regard these dates as too early and inconsistent with the available archaeological and literary evidence. Basham considers the beginning of the 9th century BCE as a more plausible date for the events. Similarly, Michael Witzel concludes that the general setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.

 

Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit(Arjun's grandson) and the accession of Mahapadma Nanda, commonly dated to 382 BCE, which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies.

 

Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna(Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna and thus approximately 950 BCE for the Bharata battle.

 

B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.

 

There have been a number of theories put forward:

 

- The most widely accepted date is 10th century BCE or 950 BCE, according to archeological evidence.

- B. N. Achar states a date of 3067 BCE using planetary positions listed in the Mahabharata.

- S. Balakrishna concluded a date of 2559 BCE using consecutive lunar eclipses.

- P. V. Holey states a date of November 13, 3143 BCE using planetary positions and calendar systems.

- R. N. Iyengar concluded a date of 1478 BCE using double eclipses and Saturn+Jupiter conjunctions.

- P. R. Sarkar estimates a date of 1298 BCE for the war of Kurukshetra.

- P. V. Vartak calculates a date of October 16, 5561 BCE using planetary positions.

- K. Sadananda, based on translation work, states that the Kurukshetra War started on November 22 3067 BCE.

 

The reconstruction of the history of Vedic India is based on text-internal details. Linguistically, the Vedic texts could be classified in five chronological strata as Rigvedic, Mantra, Samhita, Brahmana, Sutra, and Epic and Paninian. The Mantra language period includes both the mantra and prose language of the Atharvaveda(Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita(containing some 75 mantras not in the Rigveda) and the mantras of the Yajurveda. Many of these texts are largely derived from the Rigveda, but have undergone certain changes, both by linguistic change and by reinterpretation. Conspicuous changes include the change of vishva "all" by sarva and the spread of the kuru- verbal stem for Rigvedic krno-). This is from the time of the early Iron Age in north-western India, corresponding to the Black and Red Ware(BRW) culture and the kingdom of the Kurus, dating from ca. the 10th century BCE. The Samhita prose period marks the beginning of the collection and codification of a Vedic canon. An important linguistic change is the complete loss of the injunctive. The Brahmana part ('commentary' on mantras and ritual) of the Black Yajurveda(MS, KS, TS) belongs to this period. Archaeologically, the Painted Grey Ware(PGW) culture from ca. 900 BCE corresponds and the shift of the political center from the Kurus to the Pancalas on the Ganges.

 

BACKGROUND

Mahabharata, one of the most important Hindu epics, is an account of the life and deeds of several generations of a ruling dynasty called the Kuru clan. Central to the epic is an account of a war that took place between two rival families belonging to this clan. Kurukshetra (literally "field of the Kurus"), was the battleground on which this war, known as the Kurukshetra War, was fought. Kurukshetra was also known as "Dharmakshetra"(the "field of Dharma"), or field of righteousness. Mahabharata tells that this site was chosen for the war because a sin committed on this land was forgiven on account of the sanctity of this land.

 

The Kuru territories were divided into two and were ruled by Dhritarashtra(with his capital at Hastinapura) and Yudhishthira of the Pandavas(with his capital at Indraprastha). The immediate dispute between the Kauravas(sons of Dhritarashtra) and the Pandavas arose from a game of dice, which Duryodhana won by deceit, forcing their Pandava cousins to transfer their entire territories to the Kauravas (to Hastinapura) and to "go into exile" for thirteen years. The dispute escalated into a full scale war when Prince Duryodhana, the eldest of the Kauravas, driven by jealousy, refused to restore the Pandavas their territories after the exile as earlier decided, as Duryodhana objected that they were discovered while in exile, and that no return of their kingdom was agreed upon.

 

Prior to the war, the disinherited Pandavas in the kingdom of Matsya, advised by Krishna, tried to find a diplomatic and peaceful solution to the conflict. Balarama, Krishna's older brother, advised the Pandavas to send an emissary to get the support of the elders of the family, like Bhishma, Dhritarashtra, Drona, Kripa etc., with the message "Let us avoid armed conflict as much as possible. Only that which is accrued in peace is worthwhile. Out of war, nothing but wrong can issue". While the emissary was in the Kaurava court, the Pandavas continued with war preparations. They sent messages requesting assistance to a number of neighbouring kingdoms. Their ambassador of peace was insulted and turned away by Duryodhana, who was intent on war, defying the counsel of elders like Bhishma. After several failed attempts at peace, war seemed inevitable. The two sides to the war were the Pandavas and the Kauravas (the official Kuru tribe now ruling both Hastinapura and Indraprastha), both with their allies.

 

Jaya, the core of Mahabharata, is structured in the form of a dialogue between Kuru king Dhritarashtra and Sanjaya, his advisor and chariot driver. Sanjaya narrates each incident of the Kurukshetra War, fought in 18 days, as and when it happened. Dhritarashtra sometimes asks questions and doubts and sometimes laments, knowing about the destruction caused by the war, to his sons, friends and kinsmen. He also feels guilty, due to his own role, that led to this war, destructive to the entire Indian subcontinent.

 

In the beginning Sanjaya gives a description of the various continents of the Earth, the other planets, and focuses on the Indian Subcontinent, then gives an elaborate list of hundreds of kingdoms, tribes, provinces, cities, towns, villages, rivers, mountains, forests etc. of the(ancient) Indian Subcontinent(Bharata Varsha). He also explains about the 'military formations adopted by each side on each day, the death of each hero and the details of each war-racing. Some 18 chapters of Vyasa's Jaya constitutes the Bhagavad Gita, one of the sacred texts of the Hindus. Thus, this work of Vyasa, called Jaya, deals with diverse subjects like geography, history, warfare, religion and morality. According to Mahabharata itself, the Jaya was recited to the King Janamejaya, the great-grandson of Arjuna, by Vaisampayana, a disciple of Vyasa (then called the Bharata). The recitation of Vaisampayana to Janamejaya was then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year-long sacrifice for King Saunaka Kulapati in the Naimisha forest (then called the Mahabharata).

 

COMBATANTS

The Kurus formed a kingdom in the Vedic period of India. They formed the first political center after the Rigvedic period, after their emergence from the Punjab, and it was there that the codification and redaction of the Vedic texts began. Archaeologically, they most likely correspond to the Black and Red Ware Culture of the 12th to 9th centuries BC, at the beginning of the Iron Age in western India. Panchala was the second urban center of Vedic civilization, as its focus moved east from the Punjab, after the focus of power had been with the Kurus in the early Iron Age. This period is associated with the Painted Grey Ware culture, arising around 1100 BCE, and declining from 600 BCE, with the end of the Vedic period. The ruling confederacy, the Panchalas, as their name suggests, probably consisted of five clans - the Krivis, the Turvashas, The Keshins, the Srinjayas and the Somakas. Drupada, whose daughter Draupadi was married to the Pandavas belonged to the Somaka clan. However, the Mahabharata and the Puranas consider the ruling clan of the northern Panchala as an offshoot of the Bharata clan and Divodasa, Sudas, Srinjaya, Somaka and Drupada(also called Yajnasena) were the most notable rulers of this clan.

 

KRISHNA`S PEACE MISSION

As a last attempt at peace, Krishna travelled to Hastinapur to persuade the Kauravas to embark upon a peaceful path with him. At Hastinapur, Krishna took his meals and stayed at the house of the minister, Vidura, a religious man and a devotee of Krishna. Duryodhana was insulted that Krishna had turned down his invitation to dine with him and stay in his royal palace. Determined to stop the peace mission, Duryodhana plotted to arrest Krishna.

 

At the formal presentation of the peace proposal by Krishna at the court of Hastinapur, Krishna asked Duryodhana to give back Indraprastha or if not at least five villages, one for each of the Pandavas, but Duryodhana said he could not give land even as much as tip of a needle, Krishna's peace proposals were ignored and Duryodhana publicly ordered his soldiers to arrest Krishna. Krishna laughed and displayed his divine form, radiating intense light. Furious at the insult inflicted upon Him, Lord Krishna cursed Duryodhana that his downfall was certain, to the shock of Dhirtharastra, who tried to pacify the Lord.

 

His peace mission being rejected by Duryodhana, Krishna returned to Upaplavya to inform the Pandavas that the only course left to uphold the principles of virtue and righteousness was inevitable - war. During the course of his return, Krishna met Karna, Kunti's firstborn(before Yudhisthira) and said to help his brothers, but, being helped by Duryodhana, Karna said to Krishna that he would battle against Pandavas.

 

WAR PREPARATIONS

Krishna had a large force called the Narayani Sena and was himself a great warrior. Duryodhana and Arjuna thus both went to Krishna at Dwarka to ask for his help. Duryodhana arrived first and found Krishna asleep. Being arrogant and viewing himself as equal to Krishna, Duryodhana chose a seat at Krishna's head and waited for him to rouse. Arjuna arrived later and being a humble devotee of Krishna, chose to sit and wait at Krishna's feet. When Krishna woke up, he saw Arjuna first and gave him the first right to make his request. Krishna told Arjuna and Duryodhana that he would give the Narayani Sena, to one side and himself as a non-combatant to the other. Since Arjuna was given the first opportunity to choose, Duryodhana was worried that Arjuna would choose the mighty army of Krishna. When given the choice of either Krishna's army or Krishna himself on their side, Arjuna on behalf of the Pandavas chose Krishna, unarmed on his own, relieving Duryodhana, who thought Arjuna to be the greatest fool. Later Arjuna requested Krishna to be his charioteer and Krishna, being an intimate friend of Arjuna, agreed wholeheartedly and hence received the name Parthasarthy, or 'charioteer of the son of Pritha'. Both Duryodhana and Arjuna returned satisfied.

 

While camping at a place called Upaplavya, in the territory of Virata, the Pandavas gathered their armies. Contingents arrived from all parts of the country and soon the Pandavas had a large force of seven divisions. The Kauravas managed to raise an even larger army of eleven divisions. Many kingdoms of ancient India such as Dwaraka, Kasi, Kekaya, Magadha, Chedi, Matsya, Pandya, and the Yadus of Mathura were allied with the Pandavas; while the allies of the Kauravas comprised the kings of Pragjyotisha, Kalinga, Anga, Kekaya, Sindhudesa, Avanti in Madhyadesa, Gandharas, Bahlikas, Mahishmati, Kambojas(with the Yavanas, Sakas, Trilinga, Tusharas) and many others.

 

PANDAVA ARMY

Seeing that there was now no hope for peace, Yudhisthira, the eldest of the Pandavas, asked his brothers to organize their army. The Pandavas accumulated seven Akshauhinis army with the help of their allies. Each of these divisions were led by Drupada, Virata, Dhristadyumna, Shikhandi, Satyaki, Chekitana and Bhima. After consulting his commanders, the Pandavas appointed Dhristadyumna as the supreme commander of the Pandava army. Mahabharata says that kingdoms from all over ancient India supplied troops or provided logistic support on the Pandava side. Some of these were: Kekaya, Pandya, Cholas, Magadha and many more.

 

KAURAVA ARMY

The Kaurava army consisted of 11 Akshauhinis. Duryodhana requested Bhishma to command the Kaurava army. Bhishma accepted on the condition that, while he would fight the battle sincerely, he would not harm the five Pandava brothers. In addition, Bhishma said that Karna would not fight under him as long as he is in the battlefied. It is believed by many that Bhishma pushed Karna into taking this decision due to his affection towards the Pandavas - the Kauravas would be overwhelmingly powerful if both he and Karna appeared in battle simultaneously. However the excuse he used to prevent their simultaneous fighting was that his guru(Parshurama) was insulted by Karna. He also knew that Karna was a Kaunteya(Son of Kunti) from the day he met him in Ranakshetra when Karna offered Arjuna to fight against him and Bhishma wanted to keep Karna out, so that there will be someone to lead the army once he is unable to continue with the war. Regardless, Duryodhana agreed to Bhishma's conditions and made him the supreme commander of the Kaurava army, while Karna was debarred from fighting. But Karna enters the war later when Bhishma is wounded by Arjuna. Apart from the one hundred Kaurava brothers, headed by Duryodhana himself and his brother Dushasana, the second eldest son of Dhritarashtra, the Kauravas were assisted on the battlefield by Drona and his son Ashwatthama, the Kaurava's brother-in-law Jayadratha, the Brahmin Kripa, Kritavarma, Shalya, Sudakshina, Bhurisrava, Bahlika, Shakuni and many more who were bound by their loyalty towards either Hastinapura or Dhritarashtra.

 

NEUTRAL PARTIES

The kingdom of Vidarbha, with its King Rukmi, Vidura, the ex-prime minister of Hastinapur and younger brother to Dhritarashtra and Balarama were the only neutrals in this war. Rukmi wanted to join the war, but Duryodhana and Arjuna refused to allow him, because he boasted about his war strength and army. Vidura did not want to see the bloodshed of the war, although he was a good battle strategist. The powerful Balarama refused to fight at Kurukshetra, because he was both Bhima and Duryodhana's wrestling coach.

 

ARMY DIVISIONS & WEAPONRY

Each army consisted of several divisions; the Kauravas had 11 while the Pandavas had 7. A division(akshauhini) includes 21,870 chariots and chariot-riders, 21,870 War elephants and riders, 65,610 Cavalry and 109,350 foot-soldiers(in a ratio of 1:1:3:5). The combined number of warriors and soldiers in both armies was approximately 3.94 million. Each Akshauhini was under a commander or a general, apart from the Commander in chief or the generalissimo who was the head of the entire army.

 

During the Kurukshetra War, the weapons used included: the bow, the weapon of choice for Arjuna, Bhishma, Drona, Karna, Satyaki, Vikarna and Abhimanyu; the mace, chosen by Bhima and Duryodhana, the spear, chosen by Yudhistira and Shalya; the sword chosen by Nakula, Dushasana, Dhristadymna and other Kauravas; and the axe chosen by Sahadeva.

 

MILITARY FORMATIONS

At various times during battle, the supreme commander of either army ordered special formations(vyuhas). Each formation had a specific purpose; some were defensive while others were offensive. Each formation had its specific strengths and weaknesses. The Mahābhārata lists the following:

 

Krauncha vyuha(heron formation)

Makara vyuha(crocodile formation)

Kurma vyuha(tortoise or turtle formation)

Trishula vyuha(trident formation)

Chakrvyuha(wheel or discus formation)

Kamala vyuha or Padma vyuha(lotus formation)

Garud vyuha(eagle formation)

Oormi vyuha(ocean formation)

Mandala vyuha(galaxy formation)

Vajra vyuha(diamond or thunderbolt formation)

Shakata vyuha(box or cart formation)

Asura vyuha(demon formation)

Deva vyuha(divine formation)

Soochi vyuha(needle formation)

Sringataka vyuha(horned formation)

Chandrakala vyuha(crescent or curved blade formation)

Mala vyuha(garland formation)

 

It is not clear what the formations actually indicate. They may be arrangements of bear resemblance to animals, or they may be names given to battle strategies.

 

CLASSIFICATION OF WARRIORS BY BHISHMA

Bhishma, the grandsire of both Kauravas and Pandavas, analysed each warrior on both sides of the army. As per Bhishma at the tale of Rathi and Maharathi there are 3 types of warriors. They are Rathi, Atirathi and Maharathi. He classified every warrior on both sides of the army following his judgement and knowledge of the science of weapons. According to him the highest level of a warrior is Maharathi.

 

*Rathi: A warrior capable of attacking 5,000 warriors simultaneously.

 

*Atirathi: A warrior capable of contending with 12 Rathi class warriors or 60,000 warriors simultaneously

 

*Maharathi: A warrior capable of fighting 12 Atirathi class warriors or 720,000 warriors simultaneously, circumspect in his mastery of all forms of weapons and combat skills.

 

FROM KAURAVA SIDE

Rathis,* Sudhakshina, the ruler of the Kamvojas, *Sakuni, King of Gandhar and uncle of Kauravas, *Duryodhana's son Lakshmana and the son of Dushasana, *Jayadrath, the king of the Sindhu and brother in law of Kauravas, *All 99 brothers of Duryodhana, including Dushasan, are single Rathis, *Duryodhana is classified as a warrior equal to 8 Rathis.

 

Atirathis

- Bhoja chief Kritavarman

- The ruler of the Madras,Salya

- Bhurisravas, the son of Somadatta

- Kripa, also known as Kripacharya, the son of Saradwat

 

Maharathis

- Alambhusha, the Chief of Rakshasas

- The ruler of Pragjyotisha, the brave Bhagadatta

- Vrishasena, the son of Karna,

- Guru Drona

- Asvathama, the son of Guru Drona and the avatar of Lord Shiva. (Even though he was classified as a Maharatha, in reality he was peerless and equal to Lord Shiva in battle according to Bhishma; but the only pre-condition is that Asvathama has to become extremely angry to unleash his full potential)

- Karna is equal to 2 Maharathi.

- Bhishma, even though he never classified himself. Later it was revealed that Bhishma was equal to 2 Maharatha warriors. (But at the tale of Rathi and Atirathi, Bhishma classified him as just half a Rathi in order to weaken his morale when fighting against his brothers, the Pandavas, at the request of Lord Krishna)

 

FROM PANDAVA SIDE

Rathis

- Uttamaujas

- Sikhandi, the son of the king of the Panchalas

- Yudishtira the son of Pandu and Kunti, is a Ratha.

- Nakul and Sahadeva are single Rathis

- Bhima is regarded as equal to 8 Rathas.

 

Atirathis

- Satyaki of the Vrishni race,

- Dhrishtadyumna the son of Drupuda

- Kuntibhoja,the maternal uncle of Pandavas

- Ghatotkacha, prince of Rakshasas and master of all illusions, son Bhima and Hidimva.

 

Maharathis

- Virata King

- Drupuda, King of Panchalas

- Dhrishtaketu, the son of Sisupala, the king of the Chedis

- All sons of Draupadi are Maharathas

- Abhimanyu,the son of Arjuna is equal to 2 Maharatha.

- Arjuna is equal to 2 Maharatha warrior

 

RULES OF ENGAGEMENT

The two supreme commanders met and framed "rules of ethical conduct", dharmayuddha, for the war. The rules included:

 

- Fighting must begin no earlier than sunrise and end exactly at sunset.

- More than one warriors may not attack a single warrior.

- Two warriors may "duel", or engage in prolonged personal combat, only if they carry the same weapons and they are on the same type of mount(on foot, on a horse, on an elephant, or in a chariot).

- No warrior may kill or injure a warrior who has surrendered.

- One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war.

- No warrior may kill or injure an unarmed warrior.

- No warrior may kill or injure an unconscious warrior.

- No warrior may kill or injure a person or animal not taking part in the war.

- No warrior may kill or injure a warrior whose back is turned away.

- No warrior may attack a woman.

- No warrior may strike an animal not considered a direct threat.

- The rules specific to each weapon must be followed. For example, it is prohibited to strike below the waist in mace warfare.

- Warriors may not engage in any unfair warfare.

 

COURSE OF WAR

The Kurukshetra War lasted eighteen days. It was fought only during daylight hours; fighting ceased at sunset. Each day the battle was characterised by numerous individual combats, as well as mass raids against entire enemy divisions. The victor or the vanquished on each day was determined not by any territories gained, but by the body count. This was a war to the death. The victor was the survivor. If the text is taken to be chronologically accurate, this was one of the bloodiest wars in the history of mankind. Arjuna, in a fit of extreme anger over the death of his son Abhimanyu, alone killed one akshauhini of Kaurava soldiers in a single day. The war left an extremely large number of widows and orphans and led to an economic depression and the beginning of Kali Yuga.

 

BEFORE THE BATTLE

It has been observed that the year in which the Mahabharata War took place, the year had three solar eclipses on earth in a span of thirty days. Eclipses are considered ill for life on earth according to Hindu astrology.

 

On the first day of the war, as would be on all the following days, the Kaurava army stood facing west and the Pandava army stood facing east. The Kaurava army was formed such that it faced all sides: elephants formed its body; the kings, its head; and the steeds, its wings. Bhishma, in consultation with his commanders Drona, Bahlika and Kripa, remained in the rear.

 

The Pandava army was organised by Yudhisthira and Arjuna in the Vajra formation. Because the Pandava army was smaller than the Kaurava's, they decided to employ the tactic of each warrior engaging as many enemies as possible. This involved an element of surprise, with the bowmen showering arrows hiding behind the frontal attackers. The attackers in the front were equipped with short-range weapons like maces, battle-axes, swords and lances.

 

Ten divisions(Akshauhinis) of the Kaurava army were arranged in a formidable phalanx. The eleventh was put under the immediate command of Bhishma, partly to protect him. The safety of the supreme commander Bhishma was central to Duryodhana's strategy, as he had placed all his hope on the great warrior's abilities. Dushasana, the younger brother of Duryodhana, was the military officer in-charge of Bhishma's protection.

 

THE BHAGVAD GITA

When the war was declared and the two armies were facing each other, Arjuna realised that he would have to kill his dear great-granduncle(Bhishma), on whose lap he had played as a child and his respected teacher(Drona), who had held his hand and taught him how to hold the bow and arrow, making him the greatest archer in the world. Arjuna felt weak and sickened at the prospect of killing his entire family, including his 100 cousins and friends such as Ashwatthama. Despondent and confused about what is right and what is wrong, Arjuna turned to Krishna for divine advice and teachings. Krishna, who Arjuna chose as his charioteer, advised him of his duty. This conversation forms the Bhagavad Gita, one of the most respected religious and philosophical texts in the Hindu religion. Krishna instructs Arjuna not to yield to degrading impotence and to fight his kin, for that was the only way to righteousness. He also reminded him that this was a war between righteousness and unrighteousness(dharma and adharma) and it was Arjuna's duty to slay anyone who supported the cause of unrighteousness, or sin. Krishna then revealed his divine form and explained that he is born on earth in each aeon when evil raises its head. It also forms one of the foremost treatise on the several aspects of Yoga and mystical knowledge.

 

Before the battle began, Yudhisthira did something unexpected. He suddenly dropped his weapons, took off his armour and started walking towards the Kaurava army with folded hands in prayer. The Pandava brothers and the Kauravas looked on in disbelief, thinking Yudhisthira was surrendering before the first arrow was shot. Yudhisthira's purpose became clear, however, when he fell on Bhishma's feet to seek his blessing for success in battle. Bhishma, grandfather to both the Pandavas and Kauravas, blessed Yudhisthira. Yudhisthira returned to his chariot and the battle was ready to commence.

 

DAY 1

When the battle was commenced, Bhishma went through the Pandava army wreaking havoc wherever he went but Abhimanyu, Arjuna's son, seeing this went straight at Bhishma, defeated his bodyguards and directly attacked the commander of the Kaurava forces. The Pandavas suffered numerous losses and were defeated at the end of the first day. Virata's sons, Uttara and Sweta, were slain by Shalya and Bhishma. Krishna consoled the distraught Yudhisthira saying that eventually victory would be his.

 

DAY 2

The second day of the war commenced with a confident Kaurava army facing the Pandavas. Arjuna, realising that something needed to be done quickly to reverse the Pandava losses, decided that he must try to kill Bhishma. Krishna skillfully located Bhishma's chariot and steered Arjuna toward him. Arjuna tried to engage Bhishma in a duel, but the Kaurava soldiers placed around Bhishma to protect him attacked Arjuna to try to prevent him from directly engaging Bhishma. Arjuna and Bhishma fought a fierce battle that raged for hours. Drona and Dhristadyumna similarly engaged in a duel during which Drona broke Dhristadyumna's bow numerous times. Bhima intervened and rescued Dhristadyumna. Duryodhana sent the Kalinga forces to attack Bhima and most of them lost their lives at his hands. Bhishma immediately came to relieve the battered Kalinga forces. Satyaki, who was assisting Bhima, shot at Bhishma's charioteer and killed him. Bhishma's horses, with no one to control them, bolted carrying Bhishma away from the battlefield. The Kaurava army had suffered great losses at the end of the second day.

 

DAY 3

On the third day, Bhishma arranged the Kaurava forces in the formation of an eagle with himself leading from the front, while Duryodhana's forces protected the rear. Bhishma wanted to be sure of avoiding any mishap. The Pandavas countered this by using the crescent formation with Bhima and Arjuna at the head of the right and the left horns, respectively. The Kauravas concentrated their attack on Arjuna's position. Arjuna's chariot was soon covered with arrows and javelins. Arjuna, with amazing skill, built a fortification around his chariot with an unending stream of arrows from his bow. Abhimanyu and Satyaki combined to defeat the Gandhara forces of Shakuni. Bhima and his son Ghatotkacha attacked Duryodhana in the rear. Bhima's arrows hit Duryodhana, who swooned in his chariot. His charioteer immediately drove them out of danger. Duryodhana's forces, however, saw their leader fleeing the battlefield and soon scattered. Bhishma soon restored order and Duryodhana returned to lead the army. He was angry at Bhishma, however, at what he saw as leniency towards the five Pandava brothers and spoke harshly at his commander. Bhishma, stung by this unfair charge, fell on the Pandava army with renewed vigor. It was as if there were more than one Bhishma on the field.

 

Arjuna and Krishna attacked Bhishma trying to restore order. Arjuna and Bhishma again engaged in a fierce duel, however Arjuna's heart was not in the battle as he did not like the idea of attacking his grand-uncle. During the battle, Bhishma killed numerous soldiers of Arjuna's armies.

 

DAY 4

The fourth-day of the battle was noted for the valour shown by Bhima. Bhishma commanded the Kaurava army to move on the offensive from the outset. While Abhimanyu was still in his mother's womb, Arjuna had taught Abhimanyu on how to break and enter the chakra vyuha. But, before explaining how to exit the chakra Vyuha, Arjuna was interrupted by Krishna(other story: Abhimanyu's mother falls asleep while Arjuna was explaining her). Thus from birth, Abhimanyu only knew how to enter the Chakra vyuha but didn't know how to come out of it. When the Kauravas formed the chakravyuha, Abhimanyu entered it but was surrounded and attacked by a number of Kaurava princes. Arjuna joined the fray in aid of Abhimanyu. Bhima appeared on the scene with his mace aloft and started attacking the Kauravas. Duryodhana sent a huge force of elephants at Bhima. When Bhima saw the mass of elephants approaching, he got down from his chariot and attacked them single handedly with his iron mace. They scattered and stampeded into the Kaurava forces killing many. Duryodhana ordered an all-out attack on Bhima. Bhima withstood all that was thrown at him and attacked Duryodhana's brothers, killing eight of them. Bhima was soon struck by an arrow on the chest and sat down in his chariot dazed.

 

Duryodhana was distraught at the loss of his brothers. Duryodhana, overwhelmed by sorrow at the loss of his brothers, went to Bhishma at the end of the fourth day of the battle and asked his commander how could the Pandavas, facing a superior force against them, still prevail and win. Bhishma replied that the Pandavas had justice on their side and advised Duryodhana to seek peace.

 

DAYS 5-9

When the battle resumed on the fifth day, the slaughter continued. The Pandava army again suffered against Bhishma's attacks. Satyaki bore the brunt of Drona's attacks and soon could not withstand them. Bhima drove by and rescued Satyaki. Arjuna fought and killed thousands of soldiers sent by Duryodhana to attack him. The unimaginable carnage continued during the ensuing days of the battle.

 

The sixth day was marked by a prodigious slaughter. Drona caused immeasurable loss of life on the Pandava side. The formations of both the armies were broken. On day 7 Drona slays Shankya, son of Virata. On the eighth day Bhima killed eight of Dhritarashtra's sons.

 

On the ninth day Krishna, overwhelmed by anger at the apparent inability of Arjuna to defeat Bhishma, rushed towards the Kaurava commander, the wheel of a fallen chariot in his hands. Bhishma lays down his arms and is ready to die at the hands of the Lord, but Arjuna stops him, reminding of his promise not to wield a weapon. Realizing that the war could not be won as long as Bhishma was standing, Krishna suggested the strategy of placing a eunuch in the field to face him. Some sources however state that it was Yudhistira who visits Bhishma's camp at night asking him for help. To this Bhishma says that he would not fight a eunuch.

 

DAY 10

On the tenth day, the Pandavas, unable to withstand Bhishma's prowess, decided to put Shikhandi, who had been a woman in a prior life in front of Bhishma, as Bhishma has taken a vow not to attack a woman. Shikhandi's arrows fell on Bhishma without hindrance. Arjuna positioned himself behind Shikhandi, protecting himself from Bhishma's attack and aimed his arrows at the weak points in Bhishma's armour. Soon, with arrows sticking from every part of his body, the great warrior fell from his chariot. His body did not touch the ground as it was held aloft by the arrows protruding from his body.

 

The Kauravas and Pandavas gathered around Bhishma and at his request, Arjuna placed three arrows under Bhishma's head to support it. Bhishma had promised his father, King Shantanu, that he would live until Hastinapur were secured from all directions. To keep this promise, Bhishma used the boon of "Ichcha Mrityu"(self wished death) given to him by his father. After the war was over, when Hastinapur had become safe from all sides and after giving lessons on politics and Vishnu Sahasranama to the Pandavas, Bhishma died on the first day of Uttarayana.

 

DAY 11

With Bhishma unable to continue, Karna entered the battlefield, much to Duryodhana's joy. He made Drona the supreme commander of the Kaurava forces. Karna and Duryodhana wanted to capture Yudhisthira alive. Killing Yudhisthira in battle would only enrage the Pandavas more, whereas holding him as hostage would be strategically useful. Drona formulated his battle plans for the eleventh day to this aim. He cut down Yudhisthira's bow and the Pandava army feared that their leader would be taken prisoner. Arjuna rushed to the scene, however and with a flood of arrows made Drona retreat.

 

DAY 12

With his attempts to capture Yudhisthira thwarted, Drona confided to Duryodhana that it would be difficult as long as Arjuna was around. He summoned King Bhagadatta, the monarch of Pragjyotisha(modern day Assam, India). Bhagadatta had thousands of gigantic elephants in his stable and was considered the strongest warrior on this planet in elephant warfare. Bhagadatta attacked Arjuna with his gigantic elephant named Suprateeka. It was a fierce battle in which Bhagadatta matched Arjuna astra for astra but Arjuna slew him. Drona continued to try and capture Yudhisthira. The Pandavas however fought hard and delivered severe blows to the Kaurava army.

 

DAY 13

The King of Trigartadesa, Susharma along with his 3 brothers and 35 sons who were fighting on the Kaurava side made a pact that they would make sure that Arjuna comes and doesn't break the Chakra Vuyh and kill him or die. They went into the battlefield on the twelfth day and challenged Arjuna. Arjuna gave them a fierce fight in which the brothers fell dead after fighting a brave fight. Drona continued to try and capture Yudhisthira.

 

On the other side of the battlefield, the remaining four Pandavas and their allies were finding it impossible to break Dronacharya's "Chakra Vyuh" formation. As Arjuna was busy fighting with the Trigartadesa princes and the Prajayogastha monarch on the other side of the battlefield, he could not be summoned to break the Chakra Vyuha formation, which could only be broken by entering and exiting the formation. Yudhisthira instructed, Abhimanyu, one of Arjuna's sons to break the Chakra vyuha formation. Abhimanyu knew the secret of entering the Chakra vyuh formation, but did not know how to exit it. Abhimanyu slew tens of thousands of warriors. He also killed Duryodhana's son. Duryodhana got enraged and ordered Durmashana, who was Dushasana's son to attack Abhimanyu but he died under the hands of Abhimanyu. Next he ordered his men to attack Abhimanyu all at once. Abhimanyu fought but was surrounded and killed by many warriors in a combined attack.

 

Upon learning of the death of his son, Arjuna vowed to kill Jayadratha on the morrow before the battle ended at sunset, otherwise he would throw himself into the fire.

 

DAY 14

While searching for Jayadrath on the battlefield, Arjuna slew an akshauhini(battle formation that consisted of 21,870 chariots(Sanskrit ratha); 21,870 elephants; 65,610 cavalry and 109,350 infantry) of Kaurav soldiers. The Shakatavuyha Kaurav army tightly protected Jayadratha, however, preventing Arjuna from attacking him. Finally, in late afternoon, Arjuna found Jayadratha guarded by the mighty Kaurav army. Seeing his friend's plight, Lord Krishna raised his Sudarshan Chakra to cover the sun, faking a sunset. Arjun fought a powerful battle with Jayadrath and finally defeated him. Then, Arjuna shot a powerful arrow decapitating Jayadrath. While Arjuna destroying the rest of the Shakatavuyha, Vikarna, the third eldest Kaurava, challenged Arjuna to an archery fight. Arjuna asks Bhima to decimate Vikarna, but Bhima refused to, because Vikarna defended the Pandavas during the Vastranam. Bhima and Vikarna showered arrows at each other. Later Bhima throws his mace at Vikarna, killing him. The muscular Pandava was devastated and mourned his death saying he was a man of Dharma and it was a pity how he lived his life.

 

The battle continued past sunset. When the bright moon rose, Ghatotkacha, son of Bhima slaughtered numerous warriors, attacking while flying in the air. Karna stood against him and both fought fiercely until Karna released the Shakti, a divine weapon given to him by Indra. Ghatotkacha increased his size and fell dead on the Kaurav army killing thousands of them.

 

DAY 15

After King Drupada and King Virata were slain by Drona, Bhima and Dhristadyumna fought him on the fifteenth day. Because Drona was very powerful and inconquerable having the irresistible Brahmadanda, Krishna hinted to Yudhisthira that Drona would give up his arms if his son Ashwatthama was dead. Bhima proceeded to kill an elephant named Ashwatthama and loudly proclaimed that Ashwatthama was dead. Drona approached Yudhisthira to seek the truth of his son's death. Yudhisthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant, The latter part of his proclamation(Naro va Kunjaro va) were drowned out by sound of the conch blown by Krishna intentionally (a different version of the story is that Yudhisthira pronounced the last words so feebly that Drona could not hear the word elephant). Prior to this incident, the chariot of Yudhisthira, proclaimed as Dharma raja(King of righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

 

Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna to avenge his father's death and satisfy his vow. Later, the Pandava's mother Kunti secretly met her abandoned son Karna and requested him to spare the Pandavas, as they were his younger brothers. Karna promised Kunti that he would spare them except for Arjuna, but also added that he would not fire a same weapon against Arjun twice.

 

DAY 16

On the sixteenth day, Karna was made the supreme commander of the Kuru army. Karna fought valiantly but was surrounded and attacked by Pandava generals, who were unable to prevail upon him. Karna inflicted heavy damage on the Pandava army, which fled. Then Arjuna successfully resisted Karna's weapons with his own and also inflicted casualties upon the Kaurava army. The sun soon set and with darkness and dust making the assessment of proceedings difficult, the Kaurava army retreated for the day.

 

On the same day, Bhima swung his mace and shattered Dushasana's chariot. Bhima seized Dushasana, ripped his right hand from shoulder and killed him, tearing open his chest and drinking his blood and carrying some to smear on Draupadi's untied hair, thus fulfilling his vow made when Draupadi was humiliated.

 

DAY 17

On the seventeenth day, Karna defeated the Pandava brothers Nakul, Bhima, Sahadeva and Yudhisthira in battle but spared their lives. Later, Karna resumed duelling with Arjuna. During their duel, Karna's chariot wheel got stuck in the mud and Karna asked for a pause. Krishna reminded Arjuna about Karna's ruthlessness unto Abhimanyu while he was similarly left without chariot and weapons. Hearing his son's fate, Arjuna shot his arrow and decapitated Karna. Before the day's battle, Karna's sacred armour ('Kavacha') and earrings ('Kundala') were taken as alms by Lord Indra when asked for, which resulted in his death by Arjuna's arrows.

 

DAY 18

On the 18th day, Shalya took over as the commander-in-chief of the remaining Kaurava forces. Yudhishthira killed king Shalya in a spear combat and Sahadeva killed Shakuni. Realizing that he had been defeated, Duryodhana fled the battlefield and took refuge in the lake, where the Pandavas caught up with him. Under the supervision of the now returned Balarama, a mace battle took place between Bhima and Duryodhana. Bhima flouted the rules(under instructions from Krishna) to strike Duryodhana beneath the waist in which he was mortally wounded.

 

Ashwatthama, Kripacharya, and Kritavarma met Duryodhana at his deathbed and promised to avenge the actions of Bhima. They attacked the Pandavas' camp later that night and killed all the Pandavas' remaining army including their children. Amongst the dead were Dhristadyumna and Shikhandi. Other than the Pandavas and Krishna, only Satyaki and Yuyutsu survived.

 

AFTERMATH

At the end of the 18th day, only twelve warriors survived the war - the five Pandavas, Krishna, Satyaki, Ashwatthama, Kripacharya, Yuyutsu, Vrishakethu(son of Karna) and Kritvarma. Vrishakethu was the only son of Karna who survived the horrific slaughter. He later came under the patronage of the Pandavas. During the campaign that preceded the Ashvamedha yagna, Vrishakethu accompanied Arjuna and participated in the battles with Sudhava and Babruvahana. During that campaign Vrishakethu married the daughter of King Yavanatha. It is said, Arjuna developed great affection for Vrishakethu, his nephew. Yudhisthira was crowned king of Hastinapur. He renounced the throne after ruling for 36 years, passing on the crown to Arjuna's grandson Parikshit. He then left for the Himalayas with Draupadi and his brothers in what was to be their last journey. Draupadi and four Pandavas - Bhima, Arjuna, Nakula and Sahadeva died during the journey. Yudhisthira, the lone survivor and being of pious heart, was invited by Dharma to enter the heavens as a mortal.

 

WIKIPEDIA

Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.

 

Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.

 

The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.

 

Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.

 

ETYMOLOGY & OTHER NAMES

The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.

 

The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).

 

The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.

 

The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.

 

Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".

 

Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").

 

There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.

 

The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.

 

ASSIMILATION OF TRADITIONS

The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:

 

Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."

 

Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.

 

An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.

 

INDUS VALLEY ORIGINS

Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.

 

This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.

 

INDO-EUROPEAN ORIGINS

Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.

 

RUDRA

Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.

 

The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.

 

The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:

 

Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.

 

The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.

 

AGNI

Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:

 

The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.

 

In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.

 

INDRA

According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.

 

The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,

 

Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.

 

LATER VEDIC LITERATURE

Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.

 

Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.

 

PURANIC LITERATURE

The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.

 

TANTRIC LITERATURE

The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.

 

POSITION WITHIN HINDUISM

 

SHAIVISM

Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.

 

PANCHAYATANA PUJA

Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.

 

TRIMURTI

The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."

 

ICONOGRAPHY AND PROPERTIES

 

ATTRIBUTES

Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.

 

Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.

 

Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.

 

Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.

 

Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.

 

Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)

 

Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.

 

Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.

 

Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.

 

Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.

 

Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.

 

Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.

 

Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.

 

Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.

 

Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".

 

Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.

 

Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.

 

LINGAM

Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.

 

JYOTIRLINGA

The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.

 

The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.

 

SHAKTI

Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).

 

THE FIVE MANTRAS

Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).

 

Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:

 

Sadyojāta

Vāmadeva

Aghora

Tatpuruṣha

Īsāna

 

These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:

 

Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.

 

According to the Pañcabrahma Upanishad:

 

One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)

 

FORMES AND ROLES

According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.

 

DESTROYER AND BENEFACTOR

In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.

 

The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.

 

In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.

 

ASCETIC AND HOUSEHOLDER

He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.

 

As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.

 

Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.

 

NATARAJA

he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.

 

DAKSHINAMURTHY

Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.

 

ARDANARISHVARA

An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.

 

TRIRUPANTAKA

Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.

 

OTHER FORMS, AVATARS IDENTIFICATIONS

Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.

 

In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).

 

Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.

 

FESTIVALS

Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.

 

BEYOND HINDUISM

 

BUDDHISM

Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.

 

SIKHISM

The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."

 

In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.

 

OTHERS

The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.

 

Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.

 

In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.

 

WIKIPEDIA

. . . all these photos are not done in a photo studio - they are snap shots during the Kathakali Dance Show on the stage!

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Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

The Kurukshetra War is a mythological war described in the Indian epic Mahabharata as a conflict that arose from a dynastic succession struggle between two groups of cousins of an Indo-Aryan kingdom called Kuru, the Kauravas and Pandavas, for the throne of Hastinapura. It involved a number of ancient kingdoms participating as allies of the rival groups.

 

The Kurukshetra War is believed to date variously from 6000 BCE to 500 BCE based on the astronomical and literary information from Mahabharata. The history of the Kurukshetra War is also traced to the Battle of the Ten Kings mentioned in Rigveda.

 

The location of the battle is described as having occurred in Kurukshetra in the modern state of Haryana

 

Mahabharata states that the war started on Kartheeka Bahula Amavasya (the end of the Kartheeka and the start of the Margasira lunar month), moon on Jyesta star, on Tuesday early morning. A solar eclipse also happened on that day, and this Muhurtha was kept by Krishna himself. The Bhagavad Gita was told on that early morning, before the war began. The war lasted only eighteen days, during which vast armies from all over the Indian (Bharatha) Subcontinent fought alongside the two rivals. Despite only referring to these eighteen days, the war narrative forms more than a quarter of the book, suggesting its relative importance within the epic, which overall spans decades of the warring families.

 

The narrative describes individual battles of various heroes of both sides, battle-field deaths of some of the prominent heroes, military formations employed on each day by both armies, war diplomacy, meetings and discussions among the heroes and commanders before commencement of war on each day and the weapons used. The chapters (parvas) dealing with the war (from chapter six to ten) are considered amongst the oldest in the entire Mahabharat.

 

HISTORICAL CONTEXT

Though the Kurukshetra War is not mentioned in Vedic literature, its prominence in later literature led historians such as A. L. Basham to conclude that, "certainly a great war took place and succeeding generations looked upon it as marking an end of an epoch". Popular tradition holds that the war marks the transition to Kaliyuga and thus dates it to 3102 BCE; another tradition places the war in 15th century BCE. However historians regard these dates as too early and inconsistent with the available archaeological and literary evidence. Basham considers the beginning of the 9th century BCE as a more plausible date for the events. Similarly, Michael Witzel concludes that the general setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.

 

Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit(Arjun's grandson) and the accession of Mahapadma Nanda, commonly dated to 382 BCE, which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies.

 

Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna(Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna and thus approximately 950 BCE for the Bharata battle.

 

B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.

 

There have been a number of theories put forward:

 

- The most widely accepted date is 10th century BCE or 950 BCE, according to archeological evidence.

- B. N. Achar states a date of 3067 BCE using planetary positions listed in the Mahabharata.

- S. Balakrishna concluded a date of 2559 BCE using consecutive lunar eclipses.

- P. V. Holey states a date of November 13, 3143 BCE using planetary positions and calendar systems.

- R. N. Iyengar concluded a date of 1478 BCE using double eclipses and Saturn+Jupiter conjunctions.

- P. R. Sarkar estimates a date of 1298 BCE for the war of Kurukshetra.

- P. V. Vartak calculates a date of October 16, 5561 BCE using planetary positions.

- K. Sadananda, based on translation work, states that the Kurukshetra War started on November 22 3067 BCE.

 

The reconstruction of the history of Vedic India is based on text-internal details. Linguistically, the Vedic texts could be classified in five chronological strata as Rigvedic, Mantra, Samhita, Brahmana, Sutra, and Epic and Paninian. The Mantra language period includes both the mantra and prose language of the Atharvaveda(Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita(containing some 75 mantras not in the Rigveda) and the mantras of the Yajurveda. Many of these texts are largely derived from the Rigveda, but have undergone certain changes, both by linguistic change and by reinterpretation. Conspicuous changes include the change of vishva "all" by sarva and the spread of the kuru- verbal stem for Rigvedic krno-). This is from the time of the early Iron Age in north-western India, corresponding to the Black and Red Ware(BRW) culture and the kingdom of the Kurus, dating from ca. the 10th century BCE. The Samhita prose period marks the beginning of the collection and codification of a Vedic canon. An important linguistic change is the complete loss of the injunctive. The Brahmana part ('commentary' on mantras and ritual) of the Black Yajurveda(MS, KS, TS) belongs to this period. Archaeologically, the Painted Grey Ware(PGW) culture from ca. 900 BCE corresponds and the shift of the political center from the Kurus to the Pancalas on the Ganges.

 

BACKGROUND

Mahabharata, one of the most important Hindu epics, is an account of the life and deeds of several generations of a ruling dynasty called the Kuru clan. Central to the epic is an account of a war that took place between two rival families belonging to this clan. Kurukshetra (literally "field of the Kurus"), was the battleground on which this war, known as the Kurukshetra War, was fought. Kurukshetra was also known as "Dharmakshetra"(the "field of Dharma"), or field of righteousness. Mahabharata tells that this site was chosen for the war because a sin committed on this land was forgiven on account of the sanctity of this land.

 

The Kuru territories were divided into two and were ruled by Dhritarashtra(with his capital at Hastinapura) and Yudhishthira of the Pandavas(with his capital at Indraprastha). The immediate dispute between the Kauravas(sons of Dhritarashtra) and the Pandavas arose from a game of dice, which Duryodhana won by deceit, forcing their Pandava cousins to transfer their entire territories to the Kauravas (to Hastinapura) and to "go into exile" for thirteen years. The dispute escalated into a full scale war when Prince Duryodhana, the eldest of the Kauravas, driven by jealousy, refused to restore the Pandavas their territories after the exile as earlier decided, as Duryodhana objected that they were discovered while in exile, and that no return of their kingdom was agreed upon.

 

Prior to the war, the disinherited Pandavas in the kingdom of Matsya, advised by Krishna, tried to find a diplomatic and peaceful solution to the conflict. Balarama, Krishna's older brother, advised the Pandavas to send an emissary to get the support of the elders of the family, like Bhishma, Dhritarashtra, Drona, Kripa etc., with the message "Let us avoid armed conflict as much as possible. Only that which is accrued in peace is worthwhile. Out of war, nothing but wrong can issue". While the emissary was in the Kaurava court, the Pandavas continued with war preparations. They sent messages requesting assistance to a number of neighbouring kingdoms. Their ambassador of peace was insulted and turned away by Duryodhana, who was intent on war, defying the counsel of elders like Bhishma. After several failed attempts at peace, war seemed inevitable. The two sides to the war were the Pandavas and the Kauravas (the official Kuru tribe now ruling both Hastinapura and Indraprastha), both with their allies.

 

Jaya, the core of Mahabharata, is structured in the form of a dialogue between Kuru king Dhritarashtra and Sanjaya, his advisor and chariot driver. Sanjaya narrates each incident of the Kurukshetra War, fought in 18 days, as and when it happened. Dhritarashtra sometimes asks questions and doubts and sometimes laments, knowing about the destruction caused by the war, to his sons, friends and kinsmen. He also feels guilty, due to his own role, that led to this war, destructive to the entire Indian subcontinent.

 

In the beginning Sanjaya gives a description of the various continents of the Earth, the other planets, and focuses on the Indian Subcontinent, then gives an elaborate list of hundreds of kingdoms, tribes, provinces, cities, towns, villages, rivers, mountains, forests etc. of the(ancient) Indian Subcontinent(Bharata Varsha). He also explains about the 'military formations adopted by each side on each day, the death of each hero and the details of each war-racing. Some 18 chapters of Vyasa's Jaya constitutes the Bhagavad Gita, one of the sacred texts of the Hindus. Thus, this work of Vyasa, called Jaya, deals with diverse subjects like geography, history, warfare, religion and morality. According to Mahabharata itself, the Jaya was recited to the King Janamejaya, the great-grandson of Arjuna, by Vaisampayana, a disciple of Vyasa (then called the Bharata). The recitation of Vaisampayana to Janamejaya was then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year-long sacrifice for King Saunaka Kulapati in the Naimisha forest (then called the Mahabharata).

 

COMBATANTS

The Kurus formed a kingdom in the Vedic period of India. They formed the first political center after the Rigvedic period, after their emergence from the Punjab, and it was there that the codification and redaction of the Vedic texts began. Archaeologically, they most likely correspond to the Black and Red Ware Culture of the 12th to 9th centuries BC, at the beginning of the Iron Age in western India. Panchala was the second urban center of Vedic civilization, as its focus moved east from the Punjab, after the focus of power had been with the Kurus in the early Iron Age. This period is associated with the Painted Grey Ware culture, arising around 1100 BCE, and declining from 600 BCE, with the end of the Vedic period. The ruling confederacy, the Panchalas, as their name suggests, probably consisted of five clans - the Krivis, the Turvashas, The Keshins, the Srinjayas and the Somakas. Drupada, whose daughter Draupadi was married to the Pandavas belonged to the Somaka clan. However, the Mahabharata and the Puranas consider the ruling clan of the northern Panchala as an offshoot of the Bharata clan and Divodasa, Sudas, Srinjaya, Somaka and Drupada(also called Yajnasena) were the most notable rulers of this clan.

 

KRISHNA`S PEACE MISSION

As a last attempt at peace, Krishna travelled to Hastinapur to persuade the Kauravas to embark upon a peaceful path with him. At Hastinapur, Krishna took his meals and stayed at the house of the minister, Vidura, a religious man and a devotee of Krishna. Duryodhana was insulted that Krishna had turned down his invitation to dine with him and stay in his royal palace. Determined to stop the peace mission, Duryodhana plotted to arrest Krishna.

 

At the formal presentation of the peace proposal by Krishna at the court of Hastinapur, Krishna asked Duryodhana to give back Indraprastha or if not at least five villages, one for each of the Pandavas, but Duryodhana said he could not give land even as much as tip of a needle, Krishna's peace proposals were ignored and Duryodhana publicly ordered his soldiers to arrest Krishna. Krishna laughed and displayed his divine form, radiating intense light. Furious at the insult inflicted upon Him, Lord Krishna cursed Duryodhana that his downfall was certain, to the shock of Dhirtharastra, who tried to pacify the Lord.

 

His peace mission being rejected by Duryodhana, Krishna returned to Upaplavya to inform the Pandavas that the only course left to uphold the principles of virtue and righteousness was inevitable - war. During the course of his return, Krishna met Karna, Kunti's firstborn(before Yudhisthira) and said to help his brothers, but, being helped by Duryodhana, Karna said to Krishna that he would battle against Pandavas.

 

WAR PREPARATIONS

Krishna had a large force called the Narayani Sena and was himself a great warrior. Duryodhana and Arjuna thus both went to Krishna at Dwarka to ask for his help. Duryodhana arrived first and found Krishna asleep. Being arrogant and viewing himself as equal to Krishna, Duryodhana chose a seat at Krishna's head and waited for him to rouse. Arjuna arrived later and being a humble devotee of Krishna, chose to sit and wait at Krishna's feet. When Krishna woke up, he saw Arjuna first and gave him the first right to make his request. Krishna told Arjuna and Duryodhana that he would give the Narayani Sena, to one side and himself as a non-combatant to the other. Since Arjuna was given the first opportunity to choose, Duryodhana was worried that Arjuna would choose the mighty army of Krishna. When given the choice of either Krishna's army or Krishna himself on their side, Arjuna on behalf of the Pandavas chose Krishna, unarmed on his own, relieving Duryodhana, who thought Arjuna to be the greatest fool. Later Arjuna requested Krishna to be his charioteer and Krishna, being an intimate friend of Arjuna, agreed wholeheartedly and hence received the name Parthasarthy, or 'charioteer of the son of Pritha'. Both Duryodhana and Arjuna returned satisfied.

 

While camping at a place called Upaplavya, in the territory of Virata, the Pandavas gathered their armies. Contingents arrived from all parts of the country and soon the Pandavas had a large force of seven divisions. The Kauravas managed to raise an even larger army of eleven divisions. Many kingdoms of ancient India such as Dwaraka, Kasi, Kekaya, Magadha, Chedi, Matsya, Pandya, and the Yadus of Mathura were allied with the Pandavas; while the allies of the Kauravas comprised the kings of Pragjyotisha, Kalinga, Anga, Kekaya, Sindhudesa, Avanti in Madhyadesa, Gandharas, Bahlikas, Mahishmati, Kambojas(with the Yavanas, Sakas, Trilinga, Tusharas) and many others.

 

PANDAVA ARMY

Seeing that there was now no hope for peace, Yudhisthira, the eldest of the Pandavas, asked his brothers to organize their army. The Pandavas accumulated seven Akshauhinis army with the help of their allies. Each of these divisions were led by Drupada, Virata, Dhristadyumna, Shikhandi, Satyaki, Chekitana and Bhima. After consulting his commanders, the Pandavas appointed Dhristadyumna as the supreme commander of the Pandava army. Mahabharata says that kingdoms from all over ancient India supplied troops or provided logistic support on the Pandava side. Some of these were: Kekaya, Pandya, Cholas, Magadha and many more.

 

KAURAVA ARMY

The Kaurava army consisted of 11 Akshauhinis. Duryodhana requested Bhishma to command the Kaurava army. Bhishma accepted on the condition that, while he would fight the battle sincerely, he would not harm the five Pandava brothers. In addition, Bhishma said that Karna would not fight under him as long as he is in the battlefied. It is believed by many that Bhishma pushed Karna into taking this decision due to his affection towards the Pandavas - the Kauravas would be overwhelmingly powerful if both he and Karna appeared in battle simultaneously. However the excuse he used to prevent their simultaneous fighting was that his guru(Parshurama) was insulted by Karna. He also knew that Karna was a Kaunteya(Son of Kunti) from the day he met him in Ranakshetra when Karna offered Arjuna to fight against him and Bhishma wanted to keep Karna out, so that there will be someone to lead the army once he is unable to continue with the war. Regardless, Duryodhana agreed to Bhishma's conditions and made him the supreme commander of the Kaurava army, while Karna was debarred from fighting. But Karna enters the war later when Bhishma is wounded by Arjuna. Apart from the one hundred Kaurava brothers, headed by Duryodhana himself and his brother Dushasana, the second eldest son of Dhritarashtra, the Kauravas were assisted on the battlefield by Drona and his son Ashwatthama, the Kaurava's brother-in-law Jayadratha, the Brahmin Kripa, Kritavarma, Shalya, Sudakshina, Bhurisrava, Bahlika, Shakuni and many more who were bound by their loyalty towards either Hastinapura or Dhritarashtra.

 

NEUTRAL PARTIES

The kingdom of Vidarbha, with its King Rukmi, Vidura, the ex-prime minister of Hastinapur and younger brother to Dhritarashtra and Balarama were the only neutrals in this war. Rukmi wanted to join the war, but Duryodhana and Arjuna refused to allow him, because he boasted about his war strength and army. Vidura did not want to see the bloodshed of the war, although he was a good battle strategist. The powerful Balarama refused to fight at Kurukshetra, because he was both Bhima and Duryodhana's wrestling coach.

 

ARMY DIVISIONS & WEAPONRY

Each army consisted of several divisions; the Kauravas had 11 while the Pandavas had 7. A division(akshauhini) includes 21,870 chariots and chariot-riders, 21,870 War elephants and riders, 65,610 Cavalry and 109,350 foot-soldiers(in a ratio of 1:1:3:5). The combined number of warriors and soldiers in both armies was approximately 3.94 million. Each Akshauhini was under a commander or a general, apart from the Commander in chief or the generalissimo who was the head of the entire army.

 

During the Kurukshetra War, the weapons used included: the bow, the weapon of choice for Arjuna, Bhishma, Drona, Karna, Satyaki, Vikarna and Abhimanyu; the mace, chosen by Bhima and Duryodhana, the spear, chosen by Yudhistira and Shalya; the sword chosen by Nakula, Dushasana, Dhristadymna and other Kauravas; and the axe chosen by Sahadeva.

 

MILITARY FORMATIONS

At various times during battle, the supreme commander of either army ordered special formations(vyuhas). Each formation had a specific purpose; some were defensive while others were offensive. Each formation had its specific strengths and weaknesses. The Mahābhārata lists the following:

 

Krauncha vyuha(heron formation)

Makara vyuha(crocodile formation)

Kurma vyuha(tortoise or turtle formation)

Trishula vyuha(trident formation)

Chakrvyuha(wheel or discus formation)

Kamala vyuha or Padma vyuha(lotus formation)

Garud vyuha(eagle formation)

Oormi vyuha(ocean formation)

Mandala vyuha(galaxy formation)

Vajra vyuha(diamond or thunderbolt formation)

Shakata vyuha(box or cart formation)

Asura vyuha(demon formation)

Deva vyuha(divine formation)

Soochi vyuha(needle formation)

Sringataka vyuha(horned formation)

Chandrakala vyuha(crescent or curved blade formation)

Mala vyuha(garland formation)

 

It is not clear what the formations actually indicate. They may be arrangements of bear resemblance to animals, or they may be names given to battle strategies.

 

CLASSIFICATION OF WARRIORS BY BHISHMA

Bhishma, the grandsire of both Kauravas and Pandavas, analysed each warrior on both sides of the army. As per Bhishma at the tale of Rathi and Maharathi there are 3 types of warriors. They are Rathi, Atirathi and Maharathi. He classified every warrior on both sides of the army following his judgement and knowledge of the science of weapons. According to him the highest level of a warrior is Maharathi.

 

*Rathi: A warrior capable of attacking 5,000 warriors simultaneously.

 

*Atirathi: A warrior capable of contending with 12 Rathi class warriors or 60,000 warriors simultaneously

 

*Maharathi: A warrior capable of fighting 12 Atirathi class warriors or 720,000 warriors simultaneously, circumspect in his mastery of all forms of weapons and combat skills.

 

FROM KAURAVA SIDE

Rathis,* Sudhakshina, the ruler of the Kamvojas, *Sakuni, King of Gandhar and uncle of Kauravas, *Duryodhana's son Lakshmana and the son of Dushasana, *Jayadrath, the king of the Sindhu and brother in law of Kauravas, *All 99 brothers of Duryodhana, including Dushasan, are single Rathis, *Duryodhana is classified as a warrior equal to 8 Rathis.

 

Atirathis

- Bhoja chief Kritavarman

- The ruler of the Madras,Salya

- Bhurisravas, the son of Somadatta

- Kripa, also known as Kripacharya, the son of Saradwat

 

Maharathis

- Alambhusha, the Chief of Rakshasas

- The ruler of Pragjyotisha, the brave Bhagadatta

- Vrishasena, the son of Karna,

- Guru Drona

- Asvathama, the son of Guru Drona and the avatar of Lord Shiva. (Even though he was classified as a Maharatha, in reality he was peerless and equal to Lord Shiva in battle according to Bhishma; but the only pre-condition is that Asvathama has to become extremely angry to unleash his full potential)

- Karna is equal to 2 Maharathi.

- Bhishma, even though he never classified himself. Later it was revealed that Bhishma was equal to 2 Maharatha warriors. (But at the tale of Rathi and Atirathi, Bhishma classified him as just half a Rathi in order to weaken his morale when fighting against his brothers, the Pandavas, at the request of Lord Krishna)

 

FROM PANDAVA SIDE

Rathis

- Uttamaujas

- Sikhandi, the son of the king of the Panchalas

- Yudishtira the son of Pandu and Kunti, is a Ratha.

- Nakul and Sahadeva are single Rathis

- Bhima is regarded as equal to 8 Rathas.

 

Atirathis

- Satyaki of the Vrishni race,

- Dhrishtadyumna the son of Drupuda

- Kuntibhoja,the maternal uncle of Pandavas

- Ghatotkacha, prince of Rakshasas and master of all illusions, son Bhima and Hidimva.

 

Maharathis

- Virata King

- Drupuda, King of Panchalas

- Dhrishtaketu, the son of Sisupala, the king of the Chedis

- All sons of Draupadi are Maharathas

- Abhimanyu,the son of Arjuna is equal to 2 Maharatha.

- Arjuna is equal to 2 Maharatha warrior

 

RULES OF ENGAGEMENT

The two supreme commanders met and framed "rules of ethical conduct", dharmayuddha, for the war. The rules included:

 

- Fighting must begin no earlier than sunrise and end exactly at sunset.

- More than one warriors may not attack a single warrior.

- Two warriors may "duel", or engage in prolonged personal combat, only if they carry the same weapons and they are on the same type of mount(on foot, on a horse, on an elephant, or in a chariot).

- No warrior may kill or injure a warrior who has surrendered.

- One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war.

- No warrior may kill or injure an unarmed warrior.

- No warrior may kill or injure an unconscious warrior.

- No warrior may kill or injure a person or animal not taking part in the war.

- No warrior may kill or injure a warrior whose back is turned away.

- No warrior may attack a woman.

- No warrior may strike an animal not considered a direct threat.

- The rules specific to each weapon must be followed. For example, it is prohibited to strike below the waist in mace warfare.

- Warriors may not engage in any unfair warfare.

 

COURSE OF WAR

The Kurukshetra War lasted eighteen days. It was fought only during daylight hours; fighting ceased at sunset. Each day the battle was characterised by numerous individual combats, as well as mass raids against entire enemy divisions. The victor or the vanquished on each day was determined not by any territories gained, but by the body count. This was a war to the death. The victor was the survivor. If the text is taken to be chronologically accurate, this was one of the bloodiest wars in the history of mankind. Arjuna, in a fit of extreme anger over the death of his son Abhimanyu, alone killed one akshauhini of Kaurava soldiers in a single day. The war left an extremely large number of widows and orphans and led to an economic depression and the beginning of Kali Yuga.

 

BEFORE THE BATTLE

It has been observed that the year in which the Mahabharata War took place, the year had three solar eclipses on earth in a span of thirty days. Eclipses are considered ill for life on earth according to Hindu astrology.

 

On the first day of the war, as would be on all the following days, the Kaurava army stood facing west and the Pandava army stood facing east. The Kaurava army was formed such that it faced all sides: elephants formed its body; the kings, its head; and the steeds, its wings. Bhishma, in consultation with his commanders Drona, Bahlika and Kripa, remained in the rear.

 

The Pandava army was organised by Yudhisthira and Arjuna in the Vajra formation. Because the Pandava army was smaller than the Kaurava's, they decided to employ the tactic of each warrior engaging as many enemies as possible. This involved an element of surprise, with the bowmen showering arrows hiding behind the frontal attackers. The attackers in the front were equipped with short-range weapons like maces, battle-axes, swords and lances.

 

Ten divisions(Akshauhinis) of the Kaurava army were arranged in a formidable phalanx. The eleventh was put under the immediate command of Bhishma, partly to protect him. The safety of the supreme commander Bhishma was central to Duryodhana's strategy, as he had placed all his hope on the great warrior's abilities. Dushasana, the younger brother of Duryodhana, was the military officer in-charge of Bhishma's protection.

 

THE BHAGVAD GITA

When the war was declared and the two armies were facing each other, Arjuna realised that he would have to kill his dear great-granduncle(Bhishma), on whose lap he had played as a child and his respected teacher(Drona), who had held his hand and taught him how to hold the bow and arrow, making him the greatest archer in the world. Arjuna felt weak and sickened at the prospect of killing his entire family, including his 100 cousins and friends such as Ashwatthama. Despondent and confused about what is right and what is wrong, Arjuna turned to Krishna for divine advice and teachings. Krishna, who Arjuna chose as his charioteer, advised him of his duty. This conversation forms the Bhagavad Gita, one of the most respected religious and philosophical texts in the Hindu religion. Krishna instructs Arjuna not to yield to degrading impotence and to fight his kin, for that was the only way to righteousness. He also reminded him that this was a war between righteousness and unrighteousness(dharma and adharma) and it was Arjuna's duty to slay anyone who supported the cause of unrighteousness, or sin. Krishna then revealed his divine form and explained that he is born on earth in each aeon when evil raises its head. It also forms one of the foremost treatise on the several aspects of Yoga and mystical knowledge.

 

Before the battle began, Yudhisthira did something unexpected. He suddenly dropped his weapons, took off his armour and started walking towards the Kaurava army with folded hands in prayer. The Pandava brothers and the Kauravas looked on in disbelief, thinking Yudhisthira was surrendering before the first arrow was shot. Yudhisthira's purpose became clear, however, when he fell on Bhishma's feet to seek his blessing for success in battle. Bhishma, grandfather to both the Pandavas and Kauravas, blessed Yudhisthira. Yudhisthira returned to his chariot and the battle was ready to commence.

 

DAY 1

When the battle was commenced, Bhishma went through the Pandava army wreaking havoc wherever he went but Abhimanyu, Arjuna's son, seeing this went straight at Bhishma, defeated his bodyguards and directly attacked the commander of the Kaurava forces. The Pandavas suffered numerous losses and were defeated at the end of the first day. Virata's sons, Uttara and Sweta, were slain by Shalya and Bhishma. Krishna consoled the distraught Yudhisthira saying that eventually victory would be his.

 

DAY 2

The second day of the war commenced with a confident Kaurava army facing the Pandavas. Arjuna, realising that something needed to be done quickly to reverse the Pandava losses, decided that he must try to kill Bhishma. Krishna skillfully located Bhishma's chariot and steered Arjuna toward him. Arjuna tried to engage Bhishma in a duel, but the Kaurava soldiers placed around Bhishma to protect him attacked Arjuna to try to prevent him from directly engaging Bhishma. Arjuna and Bhishma fought a fierce battle that raged for hours. Drona and Dhristadyumna similarly engaged in a duel during which Drona broke Dhristadyumna's bow numerous times. Bhima intervened and rescued Dhristadyumna. Duryodhana sent the Kalinga forces to attack Bhima and most of them lost their lives at his hands. Bhishma immediately came to relieve the battered Kalinga forces. Satyaki, who was assisting Bhima, shot at Bhishma's charioteer and killed him. Bhishma's horses, with no one to control them, bolted carrying Bhishma away from the battlefield. The Kaurava army had suffered great losses at the end of the second day.

 

DAY 3

On the third day, Bhishma arranged the Kaurava forces in the formation of an eagle with himself leading from the front, while Duryodhana's forces protected the rear. Bhishma wanted to be sure of avoiding any mishap. The Pandavas countered this by using the crescent formation with Bhima and Arjuna at the head of the right and the left horns, respectively. The Kauravas concentrated their attack on Arjuna's position. Arjuna's chariot was soon covered with arrows and javelins. Arjuna, with amazing skill, built a fortification around his chariot with an unending stream of arrows from his bow. Abhimanyu and Satyaki combined to defeat the Gandhara forces of Shakuni. Bhima and his son Ghatotkacha attacked Duryodhana in the rear. Bhima's arrows hit Duryodhana, who swooned in his chariot. His charioteer immediately drove them out of danger. Duryodhana's forces, however, saw their leader fleeing the battlefield and soon scattered. Bhishma soon restored order and Duryodhana returned to lead the army. He was angry at Bhishma, however, at what he saw as leniency towards the five Pandava brothers and spoke harshly at his commander. Bhishma, stung by this unfair charge, fell on the Pandava army with renewed vigor. It was as if there were more than one Bhishma on the field.

 

Arjuna and Krishna attacked Bhishma trying to restore order. Arjuna and Bhishma again engaged in a fierce duel, however Arjuna's heart was not in the battle as he did not like the idea of attacking his grand-uncle. During the battle, Bhishma killed numerous soldiers of Arjuna's armies.

 

DAY 4

The fourth-day of the battle was noted for the valour shown by Bhima. Bhishma commanded the Kaurava army to move on the offensive from the outset. While Abhimanyu was still in his mother's womb, Arjuna had taught Abhimanyu on how to break and enter the chakra vyuha. But, before explaining how to exit the chakra Vyuha, Arjuna was interrupted by Krishna(other story: Abhimanyu's mother falls asleep while Arjuna was explaining her). Thus from birth, Abhimanyu only knew how to enter the Chakra vyuha but didn't know how to come out of it. When the Kauravas formed the chakravyuha, Abhimanyu entered it but was surrounded and attacked by a number of Kaurava princes. Arjuna joined the fray in aid of Abhimanyu. Bhima appeared on the scene with his mace aloft and started attacking the Kauravas. Duryodhana sent a huge force of elephants at Bhima. When Bhima saw the mass of elephants approaching, he got down from his chariot and attacked them single handedly with his iron mace. They scattered and stampeded into the Kaurava forces killing many. Duryodhana ordered an all-out attack on Bhima. Bhima withstood all that was thrown at him and attacked Duryodhana's brothers, killing eight of them. Bhima was soon struck by an arrow on the chest and sat down in his chariot dazed.

 

Duryodhana was distraught at the loss of his brothers. Duryodhana, overwhelmed by sorrow at the loss of his brothers, went to Bhishma at the end of the fourth day of the battle and asked his commander how could the Pandavas, facing a superior force against them, still prevail and win. Bhishma replied that the Pandavas had justice on their side and advised Duryodhana to seek peace.

 

DAYS 5-9

When the battle resumed on the fifth day, the slaughter continued. The Pandava army again suffered against Bhishma's attacks. Satyaki bore the brunt of Drona's attacks and soon could not withstand them. Bhima drove by and rescued Satyaki. Arjuna fought and killed thousands of soldiers sent by Duryodhana to attack him. The unimaginable carnage continued during the ensuing days of the battle.

 

The sixth day was marked by a prodigious slaughter. Drona caused immeasurable loss of life on the Pandava side. The formations of both the armies were broken. On day 7 Drona slays Shankya, son of Virata. On the eighth day Bhima killed eight of Dhritarashtra's sons.

 

On the ninth day Krishna, overwhelmed by anger at the apparent inability of Arjuna to defeat Bhishma, rushed towards the Kaurava commander, the wheel of a fallen chariot in his hands. Bhishma lays down his arms and is ready to die at the hands of the Lord, but Arjuna stops him, reminding of his promise not to wield a weapon. Realizing that the war could not be won as long as Bhishma was standing, Krishna suggested the strategy of placing a eunuch in the field to face him. Some sources however state that it was Yudhistira who visits Bhishma's camp at night asking him for help. To this Bhishma says that he would not fight a eunuch.

 

DAY 10

On the tenth day, the Pandavas, unable to withstand Bhishma's prowess, decided to put Shikhandi, who had been a woman in a prior life in front of Bhishma, as Bhishma has taken a vow not to attack a woman. Shikhandi's arrows fell on Bhishma without hindrance. Arjuna positioned himself behind Shikhandi, protecting himself from Bhishma's attack and aimed his arrows at the weak points in Bhishma's armour. Soon, with arrows sticking from every part of his body, the great warrior fell from his chariot. His body did not touch the ground as it was held aloft by the arrows protruding from his body.

 

The Kauravas and Pandavas gathered around Bhishma and at his request, Arjuna placed three arrows under Bhishma's head to support it. Bhishma had promised his father, King Shantanu, that he would live until Hastinapur were secured from all directions. To keep this promise, Bhishma used the boon of "Ichcha Mrityu"(self wished death) given to him by his father. After the war was over, when Hastinapur had become safe from all sides and after giving lessons on politics and Vishnu Sahasranama to the Pandavas, Bhishma died on the first day of Uttarayana.

 

DAY 11

With Bhishma unable to continue, Karna entered the battlefield, much to Duryodhana's joy. He made Drona the supreme commander of the Kaurava forces. Karna and Duryodhana wanted to capture Yudhisthira alive. Killing Yudhisthira in battle would only enrage the Pandavas more, whereas holding him as hostage would be strategically useful. Drona formulated his battle plans for the eleventh day to this aim. He cut down Yudhisthira's bow and the Pandava army feared that their leader would be taken prisoner. Arjuna rushed to the scene, however and with a flood of arrows made Drona retreat.

 

DAY 12

With his attempts to capture Yudhisthira thwarted, Drona confided to Duryodhana that it would be difficult as long as Arjuna was around. He summoned King Bhagadatta, the monarch of Pragjyotisha(modern day Assam, India). Bhagadatta had thousands of gigantic elephants in his stable and was considered the strongest warrior on this planet in elephant warfare. Bhagadatta attacked Arjuna with his gigantic elephant named Suprateeka. It was a fierce battle in which Bhagadatta matched Arjuna astra for astra but Arjuna slew him. Drona continued to try and capture Yudhisthira. The Pandavas however fought hard and delivered severe blows to the Kaurava army.

 

DAY 13

The King of Trigartadesa, Susharma along with his 3 brothers and 35 sons who were fighting on the Kaurava side made a pact that they would make sure that Arjuna comes and doesn't break the Chakra Vuyh and kill him or die. They went into the battlefield on the twelfth day and challenged Arjuna. Arjuna gave them a fierce fight in which the brothers fell dead after fighting a brave fight. Drona continued to try and capture Yudhisthira.

 

On the other side of the battlefield, the remaining four Pandavas and their allies were finding it impossible to break Dronacharya's "Chakra Vyuh" formation. As Arjuna was busy fighting with the Trigartadesa princes and the Prajayogastha monarch on the other side of the battlefield, he could not be summoned to break the Chakra Vyuha formation, which could only be broken by entering and exiting the formation. Yudhisthira instructed, Abhimanyu, one of Arjuna's sons to break the Chakra vyuha formation. Abhimanyu knew the secret of entering the Chakra vyuh formation, but did not know how to exit it. Abhimanyu slew tens of thousands of warriors. He also killed Duryodhana's son. Duryodhana got enraged and ordered Durmashana, who was Dushasana's son to attack Abhimanyu but he died under the hands of Abhimanyu. Next he ordered his men to attack Abhimanyu all at once. Abhimanyu fought but was surrounded and killed by many warriors in a combined attack.

 

Upon learning of the death of his son, Arjuna vowed to kill Jayadratha on the morrow before the battle ended at sunset, otherwise he would throw himself into the fire.

 

DAY 14

While searching for Jayadrath on the battlefield, Arjuna slew an akshauhini(battle formation that consisted of 21,870 chariots(Sanskrit ratha); 21,870 elephants; 65,610 cavalry and 109,350 infantry) of Kaurav soldiers. The Shakatavuyha Kaurav army tightly protected Jayadratha, however, preventing Arjuna from attacking him. Finally, in late afternoon, Arjuna found Jayadratha guarded by the mighty Kaurav army. Seeing his friend's plight, Lord Krishna raised his Sudarshan Chakra to cover the sun, faking a sunset. Arjun fought a powerful battle with Jayadrath and finally defeated him. Then, Arjuna shot a powerful arrow decapitating Jayadrath. While Arjuna destroying the rest of the Shakatavuyha, Vikarna, the third eldest Kaurava, challenged Arjuna to an archery fight. Arjuna asks Bhima to decimate Vikarna, but Bhima refused to, because Vikarna defended the Pandavas during the Vastranam. Bhima and Vikarna showered arrows at each other. Later Bhima throws his mace at Vikarna, killing him. The muscular Pandava was devastated and mourned his death saying he was a man of Dharma and it was a pity how he lived his life.

 

The battle continued past sunset. When the bright moon rose, Ghatotkacha, son of Bhima slaughtered numerous warriors, attacking while flying in the air. Karna stood against him and both fought fiercely until Karna released the Shakti, a divine weapon given to him by Indra. Ghatotkacha increased his size and fell dead on the Kaurav army killing thousands of them.

 

DAY 15

After King Drupada and King Virata were slain by Drona, Bhima and Dhristadyumna fought him on the fifteenth day. Because Drona was very powerful and inconquerable having the irresistible Brahmadanda, Krishna hinted to Yudhisthira that Drona would give up his arms if his son Ashwatthama was dead. Bhima proceeded to kill an elephant named Ashwatthama and loudly proclaimed that Ashwatthama was dead. Drona approached Yudhisthira to seek the truth of his son's death. Yudhisthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant, The latter part of his proclamation(Naro va Kunjaro va) were drowned out by sound of the conch blown by Krishna intentionally (a different version of the story is that Yudhisthira pronounced the last words so feebly that Drona could not hear the word elephant). Prior to this incident, the chariot of Yudhisthira, proclaimed as Dharma raja(King of righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

 

Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna to avenge his father's death and satisfy his vow. Later, the Pandava's mother Kunti secretly met her abandoned son Karna and requested him to spare the Pandavas, as they were his younger brothers. Karna promised Kunti that he would spare them except for Arjuna, but also added that he would not fire a same weapon against Arjun twice.

 

DAY 16

On the sixteenth day, Karna was made the supreme commander of the Kuru army. Karna fought valiantly but was surrounded and attacked by Pandava generals, who were unable to prevail upon him. Karna inflicted heavy damage on the Pandava army, which fled. Then Arjuna successfully resisted Karna's weapons with his own and also inflicted casualties upon the Kaurava army. The sun soon set and with darkness and dust making the assessment of proceedings difficult, the Kaurava army retreated for the day.

 

On the same day, Bhima swung his mace and shattered Dushasana's chariot. Bhima seized Dushasana, ripped his right hand from shoulder and killed him, tearing open his chest and drinking his blood and carrying some to smear on Draupadi's untied hair, thus fulfilling his vow made when Draupadi was humiliated.

 

DAY 17

On the seventeenth day, Karna defeated the Pandava brothers Nakul, Bhima, Sahadeva and Yudhisthira in battle but spared their lives. Later, Karna resumed duelling with Arjuna. During their duel, Karna's chariot wheel got stuck in the mud and Karna asked for a pause. Krishna reminded Arjuna about Karna's ruthlessness unto Abhimanyu while he was similarly left without chariot and weapons. Hearing his son's fate, Arjuna shot his arrow and decapitated Karna. Before the day's battle, Karna's sacred armour ('Kavacha') and earrings ('Kundala') were taken as alms by Lord Indra when asked for, which resulted in his death by Arjuna's arrows.

 

DAY 18

On the 18th day, Shalya took over as the commander-in-chief of the remaining Kaurava forces. Yudhishthira killed king Shalya in a spear combat and Sahadeva killed Shakuni. Realizing that he had been defeated, Duryodhana fled the battlefield and took refuge in the lake, where the Pandavas caught up with him. Under the supervision of the now returned Balarama, a mace battle took place between Bhima and Duryodhana. Bhima flouted the rules(under instructions from Krishna) to strike Duryodhana beneath the waist in which he was mortally wounded.

 

Ashwatthama, Kripacharya, and Kritavarma met Duryodhana at his deathbed and promised to avenge the actions of Bhima. They attacked the Pandavas' camp later that night and killed all the Pandavas' remaining army including their children. Amongst the dead were Dhristadyumna and Shikhandi. Other than the Pandavas and Krishna, only Satyaki and Yuyutsu survived.

 

AFTERMATH

At the end of the 18th day, only twelve warriors survived the war - the five Pandavas, Krishna, Satyaki, Ashwatthama, Kripacharya, Yuyutsu, Vrishakethu(son of Karna) and Kritvarma. Vrishakethu was the only son of Karna who survived the horrific slaughter. He later came under the patronage of the Pandavas. During the campaign that preceded the Ashvamedha yagna, Vrishakethu accompanied Arjuna and participated in the battles with Sudhava and Babruvahana. During that campaign Vrishakethu married the daughter of King Yavanatha. It is said, Arjuna developed great affection for Vrishakethu, his nephew. Yudhisthira was crowned king of Hastinapur. He renounced the throne after ruling for 36 years, passing on the crown to Arjuna's grandson Parikshit. He then left for the Himalayas with Draupadi and his brothers in what was to be their last journey. Draupadi and four Pandavas - Bhima, Arjuna, Nakula and Sahadeva died during the journey. Yudhisthira, the lone survivor and being of pious heart, was invited by Dharma to enter the heavens as a mortal.

 

WIKIPEDIA

The Kurukshetra War is a mythological war described in the Indian epic Mahabharata as a conflict that arose from a dynastic succession struggle between two groups of cousins of an Indo-Aryan kingdom called Kuru, the Kauravas and Pandavas, for the throne of Hastinapura. It involved a number of ancient kingdoms participating as allies of the rival groups.

 

The Kurukshetra War is believed to date variously from 6000 BCE to 500 BCE based on the astronomical and literary information from Mahabharata. The history of the Kurukshetra War is also traced to the Battle of the Ten Kings mentioned in Rigveda.

 

The location of the battle is described as having occurred in Kurukshetra in the modern state of Haryana

 

Mahabharata states that the war started on Kartheeka Bahula Amavasya (the end of the Kartheeka and the start of the Margasira lunar month), moon on Jyesta star, on Tuesday early morning. A solar eclipse also happened on that day, and this Muhurtha was kept by Krishna himself. The Bhagavad Gita was told on that early morning, before the war began. The war lasted only eighteen days, during which vast armies from all over the Indian (Bharatha) Subcontinent fought alongside the two rivals. Despite only referring to these eighteen days, the war narrative forms more than a quarter of the book, suggesting its relative importance within the epic, which overall spans decades of the warring families.

 

The narrative describes individual battles of various heroes of both sides, battle-field deaths of some of the prominent heroes, military formations employed on each day by both armies, war diplomacy, meetings and discussions among the heroes and commanders before commencement of war on each day and the weapons used. The chapters (parvas) dealing with the war (from chapter six to ten) are considered amongst the oldest in the entire Mahabharat.

 

HISTORICAL CONTEXT

Though the Kurukshetra War is not mentioned in Vedic literature, its prominence in later literature led historians such as A. L. Basham to conclude that, "certainly a great war took place and succeeding generations looked upon it as marking an end of an epoch". Popular tradition holds that the war marks the transition to Kaliyuga and thus dates it to 3102 BCE; another tradition places the war in 15th century BCE. However historians regard these dates as too early and inconsistent with the available archaeological and literary evidence. Basham considers the beginning of the 9th century BCE as a more plausible date for the events. Similarly, Michael Witzel concludes that the general setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.

 

Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit(Arjun's grandson) and the accession of Mahapadma Nanda, commonly dated to 382 BCE, which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies.

 

Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna(Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna and thus approximately 950 BCE for the Bharata battle.

 

B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.

 

There have been a number of theories put forward:

 

- The most widely accepted date is 10th century BCE or 950 BCE, according to archeological evidence.

- B. N. Achar states a date of 3067 BCE using planetary positions listed in the Mahabharata.

- S. Balakrishna concluded a date of 2559 BCE using consecutive lunar eclipses.

- P. V. Holey states a date of November 13, 3143 BCE using planetary positions and calendar systems.

- R. N. Iyengar concluded a date of 1478 BCE using double eclipses and Saturn+Jupiter conjunctions.

- P. R. Sarkar estimates a date of 1298 BCE for the war of Kurukshetra.

- P. V. Vartak calculates a date of October 16, 5561 BCE using planetary positions.

- K. Sadananda, based on translation work, states that the Kurukshetra War started on November 22 3067 BCE.

 

The reconstruction of the history of Vedic India is based on text-internal details. Linguistically, the Vedic texts could be classified in five chronological strata as Rigvedic, Mantra, Samhita, Brahmana, Sutra, and Epic and Paninian. The Mantra language period includes both the mantra and prose language of the Atharvaveda(Paippalada and Shaunakiya), the Rigveda Khilani, the Samaveda Samhita(containing some 75 mantras not in the Rigveda) and the mantras of the Yajurveda. Many of these texts are largely derived from the Rigveda, but have undergone certain changes, both by linguistic change and by reinterpretation. Conspicuous changes include the change of vishva "all" by sarva and the spread of the kuru- verbal stem for Rigvedic krno-). This is from the time of the early Iron Age in north-western India, corresponding to the Black and Red Ware(BRW) culture and the kingdom of the Kurus, dating from ca. the 10th century BCE. The Samhita prose period marks the beginning of the collection and codification of a Vedic canon. An important linguistic change is the complete loss of the injunctive. The Brahmana part ('commentary' on mantras and ritual) of the Black Yajurveda(MS, KS, TS) belongs to this period. Archaeologically, the Painted Grey Ware(PGW) culture from ca. 900 BCE corresponds and the shift of the political center from the Kurus to the Pancalas on the Ganges.

 

BACKGROUND

Mahabharata, one of the most important Hindu epics, is an account of the life and deeds of several generations of a ruling dynasty called the Kuru clan. Central to the epic is an account of a war that took place between two rival families belonging to this clan. Kurukshetra (literally "field of the Kurus"), was the battleground on which this war, known as the Kurukshetra War, was fought. Kurukshetra was also known as "Dharmakshetra"(the "field of Dharma"), or field of righteousness. Mahabharata tells that this site was chosen for the war because a sin committed on this land was forgiven on account of the sanctity of this land.

 

The Kuru territories were divided into two and were ruled by Dhritarashtra(with his capital at Hastinapura) and Yudhishthira of the Pandavas(with his capital at Indraprastha). The immediate dispute between the Kauravas(sons of Dhritarashtra) and the Pandavas arose from a game of dice, which Duryodhana won by deceit, forcing their Pandava cousins to transfer their entire territories to the Kauravas (to Hastinapura) and to "go into exile" for thirteen years. The dispute escalated into a full scale war when Prince Duryodhana, the eldest of the Kauravas, driven by jealousy, refused to restore the Pandavas their territories after the exile as earlier decided, as Duryodhana objected that they were discovered while in exile, and that no return of their kingdom was agreed upon.

 

Prior to the war, the disinherited Pandavas in the kingdom of Matsya, advised by Krishna, tried to find a diplomatic and peaceful solution to the conflict. Balarama, Krishna's older brother, advised the Pandavas to send an emissary to get the support of the elders of the family, like Bhishma, Dhritarashtra, Drona, Kripa etc., with the message "Let us avoid armed conflict as much as possible. Only that which is accrued in peace is worthwhile. Out of war, nothing but wrong can issue". While the emissary was in the Kaurava court, the Pandavas continued with war preparations. They sent messages requesting assistance to a number of neighbouring kingdoms. Their ambassador of peace was insulted and turned away by Duryodhana, who was intent on war, defying the counsel of elders like Bhishma. After several failed attempts at peace, war seemed inevitable. The two sides to the war were the Pandavas and the Kauravas (the official Kuru tribe now ruling both Hastinapura and Indraprastha), both with their allies.

 

Jaya, the core of Mahabharata, is structured in the form of a dialogue between Kuru king Dhritarashtra and Sanjaya, his advisor and chariot driver. Sanjaya narrates each incident of the Kurukshetra War, fought in 18 days, as and when it happened. Dhritarashtra sometimes asks questions and doubts and sometimes laments, knowing about the destruction caused by the war, to his sons, friends and kinsmen. He also feels guilty, due to his own role, that led to this war, destructive to the entire Indian subcontinent.

 

In the beginning Sanjaya gives a description of the various continents of the Earth, the other planets, and focuses on the Indian Subcontinent, then gives an elaborate list of hundreds of kingdoms, tribes, provinces, cities, towns, villages, rivers, mountains, forests etc. of the(ancient) Indian Subcontinent(Bharata Varsha). He also explains about the 'military formations adopted by each side on each day, the death of each hero and the details of each war-racing. Some 18 chapters of Vyasa's Jaya constitutes the Bhagavad Gita, one of the sacred texts of the Hindus. Thus, this work of Vyasa, called Jaya, deals with diverse subjects like geography, history, warfare, religion and morality. According to Mahabharata itself, the Jaya was recited to the King Janamejaya, the great-grandson of Arjuna, by Vaisampayana, a disciple of Vyasa (then called the Bharata). The recitation of Vaisampayana to Janamejaya was then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year-long sacrifice for King Saunaka Kulapati in the Naimisha forest (then called the Mahabharata).

 

COMBATANTS

The Kurus formed a kingdom in the Vedic period of India. They formed the first political center after the Rigvedic period, after their emergence from the Punjab, and it was there that the codification and redaction of the Vedic texts began. Archaeologically, they most likely correspond to the Black and Red Ware Culture of the 12th to 9th centuries BC, at the beginning of the Iron Age in western India. Panchala was the second urban center of Vedic civilization, as its focus moved east from the Punjab, after the focus of power had been with the Kurus in the early Iron Age. This period is associated with the Painted Grey Ware culture, arising around 1100 BCE, and declining from 600 BCE, with the end of the Vedic period. The ruling confederacy, the Panchalas, as their name suggests, probably consisted of five clans - the Krivis, the Turvashas, The Keshins, the Srinjayas and the Somakas. Drupada, whose daughter Draupadi was married to the Pandavas belonged to the Somaka clan. However, the Mahabharata and the Puranas consider the ruling clan of the northern Panchala as an offshoot of the Bharata clan and Divodasa, Sudas, Srinjaya, Somaka and Drupada(also called Yajnasena) were the most notable rulers of this clan.

 

KRISHNA`S PEACE MISSION

As a last attempt at peace, Krishna travelled to Hastinapur to persuade the Kauravas to embark upon a peaceful path with him. At Hastinapur, Krishna took his meals and stayed at the house of the minister, Vidura, a religious man and a devotee of Krishna. Duryodhana was insulted that Krishna had turned down his invitation to dine with him and stay in his royal palace. Determined to stop the peace mission, Duryodhana plotted to arrest Krishna.

 

At the formal presentation of the peace proposal by Krishna at the court of Hastinapur, Krishna asked Duryodhana to give back Indraprastha or if not at least five villages, one for each of the Pandavas, but Duryodhana said he could not give land even as much as tip of a needle, Krishna's peace proposals were ignored and Duryodhana publicly ordered his soldiers to arrest Krishna. Krishna laughed and displayed his divine form, radiating intense light. Furious at the insult inflicted upon Him, Lord Krishna cursed Duryodhana that his downfall was certain, to the shock of Dhirtharastra, who tried to pacify the Lord.

 

His peace mission being rejected by Duryodhana, Krishna returned to Upaplavya to inform the Pandavas that the only course left to uphold the principles of virtue and righteousness was inevitable - war. During the course of his return, Krishna met Karna, Kunti's firstborn(before Yudhisthira) and said to help his brothers, but, being helped by Duryodhana, Karna said to Krishna that he would battle against Pandavas.

 

WAR PREPARATIONS

Krishna had a large force called the Narayani Sena and was himself a great warrior. Duryodhana and Arjuna thus both went to Krishna at Dwarka to ask for his help. Duryodhana arrived first and found Krishna asleep. Being arrogant and viewing himself as equal to Krishna, Duryodhana chose a seat at Krishna's head and waited for him to rouse. Arjuna arrived later and being a humble devotee of Krishna, chose to sit and wait at Krishna's feet. When Krishna woke up, he saw Arjuna first and gave him the first right to make his request. Krishna told Arjuna and Duryodhana that he would give the Narayani Sena, to one side and himself as a non-combatant to the other. Since Arjuna was given the first opportunity to choose, Duryodhana was worried that Arjuna would choose the mighty army of Krishna. When given the choice of either Krishna's army or Krishna himself on their side, Arjuna on behalf of the Pandavas chose Krishna, unarmed on his own, relieving Duryodhana, who thought Arjuna to be the greatest fool. Later Arjuna requested Krishna to be his charioteer and Krishna, being an intimate friend of Arjuna, agreed wholeheartedly and hence received the name Parthasarthy, or 'charioteer of the son of Pritha'. Both Duryodhana and Arjuna returned satisfied.

 

While camping at a place called Upaplavya, in the territory of Virata, the Pandavas gathered their armies. Contingents arrived from all parts of the country and soon the Pandavas had a large force of seven divisions. The Kauravas managed to raise an even larger army of eleven divisions. Many kingdoms of ancient India such as Dwaraka, Kasi, Kekaya, Magadha, Chedi, Matsya, Pandya, and the Yadus of Mathura were allied with the Pandavas; while the allies of the Kauravas comprised the kings of Pragjyotisha, Kalinga, Anga, Kekaya, Sindhudesa, Avanti in Madhyadesa, Gandharas, Bahlikas, Mahishmati, Kambojas(with the Yavanas, Sakas, Trilinga, Tusharas) and many others.

 

PANDAVA ARMY

Seeing that there was now no hope for peace, Yudhisthira, the eldest of the Pandavas, asked his brothers to organize their army. The Pandavas accumulated seven Akshauhinis army with the help of their allies. Each of these divisions were led by Drupada, Virata, Dhristadyumna, Shikhandi, Satyaki, Chekitana and Bhima. After consulting his commanders, the Pandavas appointed Dhristadyumna as the supreme commander of the Pandava army. Mahabharata says that kingdoms from all over ancient India supplied troops or provided logistic support on the Pandava side. Some of these were: Kekaya, Pandya, Cholas, Magadha and many more.

 

KAURAVA ARMY

The Kaurava army consisted of 11 Akshauhinis. Duryodhana requested Bhishma to command the Kaurava army. Bhishma accepted on the condition that, while he would fight the battle sincerely, he would not harm the five Pandava brothers. In addition, Bhishma said that Karna would not fight under him as long as he is in the battlefied. It is believed by many that Bhishma pushed Karna into taking this decision due to his affection towards the Pandavas - the Kauravas would be overwhelmingly powerful if both he and Karna appeared in battle simultaneously. However the excuse he used to prevent their simultaneous fighting was that his guru(Parshurama) was insulted by Karna. He also knew that Karna was a Kaunteya(Son of Kunti) from the day he met him in Ranakshetra when Karna offered Arjuna to fight against him and Bhishma wanted to keep Karna out, so that there will be someone to lead the army once he is unable to continue with the war. Regardless, Duryodhana agreed to Bhishma's conditions and made him the supreme commander of the Kaurava army, while Karna was debarred from fighting. But Karna enters the war later when Bhishma is wounded by Arjuna. Apart from the one hundred Kaurava brothers, headed by Duryodhana himself and his brother Dushasana, the second eldest son of Dhritarashtra, the Kauravas were assisted on the battlefield by Drona and his son Ashwatthama, the Kaurava's brother-in-law Jayadratha, the Brahmin Kripa, Kritavarma, Shalya, Sudakshina, Bhurisrava, Bahlika, Shakuni and many more who were bound by their loyalty towards either Hastinapura or Dhritarashtra.

 

NEUTRAL PARTIES

The kingdom of Vidarbha, with its King Rukmi, Vidura, the ex-prime minister of Hastinapur and younger brother to Dhritarashtra and Balarama were the only neutrals in this war. Rukmi wanted to join the war, but Duryodhana and Arjuna refused to allow him, because he boasted about his war strength and army. Vidura did not want to see the bloodshed of the war, although he was a good battle strategist. The powerful Balarama refused to fight at Kurukshetra, because he was both Bhima and Duryodhana's wrestling coach.

 

ARMY DIVISIONS & WEAPONRY

Each army consisted of several divisions; the Kauravas had 11 while the Pandavas had 7. A division(akshauhini) includes 21,870 chariots and chariot-riders, 21,870 War elephants and riders, 65,610 Cavalry and 109,350 foot-soldiers(in a ratio of 1:1:3:5). The combined number of warriors and soldiers in both armies was approximately 3.94 million. Each Akshauhini was under a commander or a general, apart from the Commander in chief or the generalissimo who was the head of the entire army.

 

During the Kurukshetra War, the weapons used included: the bow, the weapon of choice for Arjuna, Bhishma, Drona, Karna, Satyaki, Vikarna and Abhimanyu; the mace, chosen by Bhima and Duryodhana, the spear, chosen by Yudhistira and Shalya; the sword chosen by Nakula, Dushasana, Dhristadymna and other Kauravas; and the axe chosen by Sahadeva.

 

MILITARY FORMATIONS

At various times during battle, the supreme commander of either army ordered special formations(vyuhas). Each formation had a specific purpose; some were defensive while others were offensive. Each formation had its specific strengths and weaknesses. The Mahābhārata lists the following:

 

Krauncha vyuha(heron formation)

Makara vyuha(crocodile formation)

Kurma vyuha(tortoise or turtle formation)

Trishula vyuha(trident formation)

Chakrvyuha(wheel or discus formation)

Kamala vyuha or Padma vyuha(lotus formation)

Garud vyuha(eagle formation)

Oormi vyuha(ocean formation)

Mandala vyuha(galaxy formation)

Vajra vyuha(diamond or thunderbolt formation)

Shakata vyuha(box or cart formation)

Asura vyuha(demon formation)

Deva vyuha(divine formation)

Soochi vyuha(needle formation)

Sringataka vyuha(horned formation)

Chandrakala vyuha(crescent or curved blade formation)

Mala vyuha(garland formation)

 

It is not clear what the formations actually indicate. They may be arrangements of bear resemblance to animals, or they may be names given to battle strategies.

 

CLASSIFICATION OF WARRIORS BY BHISHMA

Bhishma, the grandsire of both Kauravas and Pandavas, analysed each warrior on both sides of the army. As per Bhishma at the tale of Rathi and Maharathi there are 3 types of warriors. They are Rathi, Atirathi and Maharathi. He classified every warrior on both sides of the army following his judgement and knowledge of the science of weapons. According to him the highest level of a warrior is Maharathi.

 

*Rathi: A warrior capable of attacking 5,000 warriors simultaneously.

 

*Atirathi: A warrior capable of contending with 12 Rathi class warriors or 60,000 warriors simultaneously

 

*Maharathi: A warrior capable of fighting 12 Atirathi class warriors or 720,000 warriors simultaneously, circumspect in his mastery of all forms of weapons and combat skills.

 

FROM KAURAVA SIDE

Rathis,* Sudhakshina, the ruler of the Kamvojas, *Sakuni, King of Gandhar and uncle of Kauravas, *Duryodhana's son Lakshmana and the son of Dushasana, *Jayadrath, the king of the Sindhu and brother in law of Kauravas, *All 99 brothers of Duryodhana, including Dushasan, are single Rathis, *Duryodhana is classified as a warrior equal to 8 Rathis.

 

Atirathis

- Bhoja chief Kritavarman

- The ruler of the Madras,Salya

- Bhurisravas, the son of Somadatta

- Kripa, also known as Kripacharya, the son of Saradwat

 

Maharathis

- Alambhusha, the Chief of Rakshasas

- The ruler of Pragjyotisha, the brave Bhagadatta

- Vrishasena, the son of Karna,

- Guru Drona

- Asvathama, the son of Guru Drona and the avatar of Lord Shiva. (Even though he was classified as a Maharatha, in reality he was peerless and equal to Lord Shiva in battle according to Bhishma; but the only pre-condition is that Asvathama has to become extremely angry to unleash his full potential)

- Karna is equal to 2 Maharathi.

- Bhishma, even though he never classified himself. Later it was revealed that Bhishma was equal to 2 Maharatha warriors. (But at the tale of Rathi and Atirathi, Bhishma classified him as just half a Rathi in order to weaken his morale when fighting against his brothers, the Pandavas, at the request of Lord Krishna)

 

FROM PANDAVA SIDE

Rathis

- Uttamaujas

- Sikhandi, the son of the king of the Panchalas

- Yudishtira the son of Pandu and Kunti, is a Ratha.

- Nakul and Sahadeva are single Rathis

- Bhima is regarded as equal to 8 Rathas.

 

Atirathis

- Satyaki of the Vrishni race,

- Dhrishtadyumna the son of Drupuda

- Kuntibhoja,the maternal uncle of Pandavas

- Ghatotkacha, prince of Rakshasas and master of all illusions, son Bhima and Hidimva.

 

Maharathis

- Virata King

- Drupuda, King of Panchalas

- Dhrishtaketu, the son of Sisupala, the king of the Chedis

- All sons of Draupadi are Maharathas

- Abhimanyu,the son of Arjuna is equal to 2 Maharatha.

- Arjuna is equal to 2 Maharatha warrior

 

RULES OF ENGAGEMENT

The two supreme commanders met and framed "rules of ethical conduct", dharmayuddha, for the war. The rules included:

 

- Fighting must begin no earlier than sunrise and end exactly at sunset.

- More than one warriors may not attack a single warrior.

- Two warriors may "duel", or engage in prolonged personal combat, only if they carry the same weapons and they are on the same type of mount(on foot, on a horse, on an elephant, or in a chariot).

- No warrior may kill or injure a warrior who has surrendered.

- One who surrenders becomes a prisoner of war and will then be subject to the protections of a prisoner of war.

- No warrior may kill or injure an unarmed warrior.

- No warrior may kill or injure an unconscious warrior.

- No warrior may kill or injure a person or animal not taking part in the war.

- No warrior may kill or injure a warrior whose back is turned away.

- No warrior may attack a woman.

- No warrior may strike an animal not considered a direct threat.

- The rules specific to each weapon must be followed. For example, it is prohibited to strike below the waist in mace warfare.

- Warriors may not engage in any unfair warfare.

 

COURSE OF WAR

The Kurukshetra War lasted eighteen days. It was fought only during daylight hours; fighting ceased at sunset. Each day the battle was characterised by numerous individual combats, as well as mass raids against entire enemy divisions. The victor or the vanquished on each day was determined not by any territories gained, but by the body count. This was a war to the death. The victor was the survivor. If the text is taken to be chronologically accurate, this was one of the bloodiest wars in the history of mankind. Arjuna, in a fit of extreme anger over the death of his son Abhimanyu, alone killed one akshauhini of Kaurava soldiers in a single day. The war left an extremely large number of widows and orphans and led to an economic depression and the beginning of Kali Yuga.

 

BEFORE THE BATTLE

It has been observed that the year in which the Mahabharata War took place, the year had three solar eclipses on earth in a span of thirty days. Eclipses are considered ill for life on earth according to Hindu astrology.

 

On the first day of the war, as would be on all the following days, the Kaurava army stood facing west and the Pandava army stood facing east. The Kaurava army was formed such that it faced all sides: elephants formed its body; the kings, its head; and the steeds, its wings. Bhishma, in consultation with his commanders Drona, Bahlika and Kripa, remained in the rear.

 

The Pandava army was organised by Yudhisthira and Arjuna in the Vajra formation. Because the Pandava army was smaller than the Kaurava's, they decided to employ the tactic of each warrior engaging as many enemies as possible. This involved an element of surprise, with the bowmen showering arrows hiding behind the frontal attackers. The attackers in the front were equipped with short-range weapons like maces, battle-axes, swords and lances.

 

Ten divisions(Akshauhinis) of the Kaurava army were arranged in a formidable phalanx. The eleventh was put under the immediate command of Bhishma, partly to protect him. The safety of the supreme commander Bhishma was central to Duryodhana's strategy, as he had placed all his hope on the great warrior's abilities. Dushasana, the younger brother of Duryodhana, was the military officer in-charge of Bhishma's protection.

 

THE BHAGVAD GITA

When the war was declared and the two armies were facing each other, Arjuna realised that he would have to kill his dear great-granduncle(Bhishma), on whose lap he had played as a child and his respected teacher(Drona), who had held his hand and taught him how to hold the bow and arrow, making him the greatest archer in the world. Arjuna felt weak and sickened at the prospect of killing his entire family, including his 100 cousins and friends such as Ashwatthama. Despondent and confused about what is right and what is wrong, Arjuna turned to Krishna for divine advice and teachings. Krishna, who Arjuna chose as his charioteer, advised him of his duty. This conversation forms the Bhagavad Gita, one of the most respected religious and philosophical texts in the Hindu religion. Krishna instructs Arjuna not to yield to degrading impotence and to fight his kin, for that was the only way to righteousness. He also reminded him that this was a war between righteousness and unrighteousness(dharma and adharma) and it was Arjuna's duty to slay anyone who supported the cause of unrighteousness, or sin. Krishna then revealed his divine form and explained that he is born on earth in each aeon when evil raises its head. It also forms one of the foremost treatise on the several aspects of Yoga and mystical knowledge.

 

Before the battle began, Yudhisthira did something unexpected. He suddenly dropped his weapons, took off his armour and started walking towards the Kaurava army with folded hands in prayer. The Pandava brothers and the Kauravas looked on in disbelief, thinking Yudhisthira was surrendering before the first arrow was shot. Yudhisthira's purpose became clear, however, when he fell on Bhishma's feet to seek his blessing for success in battle. Bhishma, grandfather to both the Pandavas and Kauravas, blessed Yudhisthira. Yudhisthira returned to his chariot and the battle was ready to commence.

 

DAY 1

When the battle was commenced, Bhishma went through the Pandava army wreaking havoc wherever he went but Abhimanyu, Arjuna's son, seeing this went straight at Bhishma, defeated his bodyguards and directly attacked the commander of the Kaurava forces. The Pandavas suffered numerous losses and were defeated at the end of the first day. Virata's sons, Uttara and Sweta, were slain by Shalya and Bhishma. Krishna consoled the distraught Yudhisthira saying that eventually victory would be his.

 

DAY 2

The second day of the war commenced with a confident Kaurava army facing the Pandavas. Arjuna, realising that something needed to be done quickly to reverse the Pandava losses, decided that he must try to kill Bhishma. Krishna skillfully located Bhishma's chariot and steered Arjuna toward him. Arjuna tried to engage Bhishma in a duel, but the Kaurava soldiers placed around Bhishma to protect him attacked Arjuna to try to prevent him from directly engaging Bhishma. Arjuna and Bhishma fought a fierce battle that raged for hours. Drona and Dhristadyumna similarly engaged in a duel during which Drona broke Dhristadyumna's bow numerous times. Bhima intervened and rescued Dhristadyumna. Duryodhana sent the Kalinga forces to attack Bhima and most of them lost their lives at his hands. Bhishma immediately came to relieve the battered Kalinga forces. Satyaki, who was assisting Bhima, shot at Bhishma's charioteer and killed him. Bhishma's horses, with no one to control them, bolted carrying Bhishma away from the battlefield. The Kaurava army had suffered great losses at the end of the second day.

 

DAY 3

On the third day, Bhishma arranged the Kaurava forces in the formation of an eagle with himself leading from the front, while Duryodhana's forces protected the rear. Bhishma wanted to be sure of avoiding any mishap. The Pandavas countered this by using the crescent formation with Bhima and Arjuna at the head of the right and the left horns, respectively. The Kauravas concentrated their attack on Arjuna's position. Arjuna's chariot was soon covered with arrows and javelins. Arjuna, with amazing skill, built a fortification around his chariot with an unending stream of arrows from his bow. Abhimanyu and Satyaki combined to defeat the Gandhara forces of Shakuni. Bhima and his son Ghatotkacha attacked Duryodhana in the rear. Bhima's arrows hit Duryodhana, who swooned in his chariot. His charioteer immediately drove them out of danger. Duryodhana's forces, however, saw their leader fleeing the battlefield and soon scattered. Bhishma soon restored order and Duryodhana returned to lead the army. He was angry at Bhishma, however, at what he saw as leniency towards the five Pandava brothers and spoke harshly at his commander. Bhishma, stung by this unfair charge, fell on the Pandava army with renewed vigor. It was as if there were more than one Bhishma on the field.

 

Arjuna and Krishna attacked Bhishma trying to restore order. Arjuna and Bhishma again engaged in a fierce duel, however Arjuna's heart was not in the battle as he did not like the idea of attacking his grand-uncle. During the battle, Bhishma killed numerous soldiers of Arjuna's armies.

 

DAY 4

The fourth-day of the battle was noted for the valour shown by Bhima. Bhishma commanded the Kaurava army to move on the offensive from the outset. While Abhimanyu was still in his mother's womb, Arjuna had taught Abhimanyu on how to break and enter the chakra vyuha. But, before explaining how to exit the chakra Vyuha, Arjuna was interrupted by Krishna(other story: Abhimanyu's mother falls asleep while Arjuna was explaining her). Thus from birth, Abhimanyu only knew how to enter the Chakra vyuha but didn't know how to come out of it. When the Kauravas formed the chakravyuha, Abhimanyu entered it but was surrounded and attacked by a number of Kaurava princes. Arjuna joined the fray in aid of Abhimanyu. Bhima appeared on the scene with his mace aloft and started attacking the Kauravas. Duryodhana sent a huge force of elephants at Bhima. When Bhima saw the mass of elephants approaching, he got down from his chariot and attacked them single handedly with his iron mace. They scattered and stampeded into the Kaurava forces killing many. Duryodhana ordered an all-out attack on Bhima. Bhima withstood all that was thrown at him and attacked Duryodhana's brothers, killing eight of them. Bhima was soon struck by an arrow on the chest and sat down in his chariot dazed.

 

Duryodhana was distraught at the loss of his brothers. Duryodhana, overwhelmed by sorrow at the loss of his brothers, went to Bhishma at the end of the fourth day of the battle and asked his commander how could the Pandavas, facing a superior force against them, still prevail and win. Bhishma replied that the Pandavas had justice on their side and advised Duryodhana to seek peace.

 

DAYS 5-9

When the battle resumed on the fifth day, the slaughter continued. The Pandava army again suffered against Bhishma's attacks. Satyaki bore the brunt of Drona's attacks and soon could not withstand them. Bhima drove by and rescued Satyaki. Arjuna fought and killed thousands of soldiers sent by Duryodhana to attack him. The unimaginable carnage continued during the ensuing days of the battle.

 

The sixth day was marked by a prodigious slaughter. Drona caused immeasurable loss of life on the Pandava side. The formations of both the armies were broken. On day 7 Drona slays Shankya, son of Virata. On the eighth day Bhima killed eight of Dhritarashtra's sons.

 

On the ninth day Krishna, overwhelmed by anger at the apparent inability of Arjuna to defeat Bhishma, rushed towards the Kaurava commander, the wheel of a fallen chariot in his hands. Bhishma lays down his arms and is ready to die at the hands of the Lord, but Arjuna stops him, reminding of his promise not to wield a weapon. Realizing that the war could not be won as long as Bhishma was standing, Krishna suggested the strategy of placing a eunuch in the field to face him. Some sources however state that it was Yudhistira who visits Bhishma's camp at night asking him for help. To this Bhishma says that he would not fight a eunuch.

 

DAY 10

On the tenth day, the Pandavas, unable to withstand Bhishma's prowess, decided to put Shikhandi, who had been a woman in a prior life in front of Bhishma, as Bhishma has taken a vow not to attack a woman. Shikhandi's arrows fell on Bhishma without hindrance. Arjuna positioned himself behind Shikhandi, protecting himself from Bhishma's attack and aimed his arrows at the weak points in Bhishma's armour. Soon, with arrows sticking from every part of his body, the great warrior fell from his chariot. His body did not touch the ground as it was held aloft by the arrows protruding from his body.

 

The Kauravas and Pandavas gathered around Bhishma and at his request, Arjuna placed three arrows under Bhishma's head to support it. Bhishma had promised his father, King Shantanu, that he would live until Hastinapur were secured from all directions. To keep this promise, Bhishma used the boon of "Ichcha Mrityu"(self wished death) given to him by his father. After the war was over, when Hastinapur had become safe from all sides and after giving lessons on politics and Vishnu Sahasranama to the Pandavas, Bhishma died on the first day of Uttarayana.

 

DAY 11

With Bhishma unable to continue, Karna entered the battlefield, much to Duryodhana's joy. He made Drona the supreme commander of the Kaurava forces. Karna and Duryodhana wanted to capture Yudhisthira alive. Killing Yudhisthira in battle would only enrage the Pandavas more, whereas holding him as hostage would be strategically useful. Drona formulated his battle plans for the eleventh day to this aim. He cut down Yudhisthira's bow and the Pandava army feared that their leader would be taken prisoner. Arjuna rushed to the scene, however and with a flood of arrows made Drona retreat.

 

DAY 12

With his attempts to capture Yudhisthira thwarted, Drona confided to Duryodhana that it would be difficult as long as Arjuna was around. He summoned King Bhagadatta, the monarch of Pragjyotisha(modern day Assam, India). Bhagadatta had thousands of gigantic elephants in his stable and was considered the strongest warrior on this planet in elephant warfare. Bhagadatta attacked Arjuna with his gigantic elephant named Suprateeka. It was a fierce battle in which Bhagadatta matched Arjuna astra for astra but Arjuna slew him. Drona continued to try and capture Yudhisthira. The Pandavas however fought hard and delivered severe blows to the Kaurava army.

 

DAY 13

The King of Trigartadesa, Susharma along with his 3 brothers and 35 sons who were fighting on the Kaurava side made a pact that they would make sure that Arjuna comes and doesn't break the Chakra Vuyh and kill him or die. They went into the battlefield on the twelfth day and challenged Arjuna. Arjuna gave them a fierce fight in which the brothers fell dead after fighting a brave fight. Drona continued to try and capture Yudhisthira.

 

On the other side of the battlefield, the remaining four Pandavas and their allies were finding it impossible to break Dronacharya's "Chakra Vyuh" formation. As Arjuna was busy fighting with the Trigartadesa princes and the Prajayogastha monarch on the other side of the battlefield, he could not be summoned to break the Chakra Vyuha formation, which could only be broken by entering and exiting the formation. Yudhisthira instructed, Abhimanyu, one of Arjuna's sons to break the Chakra vyuha formation. Abhimanyu knew the secret of entering the Chakra vyuh formation, but did not know how to exit it. Abhimanyu slew tens of thousands of warriors. He also killed Duryodhana's son. Duryodhana got enraged and ordered Durmashana, who was Dushasana's son to attack Abhimanyu but he died under the hands of Abhimanyu. Next he ordered his men to attack Abhimanyu all at once. Abhimanyu fought but was surrounded and killed by many warriors in a combined attack.

 

Upon learning of the death of his son, Arjuna vowed to kill Jayadratha on the morrow before the battle ended at sunset, otherwise he would throw himself into the fire.

 

DAY 14

While searching for Jayadrath on the battlefield, Arjuna slew an akshauhini(battle formation that consisted of 21,870 chariots(Sanskrit ratha); 21,870 elephants; 65,610 cavalry and 109,350 infantry) of Kaurav soldiers. The Shakatavuyha Kaurav army tightly protected Jayadratha, however, preventing Arjuna from attacking him. Finally, in late afternoon, Arjuna found Jayadratha guarded by the mighty Kaurav army. Seeing his friend's plight, Lord Krishna raised his Sudarshan Chakra to cover the sun, faking a sunset. Arjun fought a powerful battle with Jayadrath and finally defeated him. Then, Arjuna shot a powerful arrow decapitating Jayadrath. While Arjuna destroying the rest of the Shakatavuyha, Vikarna, the third eldest Kaurava, challenged Arjuna to an archery fight. Arjuna asks Bhima to decimate Vikarna, but Bhima refused to, because Vikarna defended the Pandavas during the Vastranam. Bhima and Vikarna showered arrows at each other. Later Bhima throws his mace at Vikarna, killing him. The muscular Pandava was devastated and mourned his death saying he was a man of Dharma and it was a pity how he lived his life.

 

The battle continued past sunset. When the bright moon rose, Ghatotkacha, son of Bhima slaughtered numerous warriors, attacking while flying in the air. Karna stood against him and both fought fiercely until Karna released the Shakti, a divine weapon given to him by Indra. Ghatotkacha increased his size and fell dead on the Kaurav army killing thousands of them.

 

DAY 15

After King Drupada and King Virata were slain by Drona, Bhima and Dhristadyumna fought him on the fifteenth day. Because Drona was very powerful and inconquerable having the irresistible Brahmadanda, Krishna hinted to Yudhisthira that Drona would give up his arms if his son Ashwatthama was dead. Bhima proceeded to kill an elephant named Ashwatthama and loudly proclaimed that Ashwatthama was dead. Drona approached Yudhisthira to seek the truth of his son's death. Yudhisthira proclaimed Ashwathama Hatahath, Naro Va Kunjaro Va, implying Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant, The latter part of his proclamation(Naro va Kunjaro va) were drowned out by sound of the conch blown by Krishna intentionally (a different version of the story is that Yudhisthira pronounced the last words so feebly that Drona could not hear the word elephant). Prior to this incident, the chariot of Yudhisthira, proclaimed as Dharma raja(King of righteousness), hovered a few inches off the ground. After the event, the chariot landed on the ground as he lied.

 

Drona was disheartened, and laid down his weapons. He was then killed by Dhristadyumna to avenge his father's death and satisfy his vow. Later, the Pandava's mother Kunti secretly met her abandoned son Karna and requested him to spare the Pandavas, as they were his younger brothers. Karna promised Kunti that he would spare them except for Arjuna, but also added that he would not fire a same weapon against Arjun twice.

 

DAY 16

On the sixteenth day, Karna was made the supreme commander of the Kuru army. Karna fought valiantly but was surrounded and attacked by Pandava generals, who were unable to prevail upon him. Karna inflicted heavy damage on the Pandava army, which fled. Then Arjuna successfully resisted Karna's weapons with his own and also inflicted casualties upon the Kaurava army. The sun soon set and with darkness and dust making the assessment of proceedings difficult, the Kaurava army retreated for the day.

 

On the same day, Bhima swung his mace and shattered Dushasana's chariot. Bhima seized Dushasana, ripped his right hand from shoulder and killed him, tearing open his chest and drinking his blood and carrying some to smear on Draupadi's untied hair, thus fulfilling his vow made when Draupadi was humiliated.

 

DAY 17

On the seventeenth day, Karna defeated the Pandava brothers Nakul, Bhima, Sahadeva and Yudhisthira in battle but spared their lives. Later, Karna resumed duelling with Arjuna. During their duel, Karna's chariot wheel got stuck in the mud and Karna asked for a pause. Krishna reminded Arjuna about Karna's ruthlessness unto Abhimanyu while he was similarly left without chariot and weapons. Hearing his son's fate, Arjuna shot his arrow and decapitated Karna. Before the day's battle, Karna's sacred armour ('Kavacha') and earrings ('Kundala') were taken as alms by Lord Indra when asked for, which resulted in his death by Arjuna's arrows.

 

DAY 18

On the 18th day, Shalya took over as the commander-in-chief of the remaining Kaurava forces. Yudhishthira killed king Shalya in a spear combat and Sahadeva killed Shakuni. Realizing that he had been defeated, Duryodhana fled the battlefield and took refuge in the lake, where the Pandavas caught up with him. Under the supervision of the now returned Balarama, a mace battle took place between Bhima and Duryodhana. Bhima flouted the rules(under instructions from Krishna) to strike Duryodhana beneath the waist in which he was mortally wounded.

 

Ashwatthama, Kripacharya, and Kritavarma met Duryodhana at his deathbed and promised to avenge the actions of Bhima. They attacked the Pandavas' camp later that night and killed all the Pandavas' remaining army including their children. Amongst the dead were Dhristadyumna and Shikhandi. Other than the Pandavas and Krishna, only Satyaki and Yuyutsu survived.

 

AFTERMATH

At the end of the 18th day, only twelve warriors survived the war - the five Pandavas, Krishna, Satyaki, Ashwatthama, Kripacharya, Yuyutsu, Vrishakethu(son of Karna) and Kritvarma. Vrishakethu was the only son of Karna who survived the horrific slaughter. He later came under the patronage of the Pandavas. During the campaign that preceded the Ashvamedha yagna, Vrishakethu accompanied Arjuna and participated in the battles with Sudhava and Babruvahana. During that campaign Vrishakethu married the daughter of King Yavanatha. It is said, Arjuna developed great affection for Vrishakethu, his nephew. Yudhisthira was crowned king of Hastinapur. He renounced the throne after ruling for 36 years, passing on the crown to Arjuna's grandson Parikshit. He then left for the Himalayas with Draupadi and his brothers in what was to be their last journey. Draupadi and four Pandavas - Bhima, Arjuna, Nakula and Sahadeva died during the journey. Yudhisthira, the lone survivor and being of pious heart, was invited by Dharma to enter the heavens as a mortal.

 

WIKIPEDIA

Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.

 

ETYMOLOGY

Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.

 

HISTORY

Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.

 

THE BUDDHIST CAVES

These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.

 

These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.

 

Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.

 

CAVE 10

Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.

 

THE VISHWAKARMA

The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.

 

THE HINDU CAVES

The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.

 

THE KAILASANATHA TEMPLE

Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.

 

All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.

 

Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.

 

The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.

 

THE DASHAVATARA

The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.

 

OTHER HINDU CAVES

CAVE 21

Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.

 

The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.

 

THE INDRA SABHA

The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.

 

OTHER JAIN CAVES

All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.

 

GEOLOGY OF ELLORA

Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.

 

INSCRIPTIONS AT ELLORA

Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.

 

The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).

 

The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)

 

WIKIPEDIA

MOUNT KAILASH INNER PARIKRAMA 2010

Mt. Kailash Inner Parikrama (Kora)

Mt. Kailash (6714m), Asia's most sacred mountain, is located in a high and isolated enclave of West Tibet . It is one of three pilgrimages sites in the area, known collectively as Kangri Tsosum. All are said to be at the heart of the ancient Shangshung kingdom, the supposed land of origin of the pre-Buddist Bonpos. Mt Kailash is their sould-mountain, which they also call Yungdrung Gu Tse, the Nine-story Swastika Mountain .

 

It is a 53-km pilgrim path around Mt. Kailash . It begins and ends at Darchen, a small settlement at the mountain south base and in the process visits four monasteries crosses the high Drolma La Pass (5636m). Three days is perhaps the minimum time required to walk leisurely around the mountain: spend two nights in or near Drira Phuk and Zutrul Phuk Monasteries. If conditions permit, try to stay four or five days, which would allow time for short trips to the inner regions of the area.

Mount Kailash (also Mount kailas; Tibetan: གངས་རིན་པོ་ཆེKangrinboqê or Gang Rinpoche; simplified Chinese: 冈仁波齐峰,Gāngrénbōqí fēng, Sanskrit: कैलास Kailāsa) is a peak in the Kailas Range (Gangdisê Mountains), which forms part of the Transhimalaya in Tibet. It lies near the source of some of the longest rivers in Asia: the Indus River, the Sutlej River (a major tributary of the Indus River), the Brahmaputra River, and the Karnali River (a tributary of the River Ganga). It is considered a sacred place in four religions: Bön, Buddhism, Hinduism andJainism. The mountain lies near Lake Manasarovar and Lake Rakshastalin Tibet.

According to Hinduism, Lord Shiva, the destroyer of ignorance and illusion, resides at the summit of a legendary mountain named Kailās, where he sits in a state of perpetual meditation along with his wife Pārvatī.

According to Charles Allen, one description in the Vishnu Purana of the mountain states that its four faces are made of crystal, ruby, gold, and lapis lazuli. It is a pillar of the world and is located at the heart of six mountain ranges symbolizing a lotus.

Every year, thousands make a pilgrimage to Kailash, following a tradition going back thousands of years. Pilgrims of several religions believe that circumambulating Mount Kailash on foot is a holy ritual that will bring good fortune. The peregrination is made in a clockwise direction by Hindus and Buddhists. Followers of the Jain andBönpo religions circumambulate the mountain in a counterclockwise direction. The path around Mount Kailash is 52 km (32 mi) long.

Some pilgrims believe that the entire walk around Kailash should be made in a single day, which is not considered an easy task. A person in good shape walking fast would take perhaps 15 hours to complete the 52 km trek. Some of the devout do accomplish this feat, little daunted by the uneven terrain, altitude sickness and harsh conditions faced in the process. Indeed, other pilgrims venture a much more demanding regimen, performing body-lengthprostrations over the entire length of the circumambulation: The pilgrim bends down, kneels, prostrates full-length, makes a mark with his fingers, rises to his knees, prays, and then crawls forward on hands and knees to the mark made by his/her fingers before repeating the process. It requires at least four weeks of physical endurance to perform the circumambulation while following this regimen. The mountain is located in a particularly remote and inhospitable area of the Tibetan Himalayas. A few modern amenities, such as benches, resting places and refreshment kiosks, exist to aid the pilgrims in their devotions. According to all religions that revere the mountain, setting foot on its slopes is a dire sin. It is claimed that many people who ventured to defy the taboo have died in the process[citation needed]. It is a popular belief that the stairways on Mount Kailash lead to heaven.

Following the political and border disturbances across the Chinese-Indian boundary, pilgrimage to the legendary abode of Lord Shiva was stopped from 1954 to 1978. Thereafter, a limited number of Indian pilgrims have been allowed to visit the place, under the supervision of the Chinese and Indian governments either by a lengthy and hazardous trek over the Himalayan terrain, travel by land from Kathmandu or from Lhasa where flights from Kathmandu are available to Lhasa and thereafter travel over the great Tibetan plateau by car. The journey takes four night stops, finally arriving at Darchen at elevation of 4,600 m (15,100 ft), small outpost that swells with pilgrims at certain times of year. Despite its minimal infrastructure, modest guest houses are available for foreign pilgrims, whereas Tibetan pilgrims generally sleep in their own tents. A small regional medical center serving far-western Tibet and funded by the Swiss Ngari Korsum Foundation was built here in 1997.

Walking around the holy mountain—a part of its official park—has to be done on foot, pony or yak, taking some three days of trekking starting from a height of around 15,000 ft (4,600 m) past the Tarboche (flagpole) to cross the Drölma pass 18,200 ft (5,500 m), and encamping for two nights en route. First, near the meadow of Dirapuk gompa, some 2 to 3 km (1.2 to 1.9 mi) before the pass and second, after crossing the pass and going downhill as far as possible (viewing Gauri Kund in the distance). By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.

 

Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.

 

The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.

 

Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.

 

ETYMOLOGY & OTHER NAMES

The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.

 

The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).

 

The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.

 

The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.

 

Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".

 

Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").

 

There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.

 

The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.

 

ASSIMILATION OF TRADITIONS

The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:

 

Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."

 

Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.

 

An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.

 

INDUS VALLEY ORIGINS

Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.

 

This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.

 

INDO-EUROPEAN ORIGINS

Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.

 

RUDRA

Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.

 

The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.

 

The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:

 

Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.

 

The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.

 

AGNI

Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:

 

The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.

 

In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.

 

INDRA

According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.

 

The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,

 

Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.

 

LATER VEDIC LITERATURE

Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.

 

Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.

 

PURANIC LITERATURE

The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.

 

TANTRIC LITERATURE

The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.

 

POSITION WITHIN HINDUISM

 

SHAIVISM

Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.

 

PANCHAYATANA PUJA

Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.

 

TRIMURTI

The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."

 

ICONOGRAPHY AND PROPERTIES

 

ATTRIBUTES

Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.

 

Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.

 

Crescent moon: (The epithets "Chandrasekhara/Chandramouli") - Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.

 

Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.

 

Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.

 

Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)

 

Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.

 

Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.

 

Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.

 

Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.

 

Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.

 

Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.

 

Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.

 

Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.

 

Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".

 

Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.

 

Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.

 

LINGAM

Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.

 

JYOTIRLINGA

The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.

 

The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.

 

SHAKTI

Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).

 

THE FIVE MANTRAS

Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).

 

Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:

 

Sadyojāta

Vāmadeva

Aghora

Tatpuruṣha

Īsāna

 

These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:

 

Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.

 

According to the Pañcabrahma Upanishad:

 

One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)

 

FORMES AND ROLES

According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.

 

DESTROYER AND BENEFACTOR

In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.

 

The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.

 

In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.

 

ASCETIC AND HOUSEHOLDER

He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.

 

As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.

 

Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.

 

NATARAJA

he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.

 

DAKSHINAMURTHY

Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.

 

ARDANARISHVARA

An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.

 

TRIRUPANTAKA

Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.

 

OTHER FORMS, AVATARS IDENTIFICATIONS

Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.

 

In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).

 

Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.

 

FESTIVALS

Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.

 

BEYOND HINDUISM

 

BUDDHISM

Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.

 

SIKHISM

The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."

 

In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.

 

OTHERS

The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.

 

Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.

 

In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.

 

WIKIPEDIA

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.

 

Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.

 

The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.

 

Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.

 

ETYMOLOGY & OTHER NAMES

The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.

 

The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).

 

The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.

 

The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.

 

Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".

 

Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").

 

There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.

 

The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.

 

ASSIMILATION OF TRADITIONS

The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:

 

Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."

 

Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.

 

An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.

 

INDUS VALLEY ORIGINS

Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.

 

This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.

 

INDO-EUROPEAN ORIGINS

Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.

 

RUDRA

Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.

 

The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.

 

The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:

 

Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.

 

The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.

 

AGNI

Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:

 

The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.

 

In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.

 

INDRA

According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.

 

The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,

 

Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.

 

LATER VEDIC LITERATURE

Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.

 

Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.

 

PURANIC LITERATURE

The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.

 

TANTRIC LITERATURE

The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.

 

POSITION WITHIN HINDUISM

 

SHAIVISM

Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.

 

PANCHAYATANA PUJA

Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.

 

TRIMURTI

The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."

 

ICONOGRAPHY AND PROPERTIES

 

ATTRIBUTES

Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.

 

Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.

 

Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.

 

Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.

 

Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.

 

Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)

 

Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.

 

Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.

 

Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.

 

Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.

 

Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.

 

Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.

 

Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.

 

Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.

 

Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".

 

Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.

 

Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.

 

LINGAM

Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.

 

JYOTIRLINGA

The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.

 

The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.

 

SHAKTI

Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).

 

THE FIVE MANTRAS

Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).

 

Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:

 

Sadyojāta

Vāmadeva

Aghora

Tatpuruṣha

Īsāna

 

These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:

 

Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.

 

According to the Pañcabrahma Upanishad:

 

One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)

 

FORMES AND ROLES

According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.

 

DESTROYER AND BENEFACTOR

In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.

 

The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.

 

In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.

 

ASCETIC AND HOUSEHOLDER

He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.

 

As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.

 

Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.

 

NATARAJA

he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.

 

DAKSHINAMURTHY

Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.

 

ARDANARISHVARA

An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.

 

TRIRUPANTAKA

Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.

 

OTHER FORMS, AVATARS IDENTIFICATIONS

Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.

 

In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).

 

Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.

 

FESTIVALS

Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.

 

BEYOND HINDUISM

 

BUDDHISM

Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.

 

SIKHISM

The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."

 

In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.

 

OTHERS

The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.

 

Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.

 

In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.

 

WIKIPEDIA

  

The Kailasa temple is the unrivaled centerpiece of Ellora. It looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens.

 

The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.

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Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.

 

ETYMOLOGY

Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.

 

HISTORY

Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.

 

THE BUDDHIST CAVES

These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.

 

These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.

 

Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.

 

CAVE 10

Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.

 

THE VISHWAKARMA

The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.

 

THE HINDU CAVES

The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.

 

THE KAILASANATHA TEMPLE

Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.

 

All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.

 

Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.

 

The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.

 

THE DASHAVATARA

The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.

 

OTHER HINDU CAVES

CAVE 21

Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.

 

The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.

 

THE INDRA SABHA

The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.

 

OTHER JAIN CAVES

All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.

 

GEOLOGY OF ELLORA

Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.

 

INSCRIPTIONS AT ELLORA

Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.

 

The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).

 

The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)

 

WIKIPEDIA

The Kailasa temple is the unrivaled centerpiece of Ellora. It looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens.

 

The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.

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Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.

 

ETYMOLOGY

Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.

 

HISTORY

Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.

 

THE BUDDHIST CAVES

These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.

 

These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.

 

Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.

 

CAVE 10

Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.

 

THE VISHWAKARMA

The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.

 

THE HINDU CAVES

The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.

 

THE KAILASANATHA TEMPLE

Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.

 

All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.

 

Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.

 

The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.

 

THE DASHAVATARA

The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.

 

OTHER HINDU CAVES

CAVE 21

Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.

 

The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.

 

THE INDRA SABHA

The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.

 

OTHER JAIN CAVES

All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.

 

GEOLOGY OF ELLORA

Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.

 

INSCRIPTIONS AT ELLORA

Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.

 

The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).

 

The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)

 

WIKIPEDIA

Im Inneren des Kailash.

Beginning with the 2nd century B.C., and continuing into the 6th century A.D., the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.

 

About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.

 

The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century A.D., the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.

 

Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.

MOUNT KAILASH INNER PARIKRAMA 2010

Mt. Kailash Inner Parikrama (Kora)

Mt. Kailash (6714m), Asia's most sacred mountain, is located in a high and isolated enclave of West Tibet . It is one of three pilgrimages sites in the area, known collectively as Kangri Tsosum. All are said to be at the heart of the ancient Shangshung kingdom, the supposed land of origin of the pre-Buddist Bonpos. Mt Kailash is their sould-mountain, which they also call Yungdrung Gu Tse, the Nine-story Swastika Mountain .

 

It is a 53-km pilgrim path around Mt. Kailash . It begins and ends at Darchen, a small settlement at the mountain south base and in the process visits four monasteries crosses the high Drolma La Pass (5636m). Three days is perhaps the minimum time required to walk leisurely around the mountain: spend two nights in or near Drira Phuk and Zutrul Phuk Monasteries. If conditions permit, try to stay four or five days, which would allow time for short trips to the inner regions of the area.

Mount Kailash (also Mount kailas; Tibetan: གངས་རིན་པོ་ཆེKangrinboqê or Gang Rinpoche; simplified Chinese: 冈仁波齐峰,Gāngrénbōqí fēng, Sanskrit: कैलास Kailāsa) is a peak in the Kailas Range (Gangdisê Mountains), which forms part of the Transhimalaya in Tibet. It lies near the source of some of the longest rivers in Asia: the Indus River, the Sutlej River (a major tributary of the Indus River), the Brahmaputra River, and the Karnali River (a tributary of the River Ganga). It is considered a sacred place in four religions: Bön, Buddhism, Hinduism andJainism. The mountain lies near Lake Manasarovar and Lake Rakshastalin Tibet.

According to Hinduism, Lord Shiva, the destroyer of ignorance and illusion, resides at the summit of a legendary mountain named Kailās, where he sits in a state of perpetual meditation along with his wife Pārvatī.

According to Charles Allen, one description in the Vishnu Purana of the mountain states that its four faces are made of crystal, ruby, gold, and lapis lazuli. It is a pillar of the world and is located at the heart of six mountain ranges symbolizing a lotus.

Every year, thousands make a pilgrimage to Kailash, following a tradition going back thousands of years. Pilgrims of several religions believe that circumambulating Mount Kailash on foot is a holy ritual that will bring good fortune. The peregrination is made in a clockwise direction by Hindus and Buddhists. Followers of the Jain andBönpo religions circumambulate the mountain in a counterclockwise direction. The path around Mount Kailash is 52 km (32 mi) long.

Some pilgrims believe that the entire walk around Kailash should be made in a single day, which is not considered an easy task. A person in good shape walking fast would take perhaps 15 hours to complete the 52 km trek. Some of the devout do accomplish this feat, little daunted by the uneven terrain, altitude sickness and harsh conditions faced in the process. Indeed, other pilgrims venture a much more demanding regimen, performing body-lengthprostrations over the entire length of the circumambulation: The pilgrim bends down, kneels, prostrates full-length, makes a mark with his fingers, rises to his knees, prays, and then crawls forward on hands and knees to the mark made by his/her fingers before repeating the process. It requires at least four weeks of physical endurance to perform the circumambulation while following this regimen. The mountain is located in a particularly remote and inhospitable area of the Tibetan Himalayas. A few modern amenities, such as benches, resting places and refreshment kiosks, exist to aid the pilgrims in their devotions. According to all religions that revere the mountain, setting foot on its slopes is a dire sin. It is claimed that many people who ventured to defy the taboo have died in the process[citation needed]. It is a popular belief that the stairways on Mount Kailash lead to heaven.

Following the political and border disturbances across the Chinese-Indian boundary, pilgrimage to the legendary abode of Lord Shiva was stopped from 1954 to 1978. Thereafter, a limited number of Indian pilgrims have been allowed to visit the place, under the supervision of the Chinese and Indian governments either by a lengthy and hazardous trek over the Himalayan terrain, travel by land from Kathmandu or from Lhasa where flights from Kathmandu are available to Lhasa and thereafter travel over the great Tibetan plateau by car. The journey takes four night stops, finally arriving at Darchen at elevation of 4,600 m (15,100 ft), small outpost that swells with pilgrims at certain times of year. Despite its minimal infrastructure, modest guest houses are available for foreign pilgrims, whereas Tibetan pilgrims generally sleep in their own tents. A small regional medical center serving far-western Tibet and funded by the Swiss Ngari Korsum Foundation was built here in 1997.

Walking around the holy mountain—a part of its official park—has to be done on foot, pony or yak, taking some three days of trekking starting from a height of around 15,000 ft (4,600 m) past the Tarboche (flagpole) to cross the Drölma pass 18,200 ft (5,500 m), and encamping for two nights en route. First, near the meadow of Dirapuk gompa, some 2 to 3 km (1.2 to 1.9 mi) before the pass and second, after crossing the pass and going downhill as far as possible (viewing Gauri Kund in the distance). By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

MOUNT KAILASH INNER PARIKRAMA 2010

Mt. Kailash Inner Parikrama (Kora)

Mt. Kailash (6714m), Asia's most sacred mountain, is located in a high and isolated enclave of West Tibet . It is one of three pilgrimages sites in the area, known collectively as Kangri Tsosum. All are said to be at the heart of the ancient Shangshung kingdom, the supposed land of origin of the pre-Buddist Bonpos. Mt Kailash is their sould-mountain, which they also call Yungdrung Gu Tse, the Nine-story Swastika Mountain .

 

It is a 53-km pilgrim path around Mt. Kailash . It begins and ends at Darchen, a small settlement at the mountain south base and in the process visits four monasteries crosses the high Drolma La Pass (5636m). Three days is perhaps the minimum time required to walk leisurely around the mountain: spend two nights in or near Drira Phuk and Zutrul Phuk Monasteries. If conditions permit, try to stay four or five days, which would allow time for short trips to the inner regions of the area.

Mount Kailash (also Mount kailas; Tibetan: གངས་རིན་པོ་ཆེKangrinboqê or Gang Rinpoche; simplified Chinese: 冈仁波齐峰,Gāngrénbōqí fēng, Sanskrit: कैलास Kailāsa) is a peak in the Kailas Range (Gangdisê Mountains), which forms part of the Transhimalaya in Tibet. It lies near the source of some of the longest rivers in Asia: the Indus River, the Sutlej River (a major tributary of the Indus River), the Brahmaputra River, and the Karnali River (a tributary of the River Ganga). It is considered a sacred place in four religions: Bön, Buddhism, Hinduism andJainism. The mountain lies near Lake Manasarovar and Lake Rakshastalin Tibet.

According to Hinduism, Lord Shiva, the destroyer of ignorance and illusion, resides at the summit of a legendary mountain named Kailās, where he sits in a state of perpetual meditation along with his wife Pārvatī.

According to Charles Allen, one description in the Vishnu Purana of the mountain states that its four faces are made of crystal, ruby, gold, and lapis lazuli. It is a pillar of the world and is located at the heart of six mountain ranges symbolizing a lotus.

Every year, thousands make a pilgrimage to Kailash, following a tradition going back thousands of years. Pilgrims of several religions believe that circumambulating Mount Kailash on foot is a holy ritual that will bring good fortune. The peregrination is made in a clockwise direction by Hindus and Buddhists. Followers of the Jain andBönpo religions circumambulate the mountain in a counterclockwise direction. The path around Mount Kailash is 52 km (32 mi) long.

Some pilgrims believe that the entire walk around Kailash should be made in a single day, which is not considered an easy task. A person in good shape walking fast would take perhaps 15 hours to complete the 52 km trek. Some of the devout do accomplish this feat, little daunted by the uneven terrain, altitude sickness and harsh conditions faced in the process. Indeed, other pilgrims venture a much more demanding regimen, performing body-lengthprostrations over the entire length of the circumambulation: The pilgrim bends down, kneels, prostrates full-length, makes a mark with his fingers, rises to his knees, prays, and then crawls forward on hands and knees to the mark made by his/her fingers before repeating the process. It requires at least four weeks of physical endurance to perform the circumambulation while following this regimen. The mountain is located in a particularly remote and inhospitable area of the Tibetan Himalayas. A few modern amenities, such as benches, resting places and refreshment kiosks, exist to aid the pilgrims in their devotions. According to all religions that revere the mountain, setting foot on its slopes is a dire sin. It is claimed that many people who ventured to defy the taboo have died in the process[citation needed]. It is a popular belief that the stairways on Mount Kailash lead to heaven.

Following the political and border disturbances across the Chinese-Indian boundary, pilgrimage to the legendary abode of Lord Shiva was stopped from 1954 to 1978. Thereafter, a limited number of Indian pilgrims have been allowed to visit the place, under the supervision of the Chinese and Indian governments either by a lengthy and hazardous trek over the Himalayan terrain, travel by land from Kathmandu or from Lhasa where flights from Kathmandu are available to Lhasa and thereafter travel over the great Tibetan plateau by car. The journey takes four night stops, finally arriving at Darchen at elevation of 4,600 m (15,100 ft), small outpost that swells with pilgrims at certain times of year. Despite its minimal infrastructure, modest guest houses are available for foreign pilgrims, whereas Tibetan pilgrims generally sleep in their own tents. A small regional medical center serving far-western Tibet and funded by the Swiss Ngari Korsum Foundation was built here in 1997.

Walking around the holy mountain—a part of its official park—has to be done on foot, pony or yak, taking some three days of trekking starting from a height of around 15,000 ft (4,600 m) past the Tarboche (flagpole) to cross the Drölma pass 18,200 ft (5,500 m), and encamping for two nights en route. First, near the meadow of Dirapuk gompa, some 2 to 3 km (1.2 to 1.9 mi) before the pass and second, after crossing the pass and going downhill as far as possible (viewing Gauri Kund in the distance). By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.

 

Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.

 

The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.

 

Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.

 

ETYMOLOGY & OTHER NAMES

The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.

 

The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).

 

The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.

 

The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.

 

Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".

 

Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").

 

There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.

 

The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.

 

ASSIMILATION OF TRADITIONS

The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:

 

Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."

 

Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.

 

An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.

 

INDUS VALLEY ORIGINS

Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.

 

This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.

 

INDO-EUROPEAN ORIGINS

Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.

 

RUDRA

Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.

 

The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.

 

The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:

 

Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.

 

The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.

 

AGNI

Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:

 

The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.

 

In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.

 

INDRA

According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.

 

The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,

 

Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.

 

LATER VEDIC LITERATURE

Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.

 

Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.

 

PURANIC LITERATURE

The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.

 

TANTRIC LITERATURE

The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.

 

POSITION WITHIN HINDUISM

 

SHAIVISM

Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.

 

PANCHAYATANA PUJA

Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.

 

TRIMURTI

The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."

 

ICONOGRAPHY AND PROPERTIES

 

ATTRIBUTES

Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.

 

Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.

 

Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.

 

Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.

 

Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.

 

Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)

 

Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.

 

Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.

 

Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.

 

Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.

 

Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.

 

Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.

 

Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.

 

Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.

 

Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".

 

Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.

 

Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.

 

LINGAM

Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.

 

JYOTIRLINGA

The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.

 

The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.

 

SHAKTI

Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).

 

THE FIVE MANTRAS

Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).

 

Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:

 

Sadyojāta

Vāmadeva

Aghora

Tatpuruṣha

Īsāna

 

These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:

 

Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.

 

According to the Pañcabrahma Upanishad:

 

One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)

 

FORMES AND ROLES

According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.

 

DESTROYER AND BENEFACTOR

In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.

 

The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.

 

In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.

 

ASCETIC AND HOUSEHOLDER

He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.

 

As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.

 

Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.

 

NATARAJA

he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.

 

DAKSHINAMURTHY

Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.

 

ARDANARISHVARA

An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.

 

TRIRUPANTAKA

Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.

 

OTHER FORMS, AVATARS IDENTIFICATIONS

Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.

 

In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).

 

Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.

 

FESTIVALS

Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.

 

BEYOND HINDUISM

 

BUDDHISM

Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.

 

SIKHISM

The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."

 

In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.

 

OTHERS

The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.

 

Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.

 

In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.

 

WIKIPEDIA

  

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Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.

 

Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.

 

The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.

 

Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.

 

ETYMOLOGY & OTHER NAMES

The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.

 

The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).

 

The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.

 

The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.

 

Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".

 

Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").

 

There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.

 

The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.

 

ASSIMILATION OF TRADITIONS

The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:

 

Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."

 

Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.

 

An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.

 

INDUS VALLEY ORIGINS

Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.

 

This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.

 

INDO-EUROPEAN ORIGINS

Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.

 

RUDRA

Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.

 

The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.

 

The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:

 

Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.

 

The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.

 

AGNI

Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:

 

The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.

 

In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.

 

INDRA

According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.

 

The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,

 

Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.

 

LATER VEDIC LITERATURE

Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.

 

Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.

 

PURANIC LITERATURE

The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.

 

TANTRIC LITERATURE

The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.

 

POSITION WITHIN HINDUISM

 

SHAIVISM

Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.

 

PANCHAYATANA PUJA

Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.

 

TRIMURTI

The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."

 

ICONOGRAPHY AND PROPERTIES

 

ATTRIBUTES

Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.

 

Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.

 

Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.

 

Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.

 

Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.

 

Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)

 

Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.

 

Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.

 

Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.

 

Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.

 

Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.

 

Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.

 

Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.

 

Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.

 

Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".

 

Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.

 

Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.

 

LINGAM

Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.

 

JYOTIRLINGA

The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.

 

The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.

 

SHAKTI

Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).

 

THE FIVE MANTRAS

Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).

 

Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:

 

Sadyojāta

Vāmadeva

Aghora

Tatpuruṣha

Īsāna

 

These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:

 

Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.

 

According to the Pañcabrahma Upanishad:

 

One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)

 

FORMES AND ROLES

According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.

 

DESTROYER AND BENEFACTOR

In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.

 

The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.

 

In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.

 

ASCETIC AND HOUSEHOLDER

He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.

 

As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.

 

Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.

 

NATARAJA

he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.

 

DAKSHINAMURTHY

Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.

 

ARDANARISHVARA

An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.

 

TRIRUPANTAKA

Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.

 

OTHER FORMS, AVATARS IDENTIFICATIONS

Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.

 

In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).

 

Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.

 

FESTIVALS

Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.

 

BEYOND HINDUISM

 

BUDDHISM

Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.

 

SIKHISM

The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."

 

In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.

 

OTHERS

The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.

 

Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.

 

In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.

 

WIKIPEDIA

The Kailasa temple is the unrivaled centerpiece of Ellora. It looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens.

 

The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.

_____________________________________________

 

Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.

 

ETYMOLOGY

Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.

 

HISTORY

Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.

 

THE BUDDHIST CAVES

These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.

 

These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.

 

Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.

 

CAVE 10

Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.

 

THE VISHWAKARMA

The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.

 

THE HINDU CAVES

The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.

 

THE KAILASANATHA TEMPLE

Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.

 

All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.

 

Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.

 

The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.

 

THE DASHAVATARA

The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.

 

OTHER HINDU CAVES

CAVE 21

Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.

 

The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.

 

THE INDRA SABHA

The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.

 

OTHER JAIN CAVES

All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.

 

GEOLOGY OF ELLORA

Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.

 

INSCRIPTIONS AT ELLORA

Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.

 

The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).

 

The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)

 

WIKIPEDIA

Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.

 

ETYMOLOGY

Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.

 

HISTORY

Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.

 

THE BUDDHIST CAVES

These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.

 

These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.

 

Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.

 

CAVE 10

Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.

 

THE VISHWAKARMA

The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.

 

THE HINDU CAVES

The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.

 

THE KAILASANATHA TEMPLE

Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.

 

All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.

 

Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.

 

The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.

 

THE DASHAVATARA

The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.

 

OTHER HINDU CAVES

CAVE 21

Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.

 

The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.

 

THE INDRA SABHA

The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.

 

OTHER JAIN CAVES

All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.

 

GEOLOGY OF ELLORA

Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.

 

INSCRIPTIONS AT ELLORA

Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.

 

The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).

 

The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)

 

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