Shiva icons across the centuries

As a child, I was always fascinated by the figure of Shiv ji (Lord Shiva), because of his ash smeared body, and the drunkards, drug addicts and the bhoot-pret among his followers. When he dances Tandav in anger, he is a god of destruction. These were all unusual and "bad boy" characteristics for a god. This post is about the Shiv (Shiva) icons in the archaeological section of the national museum in Delhi.

After a few decades, recently I was back in the National Museum and was pleasantly surprised by all the changes. Instead of the dusty glass cases holding poorly labelled objects, it has now much better exhibition spaces, similar to some of the better museums in Europe. Thankfully, now you are also allowed to photograph. If you haven't been to National Museum, I recommend visiting it!

Let me start with the image of the delicate and graceful bronze dancing Nataraja sculpture from the 12th century Chola empire, which symbolises destruction and the new creation. Among his flowing hair, on the right side, you can see the river Ganga (Ganges). The centre of his forehead has the third eye, while a snake is wrapped around his right arm.

Shiva icons in archaeological section of the national museum

One of the most common representation of Shiv is as Shivling (Shivalinga).

Shivling is a round or cylindrical form (male principle) placed on a circular base that represents Yoni, the female principle. While some see it only as a phallic symbol, for the believers, it has different metaphysical meanings including a union of Purusha/body and Prakriti/mind. Some people see the trinity itself symbolised in the Shivling – the circular base represents Brahma, the octagonal stem represents Vishnu and the round top represents Shiv. Often people may choose a smooth and round stone from a river bed and worship it as Shivling, these are called Saligram.

The image below has a very special Shivling - it is Chatturmukhi (four faced) with representations of Brahma, Vishnu, Mahesh (Shiv) and Surya on its four sides. It is from the 6th century Gupta empire period.

Shiva in Harappan culture

The cult of Shiv goes back to much older period in India, during the Middle Stone Age (Middle Palaeolithic). Michael Wood, in “The story of India” has written: “The stone lingam and yoni (male and female principles) – that are found in the worship of Shiva come out of the deep past … These aspects of the indigenous culture of India are part of the givenness of the deep past, which is shared by all Indians, whatever their ancestry, language or religion.”

Wood has also mentioned the Shiv figure depicted in prehistoric cave paintings of Bhimbetka: “… looking at the dancing deity at Bhimbetka with his bangles and trident, one can’t help but recall the image of dancing Shiva seen on pilgrim posters today …”

Thus, while the Shiv cult is much older, the earliest Shiv icons in the museum are from 2000-2700 BCE, from the Indus Valley civilisation. These include the famous Pashupatinath seal from Harappa, which shows a person sitting in yogic posture along with different animals (Shiv is also known as Pashupatinath or the lord of the animals).

However, the national museum also a number of Shivlings from Indus valley civilisation found in places like Dholavira and Rakhigarhi, like the large Shivling shown in the image below.

Early Icons

Among the early icons is another Chatturmukhi Shivling - it is from 2nd century CE, when Kushans from central Asia were ruling the Indus valley and parts of north India. It is less well preserved and has a rougher quality. A special feature is the chain motive sculpted on the top third, thus effectively dividing the Shivling into three parts.

Another early icon is an Ekmukha (one faced) Shivling, with the head of Shiva (recognised by the third eye in his forehead) on one side. It is from 5th century Gupta period.

Shiv icons in medieval India

The next icon is an Uma-Mahesh sculpture from 9-10 century Pratihara period in north India. Khajuraho was a part of Pratihara empire, before the Chandelas (under the Chandela, the erotic sculptures of Khajuraho were created). This Uma-Mahesh sculpture has a clear erotic/sexual component. 

Another representation of Shiv with his consort and family is from 10th century Chalukya period in south India. It touches on sexuality in a different way. In this, Shiv is shown holding a snake in his right hand - snake is seen as a representation of desires and sexuality.

The erotic art of Khajuraho has been seen as a part of Tantrik traditions, in which Shiv and Shakti are together and sexuality is a part of the path for the search of divine. The next image is from 11-12 century Khajuraho under the Chandela period, showing women devotees praying to a Shivling.

Composite icons of Shiv

Shiv is also part of some composite icons. Two examples of these icons from the national museum are presented here.

The first is a Harihar icon, combing Hari (Vishnu) and Har (Shiv). This 12th century statue is from Gahadval in Rajasthan.

The second is an Ardhnarishiwar icon - Ardh (half) Nari (woman) Ishwar (God), representing Shiv and his consort Shakti in the same statue. This 15th century bronze sculpture is from Vijaynagar empire in south India.

Recent icons

Among the more recent icons, there is a striking ivory sculpture from 19th century from South India. It has all the attributes of Shiv - snake, damru (small drum) and the third eye, however the hair style and face seem more similar to representations of Buddha.

Followers of Shiv

Apart from Shiv icons, national museum also has some icons of his more famous followers. The next image presents one of them. It is a bronze statue of saint Manikkavachkar, a Tamil poet from 9th century, famous for his songs about lord Shiv. The sculpture is from 12th century Chola empire in south India.

Conclusions

I love visiting museums and I am glad that I decided to visit the National Museum in Delhi. It is a wonderful place to learn about the rich culture and traditions of India. There is so much to see.

In an article of Devdutt Pattanaik, he had written about the lack of appreciation of the temple art depicting Indic icons among modern Indians and asked, “How many parents actually take their children to museums or to temples and play the game of ‘Let us identify this god’… Our icons have been reduced to ‘property’, possessing them is more important than appreciating them.” I hope that this post will stimulate you to visit national museum and other museums.

Let me conclude this post with another kind of Shivling - it is called a Lingudhbava, it has Shiv appearing (udbhav) inside the Shivling. This 12th century sculpture is also from Chola empire in south India.

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Hanuman, the Legend of the Ape God

As a child growing up in Old Delhi (India) in early 1960s, for me sometimes the people from the ancient Hindu stories were as real, or perhaps even more real, than the actual people around me. Children's magazine Chandamama, Ramlila performances in the DCM grounds and recitations of Ramayana by visiting brahmins in the street-square near our home, had all contributed to make me familiar with the characters of Ramayana, including that of Hanuman ji.
 
Hanuman is one of the most loved Hindu deities in India. He is considered the symbol of valour, loyal service and self-control. For adolescents and young men, he is considered as the patron of Brahmcharya (celibacy) while reciting his prayer called Hanuman Chalisa is suppose to provide the believers with courage and overcoming of fears.

In this post, I want to present some of my favourite images of lord Hanuman from different parts of India, along with different stories linked to this god. The first image presented above is from Karol Bagh in Delhi, where the giant statue of Hanuman rises next to the metro line, juxtaposing the old mythologies with the modern India.

Hanuman stories in ancient Indian texts

The oldest mention of Hanuman is in Rigveda, where he is called Vrishkapi, the Vrish ape. Besides the Hindu texts, he is also mentioned in Jainist and Buddhist texts. The stories of Hanuman can traces their origins to the ancient prehistorical oral traditions of India. Along with the spread of Hinduism and Buddhism in the far east, the legend of Hanuman also spread to countries like Thailand, Cambodia, Vietnam and Indonesia.

The figure of Sun Wukong (ape king) in Japanese mythology is very similar to Hanuman's story. The same Sun Wukong myths had also inspired the recent Chinese film "The Monkey King", in which Sun Wukong takes birth from a divine crystal which falls on the mount Huaguo.

The second image of Hanuman is unusual since it presents a giant green coloured statue from the Trimurthi temple in Kanakpura on the Bangalore-Mysore road in Karnataka.

Legends about the birth of Hanuman

There are two main stories linked to the birth of Hanuman. In one, he is the son of the wind god Vayu and thus, is called Vayuputra, and is born with the gift of flying. In the second story his father is an ape called Kesari (Saffron). Even in this story, Vayu, the wind god plays a role in Hanuman's birth and is thus considered his guardian.

Another legend about baby Hanuman is that once he thought that sun was a fruit and wanted to catch it and eat it. Sun allarmed, asked for help from the god Indra, who used his Vajra (thunderbolt) to stop the baby. Because of the Vajra, baby's jaw became more prominent, giving rise to his name Hanuman (prominent jaw).

The next image has Hanuman as a chimaera, a combination of different human and animal beings expressed through his five heads and ten arms.

Hanuman and the stories of Rama of Ayodhya

In the popular imagination, the figure of Hanuman is closely linked to that of Rama. Most statues and images of Hanuman present him as a Ram-bhakt, like in the image below where he is shown holding a tiny statue of Rama in his hands.

In both Valmiki's Ramayana and in Gosain Tulsi Das' "Ram Charit Manas", Hanuman first appears in Kishkindhakand chapters of the story, when the two brothers, Rama and Lakshman, searching for Sita, reach Rishyamook mountain where the Ape king Sugriva lives. When Sugriva sees them, he gets afraid, and asks Hanuman to go and find out about their intentions.

In Valmiki Ramayana, the whole episode is longer and is written in Sanskrit, while In Ram Charit Manas, it is much shorter and is written in Avadhi. In Valmiki Ramayan, Hanuman is presented first as Sugrivasachiva (सुग्रीवासचिवाः), Sugriva's commander. The next verse presents him by his name, Hanuman:

ततस्तं भयसंविग्नं वालिकिल्विषशडिन्गतम्
उवाच हनुमान्वाक्यं सुग्रीवं वाक्योकोविदाः

(To Sugriva who was afraid of Bali, the clever and articulate Hanuman said.)

In Ram Charit Manas, Hanuman is introduced in the story when Sugriva speaks to him:

"अति सभीत कह सुनु हनुमाना, पुरुष जुगल बल रूप निधाना
धरि बटु रूप देख तहँ जाई, कहेसु जानि जियें सयन बुझाई"

(Afraid Sugriva said: Hanuman, they are two strong men, go to them dressed as a Brahamchari (celibate) and try to understand about them)  

Gosain Tulsi Das is also credited with the prayer of Hanuman Chalisa (literally, "forty verses of Hanuman"), which is supposed to infuse people with courage and remove their fear. Below is another figure of Hanuman showing Rama and Sita in his heart.

Hanuman as the patron of healing herbs

During the war between Rama and Ravan in Ramayan, there is an episode where Lakshan is injured gravely and to cure him Sanjeevani booti (life-giving herb) is needed urgently.

Since Hanuman has the gift of flying, Rama asks him to go to Meru mountain and bring the herb. Hanuman, unable to identify the herb, decides to bring the whole mountain. This episode is also very popular in the Hanuman statues as shown in the image above (from Tezpur, Assam) and below (from Gangtok, Sikkim).

Metaphysical meaning of Hanuman

 In Hinduism, meanings can be understood at different levels. Thus, for common people, Hanuman is a deity, whose help they can ask for. At the same time, often the old stories have deeper metaphysical meanings in Hinduism.

For example, according to the Vedbhashya blog which looks at correlations between Quantum physics and ancient texts of Hinduism, the original story of Vrishakapi (Hanuman), is a metaphysical description of an atomic force binding the central nucleus to the sub-atomic particles moving around.

Personally, I love the way different animals and plants play a central role in different stories of Hinduism. Apart from Hanuman, a Garuda eagle called Jatayu also plays an important role in Ramayana. Two gods, Ganesha with an elephant head and, Narsimha, a half lion and half human incarnation of Vishnu, are other examples of animal-human relationships in Hindu mythology. I think that this way of looking at nature is important to promote ecological sustainability of all life on earth.

The image below presents another unusual Hanuman, where he is shown older and with a rudraksh-mala around his neck, like an ascetic giving his benediction to his followers.

Conclusions

The image below presents a tiny temple of Hanuman along the banks of Ganges in Varanasi, which has an unusual sleeping Hanuman statue.

To conclude this photo-essay about Hanuman, the last image is from a Ramlila procession in Chandani Chowk in old Delhi. The image shows the carriage of Hanuman with his Vanar sena (monkey army). The person who plays the role of Hanuman is Mr Ram Chander, a devout follower of Hanuman who has been playing this role for more than a decade.

To write this post I went through my huge image archives. I was surprised that I had so many images of Hanuman and it was not easy to choose the images for this post. I had great fun in selecting these images and in writing this post.

Do tell me which form of Hanuman ji out of the ten images presented above, did you like most?

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The unfinished temple of King Bhoj

An 1100 years old unfinished Shiva temple is the testimonial to the legendary king Bhoj of Malwa in central India. Last year, on my way to the incredibly beautiful caves of Bhimbetka, I had visited this temple in Bhojpur. Though it was just an unfinished temple, it intrigued me.

The Shiva temple of Bhojpur provides information about the traditional Indian temple architecture techniques. The image above shows the statue of king Bhoj in the Bada Talab lake of Bhopal.

Ancient kingdom of Malwa

Central part of India had different ancient kingdoms, each with their own culture and traditions. In 1947, with India's independence, the ancient kingdoms were merged in different states. The ancient kingdom of Malwa was located in the volcanic uplands in the north of Vindhya mountains. Today, most of Malwa lies in Western Madhya Pradesh while its northern part is in Rajasthan. The most important towns of this region are Bhopal, Indore, Ujjain and Sagar.

King Bhoj

From the 9th to the 13th centuries, Malwa was ruled by the Parmar kings.

Bhoj was the 9th king of the Parmar dynasty and his rule started around 1000 CE. He ruled for about 55 years. His capital was in Dhar in western parts of Malwa. He is credited with the construction of Bhopal, the capital of Madhya Pradesh. 

The town of Bhojpur, 28 km to the south and east of Bhopal was another area where king Bhoj carried out significant constructions including the building of dams which resulted in the creation of a big lake.

Bhoj is famous both as a warrior and as a lover of art, culture and books. He is credited with a large number of books on a wide range of subjects, including medicine, astronomy, poetry and grammar. His popularity and prestige is still remembered by the people through the proverb "Kahan raja Bhoj aur kahan Gangu teli" (literally it means "where is king Bhoj and where is oil-merchant Gangu" and is used to underline the huge difference between two persons).

The Unfinished Shiva temple of Bhojpur

The temple has massive outer walls and is built on a raised platform.

An entrance gate and stairs take you to the temple platform 4 meters above. The walls have decorative balconies carved from sand-rock stone.

The old part of the temple has the inner cell at a lower level (garbhagṛha) that holds a massive Shivalinga, 5.5 meters tall, and carved out of a single rock. The structure is supported by massive pillars, along with an elegant dome. In the image below, the comparison of the person seen at the bottom on the right side with the Shivalinga can give an idea of the huge structure.

The outer walls and superstructure of the temple were never built. However, outside the Garbhgriha, on the platform, simple Shiva shrines have been built.

The temple seems to be remarkably well-preserved. This is because of a massive repair and reconstruction carried out in 2006-07 when a fibreglass roof  was built and one of the missing monolithic pillars was added.

Temple building techniques in India in 1000 CE

The Bhojeshwar Shiva temple was never completed. It appears that the construction work was stopped suddenly. It could have been because of a natural disaster or war. Since its roof was missing, some people feel that the planning was not proper and the roof was too heavy, so it caved in and the temple construction was stopped.

The area around the temple has sandstone quarries where line designs engraved on the stones show the architectural plans for the temple construction.

According to these designs, a huge temple complex was going to be built here. Stone marks show that 1300 masons were working for the temple construction. The names of some of them are engraved on the stones.

There are finished and unfinished statues scattered around, to be used for the temple. These were left in the quarries where the sculptors were working, when the construction was stopped.

Behind the temple, there is a large earthen ramp which was used to carry the large stones to the higher parts of the temple. The ramp, built of sandstone slabs, is covered with soil and sand. It is almost 100 meters long, and slopes upwards to a height of 12 meters.

The dams on river Betwa

The Shiva temple is located close to the river Betwa. Ruins of some old dams have been discovered in this area. The dams were built in the eleventh century, when the Shiva temple was being constructed. Due to those dams an enormous lake had formed in this area. It seems that the dams were destroyed a few centuries later, when the area came under the Tughlaq dynasty.

I was wondering why did king Bhoj decide to build this new city, the huge temple and the dams in a place so far away from his capital in Dhar? The legends say that King Bhoj had sworn to block nine rivers to create a lake and this was the reason why he had come to the eastern part of Malwa region since here the curves of river Betwa were ideal for building the dams and creating the lake.

Jain temples of Bhojpur

Not very far from Shiva temple is an unfinished Jain temple with a 6 meter tall statue of Shantinath and two smaller statues. An inscription near the statues specifies their construction in 1157 Vikram Samvat (1100 CE).

Legends also say that in the last years of his life, King Bhoj had become Jain, while others say that even though he was a devotee of Shiva, he also respected Jains and Buddhists. I did not visit this temple.

Temple Ruins in Ashapuri

6 km away from Bhojpur, in an area called Bilota in the Ashapuri village, ruins of more than 20 temples have been found. Due to lack of time I did not visit this area. However, the descriptions of the ruins show that this must have an important sacred area for the people. These temples are also from the same time period of the reign of Parmar dynasty. I am not sure if these ruins were linked with the Shiva temple of Bhojpur.

Legend of Raja Bhoj and Gangu Teli

Though I was familiar with the name of king Bhoj from my childhood, I was not aware of the legend that had led to the proverb comparing him with the oil merchant Gangu. The legend says that king Bhoj had sacrificed the wife and child of Gangu for the construction of a fort.

Thus the fame of king Bhoj has been challenged by Dalit activists who see him as an oppressor king, who sacrificed the lives of poor commoners for his glory.

I was horrified when I had heard this story. I wonder how did he become so popular among the people if he was someone who sacrificed women and children.

Conclusions

The Bhojeshwar Shiva temple, though more than a thousand years old, is part of the living religious traditions of Malwa. People from far away places gather here for the Mahashivaratri festival. At the time of festival, the state government organises an annual cultural festival called the Bhojpur Festival.

It is a nice temple. However its special importance comes from being one of the remaining testimonials of a famous king and from the line engravings in the quarries explaining the architectural plans of the temple construction.

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The Prince of Ayodhaya & Ramayana

The stories about Rama, the prince of Ayodhaya in north India, trace their roots in the oral traditions of antiquity. From India, the stories of Rama spread to neighbouring countries. Even today, the echoes of the stories about Rama's life are part of living cultural traditions of India, Nepal, Myanmar, Thailand, Indonesia, Cambodia, Laos and Vietnam.

This post presents some of my favourite images related to Ramayana, the story of Rama.

Rama's Story

The central theme of Rama's story is that of obedience and respect of the parents. The widespread enduring popularity of this story after so many centuries continues to surprise people.

Rama was a prince, the eldest son of king Dasharath of Ayodhaya in north India. He married princess Sita.

However when the time came for Rama to become the king of Ayodhaya, there was a problem. His step-mother Kekayi wanted her son Bharat to be the king.

King Dashrath had three wives. Kekayi was his youngest wife. She asked the king to send Rama to exile for 14 years and in his place, install Bharat as the king of Ayodhaya. The old king was bound to Kakayi by an old vow and was forced to accept her request, even if he felt that it was unjust.

Rama assured his father that he will obey and live in exile for 14 years. His wife Sita and another borther, Laxman, decided to follow him in his exile. The old king died. Bharat, who was away and did not know what had happened, came back to Ayodhaya and discovered that he was supposed to be the king. He refused and instead went to the forest to seek Rama and asked him to come back.

However, Rama said that he had promised their father to live in exile for 14 years and he can not break his promise. Thus, Bharat went back to Ayodhaya and governed it as a caretaker king, waiting for Rama to come back.

In the forest, Sita was kidnapped by the Rakshas king Ravan. With the help of the Ape king Sugriva, his Ape army and the Ape warrior Hanuman, Rama foght with Ravan and killed him. In the mean time 14 years had passed and thus, Rama returned to Ayodhaya and became the king.

Other Characters from Ramayana

While the images above are about Prince Rama, his Sita and his younger brother Laxman, below you will find some images of other characters in Ramayana.

Rakshas king Ravan: People unfamiliar with Indian way of reasoning, think of the Ravan as a kind of demon. However, in Ramayana, Ravan is also a learned Brahmin and there is a tradition to praying to him. The image of Ravana below is from Kalakshetra in Guwahati (India).

Hanuman and the Ape army: Hanuman is the chief helper and supporter of Rama. He is the son of the wind god and can fly. He is also considered as the patron saint and defender of unmarried young men, to whom he teaches celibacy. The image of Hanuman below is from a Ramlila procession in old Delhi (India).

Here is  another image of Hanuman from a Kathakkali performance in Bologna (Italy).

Jatayu Garuda: The Garuda bird named Jatayu is a friend of Rama in the forest. He tries to save Sita from the kidnapping. Below you will find images of his sculptures from Assam (India) and Bangkok (Thailand). Garuda is also the name of the Indonesian airlines.

Kevat, the boat man: Ramayana has different characters of simple tribal persons such as Kevat, the boat man, who play an important role in the story. During Rama's exile from Ayodhaya, Kevat organises their crossing of the river Sarayu. The image below has Kevat and Prince Rama from a Ramlila in a village in Gurgaon, not far from Delhi (India).

Rama's Stories in Different Languages

The oral history traditions of India credit a sage-poet called Valmiki for having written the first version of Ramayana. Valmiki's Ramayana was written in the ancient Indic language Sanskrit and has 24,000 sholokas (verses) divided into seven chapters.

Another version of Ramayana written in Avadhi, a dialect of Hindi, in the 16th century called "Ram Charit Manas" made it more accessible to common persons. This was written by Tulsidas Goswami. It is commonly read aloud in village squares and along the rivers in different parts of India. The image below is from Varanasi where Ram Charit Manas is being recited on the banks of river Ganges.

Each language of India has its own version of Ramayana. For example, Shri Ranganatha Ramayana in Telugu, Katha Ramayana in Assamese, Tulsi Krita Ramayana in Gujarati and Dandi Ramayana in Oriya.

Outside India, Indoensia has Kakawin Ramayana, Thailand has Ramakien, Cambodia has Reamker, Laos has Phra Lak Phra Lam, Myanmar has Yamayana and Sri Lanka has Janakiharan. In Nepal, the Dashain festival celebrating the win of Rama and the defeat of Ravan is the most important religious event in their calendar.

In Thailand, the kings take on the name of Rama and the ancient capital of Thailand was called Ayutthaya. Many Asian countries have living traditions of presenting the Ramayana stories through dance, theatre, puppets and other art forms. The image below has Rama, Sita and Laxman from Thailand.

In India, many Hindu homes have a copy of Ramcharit Manas. In villages there are traditions of singing parts of Ramayana during festive occasions. In autumn each year, India celebrates the ten days of Dusshera, symbolising the ten days of war between Rama and Ravan, described in Ramayana. During these ten days, towns and villages organise popular plays called Ramlila, to present the story of Ramayana. Most images of Rama in this post are from these Ramlila celebrations.

The tenth day of Dusshera, coincides with the death of Ravan, and is celebrated as Vijaya Dakshmi. Twenty days later, the return of Rama to his kingdom in Ayodhaya is celebrated as Diwali, the festival of lights.

Even the other Indic religions, including Buddhism, Jainism and Sikhism include references to the stories of Rama. For example, the stories about Buddha describe him as a prince of Ishvaku dynasty, the dynasty of Rama in Ramayana.

Perhaps the first oral traditions of Ramayana had started when the urban settlements and agriculture were still new and the memories of ancient hunter-gatherer societies was still alive. Rama's exile in the forest to the hunter-gatherer way of living must have touched deep feelings of identification in the persons.

Thus, the story of Rama, a tradition going back at least a few thousand years ago, still continues to resonate with millions of persons around different countries. Rama is considered an Avatar of Vishnu and Ramayana is part of the sacred texts of India. Even today persons in rural India greet each other with a "Ram-Ram" and say goodbye with a "Jai Ramji ki". The name of Rama was also there in the last words of Mahatma Gandhi when he was shot and killed, he died saying "Hey Ram".

Conclusions

As a child, I grew up in the narrow streets of Old Delhi. Reading the stories of Ramayana in a children's magazine called "Chandamama" and listening to the chowpais (verses) of Ram Charit Manas in community readings in the neighbourhood.

Why did Rama's story had such a deep impact on the communities in India and other Asian countries? One of the reasons could be that its values - love and respect for the parents, obedience, respect for brothers, were all values necessary for the survival of agricultural societies based on extended family systems. Thus, the story found acceptance in different countries of Asia. (Another image of Thailand Ramayana below).

Another aspect of Ramayana is the understanding about the spiritual dimension of life along with renunciation of material comforts and living in isolation, which is also seen in Prince Gautama's abandonment of his palace and his wanderings in the forest to become Buddha. Material comforts versus renunciation is a common and enduring theme of different Indic religions, sacred stories and mythologies.

Ramayana and the story of the prince of Ayodhaya has survived for centuries, growing like a tree with a common root but branches going in different directions.


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Vishnu and Darwin

Some time I ago I had written about references to Other human species in the Indic mythology, arguing that the Indic myths and sacred stories represent the oral traditions and could be the keepers of ancient knowledge from prehistoric times.

This post is is a continuation of that thinking, provoked by a sculpture in a temple in Guwahati (Assam, India). The sculpture is a statue of an avatar of Vishnu.

ORAL TRADITIONS AND PREHISTORIC HUMANS

The first ancestors of the modern man, Homo sapiens, appeared on earth around 70,000 years ago while our knowledge about human history goes back to about 5-6,000 years. This in-between period about which we have no written records is called prehistoric period.

Human beings probably started to speak and developed languages, even before the appearance of modern man. Thus for a very long time, humans only had speech and art to express themselves. This led to different oral traditions in the communities and the memories of most important events were saved as stories and songs and passed along the generations.

These stories changed over time, as they passed from one generation to another and as groups of people broke away from their parent groups and moved to new lands, with people adding new details and new explanations to the old words. When human-groups invented writing, they usually codified these stories as part of their sacred books.

Jayakrishnan Nair in his post "Preserving Long Term Memories" has given a nice overview of oral traditions in safeguarding ancient knowledge across countries and cultures:

Memories are preserved when societies have the ability to retell stories across generations and remain unaffected by military, religious and cultural assaults. Indigenous traditions have foundational ways — through stories, art, ritual — to preserve knowledge. Textual studies won’t reveal the secrets; these have to be experienced.

STORIES ABOUT AVATARS OF VISHNU

Hinduism has many stories about Avatars of God coming down to the earth. For example, in chapter 4 of Bhagwat Gita, verse 7 (Yada, yada hi dharmasaya glani bharwati bharat ...) is about God coming down to earth whenever there is a decline in Dharma.

Stories of different avatars of Vishnu are part of the Indic sacred literature. For example, Bhagwat Puran mentions 24 avatars of Vishnu. Other stories have ten such avatars (Dasavatar). In all these stories, the first four avatars of Vishnu show him as an animal – Mataysa (Fish), Kurma (Tortoise), Varaha (Boar) and Narsimha (half man and half animal).

While visiting Shukreshwar temple in Guwahati, I saw a sculpture of the Matasya (Fish) avatar of Vishnu on one of the walls of a temple (shown in the image below).

Different authors have linked these stories about Vishnu's avatars to the Darwin's theory of evolution of species. In 19th century, Darwin had proposed that over a period of millions of years, life had evolved from single cells and through natural selection, gradually created more complex organisms. Life had started in oceans, it moved to the land, passing through fishes, amphibians and then birds and animals, till humans evolved from the apes.

People have remarked on how the first 4 avatars of Vishnu seem to reflect the evolution of life in the ocean (Matsya/Fish), its progression in creatures that lived partly in water and partly on land (Kurma/Tortoise), the arrival of mammals (Varaha/Boar) and the birth of humans from their animal progenitors (Narsimha/Half human, half animal). The image below shows a statue of Narsimha avatar from a street in old Delhi.

According to the Dasavatar stories, the fifth avatar of Vishnu was Vamana (Dwarf). This story reminds me of another human species, Homo floresiensis, also called "hobbits", the short humans who lived in Flores island of Indonesia.

These stories do not talk specifically about development of humans from the apes. However Indic sacred literature has many figures such as that of Vanars/Apes (Sugriv, Bali, Hanuman) and other beings such as Asurs, Danavs, Rakshas, etc. These other figures share certain similarities with humans and could be seen as references to other human species during prehistoric times.

If Indic myths speculated on the origins and evolution of life and some times came up with answers similar to those given by the science today, it means that those persons had significant capacities of observation and logical deduction. They did not have the scientific tools to test and confirm their ideas and thus, came up with stories of Vishnu's avatars to explain their observations.

At the same time, the Dasavatar story includes a prophecy about future - the tenth avatar of Vishnu who is supposed to come at the end of Kaliyug. This future avatar is called Kalki and is shown as a man with a sword on a white horse. This myth implies that there was some understanding that there will be other forms of life and that humans are not the end-point of evolution of life. This idea is also consonant with the present view of evolution of species, though the future life-evolution is not likely to be about white horses or swords, rather it might be linked to artificial intelligence and other technological innovations.

OUR UNDERSTANDING OF MYTHS

As explained above, the roots of the myths go back to the oral traditions of prehistorical times, before writing was invented and before we had the formal religions.

Emergence of religions like Christianity and Islam, with their specific books such as Bible and Koran, influenced attitudes towards the knowledge contained in ancient myths. Some ancient myths were incorporated in these books and came to be accepted as part of their religious dogmas. Other ancient myths, not included in these books, came to be seen as superstitions or false stories.

Therefore, the common use of the word Myth came to imply that these stories provide wrong and unreliable knowledge and thus, should not be taken seriously.

Most Indic myths are part of Vedic literature, especially of the Puranas. "Mithak", the Sanskrit word used for myths, sounds very similar to the Greek word Mythos. The Sanskrit word "Mithya", derived from Mithak, is also commonly understood as a synonym of lies or untruth. Thus, it would seem that even in Indic traditions, myths are seen as unreliable or wrong knowledge. So I was wondering, if our myths and sacred stories are part of our oral traditions, why and when did we start to consider them as lies?

The word "Mithya" appears in only one Upanishad, the Muktikopanishad, which is considered as the last Upanishad, written relatively recently (probably in seventeenth century). Its use in that Upanishad seems to suggest its meaning was somewhat similar to that of Maya (illusion). Thus is it possible that the negative connotation given to ancient stories or the myths in the Indic traditions was a more recent phenomenon? Certainly, traditional Indian scholars did not consider the Purana stories to be a bunch of lies.

Another explanation can be that in Indic traditions, Purana stories were seen as Itihasa (history) and they had used the word "mithak" to refer to some other stories, while today we have started to club together all our sacred stories as myths because that is how Western scholars have described them over the past couple of centuries?

CONCLUSIONS

Reconstructing the ancient history gives a lot of importance to written documents, skeletons, cultural artifacts and images such as the cave paintings, while the oral history traditions are not given similar importance. This is natural since stories of the oral traditions must have undergone many changes as they were passed from one generation to another, and thus are not as reliable as written texts and pictorial testaments of the prehistoric humans.

Over the last couple of decades technical advances in molecular biology and informatics have also started adding to our knowledge about prehistorical period, for example through reconstruction of genome.

On the other hand, cultures with strong oral traditions that have unbroken links with their prehistoric past through their mythologies and sacred stories, are fast disappearing. Except for some tribal communities, such cultures have survived only in India and in certain parts of Asia, especially where there are significant numbers of Hindus and Buddhists.

At the same time, looking at and understanding this ancient knowledge is becoming increasingly difficult as we tend to look at the myths and ancient stories through the lens of rational approaches, ignoring the original cultural contexts and philosophies that guided their meanings.

However, I feel that speculations about the seeds of historical events and ancient knowledge hidden inside the myths are also important. Looking at myths and sacred stories can be another way of knowing our past, though at present it may not be possible to have objective proofs of such knowledge.

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