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Monthly Archives: October 2012

Samkhya : Part Five : Samkhya Karika – continued

Continued from Part Four

[We will be trying to understand only a few concepts of Samkhya –Karika; and not discussing the entire text.)

Samkhya0007

O. The unfolding

33.1. As mentioned earlier, Samyoga the proximity of the Purusha (consciousness) and the a-vyakta (undifferentiated un-manifest Prakrti) disturbs the Gunas, the dormant constituents of the a-vyakta. The three Gunas resting in a state of equilibrium turn restless, struggle among themselves for expression ; and, each strives for ascendency over the other two. That turbulence gives birth to the first stage of the evolution process.

[ However, it is not explained why such proximity should cause agitation among the Gunas]

33.2. It is said; the evolution process detailed in the Samkhya is twofold: one cosmic and the other individual.

Further, the outward process of the unfolding (sarga) is also meant to delineate the reverse process of absorption (apavarga). Samkhya considers evolution and absorption as processes that complement one other.

The evolution processes described in the Samkhya Karika are with particular reference to the individual.

33.3. The turbulence that takes place within the a-vyakta results in the Guna rajas gaining the ascendancy; the rajas then activates sattva. And, the two together overpower the inertia of the tamas; and set in motion the process of evolution.

P. The evolutes of Prakrti

Buddhi

34.1. The first to evolve out of this churning of the Gunas is Buddhi (the intellect) or Mahat (the great one).The latter term is usually employed in the context of cosmic evolution, while the term Buddhi is used with reference to the individual. But, both (Mahat and Buddhi) represent the principle of intellect or discrimination buddhi-tattva.

34.2. Mahat or Buddhi is the first principle which the Purusha sees or witnesses; and, is the first phenomenon to emerge out of the undifferentiated ground of the un-manifest (a-vyakta) and to cross the threshold into manifestation (vyakta).

Buddhi represents the first phase of evolution, and is therefore described as the primacy phenomenon. For this reason, Buddhi or Mahat is otherwise called ‘the seed of the material world’ (prapancha-bija).

34.3. Buddhi is said to be very subtle, transparent, not extended in space and dominantly sattva in its nature.   Buddhi is a unique faculty of human beings. It is man’s instrument for exercise of judgment and discrimination (viveka). It not only ‘knows’ but also ‘works’; meaning, it is awareness as well as the will to be active. For that reason, according to Samkhya-karika, the becoming of man is determined by his fundamental strivings which are guided by the Buddhi. In other words, the man’s place in this world depends upon his inclinations (Gunas) as directed by the Buddhi.

34.4. But, Buddhi, an evolute of Prakrti, is not consciousness; only the Purusha is consciousness. Buddhi is an effective instrument of knowledge or cognition.

Buddhi, the first evolute and the instrument of discretion, is the nearest to Purusha, of all the evolutes of the a-vyakta. It, in a way, compliments the functioning of the Purusha. If Purusha provides consciousness which makes evolution possible, the Buddhi provides requisite knowledge to attain liberation by isolating Purusha from everything else; by showing, at each stage, that Purusha (consciousness) is indeed different from Prakrti (matter) and its evolutes. The function of Buddhi is Adyavasaya or certainty leading to action. The Buddhi instructs the individual that he or she is not prakrti or any of its evolutes; but is essentially the pure consciousness itself. The Buddhi spurs the man to action.  The Buddhi is, thus, the faculty that guides and bestows man the true understanding which liberates him. It is the paucity of this discriminating knowledge (viveka) that subjects the man to bondage and suffering.

[ Samkhya Karika (26) names the five sense organs [Bhuddhi Indriyas- because they are the means or the Dvara of perceiving sound etc by the internal organ] and five organs of action (Karmendriya) namely , voice , hand, foot , organ of excretion and organ of generation. And the Eleventh organ is the mind

buddhi-indriyaṇi cakṣuḥ srotra-ghrāṇa-rasana-tvak-ākhyāni | vāk-pāṇi-pāda-pāyū-upastāḥ karma-indriyāṇi-āhuḥ ||

In the Samkhya system  , the senses , the sense-organs, the sense-objects and sense-perceptions are all discussed within the overall framework of the notion of Purusha and Prakrti ; the three Gunas; the levels of gross (sthula) and subtle (sukshma) ; as also the levels of the interplay of Manas, Ahamkara and Buddhi.

The last three (Buddhi, Manas and Ahamkara) constitute the inner organs (Antha-karana) .They are the powers that open and close the gates; monitor, control and register whatever is carried through. The body-mind complex of human system is active (kartar) through the ‘five organs of action’ (Karmendriya) and receptive through the ‘five organs of perception’ (Jnanendriya) .

These two sets of five each are the vehicles of alertness and responses. These faculties work outward (bahyendriya) and are akin to gates or doors (Dvara) ; while mind (Manas)  and the ego ( sense of “I’) , intellect, judgement (Buddhi ) are the door-keepers. Since the mind (Manas) operates directly with the ten faculties (Bahyendra) it is considered as the eleventh (Ekadasha) and is called the ‘inner-sense’ (Antar –indriya).

Among the eleven organs of perception and action, mind is said to have the nature of both. Because, the organs of sight, speech, hearing etc function within the limitations of their assigned tasks; but are governed by the mind, which is the faculty that judges and determines   . The organ of perception perceives an object as such , no doubt; but , it is the mind that  identifies and determines   : ‘it is an object’; ‘ it is of this nature’ or ‘it is not of this nature’ etc.

It is the mind (Buddhi) which continuously identifies, classifies and determines the objects it perceives. In the process, it is said, the mind keeps transforming itself into the shapes of the objects of which it becomes aware. Its subtle substance takes on the colours, forms of everything that is presented to it by the senses m by the memory and emotions. Yet, it has also the capability to calm and still the senses as also itself, like a jewel in a pond, by the power of the Yoga.]

samkhya tattvas

(source : https://universaltheosophy.com/legacy/movements/movements-sankhya-2/ )

Ahamkara

35.1. Arising out of Buddhi and projected from it is Ahamkara the self-identity, bringing along with it notions of “I-ness” and “mine”. Ahamkara breeds ‘self-assertion’ (abhimana) or self-love; and even self-conceit or self-pity. The Ahamkara is the specific expression – ‘me’ and ‘mine’- of the general feeling of self.

35.2. It is the Ahamkara that sets apart the individual from rest of the world, erecting enclosures around the person. It makes the person think and to interpret everything and every notion in terms of I and the rest. All thoughts, action and speech of an individual are in terms of his or her sense of Ahamkara. It is the foundation of one’s actions of every sort.

35.3. Ahamkara pervades and influences all human experiences; it even colours the Buddhi; and is very scarcely silenced. If Buddhi is predominantly sattva, the Ahamkara is predominantly rajasa. It is dynamic in nature; and pervades all human experiences including mind, senses etc. Ahamkara is functionally an urge for self-preservation and self-perpetuation amidst series of environment changes and fluctuations. The Samkhya therefore regards Ahamkara as an ongoing ceaseless process (vritti) and not as a substance.

Group of sixteen

36.1. In the next stage of evolution, from out of the Ahamkara there emanates ‘a group of sixteen’ elements; in two sets: of eleven and five. Those sixteen elements (tattvas) are nothing but the various transformations (vaikruta) of Ahamkara. This means, the evolution stream which till then was vertical (avyakta —  buddhi — Ahamkara) turns horizontal at the stage of Ahamkara.

36.2. The first set (of eleven) comprises manas (mind), five buddhi-indriyas (five senses of perception: hearing, touching, seeing, tasting and smelling) and five karma- indriyas (five organs of action or rather the functioning of these five organs: speech, apprehension, locomotion, excretion and procreation). The set of eleven represents the first stage of man’s contact with the world. It is characterized as sattvic-ahamkara; meaning its components are predominantly of sattva nature.

36.3. The Manas (mind) the first among the group of sixteen, according to Karika, is described as samkalpa, meaning it is constructive, or analytical or explicit. The Manas is concerned with determined perceptions .It arranges impulses or sensations coming from the senses and organs of action; and is a coordinator of various streams of thoughts, sensations and emotions. The manas acts as a bridge between the internal and external worlds; and, it is said to be involved mainly with a person’s waking experiences.

Antahkarana

37.1. The triad of manasbuddhi and Ahamkara form the antahkarana, the internal organ or instrument, which in other words is a psychological field that is subjective and individualized. It is the threshold area which connects man’s inner world to external world (bahya – karana).  

[Yoga reduces the three components of antahkarana into one Chitta the seat of awareness.]

37.2. Though the antahkarana is formed by the evolutes of un-intelligent Prakriti, its constituent psychological categories are predominantly Sattva in nature. The antahkarana therefore reflects the intelligence of the Purusha, and appears as if it is a conscious entity.

38.1. These thirteen (anthahkarana plus five buddhi-indriyas plus five karma – indriyas) together form the essential psycho-physical instrument which enables Man to know, understand the world and himself. This set of thirteen is also a prelude to the emergence of the physical world.

38.2. In the Samkhya scheme of evolution, the physical world appears only after the basic constituents of mind and the sense and the functioning of sense organs are put in place.

Tanmatras and Bhuta

39.1. The ten senses or indriyas that follow are external (bahya) instruments (karana).

The second set of five (out of the group of sixteen mentioned above) consists the five subtle elements (tanmatras) : shabdasparsha ruparasa and gandha (elemental sound, touch, form, taste and smell). This set of five is characterized by rajasa, the Guna of action. The function of the rajasa Ahamkara is to motivate two other Gunas to be creative.

39.2. From out of the second set consisting five subtle elements, emerges Bhutas a set of five gross elements, the basic elements of nature: earth, water, fire, air and space (pancha-bhuta) leading to the gross or external world. This set of five gross elements is said to betamasa–ahankara, meaning they are the forms of Ahamkara characterized by predominance of the Guna tamas. Because of the predominance of tamas, the Bhutas or material elements are incapable of reflecting intelligence. They are therefore called insentient matter.

 39.3. The gross elements are produced by various combinations of subtle elements. To illustrate:

 First to evolve is the tanmatra that is the essence of sound (sabda), which in turn produces akasha the space element. Therefore, the akasha element contains the quality of sabda perceived by the ear.

Shabda and sparsha together produce marut (air); the air element contains the attributes of sound and touch, although touch is the special quality of air and is sensed by the skin.

The teja (fire) element is derived from the essence of colour (rupa tanmatra). It combines the qualities of sound, touch, and co]or, and its special property sight as perceived by the eyes. 

Shabdasparsharupa and rasa together form apha (water). The water element has all the three preceding qualities–sound, touch, and colour– as well as its special quality taste, as sensed by the tongue.

All five elements combine to produce kshiti (the earth). The five gross elements combine in different ways to form all gross objects of the world that are perceivable. This grossest element kshiti (the earth) contains all of the four previous qualities.

Akasha Sabda        
Vayu Sabda Sparsha      
Agni Sabda Sparsha Rupa    
Apah Sabda Sparsha Rupa Rasa  
Prithvi Sabda Sparsha Rupa Rasa Gandha

 [Note:  Earth means earthly properties, similarly wind means properties of the wind, sky means the ever pervading space and fire means the energy (of creation and destruction) and water means the organic properties]

Q. Twenty-four tattvas

40.1. Thus, buddhiAhamkara, the group of sixteen and the five gross elements together make the twenty-three tattvas the basic components of the Samkhya karika. In addition, the text counts a-vyakta the un-manifest Prakrti as one of the tattvas; thus bringing up the total of the tattvas to twenty-four.

40.2. Thus, the objective world according to Samkhya karika is made of twenty-four tattvas each composed of varying degrees of the three Gunas: sattvarajas and tamas. The term tattva is comprised of two words tat (that) and tva (you) meaning ‘thatness’ or the nature of a thing. The Purusha (consciousness) is not a thing and is not treated as a tattva; Purusha is different from everything else. This is what distinguishes the karika version of Samkhya from the older atheistic version; from the version of Panchashikha; as also from the later versions influenced by the Vedanta.

[To summarize; the first tattva to emerge from avyakta is buddhi (intellect), closely followed by Ahamkara (sense-of-self) and manas the mind or cognition. These three collectively referred to as the inner organ (antahkarana) is predominantly of sattva Guna; and determine how the world is perceived.

That is followed by the five sense organs and the five organs of action. These possess the combined qualities of sattva and rajas; and provide conditions necessary for human functions. At the same stage, the Guna rajas combines with tamas to produce five subtle elements tanmatras (sound, touch, form, taste, smell). This set of subtle elements, in turn generates five gross elements (space, wind, fire, water, earth).

These twenty-three, along with a-vyakta   form twenty-four tattvas or basic components of matter, as per Samkhya karika. Since they are all evolutes of Prakrti, they are not-conscious or intelligent.  They are the objects of experience of the Purusha, the consciousness.

Please see the figure at the bottom of the post.]

R . The scheme

41.1. The evolution as projected in the Samkhya –Karika systematically proceeds, in stages, from the extremely subtle matter in its un-manifest state (a-vyakta) down to the grossest physical element. The ‘group of eleven’, and more particularly the antahkarana which is a psychological field formed by the triad of the subtle forms of intellect, mind and ego is the threshold area which connects man’s inner world to external world (bahya -karana).  In the Samkhya scheme of evolution, “physical world” appears only after the basic constituents of mind and the sense and the functioning of sense organs are put in place.

41.2. In a way, the Samkhya scheme is an inversion of the western model where the man and matter are just created. In contrast, what the Samkhya describes is not an act of creation but a process (vritti) of evolution originating from the most subtle towards the gross.

Samkhya regards the processes of evolution and absorption as complimentary to one another. The Samkhya scheme of absorption is therefore exactly the reverse of its evolution process. Samkhya also believes that just as that which had not existed before can never be brought into existence, that which exists cannot be entirely destroyed, either. Following these principles, the Samkhya projects its scheme of absorption. According to which, at the time of dissolution of the world, the reverse process sets into motion with each effect collapsing back into its cause; the gross physical elements broking down into particles; the particles into atoms; the atoms dissolving into finer energies which in turn merging into extremely fine energies; and ultimately the whole of existences dissolving back into the subtlest un-manifest Prakrti, the a-vyakta. Thus, Prakrti even when all its evolutes are withdrawn remains unaffected; and is eternal.

S. Enumeration

42.1. Some scholars say that the whole of the Samkhya karika can be viewed as a systematic enumeration of its twenty-four tattvas or basic elements which compose the man and his world. Such enumeration is in keeping with the meaning assigned to the term Samkhya suggesting reckoning, summing up or enumeration.

42.2. However, Samkhya Karika is not mere enumeration of categories; it is much more that. It is a method of reasoning, analysis and enquiry into the very core of man’s existence and his identity. The term Samkhya also refers to an individual who has attained true knowledge. Whatever be the meaning assigned to the term, Samkhya is one of the most important Schools of philosophy.

42.3. The method of enumerating their basic principles is not unique to Samkhya .The enumeration procedures seemed to be quite well accepted in the ancient times; and a number of ancient texts followed the enumeration method. For instance, the parts of man are enumerated and correlated with parts of the universe in Rig Veda (10.90) and in Taittiriya Upanishad (1.7).The dialogue that takes place between Yajnavalkya and his wife Maitreyi as many as seventeen of the twenty-five tattvas of the later Samkhya are enumerated (Br. Up . 4.5.12)

42.4. The Samkhya enumeration system is more through, purposeful and logical. The seemingly elaborate system of Samkhya enumeration of the elements of existence (tattvas) is a deliberate effort to systematically reduce the countless manifestations into comprehensible categories. It attempts to trace the stages of development of the categories of existence in their ordered phases of their evolution, consistent with a well thought out scheme (tattva-ntara-parinama).It proceeds from the most subtle to the most gross; and arranges the sets cogently in successive stages of their dependence in order to delineate their mutual relationships.

For instance; at the fundamental level the translucent pure –consciousness Purusha is neither generated nor generating; while the extremely subtle mula-prakriti is un-generated but generating. BuddhiAhamkara and the tanmatras are both generated and generating. The psychological fields manas, the buddhi-indriyaskarmendriyas, as also the elemental mahabhutas are generated and do not generate anything in turn, thus closing the onward flow of the evolution. The reverse process of absorption or dissolution starts with the gross elements at the outer periphery of existence; each stage collapsing back in to its source; and ultimately all dissolving into the primal source the mula-prakrti.

The Samkhya concept of liberation (of which we shall talk a little later) is described in terms of the involution or the absorption process of the manifest world. It is the reverse of the evolution process where the individual in quest of his true identity traces his way back to the origin viz  presence of the pure-consciousness.

T. Purusha-Prakrti

43.1. The relation or rather the non-relation between the Purusha and Prakrti as depicted in the Samkhya Karika is of a very peculiar sort. Purusha never comes in contact with Prakrti; he is ever separate and aloof. Yet, Purusha’s proximity to the a-vyakta disturbs or influences the Gunas; and triggers the process of evolution.

43.2. The two are totally different realities of existence. Purusha is consciousness, passive and does nothing but see rather disinterestedly. Avyakta Prakrti, which is witnessed, is the root cause of the world containing in a potential form infinite possibilities of world and all its characteristics. But, Prakrti does not possess consciousness; it is inert and intelligible.

How Purusha and Prakrti were first formed or came into existence is not explained. But they together form the basis of all existence. Although the manifestation of Prakrti depends on Purusha, the Purusha has no role in creating Prakrti or giving it its shape and appearance.

Because Purusha is perfect and unchanging complete unto itself, there is no reason for it to take active role in the creation of Prakrti. Thus the concept of Purusha is entirely unlike the idea of God the creator of the world.

43.3. Samkhya karika says that Purusha and Prakrti (though unrelated) need one another .Prakrti requires the presence of Purusha in order to manifest and to be known; and Purusha requires the help of Prakrti in order to distinguish itself from Prakrti and thereby realize liberation.  The manifest world (Prakrti) serves its own purpose by serving the purpose of Purusha. Samkhya karika compares the samyoga the association of Purusha and Prakrti to the teaming of a blind person with a lame person. The blind being Prakrti who can move but cannot see and is not intelligent (not conscious); the lame being Purusha who is intelligent and can see, but cannot move (SK: 21).

Purushasya darshanaartham kaivalyaartham tathaa pradhanasya | Pangva-andhavat ubhyorapi samyogh stat-kritah sargah ||

[ Dr. S. Radhakrishnan, (Indian Philosophy, Vol. II, p.326) writes :”If we admit the Samkhya view of prakriti and its complete independence of purusa, then it will be impossible to account for the evolution of prakrti. We do not know how latent potentialities become fruitful without any consciousness to direct them.,]

[The main problem appears to be the polarity between Purusha and Prakrti;  Purusha is so indifferent and Prakrti so mechanical. The simile to explain their interaction as that of a blind man of good foot carrying a cripple of good eye is not a great analogy. It is rather brittle and should not be pressed too hard. Because, both the blind and lame are intelligent; whereas Prakrti is not. The simile would fit better if the lame had no desire to go anywhere and he says nothing and does nothing; while the blind person has no mind at all. Clearly in such a case they would not be able to cooperate; yet Samkhya somehow forges an association between Purusha and Prakrti.]

43.4. Samkhya seeks to understand the world and man’s place in it from the perspective of consciousness. Consciousness is the reason why there is a manifest world, although the Purusha adds nothing to the world. The Purusha only witnesses the world. Since its nature is to witness, it sees the world as an instrument for its own purpose and ends.

43.4. The world is that which is witnessed. Prakrti like a painting acquires meaning and comes alive only when it is viewed by a viewer. The painting is for the enjoyment of the viewer. Purusha is the seer and Prakrti is that which is seen; and Prakrti (matter) is meant for the enjoyment of the conscious Purusha. The world exists for the sake of Purusha.  (Purushartha).

43.5. To start with, the manifest world appears because of the presence of Purusha. Further, all the objects of the world–including the mind, senses, and intellect—in in themselves unconscious — appear to be alive, intelligent, possessed of consciousness only because they are illuminated by the Purusha.

Purusha (consciousness) which has no form appears through objects, which by themselves do not posses consciousness. The objects appear as if they are possessed of consciousness; giving a false impression that consciousness is their nature. In other words, the world appears as conscious, which it is not. Similarly, the conscious appearing object is mistaken for Purusha; the Purusha appears as what it is not.

There is a perpetual dilemma here .The world is real but can manifest only because Purusha the pure consciousness is associated with it. But Purusha can realize its true nature only when it separates itself from Prakrti.

44.1. Since Purusha has no form it can be grasped or understood only in terms of what it witnesses. Samkhya therefore describes everything that appears to Purusha; and eventually discards all that it described. It then says Purusha is radically distinct from everything it witnesses and everything that was described.

The seer is not the seen. This distinction is crucial to Samkhya. The Samkhya follows a method of elimination; it seeks to understand Purusha by identifying what Purusha -is –not and rejecting all that. When Purusha is thus isolated from everything else, one understands that the ultimate ground of human existence is none other than Purusha itself.

U. Dualism in Samkhya karika

45.1. The fundamental dualism in Samkhya centres on the distinction between individual consciousnesses on one hand and the not-conscious world on the other. It is between Purusha and Prakrti in its manifest (vyakta) and un-manifest (a-vyakta) forms. The duality is   between Prakrti the creative factors in creation (becoming) and Purusha (being).

45.2. Purusha is not characterized as made of the three Gunas. Purusha is beyond Gunas; it is subjective, specific, conscious and non-productive. In contrast, the Gunas are the expression of creative factors of Prakrti. In a way of speaking, the dualism in Samkhya could be between the real doers Gunas (becoming) and the passive Purusha (being).

45.3. The Samkhya dualism is not that of body and mind, or a dualism of thought and extension. All such dualisms are included and comprehended on the side of Prakrti, the not- conscious world. Because, according to Samkhya, the mind, the self-awareness of man is all evolutes emerging out of the mula-prarti. Similarly, all of man’s emotions and strivings and urges are also comprehended on the side of the mula-prakrti.

[Before going further some explanations appear necessary, here:

45.4. Samkhya Karika’s treatment of the subject is from the perspective of the individual consciousness. It does not speak of god or cosmic soul. The Purusha and Prakrti are ever separate and do not come together. There is no manifestation of world without Purusha; yet, Purusha exists apart from the world which is not-conscious. The dualism of the Karika is between consciousness and that which is not conscious.

45.5. As regards the plurality of Purushas, the Samkhya Karika underscores its assertion that man or the world is not derived from an all encompassing cosmic source; but each evolves following its own natural laws (svabhava). The Purusha of the Karika is individual; but not personal. The basic concern of the Samkhya Karika is individual suffering and the liberation of the individual. It is not concerned with abstract concepts of suffering or universal spirit. You might recall that the Buddha who had his initial training also pursued similar approach; and refused to get into discussions on cosmos or the cosmic soul. His approach too was highly individualized.

One might perhaps appreciate the concept of plurality of Purushas, if you treat it as jiva of Vedanta or Jainism .The Vedanta Schools however brought the jivas under the umbrella of Brahman or Parama-purusha.

45.6. Again, the question of god too is linked to Karika’s major concern: salvation from suffering. Karika regards the discriminative knowledge alone as the means of salvation. The salvation according to Karika is the realization that Purusha (consciousness) is distinct and separate from Prakrti (materiality). Isvara, god, in case he exists, according to Karika scheme of things, would be a part of Prakrti and therefore not-intelligent. And ,in which case the presence of god, becomes irrelevant to Karika.

The Karika in fact refers to Vedic gods (SK 53 and 54) and makes no attempt to deny their existence; but they are treated as part of Prakrti. And, by implication those gods too are in need of salvation.  In short, the question of salvation is viewed in Karika from non-theistic perspective. Whether or not a god exists makes little difference.

aṣṭa vikalpaḥ daivaḥ tairyagyonaḥ ca pañcadhā bhavati | mānuṣakaḥ ca eka vidhaḥ samasataḥ bhautikaḥ sargaḥ ||SK 53 ||

ūrdhvaṃ sattva-viśālaḥ tamo-viśālaḥ ca mūlataḥ sargaḥ | madhye rajo-viśālaḥ brahmādi stamba-prayaṅtaḥ ||SK 54 ||

The later Samkhya, of course, reconciled with the orthodox systems   by accepting a God. Yoga too was theistic.]

V . Reverse process of release

46.1. Consciousness, ego and mind constitute the inner world of a human being (Samyogi purusha). Human contact (samyoga) with the material world of   appearances, the contact between being and becoming is the real stuff of the world. The Man develops natural inclinations of attachment and involvement in the world that surrounds him. He nurtures clinging to certain urges; and he also dreads isolation. These are the foundations for all his actions. These are also his problems, aspirations, anxiety and frustrations of life.

The Samkhya believes that clinging to the world of appearances leads to suffering. It asks Man to detach from excessive involvements, to exercise control over senses, to discipline the mind and to move away from false identifications.

Samkhya compares the world to a dancing girl who withdraws when she finds no one is paying attention to her. When we look beyond the world, it will go away. This happens with the individuals as they separate themselves from hopes, fears, desires and passions, renouncing the Guna aspects of the intellect  in order to realize their true identity as pure consciousness.

46.2. The Samkhya prescription for removal of suffering is the way of knowledge, the way of right understanding: ‘effective discrimination’  vijanana which separates pristine consciousness form everything that is not consciousness. It instructs that Prakrti is distinct from Purusha which has always been pure and free; and it is only the non- conscious Prakrti that is bound and strives for release.

Samkhya teaches that we should look beyond our personal affinities with Prakrti and realize the timeless unchanging nature of our true self, which resides beyond Prakrti as Purusha the pure consciousness. This realization can be understood as the reverse process of evolution back into the Purusha.

46.3. The Samkhya puts forward the premise, that the translucent consciousness adds nothing to the world ; and it can therefore be understood only in terms of what it witnesses: the un-manifest and manifest world viz, everything that is not consciousness. Following this, Samkhya enumerates all components of the un-manifest and manifest world; and suggests a process of enquiry guided by Buddhi, the faculty of discrimination (viveka), segregating everything that is not conscious in an attempt to view Purusha the consciousness in its isolation. Finally, he realizes Prakrti is distinct from Purusha. It is a state of realization (apavarga) that consciousness is ever pure and free; and consciousness is not matter.“No one is bound, no one is released…only prakriti in its various forms is bound and released” (SK .62).

The kaivalya isolation that Samkhya speaks about is not shuttered retreat from the world but is a way of being in the world sans entangled with Prakrti. The Buddhi which earlier was confused with wrong identities is now clear like a dust-free mirror reflecting the light of Purusha.

47.1. The practical method that Samkhya advocates is involution, a sort of returning to the roots of one’s existence; or returning to the origin or reversing the process of birth (prati- prasava). It is a systematic regression or an attempt to reverse the process of evolution; it is the opposite of spreading out (pra-pancha); leading back to the original state.

47.2. The Samkhya method of enquiry could therefore be described as an individual’s quest for his true identity ; a journey deep into the very core of his existence guided by Buddhi (viveka) ; travelling from the gross outer peripheries of his being into his subtlest inner core; going past the body, mind, senses, urges , etc ; shredding away every identity , every emotion and every thought ; all along the way, at each stage, rejecting what is not-consciousness and stepping into the next inner zone which is more subtle than the previous one; until he sheds away every aspect of Prakrti . It is also a method of giving up all identities. Once he finds Prakrti is distinct from Purusha he realizes the ultimate condition of “otherness”, freedom and isolation which is consciousness, Purusha in itself.

47.3. The relevance of the enumeration of the categories in Samkhya could be viewed in this context of involution. The hierarchical inversion begins with the elements of the body; progressively leading to the avyakata the un-manifest Prakrti which gets to see the Purusha the pure consciousness. To put it in another way, the evolution commences with Purusha seeing the avyakta; and, the cycle ends with the avyaktha seeing the Purusha; the seer becomes the seen. The un-differentiate Prakrti sees the un-differentiated consciousness.  The reversal is complete. Yet, Purusha and Prakrti stay apart; there is no suggestion of the union of the two.

48.1. Samkhya ideology of reversing the normal trend of human existence in the world and attaining the condition of isolation or kaivalya provided the frame work for other spiritual persuasion, such as Yoga, Sri Vidya and other forms of Tantra.

It might perhaps help to understand better if one follows the Sri Chakra model of creation and absorption. In the Sri Vidya tradition, the aspirant regards his body as Sri Chakra wherein the innermost core of man is encased within a nine-fold fort of matter, senses, emotions, thoughts etc. He, following the samhara-krama the absorption method, proceeds from the outer periphery wall (body) to the innermost Bindu (consciousness) in an ascent through various levels of psychic states. As he proceeds inward from the outermost enclosure the devotee’s thoughts are gradually refined; and the association of ideas is gradually freed from the constraints of conventional reality.

Bindu the dimension-less point at the centre of the Chakra, just as the avyakta of Samkhya, represents not only the origin but also the ultimate end of all existence

48.2. The Tantra too followed the hierarchical inversion of the twenty-four principles of Samkhya, but was not happy with Purusha and Prakrti being kept perpetually separate. It aimed to obliterate the subject-object duality; fuse the seer and the seen into one; and realize that unity in the Bindu symbolized as Ardhanarishwara the united Shakthi and Shiva. The Tantra improved upon Samkhya’s twenty-four principle- categorization by adding another twelve to render the dualistic universe into a unity.

48.3. The Yoga Sadhana too is patterned after the reversal of the Samkhya model of evolution. In the Yoga Sadhana, the yogi draws his energy from the root-chakra (muladhara) the earth element up to vishuddhi chakra the element of akasha space. Once at the vishuddha the five elements are purified, the prajna ascendants to   ajna which is the collective frame of reference for manas the mind. The four chakras rising from the ajna correspond to the Samkhya tattvas of manas (Chandra chakra), Ahamkara (Surya chakra) , buddhi (Agni chakra) and   avyakta prakrti (Sahasra chakra).In Yoga, the seer, seeing and the sight all dissolve into one.

49.1. The ultimate ground of human existence, according to Samkhya is Purusha pure-consciousness itself. One dwells in pure translucent consciousness, a kind of emptiness which transcends everything in the manifest and un-manifest world. The realization that one’s essential nature is consciousness: pure and free, relives one of all bondage and suffering. And, that is the supreme ambition of Isvarakrishna’s Samkhya karika.

Verily, therefore, the Self is neither bounded nor emancipated; No one is bound, no one is released. It is Prakrti alone, abiding in myriad forms that is bounded and released.

tasmāt na badhyate-asau na mucyate na api saṃsarati kaścit |
saṃsarati badhyate mucyate ca nānāśrayā prakṛtiḥ | 

तस्मान्न बध्यतेऽद्धा न मुच्यते नापि संसरति कश्चित्
संसरति बध्यते मुच्यते च नानाश्रया प्रकृतिः॥ ६२॥

(Samkhya karika62)

samkhya

 Next: Samkhya – Vedanta and Buddhism

References and Sources

Early Indian Thought by Prof.SK Ramachandra Rao

 Classical Samkhya by Gerald James Larson

Samkhya Karika by Swami Virupakshananada

The Samkhya Karika

http://theosophytrust.org/tlodocs/SankhyaKarika.htm

http://www.archive.org/stream/svuorientaljourn015488mbp/svuorientaljourn015488mbp_djvu.txt

http://www.sacred-texts.com/hin/m09/m09050.htm

http://www.archive.org/stream/svuorientaljourn015488mbp/svuorientaljourn015488mbp_djvu.txthttp://www.hinduwebsite.com/sacredscripts/hinduism/philo/ch07.asp

 
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Posted by on October 3, 2012 in Samkhya

 

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Samkhya : Part Four : Samkhya Karika

Continued from Part Three

[ We will be trying to understand only a few concepts of Samkhya –Karika; and not discussing the entire text.

Please check here for

The Sankya Aphorisms of Kapila, With illustrative extracts from the commentaries, Translated by James R. Ballantye, Published by Turner & Co., London – 1885 ]

***

H. Freedom from suffering

20.1. As mentioned earlier, Samkhya- karika sets forth its objective as elimination of human suffering. It emphasizes that human existence is characterized by Dukkha, which cannot be decidedly removed by drugs, medicines or scriptures. It assures that Samkhya system offers a valid means to eliminate suffering. Samkhya- karika puts forth the view that understanding the ultimate ground of human existence, which, according to it is pure-consciousness, is the right way to freedom.

 [The very first karika of Samkhya-Karika is

 Duhkha-traya-bhighatat Jijnasa tad abhighatak ehetau|Drste sdpartha cet  Na ikantatyantata bhavat ||(karika no-1)

    • Duhkha traya abhighatat – from the torment by the three-fold pain;
    • Jijnasa tad abhighatake hetau –  a desire for inquiry into the means of terminating it;
    • Drste – the existing visible means; 
    • sa – it (i.e. the inquiry);
    • apartha – superfluous;
    • cet – if it is said;
    • na – not so;
    • aikantatyantata bhavat –  (since in them) there is the absence of certainty and permanency)

In this karika, Isvarakrsna says: since one is struck by the threefold misery i.e. (i) the natural and intrinsic, both bodily and mental (adhyatmika); (ii) the natural and external (adhibhautika); and, (iii) the divine or supernatural (adhidaivika); an inquiry into the means of terminating it is to be made. If it is said that such an inquiry is superfluous since visible means exist, it is to be replied that ‘no’; for these means do not secure absolute and final relief.

It implies that, for final relief from these three types of dukha, a systematic inquiry is necessary. ]

20.2. The Karika believes that human bondage and suffering arise out of false understanding and wrong identification with that which is not -conscious such as body, mind, intellect etc. That lack of knowledge leads to attachment or clinging to the false. The Samkhya prescription for removal of suffering is the way of knowledge, the way of right understanding: ‘effective discrimination’ vijanana which separates pristine consciousness form everything that is not consciousness. If one could segregate one’s consciousness from everything else and view it in its isolation, then one would be free from bondage and suffering.

20.3.The Samkhya method of inquiry could be described as an individual’s quest for his true identity ; a journey deep into the very core of his existence ; travelling from the gross outer peripheries to the subtlest inner core; going past the body, mind, senses, emotions etc ; shredding away everything , every emotion and every thought ; all along the way, at each stage, rejecting what is not-consciousness and stepping into the next inner zone which is more subtle than the previous one; until he sheds away every identity ; and ultimately finds a condition of “otherness” , freedom and isolation which is consciousness in itself .

20.4. Paradoxically, that right understanding or discriminating knowledge leads to the fact that consciousness – the inner most core of man- was never bound; it had always been pure and free. One’s notions of bondage and freedom or of pain and suffering stem out of false understanding. Thus, suffering is a sullied relative state; while ones consciousness is pure and unbound.

20.5 The consciousness that Samkhya talks about is not man’s senses, will, intellect, mind or awareness, emotions or his empirical ego structure; and not even what is called soul. It is rather pure consciousness which is at once the source of man’s freedom and suffering. It is the inner-most core of man; an individual’s true identity. It is the consciousness that makes the man.

The term that Samkhya employs to refer and to describe absolute consciousness is Purusha.

I. Purusha

21.1 Purusha in Samkhya is a highly technical term. The Purusha of Samkhya is radically different from the Purusha described in the Vedas and the Upanishads.

The Rig Veda employed the imagery of an immense human form to symbolize the universe; and named it as Purusha (purusha evedam vishvam). Visualizing the universe as cosmic person of Purusha is a grand imagery. The Purusha of Rig Veda fills and enlivens the entire universe; and is the absolute and unchanging reality, the Brahman, from which everything emanates and in which everything resides.

21.2. The Katha Upanishad views the Purusha as the absolute sprit or principle that gives birth to the a-vyakta the un-manifest into which the Purusha enters to provide it individualized form.

22.1. The concept of Purusha in the Samkhya karika is much different from that of the orthodox texts.

In the Samkhya, the term Purusha refers to the fact of individual consciousness; and there are countless Purushas. The Purusha, in infinite number, is not only different from matter but is also not in any way involved with matter.

[ Isvarakrsna  gives some arguments for the plurality of Purusha in the karika No-18.

Janama – marana-karananam  Pratiniyamat- ayugapat- pravrttesca / Purusa-bahutvam siddham . Trigunyavi-paryayaccaiva // (Karika No.18)

    • Janama-marana-karananam – of birth, death and instruments of action and cognition;
    • pratiniyamat – because of individual allotment;
    • pravrtteh ayugapat – because of non-simultaneity of activities;
    • purusabahutvamsiddham – multiplicity of spirits is established;
    • trigunyaviparyayaccaiva – because of the diverse modifications due to the three gunas)

His arguments say:

Had there been only one Purusha, the birth or death of one should have meant the birth or death of all; and, any particular experience of pleasure, pain or indifference by one should have been equally shared by all. Hence the souls must be many.

Again; if the self were to be one, the bondage of one should have meant bondage of all; and, the liberation of one should have meant liberation of all.

The activity of one should have made all persons active and the sleep of one should have lulled into sleep all other persons.

The individual souls differ in qualities also, since in some the sattva might predominate, while in others the rajas, and in still others the tamas.

The incidence of birth and death; and the actions of the sense organs (indriyas) differ from individual to individual. It is obvious that all men do not have the same inclinations at the same time.  the thoughts arising out of the action of the three Gunas vary from individual to individual .

 From all these factors, it evidently follows that Purushas are indeed many.]

22.2. The Purusha which is consciousness is not the striving, not the urges, not the impulses nor any other emotional forces which make up man’s nature; it is not even what is called soul. Purusha is simply the fact of consciousness. Putting this in another way, Purusha is nothing, or nothingness or emptiness in the world. It is a sort of emptiness at the very heart of world and of the man.

22.3. The Purusha, according to Samkhya Karika is translucent individual consciousness, free inactive witness (sakshi). Because of these characteristics it is customary in the English language texts to refer to Purusha of the Samkhya School as: pure-consciousness.

22.4. Samkhya Karika describes the individual Purusha in a variety of ways, as being: un-caused; neither produced nor does it produce; absolute; infinite; all-pervasive; inactive; solitary; unsupported; non-emergent; not made of parts; and , an independent (SK: 10); witness, isolated (kaivalya); indifferent spectator;  inactive (akartrbhava) (SK: 19); consciousness (chetana); a free, action-less witness (SK: 11, 20 , 55) .

hetumat-anityam-avyāpi sakriyam-anekam-āśritaṃ liṅgam |sāvayavaṃ paratantraṃ vyaktaṃ viparītam-avyaktam || SK 10  || 

triguṇam-aviveki viṣayaḥ sāmānyam-acetanaṃ prasava-dharmi | vyaktaṃ tathā pradhānaṃ tat-viparitaḥ tathā ca pumān || SK 11 || 

tasmāt-ca viparyāsāt siddhaṃ sākṣitvam-asya puruṣasya | kaivalyaṃ mādhyastyaṃ draṣṭṛtvam-akartṛbhāvaḥ ca || SK 19 || 

tasmāt-tat-saṃyogāt-acetanaṃ cetanāvat-iva liṅgam | guṇa-kartṛtve-api tathā karteva bhavati-udāsīnaḥ || SK 20 || 

tatra jarāmaraṇa kṛtaṃ duḥkhaṃ prāpnoti cetanaḥ puruṣaḥ | liṅgasya avinivṛtteḥ tasmāt duḥkhaṃ svabhāvena || SK 55 || 

In the karika No-19, Isvarakrsna says Purusha is characterized as being :

    • 1) a witness (saksitvam) ;
    • 2) isolated or free  (kaivalyam) ;
    • 3) indifferent (madhyastham);
    •  4) a spectator or one who sees (drstam); and,
    • 5) inactive (akartabhava).

Isvarakrsna indicates that the Purusha does or add nothing to the Mulaprakrti and its manifestations. It is simply present in the world-evolution and sees or witnesses the modifications of the nature. Moreover, it is not determined by the worldly evolutes as it does not possess the three qualities i.e. sattva, rajas and tamas. It is isolated or completely free (kaivalya)

Purusha is said to be neither Prakrti (creative) nor Vikrti (created). (Na prakrti na vikrti purusah). That is; Purusha is not connected with the other twenty four principles (Tattvas). Purusha is neither Vyakta nor Avyakata.  In other words; Purusha exists distinct from the manifested and unmanifested world. It is a reality of a completely different order of its own.

23.1. The sole function of the Purusha is being a witness (sakshi); an isolated (kevala), inactive (akartarbhava), detached (madyastha); indifferent (uadasina), spectator (drastatva) (SK: 19 ) . In other words, Purusha is just a passive presence; an unseen seer; just witnessing or seeing. But, Purusha is the principle of consciousness.

23.2. It is said; consciousness is always consciousness of something. If it were so, what is the Purusha conscious of? What does the Purusha see or witness? It is explained; Purusha witnesses the un- manifest Prakrti. And, that forms the very heart of Samkhya dualism.

What is Prakrti according to Samkhya karika?

J. Prakrti

24.1. Prakrti, in Samkhya, again, is a highly technical term. Prakrti, here, does not mean sublime nature as it is commonly understood. Prakrti in Samkhya stands for the root cause (kaarana) of intellect, ego, mind and everything else; of all existence; comprehends the un-manifest (a-vyakta) and the manifest (vyakta).

In order to understand the nature of the Prakrti, we may have to go back to certain basic concepts of the Samkhya School.

24. 2. Samkhya believes that something cannot come out of nothing.  The process of evolution does not generate something that is totally new; it only brings into manifestation what was already present in the cause. Every effect must pre exist in its cause (satkarya-vada) in an un-manifest condition. The effect is therefore nothing but the transformation of its cause (parinama-vada). The effect is always related to its cause.

24.3. Further, a cause is subtler than its associated effects; and that a cause characterizes its effect. For instance, the seed holds in its womb, in a subtle form, all the characteristics of the tree that grows out of it. The seed (cause) is subtler that the tree (effect); and holds within it the essence of the tree.

24.4. The material world – including body, mind, senses and self identity – that we see and experience must have sprung out of their causes, which were more subtle. The cause that gave forth the formless mind, ego, senses, sensations, and emotions must be more subtle than its effects; and must indeed contain within itself all the characteristics of its effects. And, that cause must have had its cause, which in turn had its own cause. At each stage, the cause is subtler than its associated effects; and holds within it all the characteristics of its effects.

24.5. When that process reaches down to the level of minutest particles, which could be extremely subtle matter or a gross form of energy, Samkhya, extending its logic, argues that the cause of the particles must be subtler than the particles. Then, the atoms which are the source of the particles must indeed be a very subtlest form of energy. Yet, the atoms are mere effects that are ever changing, evolving and transforming. The cause of atoms – an extremely subtle form of energy – must indeed be much more subtle than the atoms; and almost invisible or an un-manifested powerful force of energy that holds within it the essence of all its effects.

K. A-vyakta & Vyakta

25.1. Eventually, one has to stop somewhere, at some stage. That last-stop, out of sheer necessity, has to be given a name; say, the ultimate cause. That ultimate cause would, thus, be the sole source or the sole cause (kaarana) of all effects (kaarya), of all existence – both un-manifest and   manifest. Since all worldly things possess certain common characteristics by which they are capable of producing pleasure, pain and indifference. Hence there must be a common source (Samanvayat ) composed of three Gunas, from which all worldly things arise. That ultimate source is the finest, subtlest stuff or principle. The Samkhya named that ‘ultimate’ single root-cause (kaarana) of all that is un-manifest (a-vyakta) and manifest (vyakta) as Prakrti.

25.2. Since Samkhya accepted Prakrti as the last-stop (or in other words, the origin of all existence), it perhaps, saw no point in going behind Prakrti. And, therefore, it preferred to accept Prakrti as un-caused-cause (Bhedanam parimanat). Accordingly, a-vyakta the un-manifest Prakrti is treated as uncreated Prakrti in its primordial condition (mula prakrti). It is a state which cannot be said either to exist or to non-exist; but is the potential source of all existence.

25.3. Isvarakrsna says, when we consider the magnitude of the activity of the universe, we cannot but be convinced that there must be an immense immeasurable force at work (Saktitah pravrttes’ca). The world we experience (Vyakta) cannot exist without the support (asrita) of a subtle, ultimate dormant (A-Vyakta) force.

The manifest Prakrti, vyakta, evolves from the un-manifest (a-vyakta) aspect of Prakrti. The manifest world is therefore is generated or caused (hetumat); it is finite (anityam), active (sakriyam), and diverse (anekam). The un-manifest (a-vyakta) is the opposite of the manifest.

Thus, Prakrti which is the sole material cause of the world is in effect composed of its two diverse aspects: the un-manifest (a-vyakta) and the manifest (vyakta).

25.4. The alternate names for Prakrti that Samkhya employs are: mula-prakrti (primal nature in its un-manifest state); or sattva (substance); and, Pradhana (the principal one).

[But, in the Samkhya-karika of Isvarakrishna, the a-vyakta, the un-manifest, alone is named as mula-prakrti or pradhana. The karika avoids using the term sattva for Prakrti perhaps because it employs that term to signify one of Gunas.]

The Prakrti by its very nature is ever changing, evolving and transforming; and is not consistent. It binds; yet it is inert, that is not-conscious. Yet all human experience is bound with Prakrti. In fact human mind is evolved out of Prakrti.

The material world is Prakrti. It is not absolute; and its existence and changes have no effect on Purusha the absolute ground. Yet Prakrti revolves around Purusha.

26.1. According to Samkhya, just as that which had not existed before can never be brought into existence, that which exists cannot be entirely destroyed, either.

Following this principle; it is said, at the time of dissolution of the world, the reverse process sets into motion with each effect collapsing back into its cause; the physical elements broken down into particles; the particles into atoms; the atoms dissolving into finer energies which in turn merging into extremely fine energies; and ultimately the whole of existences dissolving back into the subtlest un-manifest Prakrti, the a-vyakta. Thus, Prakrti even when all its evolutes are withdrawn remains unaffected; and is thus eternal.

[Isvarakrsna says; the diverse objects in this universe beginning from Mahatattva downwards are the results of a continuous change of causes into effects (Vaisvarupasya-avibhagat). At the time of dissolution, the reverse processes, i.e. merger of effects into their causes, must happen. Thus, the Mahabhutas, the basic elements, will merge into their cause, i.e. the Tanmatras; the Tanmatras , in turn , into the Ahamkara tattva ; and the latter into Mahatattva ; and that into the Avyakta (prakrti). Here, Isvarakrsna says that the unity of the universe points to a single cause. And this cause is Prakrti.]

26.2. Just as Samkhya believes that something cannot come out of nothing, it also asserts that nothing can be totally destroyed. That is ; the disappearance of an individual object or phenomenon does not mean destruction of matter. It is only that it is transformed into another form. The elements of matter are in eternal motion ; any material process, any growth or withering away is nothing but redistribution of matter; its transition from the past into the present and from the present into the future, or from potentiality to actuality.

Which is to say that there is neither creation nor destruction. The sum total of all matter  always remains constant. Thus, in the process of evolution, nature does not increase or diminish quantitatively. 

The Russian scholar , V Brodov , in his  The Indian Philosophy In Modern Times , writes

The idea that matter (mass and energy) does not grow or diminish quantitatively ; but, is merely redistributed in the process of emergence and destruction of individual objects and phenomena of nature, can be regarded as one of the strokes of genius of ancient Indian thinkers who anticipated later discoveries. In a most general form, this can be viewed as a distinct expression of the idea of the Law of conservation of the mass of substance as it is known to modern natural science. It should be stressed at the same time that anticipation as one of the forms of perception of scientific truth was characteristic of many outstanding thinkers of antiquity. As Engels put it, thinkers of the past brilliantly anticipated countless numbers of truths whose correctness is now proved scientifically.

26.3. Samkhya explains its theory of manifestation and withdrawal of the manifest world through the analogy of a tortoise that extends its hidden limbs out of its shell and again draws it back into its shell. Nothing was created and nothing is lost.

27.1. Since Prakrti is the root cause of all existence, it must contain in itself, in a potential form, all the possibilities and all the characteristics of infinite numbers and infinite varieties of sensations, feelings, attributes, actions, forms etc. But, one thing that Prakrti does not possess is consciousness. Samkhya therefore variously describes Prakrti as: inert (jada); non-conscious principle (a-chetana), unintelligible etc.

27.2. Purusha and Prakrti are two totally unrelated and totally diverse principles: Purusha is un-generated and un-generating; a-vyakta is un-generated but generating; and vyakta is generated and generating.

Prakrti is dynamic non-conscious and is that which is seen; Purusha is consciousness, the passive un-seen seer.

It is the proximity of these two diverse principles that sums up and makes man and his world.

27.3. The object of the Samkhya exercise is to segregate every evolute of Prakrti and view the Purusha the consciousness in isolation. (Let’s talk of Purusha-Prakrti relation or non-relation a little later)

L. Seeing and be seen

28.1. The notions of seeing and be seen; of a passive onlooker and a busy enjoyer appear to fascinate the Indian thinkers. The imagery of unseen disinterested seer and the active object is often employed in the Indian texts to project two states of reality. For instance, the Mundaka Upanishad (3:1:1) and the Svetashvatara Upanishad (4:6) present the metaphor of two birds (dva suparna) perched on the same tree, one active and enjoying the fruits; the other bird merely looking on and doing nothing.

dva suparna

28.2. In the Upanishads the active bird represents a self involved and identified with the world; the inactive bird represents that other mode of being human that neither claims nor rejects the world, remaining ever aloof and hence always free.

Two birds, in close companionship,
Are perched upon a single tree.
Of these, one eats and relishes the fruit,
The other does not eat, but just looks on.
*
dvā suparṇā sayujā sakhāyā samānaṃ vṛkṣaṃ pariṣasvajāte / tayor anyaḥ pippalaṃ svādv atty anaśnann anyo abhicākaśīti // SvetUp_4.6  //
*

28.3. In the Brihadaranyaka Upanishad (3:7:23) Uddalaka Aruni calls the on -looking bird as “the unseen Seer, the unheard Hearer, the un-thought Thinker, the un-understood Understander…the Self (atman), the Inner Controller (antaryamin), the Immortal (amrta)” .

yaḥ pṛthivyāṃ tiṣṭhan pṛthivyā antaro yaṃ pṛthivī na veda yasya pṛthivī śarīraṃ yaḥ pṛthivīm antaro yamayaty eṣa ta ātmāntaryāmy amṛtaḥ || BrhUp_3,7.3 ||

Each School of Indian thought has interpreted the metaphor of two such birds, each according to its inclinations. For instance, the Bhagavad Gita (13: S) identifies the bird that eats and enjoys as the field (kshetra) and the other as the filed-knower, the foundation (kshetrajna)

*

29.1. The importance of seeing or been seen by an un-seen seer has also become an integral part of Indian ethos. As Ms. Diana Eck, Professor of Comparative Religion and Indian Studies, explains in her Darsan: Seeing the Divine Image in India: “ The central act of Hindu worship, from the point of view of the lay person, is darshan, is to stand in the presence of the deity and to behold the image with one’s own eyes, to see and be seen by the deity… Beholding the image is an act of worship, and through the eyes one gains the blessings of the divine.”

29.2. It is explained; seeing according to the Indian notion is going forth of the sight towards an object. Sight touches it and acquires its form. Touch is the ultimate connection by which the visible yields to being grasped. While the eye touches the object, the vitality that pulsates in it is communicated.

30.1. The notions of seeing and being seen figure prominently in the Samkhya karika. Here, the seer is Purusha; and he sees or witnesses the inert and un-manifest Prakrti (a-vyakta). The fact of seeing and be seen is highly purposeful and is of vital importance in Samkhya.

As we shall read a little later, it is the fact of Purusha seeing the a-vyakta that triggers the process of evolution, the unfolding of the a-vyakta. Even thereafter it is because of the illumination by the Purusha the inert matter appears to be alive. The reverse process of absorption concludes with a-vyakta seeing the Purusha.

30.2. The relation between the unseen seer (kshetrajna) and the field (kshetra) forms an important issue in the Samkhya darshana, the Samkhya way of seeing. The basic cause for suffering and bondage, according to Samkhya, is to mistake the seer for the seen (the field). That principle also forms the basis for many practices outlined in Yoga. Both Samkhya and Yoga speak of the seer and the seen; both stress suffering as the reason to seek release from bondage. However , Samkhya focuses on knowledge as the means of liberation; while Yoga accepts Samkhya position and in addition advances several techniques that ensure that seer is not mistaken for the seen (the field).

M . Evolution process – initiated

30.1. According to the Samkhya Karika, the passive, disinterested Purusha merely sees or witnesses or comes into proximity of the inert (acetana) a-vyakta, the Prakrti in its un-manifest or latent form. The Purusha is the “seer”; and, that which is “seen” is Prakrti.

30.2. The Samkhya Karika says, the very presence or proximity or the mere seeing by the Purusha who is the fact of consciousness, enlivens and activates the constituents of the dormant or un-manifest (avyakta or mula- prakrti) Prakrti. The mula-prakrti, in other words, is simply the undifferentiated, unconscious thing-ness, which is witnessed.

30.3. The Purusha does nothing and is unable to act; but his mere proximity or seeing, somehow, disturbs the equilibrium (samyavastha) of the potent forces of avyakta or mula-Prakrti made up of three Gunas: sattva, rajas and tamas. This disruption of equilibrium caused by the proximity (samyoga) of two diverse principles triggers the struggle for ascendency among the constituent Gunas; and that sets in motion the process of unfolding or evolution of the man and the world, flowing out of the a-vyakta.

That is, when these Gunas are in equilibrium or in balance, no creation or modification is possible. It is only when this equilibrium is disturbed the manifest world (vyakta) emerges out of the un-manifest (a-vyakta).

30.4. The karika clarifies that just because the presence of the individual Purusha results in the appearance or the emergence of the world, it should not be construed that the world is derived from Purusha (because Purusha does not generate or create anything); but, it only means that without the presence of Purusha, the Prakrti would remain in un-differentiated, un-manifest state (a-vyakta).  In other words, the world in and of itself is simply un-manifest avyakta when not in the presence of Purusha. It is only when it is illumined Purusha the world appears to be alive.

The Karika stresses, Purusha and Prakrti are entirely different realities. Purusha is the opposite of Prakrti or the whole system of vyakta and a-vyakta. The Purusha is apart from all strivings, all discursive thought etc. And, every form of creation bears this sign of duality.

Purusha the seer is a sort of translucent emptiness, a pure witness. Inactive (akartrbhava), isolated (kaivalya), pure consciousness (chetana):  and Prakrti the seen is matter that is witnessed is inherently non-conscious or non-intelligent. Neither can be reduced to the other.

The Karika however says that the Purusha is understood in terms of what it witnesses. Karika therefore describes everything that appears to Purusha (consciousness), which in other words is the whole of the a-vyakta and vyakta. Ultimately, everything that appears to consciousness is eliminated, leaving Purusha as the sole reality.

N . Guna

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31.1. It is said; the Gunas are infinite in number, but for the sake of understanding they are grouped into three broad categories in accordance with their main characteristics. Both the vyakta and a-vyakta are composed of three Gunas: sattva, rajas, and tamas.

These three Gunas are the intrinsic or inherent nature or the basic constituents of Prakrti; they are not the external attributes of Prakrti; and are in fact the three strands of Prakrti which hold the world together. They are described as substantive entities or subtle substances each with its characteristic expression; they are not to be dismissed as abstract qualities.

Gunas are objective, constituent elements of experience; they are the modes of being. Everything or every process in the world is composed of Gunas. The essential character of a particular thing or a process is determined by the relative dominance of each of the three Gunas; and is thus a cumulative expression of their three inherent Gunas.

The Gunas produce the impressions of pain and pleasure and allow us to feel and even think about the world of things. They are responsible for human passions, hopes and fears. And they determine the individual’s inclinations and attitudes.

Prityapritivisadatmakah-Prakasa-pravrtti-niyamarthah-Anyonya-bhibhavasraya-Janana-mithuna vrttayasca gunah | [ {Karika no-10]

    • Priti-apriti-visada-atmakah, are of the nature of pleasure, pain, and delusion;
    • prakasa-pravrtti-niya-marthah, they serve the purpose of illumination, endeavor and restraint;
    • anyonya-abhibhava-asraya-janana-mithuna vrttayah ca, and are mutually dominating, supporting, productive and cooperative

These Gunas or strands are the content of Prakrti. They are continually in tension with one another and by their mutual interactions the world as we see and know emerges. Another important feature of Gunas is that they are constantly changing. Thus, change or transformation characterize  the very nature  of the Gunas.

The attributes (Gunas) are of the nature of pleasure (sattva), pain (rajas) and delusion (tamas); they serve the purpose of illumination, action and restraint respectively; and, they are mutually dominating and supporting, productive and cooperative.

[John Davies explains [The Sankhya-Karika (Exposition of the Sankhya), by Iswara Krishna; 1881] :

Some important questions are suggested by this theory of a primordial matter, from which all things, except soul, have emanated. How does this universal Nature, being one, produce different effects? How does it act at all, since it is not acted upon by anything external to itself?

The answer of Kapila is that it acts by virtue of its internal formation. It is composed of the three gunas or modes, and is inert when these are in equilibrium. It acts through a disturbance of this state. The modes are endowed with a power of motion, like the atoms, and from their restless action combination may be effected in different proportions, asone or another may be predominant. This is the mixture or blending mentioned in Distich 16.

It is also modified, as water or moisture, by different conditions, caused by the nature of its receptacle or seat. “As simple water coming from the clouds is modified as sweet, sour, bitter, pungent, in the nature of the juice of the cocoanut, palm, bel-karanja,1 and woodapple.”

“Modified condition,” says Vachaspati, “is the character of the three modes, which are never for a moment stationary.” This constant motion produces different effects by the ever-varying proportion of their action. In the gods, the quality of ” goodness ” predominates, and they are happy; in mankind, that of “passion” or ” foulness,” and they are miserable; in animals and lower substances, “darkness” prevails, and they are -in- sensible or indifferent.]

*

31.2. As already said; the mere proximity of conscious Purusha enlivens , activates and disturbs the three dormant Gunas resting in a state of equilibrium; they turn restless, struggle for expression and each strives for ascendency over the other two. Eventually, they cooperate and interact and pull together, even as they keep striving for survival and dominance. The Gunas are always uniting, separating, and uniting again.

[The Karika text does not however explain why or how the Gunas get disturbed by the mere proximity of the Purusha.]

31.3. The restlessness of the Gunas and their striving for ascendency or perpetual tension with one another is described as the natural-law or the inherent tendency (svabhava) within man and of the world. The Gunas, in a sense, are the real doers (kartarah) in the Samkhya scheme of things. They are the productive agents, the factors that are responsible for evolution as also for involution.

It is because of their mutual interactions, the differentiated heterogeneous manifestations emerge out of the un-manifest (a-vyakta); and, even after the process of evolution gets going the Gunas colour every act, speech, thought and becoming of man. According to Samkhya, what a man becomes is determined by his fundamental strivings, which in turn are influenced by his inclinations, the Gunas.  This process of emergence and transformations which depends upon the modifications and changes in the mutual interaction of the Gunas is known as guna-parinama

31.4. These Gunas extend throughout and represent the fundamental structure of the manifest and the un-manifest world. And, they undergo continual modification and transformation in the presence of the Purusha. All the evolutes of Prakrti are made up of various admixtures of three Gunas.

With respect to man, they constitute psycho-physical make up of his nature; each acting within his or sphere of action as characterized by the combination of the Gunas. Similarly the Gunas constitute the nature of everything that is not man. But, in themselves the Gunas are unconscious; and are absolutely separate from Purusha, just as the mula-prakrti or avyakta.

Samkhya karika (SK 11) elucidates that Purusha is the opposite of both a-vyakta and vyakta, which means that Purusha is not characterized as made of the three Gunas. Purusha is beyond Gunas; it is subjective, specific, conscious and non-productive. Purusha exists separate from the manifest and un-manifest world. It is an order by itself; distinct from all orders.

Gunas are the expression of Prakrti; and as said, they are not related to Purusha. In a way of speaking, the dualism in Samkhya could be between the Gunas (becoming) and Purusha (being).

32.1. Of the three  Gunas, the Sattva Guna  is described as subtle and light; characterizes quality of thought and goodness. The Rajasa is active and aggressive; characterizes quality of energy, stimulation and passion. The Guna Tamas is passive and dull; characterizes quality of matter, indifference and delusion.

[Sattva Guna is said to be light and illuminating; Rajas, stimulating and accelerating; and, Tamas, heavy and restraining. They function (by union of contraries) for a purpose like that of a lamp and co-operate.

Sattvam laghu prakasakamistamupastambhakam Calam ca rajah | Guru Varanakameva tamah, Pradipavaccaarthato vrttih | | (karika no- 13)]

The three together constitute the psycho-physical nature of an individual. The process of emergence or evolution is determined by the respective dominance of each of the three Gunas.

And, in the wider context too they constitute the nature and structure of everything in the manifest and un-manifest world. They are thus the underlying qualities of all aspects of the world – physical, mental or otherwise – that can produce pain, pleasure or indifference. The Samkhya karika, however, confines its discussion of the Gunas mainly to their relevance to the nature of the body-mind complex of the individual.

The text clarifies; the Gunas by themselves are not-conscious (jada); an object for Purusha to be illumined.

32.2.After samyoga, the proximity of Purusha with a-vyakta, the emergence of the manifest world takes place as characterized by the combined qualities of the Gunas : sattva, rajas and tamas.

Let’s talk about the process of evolution, the evolutes of the Prakrti, the enumeration of the tattvas, the Purusha –Prakrti relation or non – relation, the Samkhya concept of liberation and of the other issues in the next part of the article.

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Next: Samkhya Karia Continued

References and Sources

Early Indian Thought by Prof.SK Ramachandra Rao

 Classical Samkhya by Gerald James Larson

Samkhya Karika by Swami Virupakshananada

The Samkhya Karika

http://theosophytrust.org/tlodocs/SankhyaKarika.htm

http://www.archive.org/stream/svuorientaljourn015488mbp/svuorientaljourn015488mbp_djvu.txt

http://www.sacred-texts.com/hin/m09/m09050.htm

http://www.archive.org/stream/svuorientaljourn015488mbp/svuorientaljourn015488mbp_djvu.txt

http://www.hinduwebsite.com/sacredscripts/hinduism/philo/ch07.asp

https://shodhganga.inflibnet.ac.in/bitstream/10603/69499/9/09_chapter%202.pdf

http://www.downloads.prajnaquest.fr/BookofDzyan/Sanskrit%20Hindu%20Texts/samkhya_karika_and_jayamangala_1926.pdf

 
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Posted by on October 3, 2012 in Samkhya

 

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Samkhya: Part Three: Samkhya Texts and Samkhya Traditions

Continued from Part Two, 

D. Samkhya Texts

Texts of early period

9.1. Unlike the other Schools of Indian thought (darshana), Samkhya did not have a Sutra, a compendium of its principles, in condensed pellet forms. The ancient Samkhya texts that are mentioned are the Maathara-Bhashya and Atreya-Tantra. Both these texts are no longer available. These were said be of importance next only to the celebrated Sashthi-Tantra (sixty –themes), which also is lost. All that we know about Sashthi-Tantra is that it contained two books of thirty-two and twenty-eight chapters (according to Ahirbudhnya Samhita, but its version of Samkhya is disputed)

9.2. Charaka –Samhita (earlier to first century) which is in the tradition of Atreya-punarvasu is believed to be based on the ancient text Atreya-Tantra, mentioned above. The account of the Samkhya in Charaka-Samhit is materialistic, pragmatic and atheistic. The Samkhya represented in Charaka-Samhita is believed to be based on the older form of Samkhya.

[The University of Vienna, Austria, has undertaken an  exhaustive critical study of the Charaka Samhita, particularly of its two vitally important sections , namely Vimanasthana 1-7 and Sharirasthana 1-7 . The studies cover  various topics, such as: the etiology of diseases; anatomy; pathology; epidemiology; epistemology; embryology; the embodied soul; the microcosm and macrocosm; and the path to spiritual liberation. It is said; Even the most medically-oriented topics are discussed in terms that contain philosophical implications.]

Samkhya and Tantra

10.1. The use of the suffix Tantra to describe Samkhya texts is truly interesting. The Samkhya texts titled Tantra could be understood to mean a methodical device, a systematic work, Shastra or Vidya following the method of Anviksiki.  The term Anviksiki does not stand for   philosophy per se, but it suggests a way of  systematic enumeration of basic principles or the contents of a chosen subject matter, following an organized reasoning.   

Such method of enumeration was adopted by the texts on grammar, medicine, law, iconography etc. And sometimes; such texts came to be called as Tantra. In the later periods, the term Samkhya could refer to any enumerated set of principles following the ancient method of anviksiki, meaning a way of enumerating a systematic reasoning.  

But  the oldest version of Samkhya was not a developed system of thought or an Anviksiki or a Tantra. The Samkhya-like notions could have occurred as intuitional speculations or groping attempts to understand a system (vidya, jnana or viveka) that leads to liberation.

10.2. There is also an argument which says that the term Tantra stretches back to the times of the ancient Vratyas. It appears, while Vratya was the folk-name, Tantra was its cult –word. The expression Tantra comprehended both knowledge and practice. Tantra thus signified a way of thinking and understanding; and it also implied a set of practices and exercises that were different from the rest.

10. 3. These arguments again suggest that Samkhya and Yoga had their roots in the Tantra- knowledge and practices of the Vratyas. It is therefore not surprising if the earliest Samkhya texts carried the suffix Tantra. The Samkhya Karika (70) too describes itself as a Tantra, Secret Doctrine(guhya) leading to the emancipation of the Purusha.

etat   pavithram agyram  munir asuraye   anukampāyā  pradadau / āsurir  api  pañcaśikhāy  Tena –    sā- bahudhā   kritham  tantram // 70//

This supreme purifying doctrine the sage compassionately imparted to Asuri; Asuri taught it to Panchasikha, by whom it was extensively made known.-70

Sri Sankara in his commentary on Samkhya, branded it as a Tantra (tantrakhya). And, Patanjali’s Yoga-Sutra is at times referred to as Patanjala-Tantra.

The preoccupation of the Samkhya and Yoga with refining human psyche, human nature, human body and its constitution can perhaps be traced back to the Tantra concepts and practices of the Vratyas. Both Samkhya and Yoga attempt to understand the innermost core of man by systematically rejecting every known identity; isolating self from everything that could be named; and, by searching for the ’other-ness’.

The difference between Samkhya and Yoga  appears to be more in their perception and in their emphasis with regard to the role and function of the intellect (buddhi)  and the cognitive faculty (Chitta).

The way of the Samkhya is through intellect (buddhi) and discrimination (viveka); viewing pure consciousness as distinct from Prakrti and its three constituents (Gunas) ; and, attaining liberation (Kaivalya) from ordinary human confined-experiences.  

In Yoga, the Yogi practices austerities (tapas) , studies (svadhyaya) and  devotion to god (isvara-pra-nidhana) in order to discipline body and mind. The Yogi also pursues (abhyasa) the eight-fold (ashtanga) yogic disciplines with devotion (bhakthi) and non-attachment (vairagya). The Yogi eventually attains that state of isolation through Yoga; and, Samkhya attains by segregating consciousness from everything else and viewing it in its isolation.

To put it in other words; in contrast to methods of spiritual discipline {yoga) that emphasize on posture, breathing, recitation, and ascetic practices (tapas), Sämkhya is the intellectual or reasoning method. The follower of Sämkhya is one who reasons or discriminates properly, one whose spiritual discipline is meditative reasoning.

10.4. Some scholars point out that the Samkhya theories of evolution and dissolution of Prakrti which explain that the evolutes of Prakrti (matter) manifest according to their natural tendencies (svabhava), unfold and transform (parinama) into multiplicity of objects, but then dissolve back into the origin, the primordial Prakrti, only to rise again, are largely influenced by the Tantra ideologies.

[Note: Prakrti, here is a technical term and stands for the root cause for the manifest world. It is the creative factors in creation implicitly containing the possibilities of all substance, thought and action. Its equivalent terms in Tantra and Samkhya are: sattva, pradhana, mula-prakrtior ayvakta. The Prakrti, in the Samkhya context, does not mean material-nature as it came to be commonly understood later.]

10.5. It is believed; the earliest form of Samkhya which emerged out of the Tantra-Vratya foundations was pragmatic, naturalistic and pluralistic. It moved away from religion and religious sentiments; and attempted providing psychological orientation to its concepts.

10.6. That does not however mean that Samkhya had its roots only in Vratya tradition; it is just that Vratya was one of its main early influences. In fact, Vratya itself was a cult name for heterogeneous groups of free-thinkers comprehending a variety of local traditions and regional cults that disapproved ritualistic tendencies.

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Samkhya-Karika

11.1. The earliest Samkhya text now available is Isvarakrishna’s Samkhya-karika or Samkhya-saptati (seventy verses of Samkhya), dated around the second century. It is a very important text in the Samkhya tradition, particularly in the absence a Sutra text. The Samkhya-karika, for centuries, has therefore been the definitive text of the Samkhya School. Just as Patanjali’s Yoga Sutra systematized the Yoga, Isvarakrishna’s Samkhya-Karika   systematized the Samkhya. It was Samkhya-Karika   that centuries later found acceptance with the Vedic Schools, although reluctantly.

11.2. Samkhya-karika marked the separation of Samkhya from the Yoga traditions. Though both the systems identified release from suffering as the greatest human concern, Samkhya focused on discrimination (viveka) as the means of liberation; while Yoga accepted the Samkhya position and in addition advanced several techniques to achieve ecstatic states (Samadhi) to gain insight into deeper level of consciousness.

Yoga stressed the importance of disciplining mind and body as also suppressing those mental conditions that tie down man to false identities that are not-consciousness.  

While Samkhya remained a self-sufficient and a rather closed system, Yoga tended to be open-ended connecting with every other school of Indian thought and technique.

The other significant difference between Yoga and Samkhya is that Samkhya asserts the plurality of purushas, whereas the object of yoga is essentially non-dual striving for the moment when the knower, knowing and the known all become one.

11.3. The Samkhya of the Karika is slightly different from the older Samkhya as also from the later versions of Samkhya. Yet, Isvarakrishna’s Samkhya has come to be recognized as classical Samkhya; and is treated as a norm. Perhaps, the only reason for conferring such distinction could be that the Karika was produced during heydays of the Samkhya School when Samkhya was a vigorous and an influential system of thought. That period lasted till about the tenth century.

Almost every merited scholar took note of Samkhya-karika either to comment or to attack it .For instance, the Buddhist logician Dinnaga (ca.480-540) attacked it vigorously; Paramartha (ca.560) another Buddhist scholar translated it into Chinese and also wrote a commentary; a little later the Buddhist scholar Dharmakirti (ca. 610-670) wrote about it; a certain Gaudapada (ca. seventh century: perhaps not the one who wrote Mandukya-karika) also commented on it; and during the ninth century Sri Sankara wrote a detailed critique on Samkhya-Karika.

The most well known of the commentaries on Sankhya-Karika is Samkhya-tattva-kaumudi by Vachaspathi Misra (ca. ninth century).

Among the other notable commentaries on the Karika the following may be mentioned: Paramartha’s Chinese version (ca. A.D. 557-569); Yuktidipika ( (approximately between the 7th and 8th century) ;  the Jayamangala  or Samkhya- saptati-tika ** (likely before 9th-century); the Gaudapadabhasya ( approximately eleventh century A.D) ; the Matharavrtti (approximately eleventh century A.D); and, as Samkhya-sutravrtti (1500 A.D.) . Most of these texts are rather difficult to date; only the approximate time of their compositions are surmised.

(**  Jayamangala,  describes itself as a commentary (Tika) on Isvarakrishna’s  Samkhya-spatasati , authored  by Sri Sankaracharya ; but , that seems rather doubtful.

iti śrīmat-paramahaṃsa-parivrājakācārya- śrī govinda- bhagava-pūjya- pāda- śiṣyeṇa śrī śaṅkara-bhagavatā kṛtā sāṃkhya- saptatiṭīkā samāptā //

It is likely that some one might have hoisted his work upon Sri Sankara; perhaps to ensure its  acceptability among the contemporary scholars  – Further, it is pointed out that Sri Sankara could not have described himself as, śrīmat-paramahaṃsa-parivrājakācārya, Sri Sankara bhagavata . And, the opening benediction lokottara-vādinaṃ praṇamya munim  , is a typical Buddhist expression. )

That was followed in the later times  by glosses and lesser commentaries by number of other scholars.

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Karika

12.1. The term Karika means a concise verse; and like Sutra, is a vehicle for teaching a particular subject matter. Isvarakrishna’s Samkhya-Karika too is a brief work of 70 or 72 verses setting forth his version of the Samkhya.

Karika is not an easy text to understand. It is not a text in the traditional pattern presenting the prima facie view of the statement (Purva-paksha); followed by an answer or rebuttal (Uttara-paksha); and the conclusion (Siddantha). It is not a complete commentary, either. It presents the Samkhya doctrine in a dogmatic and in a condensed form, without discussions, without illustrative examples or arguments against rival thoughts. The verse number 72 of the Karika (perhaps a later addendum) states:

“72. saptatyāṃ kila ye arthāḥ te arthāḥ kṛtsnasya ṣaṣṭitantrasya | ākhyāyikā-virahitāḥ paravāda-vivarjitāḥ cā api ||

The subjects treated in the seventy verses are those of the entire science of sixty themes (shashti-tantra), exclusive of illustrative tales, and devoid of polemical consideration of rival doctrines.”

12.2. On certain aspects, the Karika is either unclear or incomplete.

For instance, the Karika does not explain the relation between its theory of evolution and the doctrine of transmigration to which it subscribes. The relevance of its enumeration of the basic components of matter (tattvas) in the context of achieving the stated objective of the Karika – elimination of suffering – is not explained.

For these reasons; some scholars believe that Samkhya-Karika might have been written down as notes for the purpose of a debate. Some others say, Isvarakrishna was rather disappointed by Vindhyavasa’s projection of Samkhya in the Buddhist light, and therefore came up with a summary of the old Samkhya text Shasti-tantra; but with his own variations.

The commentaries that were produced centuries after the Karika are also not of great help in understanding the text clearly. The commentators either just attack the Karika or impose on it concepts of their own school (such as Vedanta, Buddhist or Jaina)   or attempt explaining in the light of notions    prevalent in the commentators’  times. It is therefore difficult to understand the Karika per se, as it is.   

My explanation or understanding of it, I fear, would also be very inadequate.

13.1. Samkhya- karika sets forth its objective as elimination of human suffering. It emphasizes that human existence in the world is characterized by Dukkha, which cannot be decidedly removed by drugs, medicines or scriptures. The Karika believes that human bondage and suffering arises out of wrong understanding and false identification with that which is not -conscious such as body, mind, intellect etc. That lack of knowledge leads to attachment or clinging to the false.

Freedom, according to Karika, comes from intuitive realization or discrimination which separates pure consciousness (Purusha) from everything that is not consciousness.

It is said; the first stage of liberation is through knowledge; the second stage is through evaporation of attachment (raga); and the third is the banishment of suffering. The threefold process is condensed into the term darshana, to see and be seen. Samkhya darshana is the Samkhya way of seeing and be seen; by discriminating the difference between the seer and the seen.

(We shall discuss the main concepts of the SamkhyaKarika separately, in the next post).

Other Texts

14.1. The other Samkhya texts that followed Isvarakrishna’s Samkhya karika were also commentaries such as Kapila Sutra (about 14th century) of an unknown author, Aniruddha (1th century) and Vijnanabhikshu (16th century) – Samkhyasara -that reconciled Samkhya with Vedanta and cast it in a theistic mode. Other late works on Samkhya are the Tattvasamha-sutra, Simananda’s Samkhya-tattva-vivecana, and Bhavaganesha’s Samkhya-tattva-yatharthya-dipana. These late texts too were influenced by Vedanta.

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E. Some basic assumptions

15.1. Before talking about the contents of SamkhyaKarika text let me briefly mention a few basic beliefs of the Samkhya, in general.

[The relation between the cause and effect is one of the basic problems discussed among the Indian thinkers.  And, in fact, the divisions among the Indian theories of causation are based on this factor. To put it simply: there are only two possibilities with regard to these arguments: either an effect derives its essence from its cause; or, it does not. This is the basis of the two broad divisions of the Indian theories of causation: Satkaryavada i.e. the theory of the pre-existence of the effect in the cause; and, A-satkaryavada i.e. the theory of the non-existence of the effect in the cause before its production.

The main exponents of Satkaryavada were Samkhya-Yoga and Vedanta; and those who supported A-satkaryavada were the Schools of Nyaya, Vaisesika and Buddhism. The Jaina theory, which took a middle course, is the third;  and,  it is often called Sad-Asatkaryavada.

Satkaryavada is further divided into Parinamavada or Vikaravada which believes that through a causal process, change actually occurs and cause actually takes the shape of effect; and, this argument  is advocated by Samkhya and Yoga.  And, the other division of Satkaryavada is the Vivartavada advocated by Vedanta followers of Sri Samkara. This School argues that the ultimate reality is unchanging and all kinds of changes are only apparent and illusory

The A-satkaryavada is also divided into Arambhavada advocated by Nyaya-Vaisesika and followed by Mimamsa School; and the Patityasamutpada, advocated by Buddhism.

There are, however, other theories of causation, called Svabhava-vada of the Lokayatas and the Yadrccha-vada, which deny any sort of philosophical assumption of causality.  For more on these materialistic Schools – please click here]

Samkhya firmly believes that the effect resides in its cause (satkarya-vada); and the cause transforms into effects (parinama-vada). A cause should be existing, active and changing if it has to manifest into effects. That which has not existed before can never be brought into existence. Therefore, a non-entity can neither bring forth an entity, nor can it be made into an entity. Similarly that which exists cannot be entirely destroyed.

An effect exists in its cause in un-manifested form before it is revealed. The effect is always related to its cause; if it were not so, then every effect should be possible from every cause.

That is to say; Samkhya accepts the identity of cause and effect. A cloth, e.g., is not different from its cause, the threads. Samkhya-Karika gives many arguments to prove its contention which are elaborated in its commentaries.

The Samkhya-Karika (No.9) of Isvarakrsna tries to establish Satkaryavada by putting forth five types of arguments.

Asadakaranadupaddnagrahandt Sarvasambhavabhdvat / Saktasya sakyakaranat karanabhavacca Satkaryam // {karika no-9)

1) Asad-akaranat: In this argument Isvarakrsna tries to say – that which is non-existent cannot be produced. If the effects were non-existent before the operation of the cause, it could never be brought into existence by anybody. Vacaspati Misra, in his Samkhya-tattva-kaumudi-, a commentary on Samkhya-Karika, supports this argument.

2) Upadana-grahanat: Here, Isvarakrsna says – only a particular material is taken to bring about certain effect. A jar can be produced out of clay only, not from the threads. This means that there is a definite relation of cause with effect.

3) Sarva-sambhava-bhavat:  Isvarakrsna says – if we do not accept the relation between cause and effect, then every effect would arise from every cause, without any restriction, which is impossible and is contrary to experience. Everything is not possible everywhere and always. He asserts; we shall have, therefore, to admit a relation between cause and effect, and hence also the existence of effect before the causal operation, without which the relation is not possible.

4) Saktasya-sakyakaranat: This argument says – it is common knowledge that the effect must be such as is within the power of the cause to create. There must therefore be a relation between the potential of the cause and the effect that is produced.

5) Karanabhdvacca satkaryam : Here Isvarakrsna says – because effect is of the essence as cause, it is not essentially different from cause. If a cause is existent, then how can its effect, which is inseparable from the cause, be non-existent? That is why it can be said, effect exists even before the operation of cause.

Vacaspati Misra puts forth some more arguments to prove this identity of cause and effect. These are:

1) An object differing in its essence from another object cannot be its attribute. For example, a cow is not the attribute of a horse. But the cloth is an attribute of the threads; hence the cloth is not a different object from thread.

2) Threads and cloths are not different objects because threads are the material cause of cloth; and, there is a relation of constituent and constituted between them.

3) Threads and cloths are not different also because a cloth does not contain in itself any product which makes its weight different from the weight of threads constituting it. An object different in essence from another always has a weight different from that of the latter. We find no such difference between the effect of the weight of the cloth and that of the weight of the threads constituting it. This proves that the effect, cloth is not different from its cause, the threads.

Isvarakrsna’s doctrine of Satkaryavada plays a significant role in the establishment of the subtle principle like Prakrti and the three Gunas in the Samkhya tradition. He argues, as  the nature of the cause (Mula-prakrti) and its evolutes (Gunas) are the same , the Mula-prakrti can be accepted as the cause of these evolutes. Thereafter, he takes up the discussion on the twenty three principles of evolution.

The concept of Satkarya -vada  is therefore  central to the Samkhya system.

[The Kashmir Shaiva tradition also accepts the concept of Satkaryavada – the effect inherently exists in the cause. It asserts that the entire Universe even before it manifested (as effect) existed in the consciousness (as cause) of its creator Shiva. However, Shaiva thinkers differ from the classical Samkhya, mainly, on two counts. The first is that: the cause and effect, Shaivas point out, cannot coexist in the relationship of identity-cum- difference (tadatmya) as the Samkhya believes. That is because the cause (seed) and effect (tree) cannot exist at the same time. The second objection of the Shaivas is that the Samkhya cannot explain how effects came into existence from Prakrti, which basically is inert (jada). Therefore, Shaiva thinkers put forward their own theory stating that the entire creation is nothing but the manifestation of the absolute consciousness of Shiva stirred into motion by the iccha-shakthi (the power of the Will) of the creator Shiva. Therefore both the cause and effect are ultimately the effects of the highest consciousness, who is the primary cause.]

15.2. The early Samkhya, elaborating on these explanations, stated that in case a God exists and if he is unchanging, then he cannot be the cause of the world, for the reason that a cause has to be active and changing to bring forth an effect. Samkhya questioned, what inspired God to direct evolution? In case he is prompted by will or a desire, it merely implies that God is either incomplete, wanting in something or imperfect. Such a one, whoever he is, cannot be The God.

15.3. Samkhya does not regard the world as a miraculous creation by a God or by a Creator. Instead, it states, the world has evolved through creative processes stretched over various phases of changes and transformations. The dynamic process of evolution is directed and monitored by the inherent tendencies (svabhava) of the substances as characterized by the combination of their constituent Gunas. The Samkhya therefore views the world as a network of substances and activities, as tangled scene of elements, relentlessly changing and transforming, each struggling for expression and ascendancy. The world according to Samkhya is a state of incessant striving, motion and transformation.  Samkhya considers both matter and spirit that constitute the objective world are equally real.

15.4. According to Samkhya, the relevance of the world should be understood in the context of human existence. It is the presence of man that lends meaning to the world; just as a painting acquires meaning and provides enjoyment only when someone views it. The world is that which is witnessed.  The world, like the painting, is for the sake of one who sees it (Purushartha) – human consciousness or the Purusha. Man’s contact (samyoga) with the world represents association between being and becoming, between existence and occurrence; and that indeed is the real stuff of the world.  In that sense, the world of Samkhya is uniquely human oriented.

15 .5. Samkhya is primarily concerned with individual consciousness. It does not speculate on universal consciousness. It tries to understand consciousness in terms of what it witnesses viz the un-manifest and manifest world, which is everything that is not consciousness. That indirect approach is because consciousness being a translucent nothing-ness cannot be grasped ordinarily.

The point of this entire exercise of understanding consciousness is to realize ones true identity and to overcome suffering.

15.6. The Samkhya’s attempt to understand that ‘other-ness’ is rather unique. It systematically enumerates every category of basic components (tattvas) – from the most subtle to the most gross – that constitute matter; and says that any of those is not consciousness; the translucent consciousness is different from any or all of those. Consciousness is itself and it is nothing else.

After enumerating all components of the un-manifest and manifest world, the Samkhya suggests separating it , through the process of intuitive discrimination; and setting it aside, which means stepping past all notions of ” I”, all strivings, all urges, all thoughts and all processes . If that could be achieved, it says, consciousness alone and nothing else would be left, a sort of emptiness or nothingness.

15.7. To put it rather simplistically, the enumeration of categories of matter and its evolutes could be viewed as a sort of road map guiding the individual in search of his true identity. In his quest , at each stage, he rejects identity with elements or components or evolutes of matter enumerated in the text, until he comes to that ‘other-ness’ a state of absolute loneliness (kaivalya) a condition of absolute freedom which is consciousness itself.

One way of looking at Samkhya is to regard it as a systematic process of giving up ones identities, of every sort. That, perhaps, is the reason Samkhya is otherwise known as the way of renunciation (samnyasa-yoga).

(Let’s talk a little more about these aspects in the next part of the article)

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Certain concepts

Cognition

15.8.The Samkhya does not seem to accept verbal testimony (Sabda) with the seriousness with which the Mimamsa and the Vedanta accepted it. The Samkhya took a rather an interesting stand on the Vedas. It made a distinction between its statements relating to worldly matters (laukika), and those that are super -experiential (a-laukika).It totally disregarded the former as unreliable. As regards the latter, it said could be accepted as one of the reliable sources (aptavacana); but not as the sole source. However, the Samkhya made very little use of the Vedas for building up its system, and adopted an independent approach in expounding its ideas.

The Samkhya thinkers were essentially free thinkers, psychological in their approach and orientation; and relied more on sense perceptions (pratyakshya) and inference (anumana) than on verbal testimony (aptavacana). Inference is dependent upon sense perception; and presumption (arthapatti) is dependent on inference. But sense perception is direct and is not dependent on any other method, not even on scriptures (sabda or aptavachana).It is the guide to understand the world . Samkhya gave credence to man’s experiences.

[Sri Sankara too laid emphasis on ones experience ; but made a distinction between the relative and the absolute which is beyond contradictions (baadha – rahityam).]

The snake and the rope

15.9 The Samkhya maintains that every cognition is valid or invalid in itself, and not made valid or invalid by something else. The Samkhya adopts a realistic attitude.

Let’s take the much used or abused case of the snake and the rope. It says even a false object (snake) is existent and has being . It argues that Non-being is just a concept; and, How can anyone perceive Non-being with his senses? But the snake is not a concept; it is not a remembrance of something. It is an existent or being.

If the Buddhi (the element of reason) saw it as a rope then we could not have seen the snake. And in case we see the snake i.e. if reason is modified as the snake, we could not have seen the rope.

Samkhya maintains the object is seen either as a snake or as a rope; and not as both.

According to Samkhya both – snake and rope – are states of reality in their own context. What we call as illusion, it says, is the perception of one object and non-perception of another. In case the perception is false, it applies to the judgment but not to the subject. Therefore, each  cognition as a modification of reason (Buddhi), is a separate one, and is without reference to the other.

The cognition of the snake is invalid by itself and not made invalid by the cognition of the rope; and the cognition of the rope is valid by itself, and not made valid by anything else. Thus, even a false object (snake) is existent in its own context and has being.

If both the snake and the rope are existent, why do we call the former false? Here, the Samkhya says, the snake does not belong to the world of action and does not serve the purpose for which it is meant. We therefore treat the rope as real and the snake as unreal. In the world of action, every object of cognition is existent and real. Samkhya accepts that contradictions do exist between logical reality (truth) and falsity. But Samkhya argues that falsity, although an error is not illusion; and it does not raise the problem of its existence.

[It is perhaps for this reason the concept of Maya does not figure in Samkhya.]

Samkhya thus attempts to understand the world from one’s experiences. Therefore, every division and classification made in Samkhya is with reference to the being of man. It assumes that man is more certain of his own existence – although he may not be clear about exactly what it is – than of anything else. As per the Samkhya view, the inner being of man is more important than that of the external world of matter.

Buddhi

15.10 Samkhya also relied on reason (Buddhi) which guides as the discriminative knowledge (viveka). It argues that sense perception and inference pre-suppose sense organs which in turn cannot exist and function apart from the body-mind complex enlivened by consciousness. Unless there is a knower who is apart from the object to be known, it is rather meaningless to talk about the methods of cognition. Therefore all methods have relevance only in the context of subject-object relationship. The reason (Buddhi) is the guide which monitors the process and leads to correct understanding.

[Sri Sankara speaks of reason blessed by intuition that becomes the aspect of one’s experience. Otherwise he remarks reason can end up in vain surmises (sahka tarka)]

According to Samkhya, the subject ought not to be identified with the object. Their identification is the fundamental error. When the subject realizes that it is not the object at any level, it is released from all error and suffering and attains liberation. This realization of non-identity or complete distinction is itself the state of liberation, or at least ought to be so according to the Samkhya. The experience of liberation is described by Ishvarakrisna as:

 Thus from the analysis of the tattvas,
arises the knowledge ‘I am not, nothing is mine I do not
exist.’ [This knowledge) is all-encompassing,
free from error, pure, and final [67].

 Even after the realization, the body, due to the force of past impressions (Samskara or residue karma), continues to perform, like a potter’s wheel which keeps turning even after the potter finished his job and walked away

Potter’s wheel

15.11. The image of the potter’s wheel, in addition to showing how life continues after knowledge is gained, also provides an excellent simile for understanding Samkyha’s philosophy of freedom through detachment in action, a way to be conscious in the midst of the non- conscious. This perhaps is the seed of Karma-Yoga of the Bhagavad-Gita.

The potter sitting above the spinning wheel, aloof yet involved, witness silently, watches the pot grow and take shape. There is harmony between the stillness–the authentic consciousness–and the activity, the realm of manifestation, the inert pot which is taking birth. The two modes work- detachment and earnestness- together create a new order.

This skill in action enables a person to move through life; and in a way liberates him from preoccupations of self-consciousness, and of broken dreams. Samkhya teachers explain when the mind is filled with thoughts and the sense of self; it becomes difficult to move unencumbered. Samkhya advices man to pacify the mind and to discard the barrier of ego between pure-consciousness (witness) and the task at hand. Consciousness becomes authentic when I, me, or mine no longer intrudes between the person and his task.

Time and Space

15.12. For the Samkhya, time and space have no separate existence; they are only forms in which the pluralities of the Prakrti appear. The Rig Veda says Time is endless and all pervading, though three- fourth of space is beyond human perception (R.V. 1-131-1 and 6-47-8). However some Vedic sages call Time and space as substance (dravya), forms of Prakrti.

indrāya hi dyaur asuro anamnatendrāya mahī pṛthivī varīmabhir dyumnasātā varīmabhiḥ |RV_1,131.01 |

uruṃ no lokam anu neṣi vidvān svarvaj jyotir abhayaṃ svasti |  ṛṣvā ta indra sthavirasya bāhū upa stheyāma śaraṇā bṛhantā ||RV_6,047.08 |

The latter make an interesting distinction between the absolute space and the space that is within ones experience. They agree space is One and Unitary (dis). But, they say, the Prakrti-space that which is in ones experience is finite. That space is understood and experienced according to each ones knowledge and reach. For instance, for a child space is small, to a student it is bigger and to an ashvinaus (a seeker or a scientist), it is very large and expanding and to a philosopher it is infinite, eternal and not part of Maya. But all the while the space of universe is illusionary but looks real to our senses no matter whether he/she is a child or a student or a scientist or a philosopher. It is just a matter of one’s perception and understanding…

[Sri Sankara asserts all space is One , its divisions are relative and therefore not real.]

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F. Samkhya Traditions

16.1. The development of Samkhya traditions has been rather complicated and diverse. The ebb and follow of Samkhya traditions over the centuries is uneven and interrupted. Its flow is analogous to that of a typical river which trickles out unknown origins , gathers volume and pace; then breaks up into branches some which go sub -terrain and emerge at different locations, as different rivers with different names and eventually lose their identity by joining the main stream in an onward journey towards the ocean.

16 . 2. There are layers and layers of Samkhya. The Samkhya in its earliest form was atheistic and continued to be so during the period of Panchashikha – Charaka, until the time of Isvarakrishna who gave it a quasi-theistic form. Then on, the Samkhya turned entirely theistic, placing God or Supreme Being at the Apex.

The third version which accepted the God or the Purushottama seems to have come about when the Samkhya philosophers were persuaded to accept the existence of God. After that modification, Samkhya was allowed into the orthodox fold by about the sixteenth century.

[Samkhya is dualistic and atheistic. But, there are theistic sects which broadly adopt modified Samkhya. They generally maintain that God, world and Man are separate; but, the latter two are governed and sustained by the first principle.  This is also the basic view of the Shaiva Siddantha which calls the first principle as Lord (Pathi) ; the second as Pasha the fetter; and the third as Pashu the bound.

Vaishnava Siddantha also adopts the Samkhya principle of multiple individual Purushas (jiva) all of which are subordinate to the Supreme Principle (Purushottama) that emanates both the Purushas and the Prakrti from out of Himself.

The non-dual school however asserts that the three principles are indeed One and there is no essential difference between the fundamental nature of the three. Reality is One; though the nature of this can be understood variously.]

[ The Encyclopedia of Indian Philosophies – Volume Four _ Samkhya; edited by Karl Potter, Gerald James Larson and Pundit Ram Shankar Bhattacharya. It is a very comprehensive and highly well researched Book on Samkhya. Under the Chapter “History and Literature of Samkhya “and Sub section “The Samkhya Textual Traditions” (on pages 14 to 18), the Book provides a list of all the known credible Texts on Samkhya.

The Book in a thorough and scholarly manner examines the entire Samkhya period under seven heads:

(1) Proto-Sämkhya: 800 B.C.E.—100 C.E.

(2) Pre-Kärikä Sämkhya: 100-500 C.E.

(3) Kärikä-Sämkhya: 350-850C.E.

(4) Pätanjala-Sämkhya: 400-850 C.E.

(5) Kärikä-Kaumudi-Sämkhya: 850 (or975)-present

(6) Samäsa-Sämkhya : 1300-present

(7) Sütra-Sämkhya: 1400-present

The check-list begins with proto – Samkhya. However, the texts mentioned here are not Samkhya – texts per se. They only refer to certain Upanishads which might be  the probable intellectual environment from which the Samkhya philosophy (ies) of the later periods root. The Samkhya –Philosophy, in proper, begins with the period labelled as “Pre- Karika – Samkhya”. The text relating to this period is Sastitantra; and its teachers are Paurika, Pancädhikarana, Värsaganya, Vindhya-väsin, and so forth.

Kärikä-Sämkhya: 350-850C.E. is the classical period of Samkhya.

Under the head “Kärikä-Kaumudi-Sämkhya: 850 (or975)-present; Samäsa-Sämkhya: 1300-present; and   Sütra-Sämkhya: 1400-present” are listed texts of the Post –Karika period. Among these is the “Samknyasutra” of an unknown author identified as belonging to tyhe period 1400-1500.

The Encyclopedia of Indian Philosophies – Volume Four _ Samkhya is available on the net. Please check the link:

http://www.scribd.com/doc/68221790/The-Encyclopedia-of-Indian-Philosophies-Vol-IV-Samkhya-a-Dualist-Tradition-in-Indian-Philosophy ]

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[ what  is Shankara’s critique of Samkhya ?

Sri Shankara in his Brahma Sutra Bhashya – also called Saririka Mimamasa Bhashya – takes up for criticism the rival schools of thoughts. He does  criticize the ritual oriented Mimamsa School; the logical distinctions of the Nyaya School; the atom-ism of Vaisesika; and even the naive exuberance of the Bhakthi; and yet,  he pays special attention to refute the Samkhya theories.

 As Sri Shankara himself remarks, “We have taken special trouble to refute the Pradhana doctrine, without paying much attention to atomic and other theories. These latter theories, however, must likewise be refuted, as they also are opposed to the doctrine of Brahman being the general cause (BSS: I.4.28)”.

The pradhäna – kärana – väda (namely, the Sâmkhya) was the main focus of his attack.

Sri Shankara, in his Brahma Sutra Bhashya, spreads his critique of Samkhya in four broad segments , which for the sake of convenience could be called as : (a) Section I.1.5 – 11 and 18; (b) Sections I .4 .1-28; (c) Section II.1.1-11; and (d) Section II.2.1-10.

The Sections (a) , (b) and (c), as mentioned above, refute the Samkhya claim that its views are based in or supported by Sruti-scriptures  such as  Upanishads (Vedanta vakya) and reasoning (tarka). Shri Shankara vigorously argues and dismisses the claims of Samkhya; and, also points out that Smruti (tradition), reasoning (tarka) or whatever is always subordinate to Vedanta vakya. These subordinate or auxiliary texts, he asserts, can never gain precedence over scriptures as being Pramana, the means of complete knowledge (samyag darshana).

After taking his position on the strength of his arguments in those first three Sections, Sri Shankara mounts attack on Samkhya from a rational point of view. He argues (in Section (d): II.2.1-10) to prove that Samkhya is a bundle of contradictions that cannot be logically explained. He concludes by saying that the Pradhana – karana –vada (meaning Samkhya) has now been completely refuted (Pradhana-karana-vado nirakrtah).

The points that Sri Shankara raises are mainly with regard to Pradhana. He argues that according to Samkhya, Pradhana is unconscious (a-chetana) and yet it is described as the material cause (karana) of all existence. He queries; how is it possible for an unconscious Pradhana to act independently and to cause creation. This goes against common experience, he says. And, he points out that it stands to reason to accept that Pradhana must be ruled by another principle that is both intelligent and operative. It must be that Principle which is the material cause of the world; and, not Pradhana (BSS: II.2.1).

Again, the Gunas – sattva, rajas and tamas – cannot be the ultimate material cause as stated by Samkhya. Because, he says, these Gunas limit one another; and cannot therefore be ultimate (BSS: II.2.1)

According to Samkhya, the Gunas cannot become active unless they are disturbed out of their state of equilibrium. But, how can Purusha which itself is totally inactive (akartr-bhava) initiate activity into some other thing which again is unconscious? In view of this, Sri Shankara questions, how can Pradhana ever modify itself? And, even assuming, it somehow succeeds in its attempt, how can it control or bring to halt such self-modifications? (BSS: II.2.2; II.2.4; II.2.8; and II.2.9)

He further remarks; if it is argued that Purusha and Prakrti function according to their own nature (svabhava) then the manifest world would never cease to function – unless , of course , a third principle intervenes to hinder their functions (BSS : II.2.3 ; II.2.5; and , II.2.6).

Again he questions, how can Pradhana which is unconscious (a-chetana) serve the ’purpose’ (Purushartha) or enjoyment (upabhogha) of Purusha, when it  is said that Purusha is  incapable of experiencing pleasure, pain or such other sensations?

Sri Shankara argues:  if Purusha is a mere witness, totally inactive (akartr-bhava), indifferent (audasinya) and yet conscious (chetana); and, in contrast if Pradhana is active (guna-parinama) and unconscious (a-chetana) , then it would mean the two are radically different and have nothing in common. He thereafter questions, how can the one influence the other?

 Purusha is radically different from Pradhana, as Samkhya says.  But, they somehow do manage to influence one another. Then, he points out that such influence is not possible unless there is some sort of a relation between them. But, he says, Samkhya insists the two are not related.

Further, if Samkhya says that Pradhana provides for the release of Purusha, then it, simply, is pointless. Because, Purusha is already ‘released’ even prior to the activation of the Gunas.

Again, then , what do the terms ‘bondage’ (bandha) or ‘release’ (moksha ) actually mean here ? These terms contradict themselves, he says, because Purusha was never bound; and was always independent (svatantra).

Having said these , let me also mention that many effective arguments are put forward by scholars of recent times countering or rebutting Sri Shankara’s criticism of the Pradhana- karana-vada (Samkhya). But, one cannot fail to appreciate the elegance of Sri Shankara and his effective reliance on the authority of Sruti which provides a good deal of intellectual security to his arguments.

The Brahman of Sri Shankara is the ultimate inner essence, the all-pervading supreme consciousness and the bliss of Being itself. It is the productive fountainhead of everything that is and will ever be.

The vision of the Samkhya, in contrast, is that of the human condition which generates itself; and which finally awakens to its own state of freedom or release. Freedom for Samkhya is not realizing the content-less metaphysical self ; but , it is the individual finding or realizing his true identity that is not restricted by any other known label or identity or name  ( na asmi , na me , na aham iti – I am not this; it does not belong to me;  nor I am that : Samkhya-karika – 64).]

samkhya_principles

One of the other  factors that the Samkhya debaters found it difficult to defend was the Samkhya concept of innumerable Purushas, but only one Prakrti. They found it hard to answer the questions: How does an attribute-less purusha get entangled with the world? Whether one purusha or by many Purushas or all the Purushas together inspired Prakrti to manifest? In case the creation occurred because of only one purusha, does that mean the creation was in spite of or against the wish of all other Purushas? In such a case, why did the will of one purusha override all the rest? Or, in case all the Purushas together inspired Prakrti to create, then there must be some sort of communication among all the Purushas; and there must also be an agent or a Supreme Being who organizes and guides the Prakrti. Samkhya scholars accepted the tacit existence of God.

Since there is infinity or at least a very large number of distinct,unrelated Purushas How can they all occupy the same infinite space without  affecting each other? A corollary problem is that each undifferentiated Purusha has a relationship with only one particular Buddhi (individual mind). Furthermore, each liberated Purusha, being omnipresent, must be coextensive with all of Prakrti, yet be completely unaffected by it.

The extreme form of dualism between subject and object was seen as a basic inadequacy of Samkhya as it left no room for coexistence of the two categories.

[Later, Ram Mohan Roy observed : Had the Samkhya philosophy asserted that at a definite stage in the development of the world, consciousness (chaitanya) arises out of things, while quantitative changes, reaching a certain phase of development, become qualitative changes producing new qualities, then the whole inconsistency (asangati) would have disappeared.]

These difficulties were attempted to be resolved by (1) conceiving Purushas not as distinct from each other, but as various aspects or reflections of one unitary consciousness; and (2) conceiving prakrti not as distinct from this unified consciousness, but as an aspect of it. But this, of course, transformed Samkhya into a completely different system, because it gives up the basic dualism of Purusha and Prakrti.

With these modifications Samkhya came to resemble the monistic system Sri Sankara. It was also rendered theistic with Samkhya accepting the existence of a Supreme Being (Parama Purusha) the God.  But, these rendered Samkhya acceptable to Vedic Schools.

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G. Decline of Samkhya

17.1. Samkhya School began to decline by the end of the tenth or eleventh century. And thereafter the School lost its vitality; the focus of attention on it too steadily diffused rather swiftly. Samkhya eventually lost its independent status and identity.

[Please check here for a discussion on ‘some important problems of Samkhya system‘]

17.2. The later commentaries of the Samkhya-Karika were rather restrictive and did   little more than explaining the text. No attempt was made to discuss fresh perspectives or to clarify the Samkhya position on difficult issues. The paucity of Samkhya vigor is evidenced by the absence of major independent or significant texts after about 14th century. And its scholars did not also come up with an effective rejoinder to Sri Sankara’s elaborate critique on Samkhya.

17.3. By about the sixteenth century Samkhya had got assimilated with the orthodox systems and had given up its independent status. Samkhya and Yoga were segregated, sanctified, rendered theistic and brought into Vedic fold as two separate disciplines. Yet, their acceptance within the orthodox schools was rather tepid. The Vedanta schools continued to either downplay or criticize the Samkhya theories of creative factors in creation (pradana vada) and of evolution (parinama – vada).

18.1. The reasons for the decline of Samkhya Schools are many. Unlike Buddhism or some sects of Hinduism, the Samkhya did not develop into institutional forms. It remained a sort of secret-knowledge which only the close groups of ascetics, Yogis and intellectuals discussed among themselves. It is true many Samkhya principles and concepts formed the theoretical framework of the Sahaktha Schools of the Tantra; but, Tantra itself was a sort of secret society that exuded an aura of awe and mystery. The Samkhya ideologies and their significance did not directly percolate to the level of the common man.

18.2. Following Isvarakrishna’s Samkhya-karika, the Samkhya School moved away from the popular notions of Yoga, meditation and super-natural attainments. The Samkhya thereafter focused on knowledge and effective-discrimination (viveka) as the means for salvation. That was because; Samkhya is basically a prescription for renunciation (samnyasa), giving up all identities and moving towards that which is conscious and luminous.

18.3. And, since Samkhya did not accept a God, it left no scope for religious sentiments, aspects of worship, prayers etc. The Samkhya concept of salvation as kaivalya – isolation- too was rather stark and an austere idea; it naturally gathered very little popular appeal.

18.4. Further, the unquestioned acceptance of Isvarakrishna’s text as the normative view of the doctrine tended to curtail further creative thought within the Samkhya School. It was unable to face challenges from other Schools of thought.

18.5. The other reason could be the rise of Advaita Vedanta of Sri Sankara which pressed a vigorous critique on the Samkhya dualism from the perceptive of the older Upanishads and monistic tendencies.

With the Samkhya School turning theistic and getting absorbed into the orthodox traditions, it lost its identity. The interest in Samkhya ideologies, even among the intellectuals, remained merely academic.

19.1. Even though the Samkhya declined and ceased to exist as an effective independent School, many of its ideas lived on and continued to influence the Indian way of thinking and culture. Samkhya influence can be found in the Tantra lore, puranas and Manu smrti; and among Buddhists, Jains, Bhagavatas, Pashupatas, and others cults. Some of the terms and concepts generated by Samkhya – Gunas, Prakrti , Buddhi etc- were transported to other systems and assigned their own connotations and variations. Many Samkhya terms and ideas have seeped into to common wisdom through Yoga, Buddhism and Jainism.

samkhya

Continued – Next: Samkhya Karika–

References and Sources

Early Indian Thought By Prof.SK Ramachandra Rao

Classical Samkhya by Gerald James Larson

Samkhya Karika by Swami Virupakshananada

The Samkhya Karika

http://www.speakingtree.in/blog/sankhyakarika

http://www.rarebooksocietyofindia.org/book_archive/196174216674_10152992539616675.pdf

http://theosophytrust.org/tlodocs/SankhyaKarika.htm

http://www.archive.org/stream/svuorientaljourn015488mbp/svuorientaljourn015488mbp_djvu.txt

http://www.sacred-texts.com/hin/m09/m09050.htm

http://www.archive.org/stream/svuorientaljourn015488mbp/svuorientaljourn015488mbp_djvu.txt

http://www.hinduwebsite.com/sacredscripts/hinduism/philo/ch07.asp

 
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Posted by on October 3, 2012 in Samkhya

 

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Samkhya: Part Two: Samkhya Teachers

Continued from Part One

C. Samkhya Teachers

7.1. Sage Kapila is generally revered as the founder of the Samkhya system.  He is first mentioned in the Svetasvatara Upanishad considered as a text with Samkhya inclination

    • kapilaṃ yas tam agre jñānair bibharti jāyamānaṃ ca paśyet // 5.2//. 

Here, Kapila is regarded as the foremost among the enlightened (agre jñānair bibharti) .

But, again, scholars argue whether Kapila was a historical person or a mythical figure. To worsen the confusion, as many as three sages by name of Kapila are mentioned in the texts. In any case, all the Samkhya traditions trace their origin to Kapila.

7.2. According to Samkhya traditions, it appears, there were as many as twenty-six Samkhya teachers. The more important of them are: Kapila, Asuri, Panchashikha, Vindyavasa, Varsaganya, Jaigisavya and Isvarakrishna.

Some of the other Samkhya teachers mentioned are  : Sanaka, Sananda, Sanatana and Vodhu. They appear to be figures from mythology; and no historic details of them are known.

The Samkhya tradition ascribes its first formulation to Sage Kapila who imparted Samkhya doctrines to his disciple Asuri. Not much is known about either Kapila or Asuri. The name of Asuri appears in all the three generations of  the lists of teachers and pupils mentioned in the Brihadaranyaka Upanishad . The first two of the lists mention Asuri as a disciple of Bharadwaja, while the third mentions him as a successor of Yajnavalkhya.

āsurir bhāradvājāt | bhāradvāja ātreyāt | ātreyo māṇṭe | prāśnīputrād āsurivāsina | prāśnīputra āsurāyaāt | āsurāyaa āsure | āsuri| BrhUp_6,5.2 ||

There is also a tradition which ascribes to Asuri , the Purusha-vidha-Brahmana , commencing with the words : ātmaivedam agra āsīt puruṣavidhaḥ (in the  fourth Section of the First Chapter of the Brihadaranyaka Upanishad, which gives a  description of the nature of Reality; and,  of the process of creation down to the lowest level of  manifestation) . It is not clear whether all these references pertain to one and the same person.

7.3. As regards Kapila, he  is described as a parama-rishi the greatest sage, an incarnation:  “The primeval Seer, incarnated through the medium of an artificial mind as the mighty divine sage Kapila, out of compassion, revealed the Samkhya doctrine, in a systematic way, to Asuri, who desired to know it.”(Srimad Bhagavata SB 3.24.33).

paraṃ pradhānaṃ puruṣaṃ mahāntaṃ kālaṃ kaviṃ tri-vṛtaṃ loka-pālam, ātmā anubhūtyā anugata-prapañcaṃ svacchanda-śaktiṃ kapilaṃ prapadye –

Sage Kapila in his hermitage, Illustration from Ramayana, Kangra or Garhwal

Kapila is also described as the son born out of the will  (manasa putra) of Brahma; and, variously identified with Prajapathi, with Vasudeva, and with Hiranyagarbha. Krishna declares in the Bhagavad-Gita “Among perfected beings I am the sage Kapila” (BG: 10.26) – Siddhanaam Kapilo munih.

7.4. There are several references to Kapila in Mahabharata (12.327.64-66) , where he is described as Parama Rishi (the Supreme seer – sāṃkhyasya vaktā kapilaḥ paramarṣiḥ); Yogavid (well versed in Yoga); and, ācāryā mokṣaśāstre ca mokṣadharma pravartakāḥ  (Master in the science of liberation).  Yoga–Shastra, the science and practice of liberation is otherwise called as Kaapila, the path of Sage Kapila.

Again , The Mahabharata (Shanti Parva 349.65) states : Kapila, the teacher of Samkhya, is said to be the supreme Rishi. Hiranyagarbha is the original knower of Yoga. There is no one else more ancient

sárhkhyasya vaktā kapilah paramarsih Sa u Cyatehiranyagarbho yogasya vettà nányah purātanah

Thus ,  it appears that according to these versions, Sage Kapila who is equated with Hiranyagarbha, an Avatara of Vishnu, is the originator of both Samkhya and the Yoga

*

Kapila is distinguished from the other learned ones in Vedas (Vedavid) whose Dharma is that of Pravritti, the one that binds. Kapila,  on the other hand, is revered as the Master of Nivrtti Dharma, the Dharma that liberates

ācāryā mokṣaśāstre ca mokṣa-dharma-pravartakāḥ

12,327.064a sanaḥ sanatsujātaś ca sanakaḥ sasanandanaḥ
12,327.064c sanatkumāraḥ kapilaḥ saptamaś ca sanātanaḥ
12,327.065a saptaite mānasāḥ proktā ṛṣayo brahmaṇaḥ sutāḥ
12,327.065c svayamāgatavijñānā nivṛttaṃ dharmam āsthitāḥ
12,327.066a ete yogavido mukhyāḥ sāṃkhyadharmavidas tathā
12,327.066c ācāryā mokṣaśāstre ca mokṣadharmapravartakāḥ

Kapila is said to have taught the ‘fourth-Upanishadic-Dharma’– (chaturtha aupanisado dharmah) which asserts that apavarga (liberation) is the essential duty of an ascetic (yati-dharma).

Chandogya Upanishad (2.23.1) explains this ‘fourth Dharma’ as the way of a Brahma-nista (the one rooted in Brahman), an ascetic in search of true knowledge having renounced all ties and affiliations.  And, such a Brahma-nista is freed from the endless cycle of rebirths (Brahmanah padam anvicchinna samsaran muchyate suich).  

The teachings of Sage Kapila, in essence, emphasizes that the highest path to liberation is characterized by renunciation and thirst for true knowledge.

7.5. Asvaghosha in his Buddha- charita (Sarga 12.16) mentions that Alara Kalama while teaching Samkhya to his pupil Gautama (the future Buddha) explains that Kapila‘s path to final liberation (nivrtti marga) was through knowledge (saṃsāro yathā caiva nivartate). He contrasts the Vedic way (Pravrtti) which aims to attain heaven (savarga) with Kapila’s way (Nivrtti) which leads to liberation (Nirvana).

The Buddhist sources mention that the city of Kapilavastu was built in the honor of Kapila. It was in Kapilavastu that the Buddha was born; and, it was here he spent the first twenty-nine years of his life.

7.6. Baudhayana Grihya Sutra (4.16) which describes the rules for becoming a Sanyasin makes a mention of Kapila’s association with renunciation; and names the rule as ‘Kapila-sanyaya-vidhi’

[The Baudhayana Dharma Sutra mentions Kapila as the son of Prahlada, the King of Asuras – prāhlādir ha vai kapilo nāma asura āsa – Baudh 2.6.11.28. And, at times, addresses Kapila as Asura.  Some, explain the name of his disciple  Asuri  as being  the son or the disciple of Asura.]

It is apparent that Kapila, whoever he was, was held in the highest esteem, and revered as Parama-rishi.

***

Jaigisavya

8.1. As regards Jaigisavya, he is revered as Yogacharya, the Yoga teacher of great merit. Mahabharata – Shalya Parva -Book 9- Chapter 49 refers to him as the great Muni Jaigishavya   “Possessed of great splendor, that great ascetic, ever devoted to Yoga; and rapt in meditation and leading the life of a mendicant”.

  • tato ‘bhyetya mahārāja yogam āsthaya bhikuka/   jaigīavyo munir dhīmās tasmis tīrthe samāhita
  • ततॊ ऽभयेत्य महाराज यॊगम आस्थय भिक्षुकः/ जैगीषव्यॊ मुनिर धीमांस तस्मिंस तीर्थे समाहितः

And , the epic carries an interesting episode narrating Sage Jaigisavya’s discourse imparted to king – rishi  Asita Devala preaching virtues of equanimity and renunciation .

*

Jaigisavya is also mentioned as a renowned Yoga teacher also in Vyasabhashya on Yoga sutra (2.55); as also in Buddhacharita (12.67) of Asvaghosa (first century). References to Jaigisavya are often made by scholars to confirm that Samkhya and Yoga were at onetime welded together.

***

Panchashikha

8.2. Panchashikha is a great name in Samkhya – Yoga traditions, as also in the field of music (gandharva). Panchashikha sometimes addressed as Panchashikha Kapileya, that is to say he came from the linage of Kapila, was a great teacher and honoured in many philosophical schools. Panchashikha, a disciple of Asuri, it is said, was a brilliant scholar who gave Samkhya its characteristic outlook.

The Mokshadharma Parvan of Mahabharata (12.211-212) has passages ascribed to one Panchashikha who instructs King Janaka. One of these passages is the Panchashikha-vakya, which talks about the highest form of Freedom.

Panchashikha is referred to here with much respect. He is described as: ‘mahamuni‘ (great sage); ‘ rishinam… ekam‘  (ऋषीणाम आहुर एकं ); the first among the disciples of Asuri; one among the great seers; ‘parama rishi‘ (supreme seer); and ,a seer who performed a Satra of a thousand years (yah satram aaste varsha-sahasrikam). A great Seer who is well versed in the Samkhya of Kapila Mini.

  • tatra pañcaśikho nāma kāpileyo mahāmuni /  paridhāvan mahī ktsnā jagāma mithilām api
  • तत्र पञ्चशिखॊ नाम कापिलेयॊ महामुनिः/  परिधावन महीं कृत्स्नां जगाम मिथिलाम अपि
  • yam āhu kapilakhyā paramari prajāpatim /  sa manye tena rūpea vismāpayati hi svayam
  • यम आहुः कपिलं सांख्याः परमर्षिं परजापतिम /  स मन्ये तेन रूपेण विस्मापयति हि सवयम
  • āsure prathama śiya yam āhuś cirajīvinam /   pañca srotasi ya sattram āste vara sahasrikam
  • आसुरेः परथमं शिष्यं यम आहुश चिरजीविनम /पञ्च सरॊतसि यः सत्त्रम आस्ते वर्ष सहस्रिकम

The Panchashikha-vakya carries many terms that have the Samkhya flavour; such as : the triple Bhava – Sattva , Rajas and Tamas ; Kshetrajan; Buddhi ; and, Mahat . There are also terms that are not strictly Samkhya but are often used there : jnanendriya (faculties of knowledge) with Manas  as the sixth (mana-sthana) followed by faculties of action (karmendriya). However, there is no mention of Purusha, the key component of the Samkhya ideology. Its absence is conspicious.

Strange as it may seem, Panchashikha-vakya, the teaching of Panchashika, has shades of the Charuvaka atheist belief (nasthika) denying existence after death of the body; na pratya samjnasti (there is no consciousness after death).

    • Having heard these words of Panchasikha that were free from deception, unconnected with delusion (because discouraging sacrifices and other Vedic acts), highly salutary, and treating of the Soul, king Jana deva became filled with wonder, and prepared himself to address the Rishi once more
    • idam-anupadhi-vākyam-acchalaṃ;param-anirāmayam-ātma-sākṣikam/narapati abhivīkṣya  vismitaḥ ; punar anuyoktum idaṃ pracakrame
    • इदम अनुपधि वाक्यम अच्छलं; परमनिरामयम आत्मसाक्षिकम/नरपतिर अभिवीक्ष्य विस्मितः; पुनर अनुयॊक्तुम इदं परचक्रमे

*

Pancasikha also appears as the divine minstrel in the Buddhist lore. According to the Bilarikosiya Jataka, Pancasikha, like his father Matali, was a divine musician par excellence; and, Pancasikha along with another musician Timbaru constantly waits on Sakka (Indra), the king of the Devas. It is said; Pancasikha married Suriyavaccasa, Timbaru’s daughter.

Dr. C Sivaramamurti, identifies a figure, among the sculptures from Amaravati, playing a Veena in presence of the Buddha as Pancasikha. He is described as the divine minstrel par excellence (Figure 22 ; Plate IV; Page 402)

pancasikha

And, in the Nispanna-yogavali a Vajrayana Buddhist text of 9-10th century credited to Mahapandita Abhayankara Gupta of the Vikramasila monastery, Panchashikha is described as a Gandharva king of golden complexion, playing on the Veena

Panchashiko Gandharva-rajendrah pita vinam vadayati.

And, again, a certain Panchashikha is believed to have lived in or around the sixth century BCE. According to the Buddhist text Pancasikha -sutta he visits the Buddha at Gijjhakuta (vulture peak) and questions why some men are emancipated in this birth while the others are not?

8.3. Charaka (c. third century BCE) the celebrated surgeon of ancient India and the author of the Ayurveda text Charaka Samhitha relied on the analysis and explanations offered by Panchashikha.

Ayurveda, as a doctrine and as a practical discipline, benefited by adopting the Samkhya ideologies of Panchashikha. It accepted the Samkhya view of human body as psycho-physical unity, a body-mind complex; and did not see the need for a soul or divine spirit that controls the body. It does not talk about Karma or its ill effects; or about appeasing Vayu who supposedly frees one from deceases. Instead, it ascribes the causes of disease to individual characteristics of the patient, which are fundamentally rooted in his/her  Guna or Dosha composition.

It followed the  deha-tattva, body principle, a Samkhya concept of subtle-body (sukshma sarira or linga-deha) comprising consciousness, ego, eleven senses and five subtle elements; with the ever changing stream of consciousness flowing through the body-mind complex. Ayurveda, which followed the Samkhya ideal of eliminating suffering, formulated methods and curative procedures for lessening pain-provoking conditions (hanam) .It, is said; the basic theories of Ayurveda –Tridosha and panchabauthika – can be better understood if one is familiar with the Samkhya.

[The University of Vienna, Austria, has undertaken a very exhaustive critical study of the Charaka-samhita.  It is said; the project will lead to the publication of numerous original research articles on topics in Ayurveda and Indian philosophy as well as to major critical editions and translations of two philosophically-important parts of the Caraka-samhita. They will also explicitly exemplify the highest professional standards of work in Indology. Please check here for the Project-aims. ]

ayurveda

8.4. Charaka Samhitha adopted the philosophical principles of Panchashikha School . The atheistic line of thinking which appear in the teachings of Pancasikha finds a fuller and more systematic development in the Samhita of Caraka. The first chapter of Sarira Sthanam in the Caraka-Samhita opens with an interpretation of Purusha that is quite different from the others.  In fact, the concept of Purusha finds no place in Caraka’s medical science; and, human organism- the body mind complex- alone is the subject of his study.  The Purusha , in the sense of soul does not figure here. His Samhita says – pleasure, pain, disease, death, old age, etc. can happen to a mind-body complex and not to pure transcendental Purusha (soul).

Charaka’s logic relied on Anveshiki , the method  of listing things into similar and dissimilar categories. It adopted Panchshikha’s  principles  by accepting twenty-four category of tattvas (principles or basic components) combining the a-vyakta and the Purusha into one tattva; by accepting that human experiences arise out of the combination of body, mind and consciousness; by subscribing to the view that human suffering is caused by error in identifying the self with that which is not-conscious; by treating the Gunas as psychic states of man rather than as qualities; by adopting the concepts of kshetra (field) and kshetrajna (field-knower , the foundation for the field) as representing notions of Prakrti and Purusha; and by adopting the monistic view that the ultimate truth of a person is his un-manifest state which is a combination of the a-vyakta (un manifest Prakrti) and Purusha (consciousness).

8.5. The last mentioned, that is, treating the a-vyakta and the Purusha (consciousness) as a unity (perhaps suggesting that Purusha is just the state of a-vyakta) is a departure from the older Samkhya traditions; and it also differs from the later classical Samkhya (which holds the view that a-vyakta and Purusha are entirely different).

The Panchashikha-Charaka concept of a unified a-vyakta and Purusha, however, is closer to the ideal of the Tantra School. In the Sri Vidya tradition, Bindu the dimension-less ultimate source of all existence represents the absolute harmony (saamarasya) or union of Shiva (consciousness) and Devi the Mother-principle (as Prakrti).

The Prakrti of Sri Vidya is also said to comprise three Gunas (sattva, rajas and tamas) the fundamental fabric of all existence. According to Sri Vidya, the process of creation (shristi) is nothing but the expansion or the evolution of the Bindu. And, at the time of dissolution, all existence dissolves back into the source, the Bindu. Thus, the concepts of Panchashikha School of Samkhya are very similar to that of the Tantra, if not identical. These, again, suggest that Samkhya and Tantra had common origins.

8.6.. The Buddhist poet-scholar Asvaghosa (first century) too, in his Buddhacharita, largely, adopted Panchashikha’s doctrine of Samkhya, but with variations.  Panchashikha’s version is more monistic, while Asvaghosa’s rendering is dualistic (with twenty-five tattvas) brining in the Upanishad notions of self. Yet, Asvaghosa’s is considered, basically, as a later rendering of the Charaka-Panchashikha version.

8.7. From the point of view of tracing the historical development of the Samkhya traditions, the Panchashikha-Charaka version of Samkhya occupies an important position. It represents the stage of transition from the Samkhya-like Upanishad ideas to the doctrines of what came to be known as the classical Samkhya.

But, it needless to mention that all the versions of Samkhya are inspired by and within the broader framework of the common Samkhya tradition.

[There are too many references to Panchashikha in: mythology, music, Mahabharata, Buddhism, Jainism besides those in Samkhya and Yoga lore. Another text refers to Panchashikha as an expert in Dahara-vidya, an esoteric knowledge. Panchashikha also figures in conversations with philosopher-king Janaka.  It is therefore apparent that the name Panchashikha refers to not one but to many persons.

Some scholars also opine that Panchashikha was not only the name of a person/s; it was also the name of an office (like Sakka). For instance, in the Bijarakosiya Jataka, Ananda is said to have reborn as Pancasikha; and in Sudhabhojana Jataka, Anirudda is identified with Pancasikha.]

Varsaganya

8.8. After Panchashikha the name that comes up in the Samkhya tradition is Varsaganya (Ca. first century) who is said to have lived in the foothills of Vindhya Mountains. He was popularly known as the king of the Nagas; and also as a teacher of ‘five-fold ignorance’ (pancha-parva avidya or viparyaya): tamas (darkness), moha (delusion), maha-moha (deep –confusion), tamisra (gloom) and andha- tamisra (dark gloom).  This perhaps was a system comparable to the five-fold klesha (afflictions) named by the Yoga system [avidya (ignorance), asmita (ego), raga (clinging), dvesha (hate), and abhinivesha (attachment to your own conceptions)].All these errors of perception and cognition lead to wrong understanding, false identification and to clinging to the false.

8.9. Varsaganya was one of the principal exponents of Samkhya as also of Yoga, thus confirming that Samkhya and Yoga were two facets of the same school; and indicating that pure metaphysics was Samkhya while the practice was Yoga. The followers of Varsaganya (Varsaganah) included Vidhyavasin (or Vindhyavasa).

A statement that is commonly associated with Varsaganya is; “there is neither production of something new nor extinction of something existent. What exists is always existent; what does not exist will never be existent” (Abhidhamma Kosa -5). It is said; the Samkhya theory that the effect resides in the cause (satkarya-vada) stemmed from this idea. But, again ,  this  idea is traced back to Uddalaka Aruni’s assertion ‘there must have been a Being at the beginning’.

[At a much later time, the idea that existence implies always existing or being eternal became a point of departure for the Buddhist thought which firmly believed that nothing is eternal and everything is subject to change and is ever changing.]

[The name Varsaganya is also associated with Jaiminiya Grihya sutra of Sama Veda; He is mentioned there as Sushravas Varsaganya. A certain Varsaganya is also referred to in Bharata’s Natya Shastra, as the founder of a technique of discharging a weapon. Varsaganya is also mentioned in Mahabharata (shanthi parva: 319) as a great teacher of Yoga. This Varsaganya it is believed is the pre-Buddhist teacher of Yoga and he preceded Patanjali. There were thus, number of Varsaganyas in the ancient traditions.]

[Please do read the a paper titled ‘Varasagnya – a Samkhya Yogin by Dr. R.S.Bhattacharya . He concludes : Varasagnya had founded a School; and, that it had a large number of followers. It is held by some modern scholars that Vyasa-bhashya has in many places followed the views of Varasagnya.]

Vindhyavasa

8.10. Vindhyavasa, it is said, learnt Samkhya from Varsaganya, but then re-worked or revised the system by re-interpreting the traditional Samkhya concepts. That he did, perhaps because of his encounters with Buddhism and the influences that Buddhism exerted on him. He is even credited with pithy couplets summarizing the revised doctrine. According to the Buddhist scholar Paramartha who travelled to China and settled in Nanking (around 550 CE), Vidhyavasin entered into a fierce intellectual debate, at Ayodhya, with the Buddhist scholar Buddhamitra, the teacher of Vasubandhu (an exponent of Yogachara and Madhyamika School of Buddhism); and Vindhyavasin won that debate. Some say that Vindhyavasin’s re-interpretations and use of Buddhist terminologies won the debate for him.

An immediate outcome of that win was that it enraged Vasubandhu disciple of Buddhamitra (the one who lost the debate).  And, the embittered Vasubandhu wrote in anger paramartha-saptati, a scathing critique on Samkhya. [The Chinese version of the story, according to Hsuan-tsang is slightly different.] In any case, the Chinese and Indian traditions accept Varsaganya and Vindhyavasa as great teachers who influenced the course of Samkhya development.

Isvarakrishna

8.11. Isvarakrishna (first or second century) is a very important name in the Samkhya tradition. According to the well known philosopher Dr SN Dasgupta, Isvarakrishna‘s period may be around 200 CE. But, again, as in the case of his predecessors, it is difficult to determine his period. Further, very little is known about Isvarakrishna .It is said he belonged to Kaushika gotra; and he was perhaps a contemporary of Vindhyavasa and Vasubhandhu. (The text Jayamangalä mentions that he was a parivräjaka (?), an itinerant monk – īśvarakṛṣṇa-nāmānaṃ parivrājakamityanayā śiṣya-paramparayā) . His Samkhya-Karika is the oldest Samkhya text available on which we have commentaries by later writers; and it is a definitive work as it systematized the Samkhya view point. It is hailed as the standard reference text of what came to be known as the Classical Samkhya. It was a text the Vedic Schools could accept though rather reluctantly. Paramartha the Buddhist scholar translated Isvarakrishna’s work Samkhya-Karika into Chinese sometime around 560 AD.

[Let’s talk about Samkhya karika and its concepts in an another article]

kapila (1)

Continued à Next: Part Three

— Samkhya Texts and Traditions-

 

References and Sources

Early Indian Thought by Prof.SK Ramachandra Rao

Classical Samkhya by Gerald James Larson

Samkhya Karika by Swami Virupakshananada

The Samkhya Karika

http://theosophytrust.org/tlodocs/SankhyaKarika.htm

http://www.archive.org/stream/svuorientaljourn015488mbp/svuorientaljourn015488mbp_djvu.txt

http://www.sacred-texts.com/hin/m09/m09050.htm

http://www.archive.org/stream/svuorientaljourn015488mbp/svuorientaljourn015488mbp_djvu.txt

http://www.hinduwebsite.com/sacredscripts/hinduism/philo/ch07.asp

Pictures are from Internet

 
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Posted by on October 3, 2012 in Samkhya

 

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Samkhya: Part One: The Beginnings

[I am posting a series of about four articles on the Samkhya School of thought with particular reference to Samkhya Karika, a text dated around the second century. These articles are in honor of my friend Prof. DSampath, a teacher well versed in Samkhya; as a token of friendship and appreciation of a good person. I trust he will find these readable .

I have written as I have understood the Samkhya. I am aware there are various versions and traditions of the Samkhya; and my rendering may not please all. And therefore, it is open to attacks. I accept that position.]

A. The Early stages

The Origins

1.1. Samkhya is regarded the most ancient of the Indian Schools of thought. Many scholars believe the beginnings of the Samkhya pre-date the Vedas and Upanishads. That might be so; but it is rather difficult to pinpoint its origin. The Samkhya concepts might have emerged over a long period of time and been in circulation as streams of speculative intuitions. The origins of certain terms which later played a significant role in the unfolding of the Samkhya traditions, according to some, can even be traced back to an ancient group of wandering or itinerant ascetics, known as Vratyas who perhaps were pre-Vedic and chose to disassociate from the ritualistic aspects of the Vedic tradition.

1.2. It is generally accepted that Samkhya and Yoga sprang from a common nucleus. Both had their origins outside the Vedic fold. But, in terms of chronology, it is likely Samkhya as a collection of concepts was older than Yoga as a set of disciplines. It is often said that Yoga is indebted to Samkhya; because, Yoga in its early phase represented the ascetic practices (karma) of the ancient Vratyas; and, had its theoretical foundations in Samkhya (jnana). The two systems were fused together for a very long period. Mahabharata described the two as ’ancient twins’ (sanatane dve).

Bhagavad-Gita (5.4-5) declares: “The ignorant differentiate between Samkhya and Yoga; not the wise. He who considers the two as integrated has the right insight. He who applies himself well to one will reap the fruits of both.”

– sāńkhya-yogau pṛthag bālāḥ/ pravadanti na paṇḍitāḥ/ ekam apy āsthitaḥ samyag / ubhayor vindate phalam //

But, in the context of the Bhagavad-Gita, Samkhya stands for renunciation (samnyasa) which has its roots in knowledge (jnana) and is basically withdrawal from action (nivrtti).Yoga, here stands for performance (pravrtti) of actions (karma).

Even after they were segregated and systematized into two distinct streams of thought (darshana) they continued to be mentioned in one breath as Samkhya-Yoga; and treated virtually as one. For instance, as late as in the fourteenth century, Madhava in his Sarva-darshana-sangraha described Yoga as Patanjala-Samkhya (the Samkhya of Patanjali) and also as Sesvara-Samkhya (theistic Samkhya). The philosophical Yoga is at times called Samkhya-pravachana an explanation of the Samkhya.

1.3. An attempt to trace the origin of Samkhya – Yoga to any one group or to any one tradition would be rather naive or simplistic. These two systems emerged from a churning of variety of traditions, speculations, concepts and practices. They later evolved, modified and were absorbed into various other traditions. After they were synthesized or absorbed, they acquired the hues, textures and cantors of the host traditions. As a result of that, it is very difficult now to specify and pinpoint an origin or a pristine form of Samkhya or Yoga. The true form of these systems is shrouded in a mist of myths, speculations and varied practices.

The Beginnings

2.1. Samkhya sprang out from a variety of traditions, both orthodox and heterodox. And, all those traditions attempted to find the ultimate or the inner-most essence of man. There might have been a number of tentative beginnings to classify and put together those diffusive, speculative streams of thought. It was only at a much later period that the many motifs, trends and ideas from a variety of contexts got assimilated into a composite system, which came to be known as Samkhya traditions or the Samkhya School of thought.

3.1. One may come across , in the Rig Veda , mention of Samkhya-like terms such as Pradhana (RV: 10.82.06) and tama āsīt tamasā (RV 10.129.03) . Among the Upanishads : the Chandogya mentions the Gunas (sattva, rajas and tamas) which perhaps originated as Samkhya concepts; the Katha Upanishad refers to categories of matter as they would appear in Samkhya; and, Svetasvatara refers to term Samkhya and its principal figure Kapila by name (5.2).

ṛṣiṃ prasūtaṃ kapilaṃ yas tam agre jñānair bibharti jāyamānaṃ ca paśyet // SvetUp_5.2 //

It also mentions number of Samkhya terms, such as: vyakta, a-vyakta, and Jna (vyaktāvyaktaṃ bharate viśvam īśaḥ; jñātvā devaṃ-1.8); as also Pradhana (pradhānam amṛtākṣaraṃ-1-10); Prakrti (māyāṃ tu prakṛtiṃ vidyān – 4-10) ; and, Guna (viśvarūpas triguṇas trivartmā  – 5.7).

3.2. Srimad-Bhagavata-purana (BhP_11.22.001-25) as also Mahabharata (12:203-204;219) discusses certain Samkhya concepts, but with significant variations (we shall come to those variations later). Bhagavad-Gita too picks up some basic aspects of Samkhya, and discusses those at various places, but, again, with its own variations and connotations. Mahabharata, in fact, asserts that  there is no knowledge like Samkhya; and no power like the Yoga

– nāsti sāṃkhya samaṃ jñānaṃ ; nāsti yoga samaṃ balam  (MB-Shanthiparva: 12.304. 002).

4.1. However, what is significant is that all those references to Samkhya-like terms in the Vedas, the Bhagavad-Gita, the epics and other texts,  including the Svetasvatara Upanishad (and in Maitrayani , the date of which is debated) were meant largely as metaphysical idioms or spiritual methodologies, but not as philosophical positions of a system titled Samkhya. Such terms were employed by the texts in their own context, carrying their own undertones. It is also likely that such terms or trends of thought or concepts later got assimilated into what came to be known as Samkhya system. Such processes perhaps suggest that monistic trends in Vedic thought and dualistic concepts of Samkhya had common origins.

4.2. Similarly, references to Yoga-like terms in those texts do not imply existence of a classical Yoga system as of Patanjali. But, those references were meant to suggest a cluster of practices and attitudes which emphasize importance of self-discipline, meditation and concentration in order to attain salvation.

4.3. In addition, there are no references in Vedas to the typical Samkhya concept of Dukkha being the nature of life, or to reliance on karma; as also to the doctrines of cause and effect (satkarya-vada), un-manifest matter (mula-prakrti) and the evolution or transformation of matter (tattva-vikara).

More importantly, the notions of treating the Man as the focal interest of the world, or to examine the world from the point of view of Man’s consciousness do not find place in the orthodox texts. It is therefore apparent that during the Vedic and Upanishad times, Samkhya had not yet emerged as an independent cognizable system of thought. And, it is also likely that an independent tradition of non-theism was taking shape during the Mahabharata era.

It seems likely that the basic Samkhya doctrines crystallized during the period between the late Upanishads and the emergence of Buddhism (6th century BC).

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B. Vedas and Samkhya

5.1. Among the systems that took shape in the Indian traditions, Samkhya was perhaps the first to be systematized; and, that marked an important watershed in history of Indian thought. Samkhya was perhaps the first attempt to present a philosophical position in a cohesive and a persuasive manner.

Kautilya refers to Samkhya as one of the forms of anviksiki. (sāṃkhyaṃ yogo lokāyataṃ ca ity ānvīkṣikī  – Ar.Sa. 01.2.10).

The concept of anvikshiki in the ancient context refers to an analytical method of explaining or delineating a subject by a systematic enumeration and reasoning. The practice of anvikshiki may not strictly be called a ‘philosophy’; but, it is a sort of inquiry through systematic enumeration of the basic principles. Such enumeration was employed in various field of study such as phonology, grammar, state-craft, medicine, law, iconography etc. Sometimes, such enumerations also came to be called as Tantra, meaning a systematic method (or a shastra or Vidya).

This method employed certain devices (Yukthi) in order to elaborate on the subject.

For instance; a brief statement of purpose (uddeshya) was followed by a lengthy exposition of the position (nirdesha), an etymological explanation (nirvachana), the proper order or sequence in enumerating the subject (vidhana) and so forth.

Arthashastra   as also the Samhitas of Charaka and Sushruta provide a list of such methods and devices. (Perhaps it is because Samkhya followed the anviksiki (the method of enumeration)  , its texts  came to be known as Tantra)

The Samkhya depiction is characterized by its concern for the means of knowing (pramana); care to define its technical terms; putting forward an argument cogently; and to  project a consistent system of thought. In contrast to that, one can describe the philosophical gleanings that one comes across in the earlier texts — Vedas and Upanishads – as speculative intuitions having the sanction of authority; they are not well structured into arguments putting forward coherent systems of philosophies.

5.2. There are other distinguishing factors as well between the Vedas and the Samkhya.

Vedas are expansive in their attitude, picturesque in depiction; and speculate on the nature of god, the human spirit; relation between the human and the universe; and, oneness of human spirit with the all-compassing cosmic principle. It aimed to communicate with the natural forces symbolized into deities through the medium of elaborate rituals; and to find long lasting happiness in heavens in the company of gods and ancestors. The Vedic poets were highly dexterous users of the words; gifted with the superb ability to express human ideals and aspirations in pristine poetry truly remarkable for its literary virtuosity.

5.3. The early Samkhya, in sharp contrast, refused to speculate on god and rejected the scriptures and rituals as means for human attainments. It stepped aside cosmological explanations or implications. It affirmed the existence of the objective-world; emphasized the world has to be understood in the context of human existence; and said the world is inextricably wound up with the presence of human existence. One has to therefore deal with the world positively.

Samkhya attention was confined to human situation, particularly to the elimination of human suffering. Samkhya view of human existence marked a departure from the Vedic view. It gave credence to distinguishing characteristics of each individual; and recognized that each person is unique and operates within his or her own sphere of action, influenced by one’s own tendencies and urges. Samkhya was the first system to focus on the nature of Dukkha and on the study of consciousness.

It set its objective as release of Man from Dukkha suffering. It considered human being as a psycho-physical unity.  It examined the human body-mind complex from the point of view of consciousness.

The question framed by Samkhya is: How to understand the various forms of experience, including that of the objective world, with reference to the consciousness of man?  

Samkhya kept away from idealism; its approach was rather unemotional, clinical and analytical. Its account was pragmatic and terse, rather too terse. The stringent economy in use of words sadly lent scope to multiple interpretations, a result not surely intended by the Samkhya teachers.

5.4. The early Samkhya was uniquely human. Yoga and Samkhya each in its early phase: emphasized reliance on human effort; treated Man as the focal interest of the world; kept gods out of the scheme of things; did not even mention divine grace; believed that the man’s place in this world depends upon his inclinations and the becoming of a man is determined by his fundamental striving which reside in him; stressed human striving as vital to eliminate suffering; and, asserted that it is possible to attain that goal within one’s lifetime, within human framework and experience.

Samkhya said, the means of release from suffering is ‘effective discrimination’ which enables to understand the distinction between the seer (drastr) and the seen; and separates consciousness from everything else; and Yoga attempted to provide techniques that help attaining the objective.

That is to say; while sämkhya is the intellectual or reasoning method, Yoga is the method of spiritual discipline and ascetic practices. The follower of sämkhya is one who reasons or discriminates properly, one whose spiritual discipline is meditative reasoning (sämkhya-yoga-adhigamyam – Sv.Up. // 6.13 // ).

The scholarly opinion is that “the Sāṃkhya shows us that there is no essential  dichotomy between atheism and spirituality. Moreover, its understanding of the human condition, the self, and the universe provide us with profound psychological insights that may be utilized for better living in this world” . 

As John Davies said (Sankhya Karika of Isvarakrisna; 1881) :

Kapila, or his expounder, contends: Our senses are limited in their own nature, and their action is imperfect from many opposing circumstances. Hence many things exist which they cannot reveal, and they give imperfect information of things which lie within their range. The intellect (Buddhi) must arrange and present our sense- conceptions, that there may be a true cognition. In this way we rise from the knowledge of the manifold to the conception of the one, in which all things were contained and from which they have issued. Kapila, however, confines this notion of oneness to the primordial matter, the Prakriti.

He does not refer to the existence of one Supreme Spiritual Being, as do the theistic schools. Further, Kapila asserted that the cause and effect are, indeed, so far identical that an effect is only a developed cause. Herein too, he differs from the Vedantists who maintain that all things indeed are, the One ; and,  that the visible things of the outer world are only Maya (illusion), the deceptive form with which the Invisible is veiled; and that, therefore, there is neither cause nor effect.

The system of Kapila is essentially a philosophy. He had no theology. He admitted, indeed, the existence of gods; but, they were only emanations from Prakriti; and, are to be absorbed hereafter into this all-comprehending source, as all other forms of material life.

As the system of Kapila ignored a Supreme Being, it sought only to guide and strengthens man by his own unaided power

Sankhya is the earliest attempt on record to give an answer, from reason alone, to the mysterious questions which arise in every thoughtful mind about the origin of the world, the nature and relations of man, and his future destiny

Kapila established no society and no hierarchy; he addressed himself to thinkers like himself. Hence his system remained only as a philosophical theory; not  attaining to a practical supremacy over large masses of men.

 It was never embodied and crystallized in a concrete form, and as a complete system it has been preserved only as an intellectual product, or as an esoteric doctrine, understood and accepted by a small inner circle of free-thinking men.

flower design

Continuing on the theme of relevance of the Samkhya in the present days, please read the following  few selected extracts from the  Introduction to the Modern Samkhya: Ancient Spirituality for the Contemporary Atheist, written by  Douglas Osto,,  a member of the Philosophy Programme in the School of Humanities, Massey University, Palmerston North, New Zealand; and,  one who specializes in Indian Mahayana Buddhism, South Asian religions and philosophies, contemporary Buddhist and Hindu practice,

The goal of his book, as Prof. Osto says, is to present a manual of “Modern Sākhya” for use as a path toward transcending personal suffering; a practical guidebook for activating Sākhya philosophy; and, to serve as a tool for transcending suffering.

*

Although Sākhya possesses an extensive collection of philosophical writings, Īśvarakṛṣṇa (sometime before the mid-sixth century CE) , in his khya-kārikā , succinctly enunciates the fundamental ideas of the classical system in a mere 73 verses. Thus by focusing on this short text, one can, I believe, reconstruct and reinterpret the philosophy for utilization in the contemporary world.

The central aim of Sākhya, like the other renouncer traditions of India, is to counteract human suffering. To do this, Sākhya proposes a special type of metaphysical dualism, which asserts the absolute distinction between an infinite numbers of nodes of pure consciousness (puruas) on the one hand, and the phenomenal world (prakrti) on the other.

khya may be viewed as asserting a special type of philosophical “perspectivism

According to Sākhya, liberation is attained through the practice of discriminating all the various processes of the psycho-physical entity and disassociating from them as either “me” or “mine.” Once all possible phenomena in the field of consciousness are recognized as not consciousness, nature returns to its unmanifest state and the transcendental subject resides isolated (kaivalya) in its own nature; thus liberation from suffering has been obtained.

The ancient philosophy of Sākhya can be applied to modern life in a number of valuable ways. Rather than becoming overly concerned with the metaphysics of the system, Sākhya can be seen as a psychological tool to overcome suffering. Through rigorous philosophical and psychological analysis, a person can learn to detach or disassociate from the psychophysical entity, and realize witness consciousness or what I refer to as transcendental subjectivity.

khya is a form of spirituality in the sense that it recognizes the possibility of transcendence. Each of us has the potential to rise above our human condition and attain a state or condition beyond the limitations of our individuality, psychology, physical body, social conditioning, historical context, and even the space-time continuum we find ourselves in.

Thus Sākhya shows us that there is not a necessary dichotomy between atheism and spirituality.

Moreover, its understanding of the human condition, the self, and the universe provide us with profound psychological insights that may be utilized for better living in this world.

khyan spirituality is not about worship of a supreme deity, blind faith, empty ritualism, meaningless ceremony, traditionalism, fundamentalism, infallible sacred scripture, ecclesiastical authority, or some New Age woolly-eyed optimism; but is a philosophical outlook based on individual self-enquiry, analytical discrimination, and discerning the fundamental facts concerning our human condition.

The religions and religious philosophies are constantly undergoing changes and transformations in order to adapt to the needs of people. These days renouncing the world to become a wandering ascetic is not a viable option for most people living in modern, industrialized societies.

Moreover, few people would choose to give up all their worldly possessions, emotional attachments, erotic relationships, and family ties to pursue a transcendent state beyond space, time, death and decay. However, what many people today want as much as the ancient Indian renouncers is to live a life free from suffering, and attain some type of lasting happiness.

YOU are not your bank account; you are not old or young, fat or skinny, good-looking or ugly, tall or short. You are not your personality, your personal history, your wants, desires, hopes, dreams, fantasies, or memories. The psychophysical entity you think you are is not you. It is a part of nature. All of it – bones, blood, organs, brain, thoughts, memories, and personality – is linked inexorably to the laws of physics, cause and effect, and is part of an interconnected web of conditioning by the society, culture and environment in which it is located. But none of this is YOU.

So what are YOU? YOU are the WITNESS. You are a node of pure consciousness; a transcendental subjectivity that is the “enjoyer” of all phenomena. Without this source consciousness there would be no experience at all. All experience is experience from a particular point of view. That point is you. And as the ancient texts assert, “the eye cannot see itself.” In this case, it is “the ‘I’ cannot see itself.” But this “I” is not your ego; your ego is merely a construct, and it also is a part of the world of nature. You as witness are and always have been free; you have never been bound by any suffering, sadness, depression, or loss.]

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6.1. Going back to the ancient and medieval times of India, every School of philosophy reacted with Samkhya. Almost all the Schools employed the terms and concepts generated by Samkhya (e.g. purusha, prakriti, guna, vyakta, avyakta etc), but in their own context, with their own variations; and not necessarily as references to the Samkhya system. Almost all the major Schools discussed the Samkhya streams of thought; some agreed with Samkhya, but a lot others found fault with its assumptions and carried on fierce intellectual battles attacking Samkhya. 

Just , for instance, click here and here for the criticisms of the Samkhya, by the renowned scholar Prof. Surendranath Dasgupta (A History of Indian Philosophy – Volume 3).

But, none ignored the Samkhya and its concepts.

Lotus young and old

Continued– Next: Samkhya Teachers–

References and Sources

Early Indian Thought by Prof.SK Ramachandra Rao

Classical Samkhya by Gerald James Larson

Samkhya Karika by Swami Virupakshananada

The Samkhya Karika

http://theosophytrust.org/tlodocs/SankhyaKarika.htm

http://www.archive.org/stream/svuorientaljourn015488mbp/svuorientaljourn015488mbp_djvu.txt

http://www.sacred-texts.com/hin/m09/m09050.htm

http://www.archive.org/stream/svuorientaljourn015488mbp/svuorientaljourn015488mbp_djvu.txt

 
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Posted by on October 3, 2012 in Samkhya

 

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Symbolisms Associated With the Vishnu Icons

Image worship

1.1. In the Vishnudharmottara- purana, a text dated around sixth century AD, King Vajra earnestly seeks instructions from his teacher sage Markandeya, “how can one depict in an image, the Supreme Being who is devoid of form, smell and emotion; and destitute of sound and touch?” The sage   explains ”the entire universe should be understood as the modification (vikriti) of the formless (prakriti) .The worship and meditation of the Supreme is possible for an ordinary being only  when the formless is endowed with a form; and that form is full of significance “.

1.2. An image is a form which brings the mind to focus on abstraction. One should adopt the stage of abstraction that is nearest to him and which can help.

The image of a deity in the Indian tradition is a Bimba the reflection or Prathima the personification of the virtues, the glory and the attributes that one associates with the deity. It is explained that the Bimba like the reflection of the distant moon in a tranquil pool is the virtual image of one’s concept/ mental image of one’s deity; but it is  not the god/deity itself. It is a suggestion or a pretext (nimitta) for the deity.

1.3. The worshipper is aware that the forms (murti), sounds (mantras) and diagrams (mandalas) employed in worship are human approximations and are inadequate representations of God (prathima svalpa buddhinaam). Yet, he finds through them an approach to the Supreme.

1.4. Sage Markandeya explains, the qualities that we admire in a divine being are within us. And, when we worship the images that personify such attributes, we awaken those divine aspects latent in us. When we are filled by that grace, there is no space left for base desires and pain; we have become that deity.

Iconography and symbolism

2.1. The polytheism gave tremendous impetus to all branches of Indian arts, literature and iconography. It provided for depiction and worship of divinity according to ones ideal in love, adoration and earnestness.

2.2. The Indian figurative art and Iconography, over the ages, succeeded in making a coherent use of images to represent abstraction; and to gracefully unite forms and ideas in a loving marriage. The image and its symbolisms are idioms of beauty grace and power nurtured and honed by generations of artists.

2.3. Indian code of symbols appears to have come from ancient times and its origins are lost in the mists of prehistory. It is based on the assumption that there exists a natural affinity between forms and ideas.

The Indian iconographic traditions have developed an elaborate set of idioms, phrases and symbolisms that give eloquent expression to the attributes, powers, and disposition of the gods and goddesses embodied in an image.

For instance:

  • multiplicity of heads denotes presence of their concurrent abilities; and multiplicity of hands denotes their versatile abilities.
  • The three heads of a divinity indicates trio guna (guna-triad: sattvarajas and tamas) or shakthi traya  [iccha (will), jnana (consciousness) and kriya (action) shakthi or powers].
  • Four heads represent comprehension or enveloping four Vedas; or overseeing four directions.
  • Five heads stand for five principles or elements (pancha-bhuthas) or five divine attributes or five stages of the evolutionary process.

[Shristi(creation), shthithi (expansion), samhara (withdrawal), triodhana (concealing) and  anugraha (preserving till the commencement of the next cycle of evolution)]

The use of an animal icon would seek to represent particular abstract qualities associated with that animal such as wisdom, agility or power. Gestures (mudra) of the hand or the holding of a certain object (ayudha) are meant to articulate the deity’s powers, associations and dispositions.

Panchayatana

Not all divine representations are made through icons. Shiva is represented usually by a conic Linga or an un-carved rock; Vishnu and Narasimha are worshipped at homes as Saligrama (a special types of smooth dark stones found on bed of the Gandaki river); Ganapathi is best worshipped in the roots of the arka plant, and he is also represented by red stones (sona shila) or turmeric cones or pieces (haridra churna). The Devi in Kamakhya temple is worshipped in a natural fissure of a rock. Yet, all these divinities have specified well defined iconographic forms.

Iconography of Vishnu image

3.1. As regards Vishnu, one of the most popularly worshipped gods in the Hindu pantheon, the iconographic features of his image are discussed in detail in a large number of texts of the Vaikhanasa and Pancharatra traditions. The texts of the shilpa sastra have also prescribed with great care and diligence the iconographic features of Vishnu images of various forms. Among the Vishnu-oriented Shilpa texts, the 5th -6th century texts Brahmiya Chitra Karma ShastramRupamandana and Vishnudharmottara purana are the prominent ones. There are in addition, numerous Dhyana-slokas, or word-pictures in verse that present graphic details of the form, substance and attributes of the murti. These verses are meant for contemplation and guidance of the Shilpi, the sculptor.

3.2. Vishnudaharmottara – Chapter 44. 9-13 specifies that one should make Vishnu, the God of gods, seated on Garuda, with the bosom shining with the Kaustubha (jewel), wearing all ornaments, resembling in color the water-laden cloud; and clothed in a blue and beautiful garment. Four faces should be made ; and arms twice that. The Eastern face is called Soumya (placid), the Southern Narasimha (man-lion), the Western Kapila and the Northern Varaha (boar-like). Vishnu wears Vanamala (long garland of flowers), and in his right hands (should be shown) an arrow, a rosary, a club and so forth, and OH great king, in his left hands should be shown a skin, a garment, and a bow.

    • Deva-Devam tattha Vishnum karaye Garuda-sthitham // 9//
    • Kausthubho -udbhavitoraskam , sarva-abharana -dharinam /
    • sajala-ambuda-sa-chhayam , pita-divyambaram tattha //10//
    • Mukhas-cha karya chatvaro bahuvo ,dvi-gunas tattha /
    • Soumyan -to vadanam Purvam , Narashimhantu-Dakshinam /11//
    • Kapilam Paschimam vaktram , tattha Varaham-Uttaram /
    • Tasya Dakshina-hastheshu baanaksha musula -ayudham //12//
    • Charma-cherum Dhanush-Indra-chapeshu vana-malinam //13//

Vishnudharmorrata.4a

Vishnudharmorrata.4

3.3. A concise picture of the Vishnu-image is also presented in Gopala-uttara-tapini-upanishad (45-48): His feet bear the auspicious signs of a celestial standard, a royal parasol. His chest is adorned by srivatsa locks of hair, the brilliantly shining kaustubha gem and rows of forest-flower garlands (vanamala). His four hands hold shankha (conch), chakra (discus), gada (mace) and padma  (lotus).He is adorned with armlets, garlands, jewels, diadem and earrings shaped like  makara the sea monster (makara-kundala).

His form is enchanting and auspicious (divya mangala vigraha); radiant like the sharad -full moon ; his eyes glow  like blue lotus blossoming  amidst the pool of clear water ; his brows like a well strung bow; his nose slender  and shapely like the petals of champak flower ; the  serene, cool, gentle smile, pure like cow’s milk , dancing on his full and well shaped red lips  lights up the whole world ; his chin firm and well proportioned; his throat bright and sound  shaped like a conch; the tilaka adorning his forehead between the brows is luminous like crescent moon in a clear cloudless sky; his arms long , strong and supple like the elephant’s trunk; his chest wide , strong and healthy; he is adorned with golden-hue–silk garments (pitambara);he is richly and tastefully ornamented; and he is the very embodiment of all the grace , beauty and joy in the universe.

Vishnu

3.3. The most common representations of Vishnu are as standing (sthanaka) in sama-bhanga on a lotus-pedestal (padma); or as seated (asana) relaxed and comfortable.

He is also represented as Yoga-Narayana seated in yogic posture on a pedestal of white lotus.

The other most common depiction of Vishnu is as reclining (shayana) on the coils of Sesha the serpent with multiple heads. There are variations in his shayana attitudes

(Please click here for details)

vishnuonsesha

Vishnu tattva, the essence

4.1. Vishnu is the middle one of the Hindu Trinity –Brahma, Vishnu and Shiva. Each of the Trinity is associated with one of the three states of consciousness and three states of relative conditions (guna).

4.2. Brahma is the wakeful state (jagrat); Vishnu is the vision of the dream (svapna); and Shiva is experienced in dreamless-sleep (sushupti).It is said the knowledge of outward forms is obtained in wakeful state; knowledge of inner principles is obtained in states of mental-vision which is the dream state; while the perception of the formless reality is gained in absolute stillness, the complete silence of mind.

4.3. Among the gunas, Vishnu represents sattva guna which is cohesion. It is a centripetal tendency; it stays at the centre and draws all things towards it. All that is in the universe tends towards a centre, towards cohesion, towards existence, towards light and truth. Vishnu is the inner cause, the power by which things exist and are held together. Vishnu is the centre of the universe towards which everything tends. Vishnu represents that sattva tendency.

4.4. The Vishnu image symbolizes his attributes as one who dwells in everything and in whom everything dwells; one who defeats the power of destruction and who overcomes all; one who  preserves , protects and the pervades all existence.

Symbolisms in Vishnu image

an01027821_001_l

5.1. The image of Vishnu is a group of symbols; its every aspect, attribute and ornamentation is of significance and is intended as an object of worship and adoration. The symbols and symbolisms associated with the Vishnu image coherently present him as the Supreme Being who pervades and protects the universe.

Let’s see how those symbolisms are built into the Vishnu image.

5.2. Colour

Vishnu is always represented as dark blue like a rain-bearing cloud (neela megha-shyama) or blue like   clear sky – (Indra-nila , azure sky-blue as that of sapphire or emerald ) – the infinite, formless, pervasive substance of spatial universe, symbolizing his nature of limitless brilliance that pervades all universes.

Though Vishnu is represented dark, his associates are in different colours; each according to his/her disposition. Vishnu presents a multi-coloured splendour.

His consort Lakshmi is glowing like molten gold (tapta kanchana sannibha); Bhudevi , his other consort, is of the colour of acacia flower; Garuda , his ride,  is white; Sesha the serpent on which he reclines is dark like a cloud; the conch (shankha ) in his hand has the mellow brightness of  the full moon; the discus (chakra)  is shining  brilliant like the sun; the mace (gada) is dark; the lotus (padma) is fresh bright and enchanting; the kaustubha jewel on his chest  sparkles in  the colour of dawn; srivatsa the lock of hair on his chest  is like jasmine flower; the rows of forest flower garlands that swing across his chest  are of five colours; and the arrows he holds  are like lightening (Garuda purana 1.11)

5.3. Four Arms

vishnu-1

Four arms represent the fulfilment of manifestations in all spheres of life. They symbolize domain over four directions of space and thus the absolute power over all universe.

In the case of Vishnu, the four arms  are also said to represent three fundamental functions or tendencies [creative tendency (shristi)cohesive tendency (sthithi); and , dispersion and liberation (laya)]  and fourth being the notion of individual-existence (ahamkara) from which all individualized forms arise.

vishnu with ayudhas

5.4. Four Ayudhas

Vishnu in each of his four hands holds an ayudha, an attribute: shankha (conch), chakra (discus), gada (mace) and  padma (lotus).

Shankha

The Shankha, conch, is the symbol of the origin of existence. It is associated with water the first element, the source of all life. It has the form of multiple spirals evolving from a point to ever increasing spheres. When blown, it produces a sound associated with the primal sound from which creation expanded. Shankha represents the creative (shristi) aspect of Vishnu.

shanku

Shanku in Philadelphia Museum of Arts

The Shankha that Vishnu holds is named pancha-janya, born of five; and it represents the pure-notion of individual existence (sattvika ahamkara) from which evolved the principles of five elements (bhutas).

Chakra

 Chakrattalvar, or Sudarshana

The discus Sudarshana-chakra, beauteous to behold has six spokes equivalent to six petals of a lotus. Its nature is to revolve. It represents the universal mind, the will to multiply. (Vishnu purana 1-22-68). Chakra represents the cohesive (sthithi) aspect of Vishnu.

The chakra is in the design of a wheel. The wheel is symbolic of life, ever –renewing itself in a cycle of time. The wheel of radiance symbolizes the Sun.  Its six spokes represent the six seasons, the six cycles of the year. The nave, in which the spokes are set, the centre, represents changeless and motionless reality .The spin of the wheel creates the illusion of duality, the Maya.

shri_vishnu_as_lord_sudarshana_hj63

The Chakra corresponds to the active notion of the individual existence (Rajas-ahamkara); and is associated with the fire principle.

The early representations of chakra were large in size forming a halo behind Vishnu’s head. The chakra was later stylized into a small ornamental ayudha held gracefully with two fingers.

Gada

The gada, mace, named Kaumudiki is that which dazzles and intoxicates the mind. It is called the stupefier of the mind (Vishnu purana 1.22.69).The mace in Vishnu’s hands is the symbol of primal knowledge (adya-vidya).

The mace Kaumudiki is often referred to as the female, the dazzler who destroys all that opposes it. Kaumudiki is compared to Kali the power of time. Nothing can conquer the time. (Krishna Upanishad -23)

Padma

big-dark-pink-lotus

The Lotus, the immaculate flower rising from the depths of water, ever remote from the shore and unfolding in all its glory represents the evolving universe, the expansion of creation. It evolves   from the formless endlessness of casual waters.

The lotus is the symbol of purity, spiritual wealth, abundance, growth and fertility.    It is sometimes taken as the emblem of six transcendental powers (bhaga: jnana, shakthi, bala,      aishvarya, virya and tejas) which characterizes divinity (bhaga-van).

The lotus is associated with the notion of purity and cohesive tendency (sattva) from which springs Dharma and jnana.

5.5. Bow, arrows and quiver

 

The Vishnu image is at times endowed with a bow and a set of arrows. His bow is Saranga; and hence he is Saranga-pani the one who holds the saranga. The bow targets the distant and the unknown. In the Vishnu imagery, the bow is the instrument through which feelers are sent into the unknown spheres of illusory creation.

Bow is the destructive aspect of the notion of individual existence (tamasa ahamkara). This aspect is associated with the disintegrating tendency (laya) and is the origin of sensory perception. The bow therefore corresponds to the power of duality (maya) (Vishnu purana 1-22-70)

The arrows of Vishnu are the senses, the fields of activity of the intellect (Vishnu purana 1.22-73).

The quiver is the store house of actions.

5.6. Sword and the sheath

The sharp and blazing sword Nandaka (source of joy) represents sharp incisive intellect whose substance is wisdom (vidya) (Vishnu purana 1.22-74). The flaming sword is the powerful weapon which destroys ignorance.

The sheath which holds –hides the sword of knowledge is avidya. It represents darkness which is also an attribute of the divinity. The sword shines forth when it is drawn out of the sheath.

5.7. Kaustubha

On the chest of Vishnu shines a brilliant gem Kaustubha, the treasure of the ocean. The Jewel represents consciousness, which manifests itself in all that shines: the sun, the moon, the fire and the speech. The splendorous jewel Kaustubha represents consciousness, the consciousness of all living things. It is the enjoyer of all creation.

5.8. Srivatsa

Srivatsa (the beloved of Sri) is often mentioned along with Kaustubha. But unlike KaustubhaSrivatsa is not a gem or an ornament.  It is a mark on his body. It is, in fact, a lock of hair situated on his right chest (vakshasthala sthitha), curling towards the right. Its colour resembles that of the jasmine; (shukla varna dakshinavarta romavali) .Vishnu is thus Srivatsankita, the one who bears the sign of Srivatsa. It is said to symbolize Vishnu’s yogic powers (yoga shakthi). It also represents the source of the natural world, the basic nature (pradhana).

In the earlier depictions of the Vishnu image, Srivatsa was indicated as a small sized triangle (in the form of three leaves) on his right chest. In the images of the latter periods, Srivatsa is in the form of small-sized Lakshmi (Vyuha – LakshmI) with two arms. Some say, it is meant to suggest that in this form, the jagrat state, Lakshmi the energy, is differentiated from Vishnu (the Purusha).

[Interestingly, the Srivatsa sign also adores the images of the Jain Thirthankaras and of the Buddha as well.]

5.9. Vanamala

Vanamala is the garland of five rows of forest flowers of different hues, hanging around the throat of Vishnu. Vaijayanthi (garland of victory) is a garland of five rows of jewels or five elements (bhuthas) that also adorns Vishnu.

According to yoga theorythe throat is the seat of Vishuddha chakra –the centre of extreme purity- which symbolizes pure consciousness, and creativity. It is the centre associated with the faculty of higher discrimination; and with the formless space. Throat is also the centre where pashyanti vak the formless speech manifests as audible sound (sabda).   The garlands around the throat of Vishnu symbolize the display of manifestation (of duality) surrounding the formless nirguna. Vanamala is Vishnu-maya, the power of illusion of one who pervades all existence.

5.10. Garuda

Garuda, the golden eagle (suparna) is represented as a half -human and half- bird of immense size and strength, equal in splendour to Agni. Vishnu rides Garuda in his jagrat (wakeful) state, after the creative-process is set in motion.

Garuda means wings of speech, ‘whose wings transport from one word to another with the speed of light’. Garuda as three Vedas carries Vishnu the Yajna-pathi, with Rig (rhythm); Sama (sound); and Yajur (substance) all of which are elements of speech as also the ritual.

Garuda Garuda

the son of Kashyapa (vision) is hailed as personification of courage. ‘The triad beautiful of the wing is courage itself, made into a bird ‘(shatapatha Brahmana: 6.7.2.6)

Vishnu 3

5.11. Sesha the Serpent

It is believed, when creation is withdrawn, the universe does not totally cease or is it wiped out. The universe that was destroyed persists in a subtle form as a reminder of what once was; and as a germ of what will be the next universe. That potent reminder (Sesha) of the destroyed universe is embodied in Sesha the serpent coiled itself and floating upon limitless ocean of casual waters.

vishnu bronze

Sesha, the primordial serpent, whose other name is Anantha, represents the non-evolved form of nature (prakrti).Vishnu sleeps in voga-nidra on Sesha floating on water, until he wills the next cycle of creation.

Anantha (the endlessness) is also the name of Vishnu. Some scholars say that Sesha (reminder) or Anantha is Vishnu himself in his potent state, as the universe that hibernates before the onset of the next cycle of evolution.

ranganatha

References and Sources

1 .Vishnudharmottara- purana –Part Three

2. Vishnu Kosa by Prof SK Ramachandra Rao

3. Gopala-uttara-tapini-upanishad

http://www.organiser.org/dynamic/modules.php?name=Content&pa=showpage&pid=295&page=24

4. The myths and gods of India by Alain Daniélou

5. The line drawings from Brahmiya Chitra Karma Shastram By Dr. G Gnanananda

And From Drdha Monge

The other pictures are from internet.

 
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Posted by on October 2, 2012 in Vishnu

 

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Vishnu – Dwadashanamas – Part Four

Continued from Part Three –The Vyuha

vishnu red

F. Vyuhantara

Vyuhantara

19.1. In the Pancharatra schema of cosmology, Para is the undifferentiated Vasudeva while Vyuha is the stage of differentiated creation closer to the beings. Lakshmi Tantra (4:25-32) a Pancharatra text of about the tenth century explains “First there is only the substance (reality); then comes the state of being; next the creation; and then the activity”.

19.2. The text elaborates that right after the final stage of Vyuha evolution and the onset of jagrat (wakeful) state of existence, each of the four Vyuha produced three further forms that resembled their creators (Vyuha) in all respects.

19.3. Accordingly, from Vyuha -Vasudeva, Keshava, Narayana and Madhava emanated; from Sankarshana emanated Govinda, Vishnu and Madhusudana; from Pradyumna emanated Trivikrama, Vamana and Sridhara; and from Aniruddha emanated Hrishikesha, Padmanabha and Damodara.

19.4. Vyuha is the major formation and the twelve forms that emanated from it constitute the secondary formation; and therefore known as upavyha or vyuhantara, which literally means ‘the one that within the Vyuha’.

Maasa Devatha

20.1. Each of the twelve Vyuhantara is identified with a month and is revered as masa-devatha (lord of the month).And; collectively they are identified with the year.

Vyuha
– the source
Vyuhantara
form
Shakthi
 or
the consort
Maasa
the month
Vasudeva
Keshava
Sri
Margashira
Narayana
Vagishvari
Pushya
Madhava
Kaanthi
Magha
 
Sankarshana
Govinda
Kriya
Phalguna
Vishnu
Shanthi
Chaitra
Madhusudana
Vibuthi
Vaishakha
 
Pradyumna
Trivikrama
Iccha
Jesta
Vamana
Prithi
Ashada
Sridhara
Rathi
Shravana
 
Aniruddha
Hrishikesha
Maaya
Bhadrapada
Padmanabha
Dhi
Ashviyuja
Damodara
Mahima
Karthika

20.2. It is also said that the twelve Vyuhantara along with their source (four) together make sixteen ; and are symbolic of the phases of the moon “Shodasha kala) ; andthis also is a measure of Time.

Vyuhantara -Adityas – Sun -Vishnu

21.1. In the ancient Indian context, Year is identified with empherical Time, which in turn is identified with the Sun. Because, the Sun in its daily course defines the day (and night), the basic (shortest) unit of time and governs life.

[The shortest unit was obtained by dividing the day/night into eight equal parts and each eighth into sixty and each sixtieth into sixty again. One third of that resultant unit was kshana (three consecutive eyelid moments – roughly a second).

24 hours in a day X 60 minutes = 1,440 minutes; that is divided into 8 parts; each such part being equal to 180 minutes; which is divided into sixty units = each unit being 3 minutes or 180 seconds; and that is divided by 60 = 3 seconds; and that again is divided into three micro units = about one second (three consecutive eyelid movements)]

Aditi mother of gods

[Aditi is revered as the Deva Matri, the mother of all gods. In a way, all the gods are Adityas – children of Aditi.  The Adityas, who represent light are gods of light (Divi, Devas); bright and pure as streams of water; blameless; and, free from all guile and falsehood. The Adityas are upholders of Laws,” Upholding that which moves and that which moves not; and, are the protectors of all beings”.

Lord Vishnu was originally a solar deity (Addition); and, was later elevated to the status of a trinity God as the preserver of the world, to rescue the world and the dharma from the oppression of evil and social disorder.

Varuna, at one time, was regarded as the best among the Adityas, the solar deities; he was the lord of the sky; the god of heavenly light. But now, Surya (Savitr), the sun god is the most prominent Aditya. He is said to be endowed with many eyes (rays) corresponding to the twelve months of the year , described as the twelve spokes of the wheel of time.

*

The number as also the names of Adityas have varied from time to time. Originally, they were said to be to be six or seven in number, as per the hymns of Rig-Veda: Varuna, Mitra, Surya (Savitr), Chandra, Pusan, Agni, and Indra. And, Martanda was the eighth Aditya; but, was later left out.

The Brahmana texts list the twelve Adityas  as : Yama; Aryaman; Indra; Ravi; Varua; Dhātṛ; Bhaga; Savitṛ; Sūrya or Arka; Aśa; Mitra; and, Daka.

In another listing, Dhatri, Mitra, Aryaman, Rudra, Surya, Bhaga, Vivasvat, Pushan, Savitur, Tvashtir and Vishnu mentioned as Adityas.

The Linga Purana names the twelve Adityas as : Brahma;Vishnu;;Indra (The head of Ādityas); Tvaṣṭṛ; Varua;Dhata; Bhaga; Savitṛ; Vivasvat; Amshuman; Mitra; and, Pūan.

According to Bhagavata Purana, the twelve Adityas are : Vishnu (The head of all the Adityas); Aryaman; Indra; Tvashtha; Varuna; Dhata; Bhaga ; Parjanya (Savitr); Vivasvan ; Amshuman; Mitra; and, Pushya.

According to Vishnu Purana, the Adityas are :  Vishnu (This solar-deity is the head of all the Adityas); Aryaman; Śakra; Tvaṣṭṛ; Varua; Dhūti; Bhaga; Savitṛ; Vivasvat; Aśa; Mitra; and , Pūan.

Later , their numbers and names  almost,  settled down to twelve (Dwadasha Aditiya) as : Dhata ; Aryama;  Mitra; Varuna; Indra; Vivasvan; Tvashtha; Vishnu; Amshuman ; Bhaga; Pusha; and, Parjanja.]

21.2. The Vedic deities associated with the Sun and the energy are the twelve (Dwadasaha) Adityas, each controlling a month and collectively a year. They are the spokes of the wheel of Time. The twelve Vyuhantara therefore came to be identified with the Adityas.

solar months 2

With that the Vyuhantara came to be identified also with the empherical Time conceived as yearly cycles. And, thus, Vyuhantara are indeed the Sun.

21.3. Vishnu is the chief of the Adityas; and he is also identified with the Sun. The Vyuhantara, by extension, came to be recognized as the Adityas who in turn are the aspects of the Sun and Vishnu.

21.4. The identity of the Vyuhantara with the Adityas is discussed in detail in the Tantric texts such as Prapanchasara (12th century), Saradatilaka (14th century) and Tantrasara (16th century).

21.5. It is explained that the importance assigned to the twelve Vyuhantara is because of their identity with the Adityas, the Sun and Vishnu. And, their worship is indeed the worship of Vishnu as the Sun.

Adityas 12 and their associates

Dwadashamurti

22.1. Mainly by virtue of its association with the Sun and Vishnu, the Vyuhantara or Upavyuha or the Dwadasha-murti (the twelve forms) is an indispensable part of the Sri Vaishnava daily prayer –sandhya vandanam– which essentially is Sun worship; and of the daily purification rite of investing the designated upper-body parts with the Vishnu insignia, the urdhva pundra. Each upavyuha is associated with a specific spot: Keshava – forehead; Narayana-lower abdomen(centre); Madhava-chest; Govinda-front neck (middle) ; Vishnu-lower abdomen (right); Madhusudana-right arm; Trivikrama-neck(right side);Vamana-lower abdomen (left); Sridhara-left arm; Hrishikesha-neck(left side); Padmanabha-back (lower spine); Damodara-back (upper spine); and concluded with salutations to Vasudeva –top of the head.

The appropriate Upavyuha is invoked through anga-nyasa (gestures) with devotion and reverence while investing each set of urdhva-pundra.

22.2. As regards their iconography, the Dwadasha-murtis all resemble the four-armed form of Vasudeva in jagrat (wakeful) state. And, ichnographically they are alike; each possess four arms, carries the same or almost the same Vaishnava insignia (ayudha) – the conch (shankha), the discus (chakra), the mace (gada) and the lotus (padma); they have pleasing countenance (saumya vaktra); they stand erect (sama-bhanga) on lotus pedestal; and wear yellow silk garment (pitambara), royal crown, regal ornaments and flowing garlands of flowers (vanamala). Their color or complexion, are derived from their source vyuha, which is the vyuha among the four (chaturvyuha) from which they originated.

22.3. All the Dwadasha murtis are depicted as solitary images, standing alone; yet each of them is associated with a Shakthi, a consort. Each Shakthi is regarded a form of Lakshmi.

22.4. The forms are differentiated by the order of the four ayudhas or insignia (shankha, chakra, gada and padma) they hold. The Padma Samhita (kriyapada: 16, 30-36) as also Lakshmi Tantra and others describes in detail the iconographic features of the Vyuhantara-murtis. There are again variations among those texts. Let’s talk of that in the last segment of this post.

VYUHA_GOVINDA with four bows

Caturvimsati murti

23. 1. The emanation process did not cease with the twelve Vyuhantara. Padma Samhita (Jnana kanda: 2, 26- 28) mentions that the four Vyuha  ‘ for some reason’ went on to create a sub –secondary Vyuhantara forms numbering twelve in two sets (4+8).This was achieved in a rather strange manner. Here, Vyuha- Vasudeva manifested another Vasudeva who manifested Nrusimha who in turn manifested Acchuta.

Sankarshana manifested another Sankarshana who gave raise to Purushottama who in turn manifested Adhokshaja.

Pradyumna manifested another Pradyumna who manifested Janardana who in turn manifested Upendra.

And Aniruddha manifested another Aniruddha who manifested Hari, who in turn manifested Krishna.

23.2. Thus the celebrated Caturvimsati murti group (the twenty-four forms) is composed by:

(a).  The twelve Vyuhantara or secondary forms:

[1.Keshava;2.Narayana;3.Madhava;4.Govinda;5.Vishnu;6.Madhusudana;7.Trivikrama;8.Vamana;9.Sridhara;10.Hrishikesha;11.Padmanabha;and 12.Damodara]

(b). Plus the four forms:

[13.  Sankarshana;  14. Vasudeva; 15.Pradyumna; and 16.Aniruddha]

(c). And, the eight further (sub secondary) emanatory forms:

[17. Purushottama; 18. Adhokshaja;   19. Nrusimha; 20. Acchuta; 21. Janardana;  22. Upendra; 23. Hari; and 24.Krishna]

24.1. The iconography of the latter set of twelve (from 13 to 24: from Sankarshana to Krishna follows that of the Dwadasha-murtis (from 1 to 12:  from Keshava to Damodara). As regards their colour, they follow the colour or the complexion of their source, that is: The first group of three along with Vasudeva is white; the second group along with Sankarshana is ruby red; the third group along with Pradyumna is golden yellow; and the fourth group along with Aniruddha is dark.

25.1. Padma Samhita states that the images of these twenty-four deities should be established in temples in order to acquire merit and prosperity. They might be established either separately or together. But, sculptural representation of all the forms is extremely rare. They are seen only in a few temples of Hoysala period (c.11th century).

25.2. While performing the daily Sandhya it is customary to recite the names of these twenty-four forms and invoke them in the twenty-four spots in the body.

25.3. The Gayatri- Sara- Samgraha, it is said, identifies of the twenty-four letters of the Gayatri Mantra with the deities (abhimana devatha) presiding over the names of the Caturvimsati murtis.[Please see the table appended.]

25.4. It is said the Vyuhantara from 13-16 though they bear the names of the original Vyuhas, they are not the same; they are different. Similarly, it is clarified that Vyuhantara murti with names such as Krishna, Narasimha, Trivikrama, Narayana etc should not be mistaken for the original deities bearing those names. It is also clarified that although the names of Vyuhantara forms resemble the names of Vishnu, ichnographically or otherwise they are NOT the Vishnu.

25.5. Among these twenty-four forms, the set of first twelve Dwadasha- murti, (from Keshava to Damodara), is assigned greater importance than the latter twelve.

*****

Iconography of the Dwadasha murti

1.1. As mentioned earlier, the Vyuhantara murtis are ichnographically similar; they all resemble the four armed Vasudeva in jagrat state. They are differentiated by the manner they hold the four ayudhas or Vaishnava insignia (shankha, chakra, gada and padma).There is however no uniformity among the various texts .For instance, Tantra Sara draws up an elaborate scheme by taking the conch (shankha) symbolizing emancipation as the principle ayudha and works out various positions/ combinations  of the other three ayudhas in relation to shankha in upper right hand, shankha in upper left hand, shankha in lower left hand and shankha in lower right hand. Agni Purana, Padma Purana and Skanda Purana etc propose their own scheme.

1, 2. But the commonly accepted form is the one that is given in the Shilpa text Rupamandana, The order given there commences with the upper -right –hand, then goes on to the upper-left-hand , then down to the lower –left-hand and finally to the lower-right-hand. The flow is clock-wise commencing from the upper-right-hand. The initial configuration is with reference to the ayudhas held by Keshava: Shankha (URH); Chakra (ULH); Gada (LLH) and Padma (LRH). The ayudha-positions of the other vyuhantara are worked out by rotation.

[Please refer to the tables appended for the ayudha-positions of all the twenty-four Vyuhantara forms].

Let’s discuss briefly about the iconography of the Dwadasha murti; that is the first twelve Vyuhantara from Keshava to Damodara.

1. Keshava –Murti

keshavaKeshava-murti the first of the Vyuhantara who emanated from Vyuha-Vasudeva is lustrous like gold (suvarna-bha). He wears white garments; and pearl ornaments.

His ayudhas are: shankha (URH); chakra (ULH); gada (LLH); and padma (LRH).

His Shakthi is Sri or Kirti.

He is the Lord of Margashira month.

He is invoked in the forehead of the devotee (lalata).

His flag bears the emblem of the great Eagle (Mahat Garuda Ketana).

2. Narayana- Murti

narayanaNarayana –murti the second of the Vyuhantara who emanated from Para-Vasudeva is glowing like a dark blue cloud. His countenance is benign (saumya). He wears yellow silk garments (pitambara); and gem studded gold ornaments.

His ayudhas are: padma (URH); gada (ULH); chakra (LLH); and shankha (LRH).

His Shakthi is Vagisvari.

He is the Lord of Pushya month.

He is invoked in the lower abdomen (centre) of the devotee.

His flag bears the emblem of the great Eagle (Mahat Garuda Ketana).

3. Madhava-Murti

madhava3Murti the third among the Vyuhantara who emanated from Para-Vasudeva shines like blue-lotus (nilothphala) .He dress is multicoloured and is adorned with garlands of many hues. He looks magnificent like a full blossomed lotus.

His ayudhas are: chakra (URH); shankha (ULH); padma(LLH); and gada (LRH).

His Shakthi is Kanthi.

He is Lord of Magha month.

He is invoked in the chest of  the devotee.

His flag bears the emblem of the great Eagle (Mahat Garuda Ketana)-

4. Govinda-Murti

govindaGovinda-Murti the fourth among the Vyuhantara; and the first to emanate from Sankarshana is soothingly bright like moon, like a pearl. His eyes are lustrous and attractive like red lotus. He is adorned in rich gold ornaments.

His ayudhas are: gada (URH); padma (ULH); shankha (LLH); and chakra(LRH).

His Shakthi is Kriya.

He is Lord of Phalguna month.

He is invoked in the front neck (middle) of the devotee.

His flag bears the emblem of the lofty palm-tree and a plough.

5. Vishnu-Murti

visnu murrtiVishnu-Murti the fifth among the Vyuhantara; and the second to emanate from Sankarshana is crystal white (sphatika). He wears gold coloured bright garments; and richly adorned with ornaments.

His ayudhas are: padma (URH); shankha (ULH);chakra (LLH); and gada (LRH).

His Shakthi is Shanthi.

He is Lord of Chaitra month.

He is invoked in the lower abdomen (right) of the devotee.

His flag bears the emblem of the lofty palm-tree and a plough.

6. Madhusudana-Murti

madhusudanaMurti the sixth among the Vyuhantara; and the third to emanate from Sankarshana is glowing like a red lotus. He wears silken yellow garments. He is richly adorned with ornaments.

His ayudhas are: shankha (URH); padma (ULH); gada (LLH); and chakra (LRH).

His Shakthi is Vibhuti.

He is Lord of Vaishakha month.

He is invoked in the right arm of the devotee.

His flag bears the emblem of the lofty palm-tree and a plough.

7. Trivikrama-Murti

trivikrama1Trivikrama Murti the seventh among the Vyuhantara; and the first to emanate from Pradyumna is glowing like a ruby. He is richly adorned with gold armlets, chains, earrings etc.

His ayudhas are: gada (URH); chakra (ULH); shankha (LLH); and padma (LRH).

His Shakthi is Iccha.

He is Lord of Jesta month.

He is invoked in the neck (right side) of the devotee.

His flag bears the emblem of crocodile (Madana)

8. Vamana Murti

vamanaVamana Murti the eighth among the Vyuhantara; and the second to emanate from Pradyumna is mellow glowing like jasmine , has wide eyes like lotus petals.

His ayudhas are: chakra (URH); gada (ULH); padma(LLH); and shankha (LRH).

His Shakthi is Priti.

He is Lord of Ashada month.

He is invoked in the lower abdomen (left) of the devotee.

His flag bears the emblem of crocodile (Madana).

9. Sridhara-Murti

sridharaSridhara-Murti the ninth among the Vyuhantara; and the third to emanate from Pradyumna is lustrous like white lotus. His eyes are beautiful and shining like a red lotus petal. He wears strings of pearls.

His ayudhas are: chakra (URH); gada (ULH); shankha (LLH); and padma (LRH).

His Shakthi is Rathi.

He is Lord of Shravana month.

He is invoked in the left arm of the devotee.

His flag bears the emblem of crocodile (Madana).

10. Hrishikesha – Murti

hrishikeshaHrishikesha – Murti the tenth among the Vyuhantara; and the first to emanate from Aniruddha is dazzling like lightning. He wears red garments; red flowered garlands and has stuck a red lotus in his hair.

His ayudhas are: chakra (URH); padma (ULH);shankha (LLH); and gada (LRH).

His Shakthi is Maaya.

He is Lord of Bhadrapada month.

He is invoked in neck (left side) of the devotee.

His flag bears the emblem of deer (mriga).

11. Padmanabha Murti

padmanabha1Padmanabha Murti the eleventh among the Vyuhantara; and the second to emanate from Aniruddha is glowing like a blue diamond. He wears bright yellow garments; and is adorned with many coloured gems and jewels; and multihued garlands.

His ayudhas are: padma (URH); chakra (ULH); gada(LLH); and shankha (LRH).

His Shakthi is Dhi.

He is Lord of Ashviyuja month.

He is invoked in back (lower spine) of the devotee.

His flag bears the emblem of deer (mriga).

12. Damodara Murti

damodaraDamodara Murti the twelfth and the last among the Vyuhantara; and the third to emanate from Aniruddha is enchanting like the tender green blades ofdurva grass and wide eyes like pools. He wears yellow silk garments; and many types of gems and jewels; strings of precious stones.

His ayudhas are: shankha (URH); gada (ULH); chakra (LLH); and padma(LRH).

His Shakthi is Mahima.

He is Lord of Kartika month.

He is invoked in back (upper spine) of the devotee.

His flag bears the emblem of deer (mriga).

*****

The following tables indicate the ayudha positions of each Vyuhantara Murti , its presiding deity;  and,  its association with the letters of Gayatri Mantra.

vyuha

vyuha2

vishnu with sridevi bhudevi

Sources and References

I gratefully acknowledgethe line-drawings and notes fromBrahmiya Chitrakarma Sastram

by Prof G Gnanananda

Vishnu Koshaby Prof.SK Ramachandra Rao

Ritual, state, and history in South Asia By J. C. Heesterman, A. W. van den Hoek, D. H. A. Kolff, M. S. Oort

http://www.wilbourhall.org/sansknet/agama/Pancharatraagama/poushkara_samhita/36.htm

http://www.ramanuja.org/sv/bhakti/archives/feb96/0014.html

http://www.stephen-knapp.com/thousand_names_of_the_supreme.htm

http://www.hindu.com/2001/03/13/stories/13130179.htm

http://www.ramanuja.org/sv/bhakti/archives/jan98/0082.html

http://www.ramanuja.org/sv/bhakti/archives/dec2000/0142.html

 
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Posted by on October 1, 2012 in Vishnu

 

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Vishnu – Dwadashanamas – Part Three

Continued from Part Two – Narayana – Vasudeva Krishna -Para Vasudeva

E. The Vyuha

Para–Vasudeva and Lakshmi

13.1. As mentioned earlier, the central doctrine of the Pancharatra Agama is that the Absolute, the Brahman, out of loving- compassion, voluntary assumed bodily forms so that the devotees may gain access to his subtle form. He manifests himself in five-fold forms: Para or the supreme form of his transcendent being; Vyuha or the group of his forms called Vyuha-Vasudeva, Sankarshana, Pradyumna and Aniruddha brought together in worship and adoration as a complete body of divine power, and who represent the cosmic consciousness, intellect, mind, and the ego respectively; Vibhava or his glory seen through his incarnations or Avatars; Archa or his presence manifest in his idols and images worshipped by devotees; and as Antaryamin or his immanent presence within the Universe.

13.2. Para–Vasudeva represents the Pancharatra ideology of the transcendental form (para) of Narayana the supreme principle abiding in the highest realm paramapada. He is visualized as pure and resplendent like a clear crystal; and as the divinely auspicious charming form (divya mangala vigraha).  Para is the highest form and is referred to as ‘the first form’,’ the best of the Purushas’ and ‘the Highest Light’ etc. Para –Vasudeva is endowed with countless auspicious virtues (ananta kalyana guna), which include the important six ideal attributes: wisdom or gnosis (jnana), sovereignty (aishvarya), energy (sakthi), strength (bala), valour (virya) and splendour or glory (tejas).His other notable attributes are gambhirya (grandeur, majesty), audarya (generosity or benevolence), karunya (compassion), souseelya (chaste manners)and vaathsalya (affection).

13.3. Lakshmi (Sri) as energies intimately associated with Para –Vasudeva; and is regarded as the composite aspect of his transcendental form. While Para Vasudeva is pure consciousness, Lakshmi as creative energy is the cause of the material world. It is said, Lakshmi at his behest, that is by the power of his will (iccha sakthi), differentiates herself into the power of action (kriya sakthi) and the power of becoming (bhuti sakti). Out of her three powers the next phase of emanations (vyuha) proceeds

Vishnu Lakshmi

It is also explained that Lakshmi and Vasudeva are two aspects of the One reality. Within Para Vasudeva’s unity He implies She; and She implies He. Para Vasudeva is pure consciousness while Devi Lakshmi is his expression of “I-ness”. She is the thought within his consciousness; She is the energy that manifests His glory. She exists because of Him; and He depends on her to manifest all that he intends. Lakshmi is Vasudeva’s power to intend an act (kriya-shakthi); She is also the power to bring this act into being (bhuthi – shakthi).As conscious intent She is Agni –the fire; and as fruitful act She is Soma – the life-juice that feeds the fire (meaning all that sustains life). Just as fire produces liquid and liquid produces fire, She brings forth everything into being. Whenever we speak of Him acting, we understand the actor in fact is She. The Bhagavatas address the Supreme Being as the Unity of He and She; as the Father and Mother of all existence. Some scholars say that in the ancient Tamil poetry, the term Tirumal (Tiru = Shri; Mal = Mahat the Great One) means the Majestic Devi with the Great One, suggesting the essential unity of Lakshmi and Vasudeva. [See Denis Hudson’s Book]

13.4. The later Pancharatra texts mention, in addition to Lakshmi, two other consorts – Bhu-devi and Nila-devi – who too are regarded as energies associated with Narayana. The three Devis are said to also represent the three aspects (gunas) of nature (prakriti): Lakshmi (satva –white); Bhu (rajas –red) and Nila (tamas –dark). She is also the Maha-Maya the transcendent and magical creativity.

Emanation – Shristi 

14.1. The appearance of gunas in Lakshmi and Narayana sets in motion the process of emanation, the vyuha. The term Vyuha stands for structure or group or groups of persons. In the Vyuha emanation, Narayana manifests himself as five heroes of the Vrishni-yadava clan:Vasudeva-Krishna; his brother Sankarshana; Samba (son of Krishna –Jambavathi); Pradyumna (son of Krishna -Rukmini) and Aniruddha (son of Pradyumna).These five are together known as ‘heroes of a family’; and, the Bhagavata cult came to be known as ‘the doctrine of heroes’ (vira-vada). However, with Samba having been omitted from the group, the other four Vrishni heroes were revered as chatur-vyuha, the four essential aspects of Vishnu. Initially worship was offered to them individually; and later they were worshipped together in group.

14.2. Some scholars of the Pancharatra School try to explain why the Vyuha was composed by the relatives of Vasudeva – Krishna. They say when Narayana appeared on the earthly plane as Krishna, some of his attributes too took form as persons surrounding him. While Krishna, they say, is the complete manifestation those around him were sparks of the divine essence. Yet, Krishna and Vrishni heroes all originated from the same source, Narayana.

It is said; the gods are to be celebrated by their name, form, glory of their achievements and together with their friends (sthutistu naama rupena karmana baandhavena cha: Brihad-devatha -17)

Chatur Vyuha

15.1. Para is the undifferentiated Vasudeva while Vyuha is the stage of differentiated creation. Among the four Vyuha forms, the Vyuha-Vasudeva is regarded the most complete representation of Para-Vasudeva or Narayana. He is the embodiment of the ‘para’ nature of Narayana and is endowed with the six gunas in full measure. He is the source of other three Vyuha forms and is the creator of the second Vyuha, Sankarshana. Vasudeva says ‘the four Vyuha forms rest in me’ (chatur murti dharo hyam).

15.2. The chatur vyuha is compared to a pillar (visaka yupa) having four nodes (parva) bearing four resplendent lights, each light at a different height and each facing a different direction. The brightest of the four lights, at the top, glowing like a gem is Vyuha-Vasudeva the pure effulgence; it is all brightness. The other three lights, at the lower level, shining not-so-brightly, represent Sankarshana, Pradyumna and Aniruddha. The light at the second level glowing red like a ruby is Sankarshana; the next one below that burning yellow like gold is Pradyumna; and the light at the lowest level dark like a rain bearing cloud is Aniruddha.

The Vyuha structure, attributes and functions

vyuha

16. The structure, the symbolisms and the functions assigned to each vyuha-murti is not only elaborate but also very interesting.

It is explained; Vasudeva as the Supreme (para) and Vasudeva as formation (Vyuha) differ only in relation to the beings produced. It is said; the Supreme Being Para-Vasudeva cannot be seen within space-time, just as an embryo cannot see the mother in whom it resides. But Vyuha-Vasudeva as a formation can be seen just as the infant can see its mother soon after birth. Sadhana the devotional way of disciplined and dedicated life is the means to see and experience Vasudeva as the formation Vyuha.

Vyuha Vasudeva

Vasudeva, as formation, re-produces his body, its content and actions, in three specific re-arrangements of himself in sequence. The primary Vasudeva changes into the formation of plougher Sankarshana. He then changes into the pre-eminently mighty Pradyumna. He thereafter changes into the formation of unobstructed Aniruddha.

The four Vyuha forms are in essence the four aspects of Para-Vasudeva from whom they all originate. They represent the four dimensions of the created universe; and regulate the cosmic order, rta.

The emanation of the four Vyuhas follows a certain sequence. The Vyuha Vasudeva is the first emanation. From him arises the second Vyuha: Sankarshana who in turn gives rise to the third Vyuha: Pradyumna.   The fourth Vyuha, Aniruddha, is produced by Pradyumna.

In this process of emanation Para-Vasudeva remains unaffected, unchanged and ‘rests in his nature ‘.The other Vyuha forms are the differentiated aspects of the Para.

This evolution in stages is compared to lighting one lamp from another. Para- Vasudeva is also compared to a seed that holds in its womb the entire tree, but grows and flourishes richly into a visible form, over a period of time.

  • The Vyuha –Vasudeva, adorned in yellow or red garments; Peaceful and benevolent; white in colour like fresh snow, cow’s milk or jasmine; bright and clear like pure crystal ; complete; in all aspects (kala) . He has four arms representing four stages in the evolution and dissolution of the universe: creation or emergence (sristi), maintenance (sthiti), dissolution (samhara) and emancipation (mukthi). His lower right hand is in the gesture of protection or holds a lotus. A mace is held   in the lower left. His upper right hand holds Sudarshan Chakra (discus) ; and, upper left Panchajanya Shankha (conch).

Vyuha Vasudeva 2

Sankarshana who was dragged out of Vasudeva’s body (akrasya tu svakaad dehaath) too is complete in all the four aspects (chatuskala). He is Lustrous and glowing red in colour, as that of a ruby or the morning sun. He is depicted as very strong and vigorous. He wears yellow or blue garments; an earring in one ear. In his lower set of hands, he holds Musala (pestle) and a Hala (plough) while in the upper he bears Saranga Dhanush (bow) and Panchajanya Shankha.

According to Vishnudharmottara :

The Lord Samkarshana should have the appearance of Vasudeva but with a white body arid a blue dress. In place of Gada, the pestle should be represented; and, in place of Chakra, the plough. They should be endowed with the forms of men, furnished with beauty and with thin middle.

Vasudevasya-rupena karyaha Sankarshna-prabhuhu / Sa tu Shukla-vapuhu karyo Nila-vasa yadutthama // 3.85.21//

Gadha-sthane cha Musalam , Chakra-sthane cha Langulam / karthayo tanu-madhye  tau Nrupau rupa-samyuthau // 3.85.22//

And, Sankarshana , in turn,  produced Pradyumna.

Vyuha Sankarshana

The four-armed Pradyumna bright like burnished gold represents universal soul (vishva-atma).  He. in turn produced from half of his body (dehaardha), Aniruddha dark in colour, the master of yogis.

Pradyumna is the hue of tender Durva (grass); greenish blue and lustrous like the glow of a blue gem. He is extremely handsome; but, appears a trifle intoxicated. He wears yellow or red garments; beautified with rich, delicate ornaments. In his lower hands he holds Panchajanya Shankha and Kaumodaki-Gada (mace). His upper set of hands are adorned with Padma (lotus) and Sudarshan Chakra. When depicted with two arms, he is shown holding Saranga Dhanush and an arrow; and, wearing white garments.

Vishnudharmottara specifies that

Pradyumna again should have the appearance of Vasudeva; but he is green like the Druva-sprout; and wears a white garment. In place of the Chakra should be the bow ;and in place of the club the arrow ; and the plough and spear  should be shown similar to them (i. e., assuming human bodies)

Vasudevasya-rupena Pradhyumna-scha tattha bhaveth / Sa tu Durva-ankura -shyama  -sit vasa vidhiyate // 3.85. 23//

Chakra-sthane bhaveth Chapam , Gada-sthane tattha Sharam /tattha vidhitau kartayo tattha Musula -Langulau // 3.85.24//

Vyuha Pradyumna

Vyuha Aniruddha is dark-blue in complexion, like a rain bearing cloud. he inherits Pradyumna’s handsomeness from whom he emanates. He wears Pitambara (yellow silken garments). He is also described as rather pinkish like a fresh lotus, wearing red garments. He is adorned in rich ornaments and Vanamala (wild-flower garland). In his lower set of hands, he holds Khadga (dagger) and Khetaka (shield). In the upper hands he bears Saranga Dhanush and an arrow.

He is also depicted in a recumbent position, resting on Adi Sesha serpent, with his consorts.

Vishnudharmottara says :

One should make the image of Aniruddha, with a body of the colour of the lotus-petal; and wearing a red cloth. In place of the Chakra should be the sword. The personified shield should have the appearance of chakra personified; but the sword is rendered as a man of high stature. Their beautiful real forms in the shape of weapons should be partially shown on the heads of Chakra and others.

Yeta Deva tattha rupa Aniruddha-sya karayeth / Padma-patra-bhava-pusho Raktha-ambara -darasya tu // 3.85.25//

Chakra-sthane bhaveth Charma,Gada-sthane  Seemeva cha / Charmasya Chakra-rupena pranthuh Khadgo vidiyate // 3.85.26//

Vyuha Aniruddha

***

The alternate names assigned to the four forms are Paramahamasa or Purusha for Vyuha-Vasudeva; Vyoma or Satya for Sankarshana; Naada or Achyuta for Pradyumna; and Hamsa or Narayana for Aniruddha.

Vyuha-Vasudeva represents Purusha (the all inclusive cosmic person); Sankarshana the Prakrti (individual soul or the material manifestation); Pradyumna the Manas (consciousness and mind) and Aniruddha the Ahamkara (the ego or the individual identify).

The four Vyuha forms are also said to represent the four states of consciousness; Vyuha-Vasudeva represents Turiya (the state beyond all states); Sankarshana the Shushupti (dreamless sleep); Pradyumna the Svapna (dream state) and Aniruddha the Jagrat (wakeful state).

Each Vyuha form is associated with a Yuga (a great period or an era). Vyuha-Vasudeva is associated with Krita-yuga; Sankarshana with Treta-yuga; Pradyumna with Dwapara-yuga; and Aniruddha with Kali-yuga.

Among the Dashavataras (the ten avatars of Vishnu) Vyuha-Vasudeva is associated with Vamana and Vasudeva-Krishna; Sankarshana with Matsya, Kurma, Parushuarama, Sri Rama and Kalki; Pradyumna with the Buddha; and Aniruddha with Varaha and Nrusimha.

When Vyuha forms are depicted on the Vimana of a Vishnu temple, the Vyuha-Vasudeva is placed on the East, Sankarshana on the South; Pradyumna on the West; and Aniruddha on the South face of the Vimana.

The Vyuha-Vasudeva who virtually is Para Vasudeva himself, is complete and endowed with all the six divine attributes (shad-guna): wisdom or gnosis (jnana) , sovereignty (aishvarya) ,  energy or potency (sakthi), strength (bala) , valour (virya) and splendour or glory (tejas)

The six attributes (gunas) are grouped into three sets. The first set comprising the first three gunas (jnana, aishvarya and shakthi) is said to be in the ‘plane of rest’; the second set comprising the latter three gunas (balavirya and tejas) is said to be in ‘the plane of activity’; and the third set comprises three pairs of two each :  jnana and Balaaishvarya and virya; the third pair being shakthi and tejas. The scheme of grouping in the third set is such that a guna each from the first set is paired with a guna from the second set. (Please refer to the table appended).

The Vyuha forms are thus significant both in spiritual and in physical planes.

  • It is said that all the six divine attributes (shad-guna) are present in Vyuha-Vasudeva, in full measure. He is the pure aggregate of the six supreme qualities; but they rest in him undifferentiated and un-manifest.

However, only two each of those gunas appear dominantly in each of the other three Vyuhas. The dominant gunas in Sankarshana are: jnana and Bala; in Pradyumna: Aishvarya and Virya; and in Aniruddha: Shakthi and Tejas.

It is clarified that it should not be construed that all six attributes are not present in each of the other three Vyuha forms (Sankarshana, Pradyumna and Aniruddha). But, it is implied that two specific gunas are dominant or explicit in each of those three Vyuhas, while the other four gunas are present in them in seed or potent form.

  • It is said, while Vyuha-Vasudeva represents Dharma, rta the cosmic order, the other Vyuhas are each assigned two distinct types of functions: one related to creation and the other related to guiding the jivas on the path to salvation.

As regards the creation- functions, it is said, that with Sankarshana (Bala) creation assumes an embryonic form; through Pradyumna (Aishvarya) the duality of Purusha and Prakrti makes its appearance; and Aniruddha (ShakthI) enables the body and soul to grow.

[There are various versions of this concept. For instance, Lakshmi Tantra mentions the function of Aniruddha as creation; of Pradyumna as preservation; and of Sankarshana as destruction.]

As regards guiding the souls, Sankarshana (jnana) teaches the ‘siddantha’ the governing principles (ekantika –marga); Pradyumna (virya) helps its translation into practice (tatkriya); and Aniruddha (tejas) brings about the fruit of such practice (kriya phala), which is liberation.

The Vyuha context

17.1. There are arguments among various schools including the Vaishnavas on the Vyuha-concept. All agree with possibility of Vasudeva Parama-purusha manifesting himself in several forms in order to be accessible to the aspirants. However, some, notably Parashara Bhattar (12th century CE), point out that Vyuha- Vasudeva is virtually the Para_vasudeva in full measure. And, wonder if there was a need or relevance for Para-Vasudeva to replicate as Vyuha-Vasudeva –murti. They remark, it would suffice if the Vyuha is restricted to three forms: Sankarshana, Pradyumna and Aniruddha.

17.2. The Vyuha concept appears to be ancient and much older to that of the Avatars. It also appears to be better structured and function- oriented. Each Vyuha form has a designated position, specific aspects and defined functions. The Vyuha manifestations are actively associated with the processes of creation, evolution and maintenance of the world and the world-order. They also protect and guide the devotees on the path to salvation. In other words, Vyuha is a dynamic group which is closely associated with the functions of the world and expresses itself eloquently.

17.3. In the Pancharatra tradition which recommends icon worship (Archa) in the place of rituals like Yajnas, the approach to the divine is graded. And, in its   hierarchy of divinities, the Vyuha murtis are ranked higher than the Avatars. The Vyuha murtis are regarded celestial beings while Avatars are those who descended to the earthly plane.  The devotees, it is said, attain to or gain approach to the Vyuhas only after worship of Vibhava forms (Avatars) such as Sri Rama and others. A devotee contemplates on the subtle form of Vasudeva only through worship of Vyuha murtis.

17.4. In comparison, the Avatar concept appears rather nebulous. Avatar is the Vibhava form of emanation, the pragmatic stage, in which the God makes himself visible (avirbhava) descending to the earthly plane, for a specific purpose. And, only a handful of such Avatars are the major ones (purna), most others being either partial (amsha) or in passing (avesha). The recognition of an Avatar appeared to have come about as a response to the then popular sentiments. Each tradition follows its own interpretation of Avatar; the number of recognized Avatars too varies from School to School. For instance the Pancharatra Samhita lists as many as thirty-nine Avatars, while the Bhagavata – Purana mentions twenty-two Avatars; and the most recognized Avatars are ten. The legends connected with those Avatars also vary. Their virtues or position in the pantheon are often vague.

vishnu7

Next

18. The Vyuha concept is one of the most significant features of the Vaishnava traditions, particularly of the Pancharatra. In its schema of cosmology, Para is the undifferentiated Vasudeva while Vyuha is the stage of differentiated creation closer to the beings. The Vyuha influence is wide spread across its various texts of philosophy, theology and Shilpa (temple architecture).For instance, Sri Parashara Bhattar (c.12th century) in his celebrated commentary on Vishnu-sahasra-nama observed that the Vishnu-names from 1 to 122 glorify Vishnu’s transcendental form Para; the next set of names from 123 to 146 expound the Vyuha forms; and then the stotra moves on to Vibhava (Avatars), Archa and other attributes.

The Vyuha in turn gave raise to twenty-four classical forms of Vishnu, the names of which are recited each day with devotion and reverence by most Hindus. Of the twenty-four secondary Vyuha (Vyuhantara), the first twelve (Dwadasha murti) are regarded more important.

We shall talk about the Dwadasha murti   in the next post.The following is the brief iconographic description of the Vyuhas, in summary.Vyuha murtis are manifestations of Para-Vasudeva, the chief of the Vyuha (adyaksha); and, therefore their general features follow that of Vasudeva. The Agama texts of the Vaishnava persuasion (Vishvaksena Samhita, Isvara Samhita, Vishnudharmottara and Padma Samhita) as also the Shilpa texts such as Rupamandana carry elaborate descriptions of the Vyuha-murtis. The texts prescribe that icons of the four Vyuhas be installed separately. It is also mentioned that Vyuha -Vasudeva be depicted in standing posture (sthanaka); Sankarshana in seated posture (aasana); Pradyumna in resting or leaning posture; and Aniruddha in moving posture(yana karmani). The Vishvaksena Samita (11:145) however states that the Vyuha murti (images) may be depicted either as seated (aasana), recumbent (sayana), standing (sthanaka) or as in motion (Yana).

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Iconography

Vyuha –Vasudeva murti

vyuha vasudeva

Vyuha Vasudeva is represented as bright and clear as the pure crystal (shuddha spatika mani), as the cow’s milk, as jasmine or as the fresh snow. His aspect is peaceful and benevolent (saumya); and he wears yellow or red garments. He may be two or four armed. His lower right hand assumes the gesture of protection or it holds a lotus (padma); and his lower left hand holds the mace (gada).His upper right hand holds the discus (chakra) and the left hand holds the conch (shankha).He is adorned tastefully with ornaments. His image is scaled in uttama-dasatala measure.

Vyuha –Sankarshana murti

vyuha sankarshana

Vyuha-Sankarshana is lustrous and glowing red as a ruby or the morning sun. He is depicted as a very strong and vigorous person. He wears yellow or blue garments ; and an earring in one ear (kundalaka vibhushita).In his lower set of hands he holds pestle (musala) and a plough (hala or langala). In the upper hands he holds a bow (dhanus) and a conch (shankha).He is richly ornamented.

Vyuha –Pradyumna murti

vyuha pradyumna

Pradyumna is the colour of tender durva –grass or lustrous like the light of a glowing blue gem (durva- marakata prakhyam).He is very handsome; his disposition is as if slightly intoxicated (madothkata) and he wears yellow or red silken garments. His ornaments are rich and delicate.  He holds in the lower set of hands a conch (shankha) and a mace (gada).In the upper hands he holds a lotus (padma) and a discus (chakra).

When he is two-armed he is shown in white garments holding a bow and an arrow.

Vyuha –Aniruddha murti

vyuha aniruddha

Aniruddha is dark-blue like the rain- bearing cloud. He is very handsome. He wears yellow silken garments (pitambara). He is also described as rather pinkish like a fresh red lotus, wearing red garments. He is richly ornamented and has flowing long flower- garlands (vanamala). He holds in his lower set of hands a dagger (khadga) and a shield (khetaka). In the upper hands he holds a bow and an arrow.

He is also shown in recumbent position, resting on Sesha and in company of his consorts.

ranganatha

Vishnu Dwadasanama

Vishnu on Garuda 2

Sources and References

I gratefully acknowledge the line-drawings and notes from Brahmiya Chitrakarma Sastram  by Prof . Dr. G Gnanananda

Vishnu Kosha by Prof.SK Ramachandra Rao

http://www.gosai.com/chaitanya/saranagati/html/vedic-upanisads/vedic-archeology-2.html

http://www.indiadivine.org/audarya/spiritual-discussions/35835-enclyopedia-visistadvaitam-sri-vaishnavam.html

http://4krsna.wordpress.com/2009/04/10/the-pancharatra-agamas/

http://en.wikipedia.org/wiki/Pa%C3%B1caratra

http://www.ibiblio.org/sripedia/cgi-bin/kbase/Pancaratra/Modes

http://4krsna.wordpress.com/page/2/

http://www.indiadivine.org/audarya/bhakti-list/126238-sri-sankaras-views-vyuha.html

http://en.wikipedia.org/wiki/Pa%C3%B1caratra

http://www.ramanuja.org/sv/bhakti/archives/apr2003/0043.html

 
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Posted by on October 1, 2012 in Vishnu

 

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Vishnu – Dwadashanamas – Part Two

Continued from Part One— Vishnu

B. Narayana

4.1. Narayana in Rig Veda is not the name of a god; but is the name of the Rishi to whom the hymn Purusha- Sukta was revealed. Purusha Sukta running into sixteen riks occurs in the last book (mandala 10: 7.90.1-16) of Rig Veda. Purusha- Sukta – commencing with the line sahasraśīrṣā puruṣaḥ sahasrākṣaḥ sahasrapāt – is the only hymn dedicated to Purusha; and is repeated in other Vedas with slight modifications.

The devatha invoked in the Sukta is Purusha the transcendental “primordial person” from whose body the universe was created. He was both sacrificer and the sacrificed, and his rite was the simulated prototype for all later Vedic sacrifices.

The Rishi of the Purusha Sukta is Narayana; and , its Devata is Purusha. It is said, the Rishi and his deity (devatha) merged into one; and , thus Narayana became the Purusha (Satapatha Brahmana 13. 6. 1.1).

puruṣo ha nārāyaṇo’kāmayata atitiṣṭheyaṃ sarvāṇi bhūtānyahamevedaṃ sarvaṃ
syāmiti sa etam puruṣamedham pañcarātram
yajña kratum apaśyattamāharattenāyajata teneṣṭvātyatiṣṭhatsarvāṇi bhūtānīdaṃ
sarva mabha vadatitiṣṭhati sarvāṇi bhūtānīdaṃ sarvam bhavati ya evam
vidvān puruṣamedhena yajate yo vaitadevam veda

[This perhaps is just as Rishi Vamadeva merged into Shiva becoming one of the five faces of Shiva to represent the aspect of Vama or “preserver” associated with the element of water.]

4.2. Purusha Sukta visualizes the universe as a cosmic person. The universe visualized in human imagery is the Purusha (purusha evedam vishvam). He is endowed with countless heads and limbs. He has Agni in the face and mouth; the sun in eyes; moon in the mind; directions around as ears; vayu as his vital currents; Vedas as his speech; and the whole universe is settled in his heart. The space and time, the years, seasons, all creation and the very earth itself emanates from his feet.

candramā manaso jātaś cakṣoḥ sūryo ajāyata |  mukhād indraś cāgniś ca prāṇād vāyur ajāyata ||

chandāṃsi jajñire tasmād yajus tasmād ajāyata ||

 pādo ‘sya viśvā bhūtāni tripād asyāmṛtaṃ divi ||

Purusha is cosmic in nature, fills and enlivens the entire universe; yet, he also dwells hidden in heart-cave of each being as its essence, spirit and strength. He is the antaryamin, the very life of life. Purusha in this sense is the Atman. The essentials of our existence are all settled in the Purusha, like the spokes of the wheel in its hub.

Visualizing the cosmos in the image of a person is a grand analogy; and no other  device appears  to  match that . A reciprocal reflection of that image is the man who finds in his own being a miniature universe. He finds within him the ‘sun’, the ’moon’, the ‘earth’, the ’fire’ and the ‘space’. Man is the fragmentary universe (vyasti); and Purusha is the totality (samasti). The man and universe exist in one another. The potency of the whole is contained in each fragment. Hence they are in me; and I am in them” (mayi te teṣhu chā api aham – Bhagavad Gita 9.29)

Purusha is not a personal deity who creates out of nothingness. It  is the cosmic process that creates and destroys because that is in its nature; just as a man’s blood creates new cells; his hair on head and body spring forth and wither away; and his stomach digests other forms of life. The acts of devouring and being devoured are successive states of everything. The processes of life and death are entwined, each giving rise to the other.

4.3. In the Samkhya context, the term Purusha has the meaning of pure consciousness or spirit, as compared to matter (prakriti) which includes our senses and intellect. Prakriti evolves, changes and binds; yet, it is inert and needs the presence of Purusha to enliven, push and impel. Purusha here is the stimulator who causes creation. It is through Prakrti that Purusha manifests himself. And, every form of creation bears this sign of duality.

When he is animated by the desire to create, Purusha is Prajapathi the creator (srashta)  and protector (Palaka) of all beings. Some scholars explain the giving up (sacrificing) his innate nature of purity, formlessness and transcendence is indeed the sacrifice of Purusha (Purusha medha). In a sense, Purusha was dismembered. Prajapathi could become the creator only as a result of Purusha’s sacrifice; and all the innumerable forms of creation emanated from a common foundation, the fire of desire (Kama) of the Prajapathi. Though Purusha was dismembered , he fills, enlivens all this Universe ; and,  lies hidden in all forms of existence.  Sri Ramanuja, therefore,  described him as the primordial creator adi-karta cha bhutanam.

ime vai lokāḥ pūrayameva puruṣo yo’yam pavate so’syām puri śete tasmāt puruṣastasya yadeṣu lokeṣvannaṃ tadasyā nnam medhas tadyadasyaitadannam medhas tasmāt puruṣamedho’tho  yadasminmedhyānpuruṣānālabhate tasmādveva puruṣamedhaḥ //Sh.Br.13.6.2.1//

4.4. Purusha Sukta had enormous impact on the development of Vishnu; as also in molding the Vaishnava doctrines, theology and world-view.

The concept of Purusha pre-dates the emergence of Vishnu or Shiva forms. The Purusha imagery comprehends the powers associated with Agni, Indra, Vayu, Surya and yajna; and transcends, pervades all existence. For instance, it was said, the power, energy and splendor of the sun are derived from Purusha the resplendent spirit dwelling inside the solar orb, brilliant like the burnished gold. Purusha in the solar orb and the Purusha abiding in the eye were said to be established in one another. Prajapathi, who is the form of Purusha when animated, was considered the Agni on earth. Purusha was the very essence and the purpose of the yajna. Purusha pervades all existence and also resides in heart-cave of all beings.

During the later periods, Purusha came to be recognized as Vishnu and  Purusha Sukta the eulogy of Vishnu, because the all-pervading Vishnu by then was identified with Surya, Agni, and Yajna (yajno vai vishnuh). The virtues and powers of Purusha and his associations with elements in nature were analogues to Vishnu relations with the Vedic deities. And, with that, Vishnu, Narayana and Purusha were all treated as one.

4.5. Some concepts emanating from Purusha Sukta appear to have guided the doctrine and theology of Vishitadvaita. For instance, the Purusha Sukta put forward the premise of the formless absolute entity (amurta) voluntarily assuming a cognizable form (murta) in order to be accessible to the aspirants. It was an act of boundless compassion (karunya) and love for the beings. Purusha is cosmic in nature and pervades all universe; yet, it resides in each being as its very essence (antaryamin).

Similarly, in Vishistadwaita, Narayana the Parama Purusha (the supreme person) is the embodiment of the Absolute the Brahman who assumed the divinely auspicious charming form (divya mangala vigraha) out of compassion for all beings. The transcendental Para Vasudeva assumed the Vyuha forms and Avatars for the benefit of all beings. Narayana Paramatman dwells in all beings and matter as the Antaryami or ‘Suksma Vasudeva’  like the ‘Smokeless flame’ seated in the ‘lotus of the heart ‘. Narayana just as the Purusha is the source of all existence and all that exists resolves in to him.

In the process Purusha, Narayana  , vasudeva and Vishnu all merged in to each other.This became the basis for the Bhagavatha Dharma

Narayanaya  vidmahe  Vasdudevaya  dhimahi

Tanno  Vishnuh  prachodayath  

(Mahanarayanopanishad)

 

4.6. According to Sri Ramanuja, whatever is, is Brahman. His Brahman is not an impersonal Absolute;  but, is a Savisesha Brahman, a saguna Brahman i.e., Brahman endowed with countless auspicious attributes (ananta kalyana guna). He is the infinite ocean of compassion (apara karuna sindhu).  He is eternal (nitya); His nature is truth (satya), knowledge (jnana) and bliss (ananda).

He is Narayana, he who originated from ‘that which has all forms and no form’. Narayana Parama-purusha alone exists; the entire existence dwells in him and he abides in all as antaryamin. Loving devotion and surrender to Narayana is the only path to Moksha, the liberation; and even that is possible only with the loving grace of Narayana. Sri Ramanuja explains Narayana as “He who is the dwelling place, i.e., the source,  support and dissolving ground of all Jivas, including inert matter.” Moksha consists in the jiva remaining in undisturbed bliss in presence of Narayana in Vaikunta.

4.7. Sri Ramanuja’s concept of the Supreme is closer to that of the Rig Veda, which primarily follows Saguno-pasana. The Supreme Reality of Rig Veda, though it is beyond description or definition, is the abode of all auspicious qualities; he is sat-chit-ananda. He is the omniscient and the original cause of the world (tasyedu visva bhuvanadhi mrudani). He manifests himself as the world (Visvarupah).  He is  Jagat_pati, the Lord of the Universe, of all beings. He is the sustainer and the protector. He is omniscient, compassionate and easily accessible to devotees (Niyanta sunrutanam). Rig Veda firmly believes in grace of God; and calls upon all humans to establish a relationship with Deva as one would do with a son, a friend, a father or a mother. There is faith that the Devas respond to prayers and fulfill the desires of the devotees.

370151723_047d147bb9_z

5.1. The famous philosopher Dr.Surendranath Dasgupta in his monumental History of Indian philosophy makes an interesting observation. In the Rig Veda, he observes, Vishnu is called as Gopa, Sipivishta, Urukrama, etc., but not as Narayana. Then he goes on to say, similarly, Bhagavad Gita does not use the term Narayana; but, the Mahabharata identifies Narayana with Vishnu. This, according to him, could show that Bhagavad Gita was composed much before Mahabharata tale was reduced to writing. He opines, Bhagavad Gita was composed when Narayana was yet to be equated with Vishnu. The name Narayana, he says, appears for the first time in the Satapatha Brahmana (xii, 3.4. L,) where, however,  it is not connected with Vishnu.

6.1. The term Narayana is a compound of Nara (Man, more particularly the foundation of all men) and Ayana (the goal); meaning, Narayana is he who directs towards the ultimate goal moksha of the humans. In Mahabharata, Krishna is often referred to as Narayana and Arjuna as Nara. Here Narayana guides Nara the man towards true understanding and liberation. The epic, in fact, commences with salutations to Narayana and Nara (Narayanam namaskrutyam naram chaiva narottamam).

6.2. The expression Narayana also suggests several other meanings; the more common of which, as given in Manu Smriti (1.10) are: ‘the primal waters’; ‘that which does not perish’; ‘the spirit that abides (ayana) in the water (Nara, apah) of existence’ and being the ‘goal of all knowledge’. Narayana’s association with water is very intimate. Narayana, it is said, Narayana as Purusha not only resides in water  in his natural state (prui sete) ; but,  is the very essence of water. These explanations are meant to suggest that Narayana is an infinite cosmic ocean from which all creation arises, in which all beings live and into which all that exists   resolves.

āpo narā iti proktā āpo vai narasūnavaḥ / tā yad asyāyanaṃ pūrvaṃ tena nārāyaṇaḥ smṛtaḥ // Mn_1.10 //

6.3. Further, the creation and destruction of the universe, it is believed, is neither its beginning nor its end. They are just segments of a long spread out cyclical process. When creation is withdrawn, the universe does not totally cease or is it wiped out. The universe that was destroyed persists in a subtle form as a reminder of what once was; and as a germ of what will be the next universe. That potent reminder (Sesha) of the destroyed universe is embodied in Sesha the serpent coiled itself and floating upon limitless ocean of casual waters. Sesha whose other name is Anantha (the endlessness) represents the non-evolved form of nature (prakrti).Vishnu the pervader and preserver rests on Sesha floating on water, until he wills the next cycle of creation. Vishnu then is Narayana the one who abides in water. Narayana also means ‘the abode of man and of all existence’

[There is an interesting sidelight to Narayana’s association with water. It was mentioned to me; and am not sure if it is based in a text. This has reference to the ever –going conflict between two powerful sages of the early Vedic era – Brighu and Angirasa. Brighu was the son of Varuna the Vedic deity of water-principle. The Brighu clan and followers were close to life on rivers and seas. The vast stretch of the mouths of the mighty Sarawathi as it branched into number of rivulets and joined the occasion was the domain of the Brighus. The Brighus were the people of the sea. The Angirasas were, on the other hand, closely associated with mountains, hills, dales, and vast open spaces; they lived mainly in the foothill regions of the Himalayas. The Angirasas were mountain dwellers.

mysore-painting

The myth of churning sea-water with a mountain-head is largely seen as a symbolic representation of the oscillating conflict between the people of the sea (Brighus – Asuras) and the people of the hills (Angirasas- Devas).The Angirasas eventually won the battle; Vishnu the leader of the Angirasas (Devas) took Lakshmi (aka Bhargavi meaning Brighu’s daughter), the daughter of the vanquished sea-people, as his wife. Vishnu also derived his riches like the Kaustuba gem, Panchajanya etc from the sea; and resided among the people of the sea (Brighus). Vishnu who in early Rig Veda was a mountain dweller (giristha) eventually made his home in water. He became Narayana. ]

C.  Vasudeva –Krishna

71. Krishna son of Vasudeva of the vrishni-yadava clan is the soul and spirit of the Mahabharata. Krishna alone rescued the epic from degenerating into internecine family feud; and elevated it into a conflict of great significance in order to uphold Dharma. He taught the world that the ultimate conflict was not about land, riches or power but about the human spirit, the Dharma.

7.2. Towards the end of Mahabharata, Vishnu came to be equated with Narayana and with the Supreme Being. At many places in the epic Krishna and Vasudeva are mentioned as forms of Vishnu/Narayana (MB Udyoga parva and Shanthi parva). In Bhagavad- Gita, Krishna is the virtual Supreme Being. The Anu-gita which appears at the end of Mahabharata reveres Krishna as Vishnu. There are at least six instances in Mahabharata (including the one of Bhagavad Gita) where Krishna displays his awe inspiring cosmic form (vishva rupa) to demonstrate his divine essence.

Krishna Jagadguru sepia

8.1. Krishna has long been worshipped and revered as Supreme god.  The great grammarian Panini (8th century BCE) in his Astadhyayi explains the term vasudevaka as the devotee of Krishna -Vasudeva. Later, Patanjali (3rd century BCE) in his Mahabhashya too defines the term bhakta (devotee) as the ‘follower of Vasudeva, God of gods’- ke cit kaṃsa-bhaktāḥ bhavanti ke cit vāsudeva-bhaktāḥ (P_3,1.26.6).  Patanjali quotes a verse: “May the might of Krishna accompanied by Sankarshana increase! – saṅkarṣaṇa-dvitīyasya balam kṛṣṇasya vardhatām iti  -(P_2,2.24.4) “

8.2. The Arthashastra of Kautilya, of fourth century BC, refers several times to Krishna; while the Baudhayana Dharma Sutra  (Baudh 2.5.9.10) of the same century gives twelve different names for Krishna, including popular ones like Keshava, Govinda, and Damodara.

8.3. The Jain god Halabhrit referred to in Jaina Puranas is identified as Baladeva or Balarama, elder brother of Krishna. He is shown with snake-hood, a club or ploughshare or both, and a wine cup.

8.4. The Ghata-jataka of the Buddhist Canon (5-6th century) carries the story of a certain Krishna who belonged to a royal family of Matura. He is the son of king Upasagara and queen Deva-garbha; but was given to the foster care of Nandagopa wife of Andaka-vrishni. This Krishna is described as a virtuous and revered person; a Rishi.

8.5. The noted historian Dr. D.C. Sircar, quoting Quintus Curtius Rufus (c. 41-54 AD) says that an image of Vasudeva-Krishna was carried in front by the army of King Paurava, as it advanced against the Greeks led by Alexander the Great (The Cultural Heritage of India, vol. 4. p. 115).

9.1. The archaeological evidences too indicate prevalence of Krishna – Vasudeva worship centuries before Christ. For instance:

The erudite researcher, Bharathkalyan cites a silver coin of the Vaishnava King Agathocles (Ca.180 BCE), from the border lands of the North-West India, depicting Krishna Vasudeva in Bactrian garb, holding Shanka, Chakra and Chatra.  

Krishna coin 180 BCE

Further, a stone pillar with a Garuda sculpture on top dedicated to the god Vasudeva the “God of gods”, was erected in front of Vasudeva temple by Heliodorus the Greek ambassador to the court of King Bhagabhadra (around 113 BCE, near Vidisha or Besnagar in MP).

Another second century inscription of Ghosundi (Rajasthan) mentions a pujā-silā-prākar (stone enclosure for worship) in Nārāyana-vata (park of Nārāyana) by king Gājāyana Sarvatāta constructed in service of gods Vasudeva and Sankarshana described as ‘Lords of all’.

And the Mora –well inscription assigned to first century found near Mathura (UP) refers to five heroes of vrishni clan viz Baladeva (Sankarshana), Vasudeva (Krishna), Samba (son of Krishna), Pradyumna (son of Krishna) and Aniruddha (son of Pradyumna).

4th–6th century CE Sardonyx seal representing Vishnu

Heliodorus was a Greek ambassador to India in the second century B.C. He was sent to the court of King Bhagabhadra by Antiakalidas, the Greek king of Taxila. The kingdom of Taxila was part of the Bactrian region in northwest India, conquered by Alexander the Great in 325 B.C. By the time of Antialkidas, the area under Greek rule included what is today Afghanistan, Pakistan and Punjab.

Heliodorus was presumably not the only foreigner who took to  Vaisnava devotional practices ; certainly there must have been many others

The column Heliodorus erected at Besnagar in central India in about 113 B.C is considered one of the most important archaeological finds on the Indian subcontinent.

The inscriptions on the Heliodorus pillar  read:

brahmi-on-columnDevadevasa Va[sude]vasa Garudadhvajo ayam
karito i[a] Heliodorena bhaga
vatena Diyasa putrena Takhasilakena
Yonadatena agatena maharajasa
Amtalikitasa upa[m]ta samkasam-rano
Kasiput[r]asa [Bh]agabhadrasa tratarasa
vasena [chatu]dasena rajena vadhamanasa

Trini amutapadani‹[su] anuthitani
nayamti svaga damo chago apramado

**

“This Garuda-column of Vasudeva (Vishnu), the god of gods, was erected here by Heliodorus, a worshipper of Vishnu, the son of Dion, and an inhabitant of Taxila, who came as Greek ambassador from the Great King Antialkidas to King Kasiputra Bhagabhadra, the Saviour, then reigning prosperously in the fourteenth year of his kingship.”

“Three immortal precepts (footsteps)… when practiced diligently lead to heaven: self-restraint (dama), charity, (thyaga) consciousness (apramada).” 

Pillar

Inscription on the board,  set up by the Archaeological Survey of India , at  the base of the pillar

***

10.1. The exact relationship between Krishna and Vishnu is complex;  and is a subject of endless debate. Strangely, Krishna became the point of departure for Vaishnava Schools of the North and the South. In the older traditions of the South, Narayana or Vishnu is the summum bonum , the source, support and dissolving ground of all Jivas. Krishna is an aspect or an avatar of Vishnu; not necessarily subordinate to Vishnu. However, the traditions of Gaudiya (Bengal) Vaishnavas, the Nimbarka Sampradaya and follower of Vallabha-charya consider Vasudeva-Krishna as Svayam Bhagavān “The Lord Himself “; and not  different from the ultimate and absolute Brahman. Vasudeva-Krishna   is the source of all avatars, and is the source of Vishnu or Narayana and all other gods.

D. Para-Vasudeva

11.1. The central doctrine of the Pancharatra ideology is that the absolute, formless Brahman, out of loving- compassion, voluntary assumed bodily forms so that the devotees may gain access to his subtle form. He manifests himself in five-fold forms: Para or the supreme form of his transcendent being; Vyuha or the group of his forms called Vasudeva, Sankarshana, Pradyumna and Aniruddha brought together in worship and adoration as a complete body of divine power,  and who represent  the cosmic consciousness, intellect, mind, and the ego respectively; Vibhava or his glory seen through his incarnations or Avatars; Archa or his presence manifest in his idols and images worshipped by devotees; and Antaryamin or his immanent presence within the Universe.

11.2. The approach to the divine is graded. The devotee worships the Vibhava form or the incarnation of God such as Rama and others; then moves on to worship the Vyuha forms. And, from Vyuha form he progresses to worship the subtle forms of Vasudeva. Only the Suris the truly wise ones (gods and emancipated souls) can experience and enjoy His Para form abiding in the highest realm paramapada

He is called Para because he is free and pure, altogether unconditioned by phenomenal process. Para is often referred to as ‘the first form’, ‘the best of the Purushas’ and ‘the Highest Light’ etc; But, Para is not the Absolute –Supreme –formless Brahman. Para is a representation of Brahman.

12.1. Adi – murti or Adi-Vishnu or Para-Vasudeva represents the Pancharatra ideology of the transcendental form (para) of godhead Narayana (Vishnu) abiding in the highest realm paramapada. He is called para because he originated from ‘that which has all forms and no form’, ‘Brahman without beginning, middle and end’; and because he  is the all pervading divinity and the primal source of all other divine forms and manifestations. He is visualized as pure and resplendent like a clear crystal; and as the divinely auspicious charming form.

The identification of Vasudeva-Krishna with Vishnu or Para –Vasudeva had enormous impact on the Pancharatra theology.

Adi Murthi

Let’s talk about the Vyuha of the Pancharatra School in the next post.

Continued in

Part Three

The Vyuha

 

Iconography

Narayana

(i) Narayana being one of the most popular forms of Vishnu, number of texts and dhyana-slokas carry the iconographic details of Narayana. The more prominent of such texts are: Chitra-karma sastram; Parasara Samhita; Sesha Samhita; Rupamandana; and Aditya hrudaya. While the general features of Narayana resemble that of Vishnu , Sesha Samhita says, Narayana image should be placed in a solar orb (savitr –mandala) ; he should be seated upon a white lotus;  and bedecked with armlets, crocodile-shaped earrings (makara – kundala) , a rich crown , the kaustubha gem and Srivatsa  on the chest; and  decorated with flowing garlands (vanamala) . He should be dressed in bright yellow or red  garments; and holding conch and discus in his hands. The expression on his face should be bright, beautiful, smiling and evoking happiness in the hearts of the viewers. His complexion should resemble molten golden –hue or luster of blue cloud. (Sesha Samhita 34, 16)

(ii) The usual descriptions of Narayana are that he has four arms representing four vyuhas; and carrying conch, discus, mace and lotus. His complexion is blue like that of sky.  His countenance is tranquil (shanta). His bearing is dignified, standing in equipoise (sama-banga) on a white lotus. He wears yellow silk garments (pitambara) and is richly adorned with gems, ornaments and flower garlands.

Krishna

krishna with gods

Krishna is the most adorable of all gods. There are virtually countless forms of Krishna-depictions; and, can hardly be enumerated.  The texts , therefore, suggest, Krishna may be visualized in whatever form one desires. But , they lay down some broad guidelines.

[It is said in Vaikhanasa agama: Krishna‘s forms are indeed infinite; and,  are beyond enumeration . Whoever desires to worship Krishna, let her/him choose one of Krishna’s forms ; and , devote to it entirely, diligently and lovingly – Krishna rupani asankyanivaktum asaktyani; tasmad ethestya rupam karayeth]

Krishna Idol

(i) To start with, the Krishna iconographic depictions are conceived in three broad forms. They are his Saumya or Lalita-rupa – gracious, delightful and beautiful form; the Aradhya-rupa– worship-worthy divine form , either two-armed , four-armed or eight-armed (Trilokya-mohana)  carrying various ayudhas ; and, the third  is the Vishwa-rupa, or his cosmic form displaying his infinite form as Vishwa or Virat  Purusha pervading every element of the  entire cosmos .

[However, the spectacular Vishwa-rupa depictions and themes are mostly confined to Bhagavad-Gita illustrations

Vishwaroopa]

***

But, It is mostly the blend of his two forms – the Saumya and the Aradhya – that have given rise to his Lila –rupa (depicting his various playful deeds and adorable sports) that is widely illustrated and painted in various Schools of art. The Lila Krishna is the most lovable infant/ boy/ and lover. Every mother loves to see Krishna in her little son; and every girl pines to see her lover in the image and spirit of Krishna.

The Lila-rupa is now the prime form of Krishna images. It combines in itself the three other Rupas or forms (Saumya, Aradhya and Vishwa) of Krishna; and projects him as Lila-Krishna or Lila-Purusha.

Again, Krishna’s icons in Lila-rupa may be classed under three broad groups :

: – The first one comprises of his sanctum images, the images installed in temples to which formal worship is offered. For instance:   the universally revered mage of Venu Gopala or Banke Bihari at Vrindavana standing in Tribhangi, with flute on his lips. He is richly decorated with Kaustuba jewel and Srivatsa mark on the chest; and Swastika insignia on his feet.

The sanctum-images of Krishna, Aradhya rupa, try to mirror his cosmic nature. The blue or dark bodied  like a rain-bearing cloud (abhravapu) Krishna corresponds to the sky and the ocean; one defining cosmic vastness and the other cosmic depth; and, both conjointly the Infinity, which as Vishnu’s incarnation Krishna represented [except in Tanjore and Mysore paintings where his figure glows with golden lustre].

: – The second relates to his deeds as the protector of the virtuous and the destroyer of the evil.

The icons depicting Krishna eliminating the evil form another group of Krishna’s iconographic visualization. He subdues the evil ones, such as Kalinga the python, puts an end to agents of death such as Baka, Puthana and Kubalyapitha and others. Here, the detached Krishna eliminates evil, protects environment and Yamuna; removes the polluting venom; puts out forest fires and so on.

As Govardhana-dhari, Krishna lifts mount Govardhana on his left hand little finger for protecting Vrindavana, its people, animals, nature and so on, from Indra’s ire.

His major act of valour in his adolescence was the elimination of Kamsa and Chanura; and establishing a just social order.

Apart from these acts of bravery, Krishna also dispels misgivings and imparts true understanding and knowledge. [Much later in his life, Krishna, as Partha Sarathi,  on the battle field, teaches Arjuna the true perspective of life; and the ways that wise persons act in life].

krishna chatustala0005

: – And, the third is his human forms, where he is the highly  ideal and most beloved  boy, youth and son; and, the sublime, divine lover

In this category of Lila rupa, Krishna as an infant is shown either on the swing or on the lap of Mother Yashodha or on a banyan leaf (vata-patra-shayi) or enjoying a lump of fresh butter (Navaneetha Krishna).

krishna yashodha

Krishna Bala krishna

Krishna Kalinga

In his childhood, Krishna as Bala Krishna is depicted variously as the most lovable ever mischievous little boy stealing butter, breaking pots and playing pranks; as Gopi-Krishna, he plays, sings and dances merrily with the village girls; and in the Radha – Krishna rupa he is with Sri Radha, idealized Love.

As Venu-Gopala or Madana-Gopala or Dhenu Gopala, Krishna adorned with pea-cock feather, vanamala (garland of forest flowers) and a string of gunja-seeds (gunja-avathamsam – siki-pincha),   playing on flute tends the cows (Gopalaka) and plays happily with his mates (Gopala-sukhavahanam).

Krishna Gopala

In Indian tradition, cow (gau) also represents the earth; for, she has earth-like forbearance and capacity to feed mankind. Allegorically, Krishna protects the earth from evils and sustains it. ‘Gau‘ also means the five ‘senses’ that human beings have. Thus, Gopala (Gah palayanti) is he who sustains and controls senses (indriyani).

srinathji

At another level, Krishna stands for the Supreme Self and Gopis for ‘jivatmas‘ or individual selves pining to unite with it. Radha defines the culmination of this longing before she unites with the Supreme Self.

Krishna Kalinga mardhana

(ii) Now, a well respected text of the Shilpa Shastra – Sri Brahmiya Chitra karma Shastram – of Vaishnava orientation devotes the entire of its chapter nine – Sri Krishna Lakshanam – to discuss the various iconographic representation of Krishna.

According to this text:

Krishna, it is said, is usually depicted as an adorable, lovable lad of less than fifteen years; or as a handsome and graceful young man. The boyhood of Krishna, it is suggested, could be split into five segments of three years each. The general prescription is , the images of Krishna of the age of less than three be scaled to five (pancha) tala measure (sixty angulas); the images of three to six years in six (shat) tala measure (seventy two angulas);the images of the age up to nine years in seven (sapta) tala measure (eighty-four angulas); the images of the age from nine to twelve years in eight (asta) tala measure(ninety-six angulas); and, the images of the age from twelve to fifteen years be scaled in nine (nava) tala measure( one hundred and eight angulas).

Certain depictions of boy-Krishna are  stylized and are ichnographically well recognized; these are : Bala_Krishna (infant Krishna playing in mother’s lap or on leaf of banyan tree , sucking his toe); Navanita-tandava (three-year old Krishna standing on his slightly bent left-leg in a dancing pose, the right-hand holding afloat a ball of butter) ;Kaliya-mardana( a seven to nine year Krishna dancing on the hoods of the Kalia serpent , holding in his left hand the tail of the serpent); Govardhana-dhara( twelve year Krishna holding up the Govardhana hill on the tip of his little finger) and Venu-gopala (twelve-fifteen year Krishna under a tree playing on the flute , he stands in tri-bhanga posture and wears a peacock feather in his hair).

Krishna as a young man is depicted lovingly in company of Rukmini or Radha or other gopis;

or as  Govardhana or as Partha-sarathy the teacher of Arjuna on the battle field.

The image of Krishna as a young person is scaled in ten (dasa) tala measure (120 angulas). His complexion resembles light-blue sky; he is clad in garments of golden-hue (the colour of Radha); lovingly adorned with ornaments, flowing garlands swinging across his chest, a beautiful light crown with a peacock feather tucked on top. He could be holding a flute or a baton (danda); his left hand bent at elbow and slightly lifted up in jest. He has a gentle, sweet smile playing on his lips and face; and a sparkle glowing in his eyes.

Krishna radha 3Krishna radha2

Krishna is depicted with two hands as also with four or eight hands. Bedecked with ornaments (sarva-abhara-bhushitam)   Trailokya–mohana form may have eight or sixteen arms carrying various ayudhas , such as shakthi (sphere), kumbha (pot), srunga (horn), musala ( pestle) , bana (arrow) , goad (ankusha) , noose ( pasha)  ; and gesturing boons (varada-hasta) or in meditative pose (dhyana-hasta)

Rangoli222

(iii) Another text – Vidyarnava-tantra – mentions that Krishna could be represented differently according to the three segments of the day: morning, afternoon and evening.

In the morning, Krishna is seated on a jewelled throne (ratna-simhasana) in Padmasana (lotus-posture). He is shown as a small boy, blue in complexion; holding a ball of fresh butters; and, surrounded by cows, his fellow cowherd-friends and maidens. He looks happy and cheerful (hasantam) with an enchanting smile playing on his lips (manda-smita-mukhambuja)

In the afternoon, he is a grown-up boy, in his teens, wearing pea-cock feathers on his crown (Shikhi-pincha); bejewelled (ratna-kundala); adorned with Vanamala garland; and, draped in yellow silken garments (Pitambara). He holds a flute in his right hand; and in his left hand he has either a conch (shankha) or a stick (krida vetra) for sport.

And, in the evening, he is resplendent as a monarch of Dwaraka (Dwarakadisha), seated on a jewelled throne in an elegant pavilion surrounded by water bodies. He well decked, adorned with variety of ornaments and a handsome crown. Sometimes, he is depicted with four arms carrying the ayudhas associated with Vishnu – conch, discus, mace and lotus (shankha, chakra, gadha, padma). He is served by many beautiful looking women (surupani) and wise sages. Rukmini of blue complexion holding a red lotus flower (padma or rakta-indīvara) stands to his right; while Satyabhama of golden complexion holding a blue lotus flower (utpala,nīlotpala ) stands to his left.

Krishna symbolism

(iv) There is also a rare depiction of Krishna in the Tantric tradition.

Para Vasudeva

Isvara Samhita (4: 80 to 102) gives a detailed description of the Para Vasudeva. He has four arms and is resting on Adi-sesha, attended by Garuda, Visvaksena, Nitya-suris and others. He carries lotus (symbolizing creation), discus (protection), conch (salvation) and mace (destruction).He is shining like a clear crystal; and is dressed in golden yellow garments. His other features are similar to that of Vishnu.

lotus blue

Sources and References

I gratefully acknowledge the line-drawings and notes from Brahmiya Chitrakarma Sastram

by Prof G Gnanananda

Vishnu Kosha by Prof.SK Ramachandra Rao

http://www.advaita-vedanta.org/archives/advaita-l/2003-May/032971.html

http://www.gosai.com/chaitanya/saranagati/html/vedic-upanisads/vedic-archeology-2.html

http://en.wikipedia.org/wiki/Vasudeva

http://en.wikipedia.org/wiki/Svayam_bhagavan

http://en.wikipedia.org/wiki/Heliodorus_pillar

http://www.gosai.com/chaitanya/saranagati/html/vedic-age_fs.html

http://hinduismhome.com/shop/index.php?main_page=index&cPath=16

http://4krsna.wordpress.com/2009/04/10/the-pancharatra-agamas/

http://www.ibiblio.org/sripedia/cgi-bin/kbase/Pancaratra/Modeshttp://www.srivaishnavan.com/ans_iswara.html

http://www.indiadivine.org/audarya/spiritual-discussions/35835-enclyopedia-visistadvaitam-sri-vaishnavam.html

Krishna with cow drawings from http://www.drdhaarts.com/portfolio/?q=node/8

 Other pictures from internet

 
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Posted by on October 1, 2012 in Vishnu

 

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Vishnu – Dwadashanamas – Part One


Abstract

(1) Vishnu in the Vaishnava tradition is the Supreme God; the all-pervading essence of all beings; and, one who supports, sustains and governs the Universe. And, yet it would be rather incorrect to regard Vishnu as a single deity standing all by itself. Vishnu is the culmination or convergence of several gods; and, is , in fact, a comprehensive manifestation of numerous gods.

(2) The saga of Vishnu’s evolution, expansion and his ultimate supremacy is truly fascinating.

In the early Rig Veda he is one of the lesser gods; and he soon evolves, expands in the Vishnu Sukta, where he transcends into a brilliantly shining divine being that pervades and protects all existence. The virtues and powers of major Vedic gods Indra, Surya and Soma merge into Vishnu. By extension, Agni who is a form of Surya; Vishwakarma (maker of all things) who too is regarded a form of Surya (yenemā viśvā bhuvanāny ābhṛtā viśvakarmaṇā viśva-devyāvatā- RV_10,170.04); and, Vayu the complement of Indra all merge into Vishnu. They all are identified with Vishnu; and come to be known as forms of Vishnu.

The Brahmana texts elevate Vishnu to far greater heights. Here Vishnu is celebrated as the supreme god into whom all gods including the very symbol of Vedic spirit Agni merge. Vishnu is regarded the source of all gods; all other gods derive their glory and splendour from Vishnu; and are emanations of his expressions.

(3) In the later texts, the ancient divinities like Narayana merge into Vishnu; and become indistinguishable from Vishnu. Towards the end of Mahabharata, Vasudeva-Krishna joins the stream and is regarded as Vishnu. Then there is the transcendental aspect of Vishnu as Para-Vasudeva. That is followed by the prominent members of vrishni yadava clan (vyuha) – Krishna’s brother, son and grandson- as also their subdivisions , all regarded as various aspects of Vishnu. True to his name, Vishnu enlarged infinitely (vyapad vishnuhuh). 

The Puranas and the texts of the Bhakti-cult wove elaborate and highly creative legends glorifying the Supremacy of Vishnu and rejoicing his countless manifestations, avatars. In the later ages, gods such as Srinivasa, Venkateswara, Ranganatha, Padmanabha, Satyanarayana and other were all regarded not merely as forms of Vishnu, each with certain special affiliations, but as Vishnu himself.

Around these major forms of Vishnu, whole pantheon of minor and supporting deities took form; each assigned a specific aspect of Vishnu.

(4) Thus, like the proverbial inverted- tree with its roots in the air; and its branches and sub-branches spreading, flourishing elaborately downwards, the all encompassing Vishnu branched out, expanded and permeated the entire universe with his limitless expressions. All things merge in him; and all things emanate from him.

The awe-inspiring Vishva-roopa spectacle presented in Bhagavad-Gita is a colossal demonstration of the same principle.

(5) When we talk of Vishnu, we do not refer to a single deity but to Vishnu-tatva the all encompassing core-principle, the ever flowing stream of bliss (rasa) that pervades all existence.

A. Vishnu

In Rig Veda

1.1. Vishnu in the early Rig Veda is one of the thirty-three Devas; and, is classified among gods of celestial region (dyu-sthana devatha) along with Varuna, Savitar and Pushan. Just about five or six suktas are devoted to him. He is ranked among the lesser- gods but is associated with the major god Indra.  In early texts, Vishnu is not one of the seven solar deities (Adithya-s), but later he becomes their chief.

1.2. He is described as a young and a handsome person with a huge and a lustrous body (brhat sarirah yasya sah – RV 1.155.06) He resembles Surya and has rays in his appearance. He has big-feet (urugaaya) and moves in huge strides (uru-krama). He lives and wanders in the mountains (girisha, giristhah) just as a mighty lion that lives  and roams atop a forested hill. He is ever active, full of youth (yuva) and energy. But, he is not flippant or childish (akumarah)

(bṛhaccharīro vimimāna ṛkvabhir yuvā-akumāraḥ praty ety āhavam  – RV 1.155.06)

1.3. Vishnu initially had a lower position to that of Indra. He is Indranuja and Upendra, the younger brother of Indra. He is also the close friend of Indra (Indrasya yujyah sakhah) (RV 1,022.2); and often partakes Soma drink in the company of Indra. Vishnu helped Indra in vanquishing Vrtra and in destroying ninety-nine fort-cities of Shambara

..(indrāviṣṇū dṛṃhitāḥ śambarasya nava puro navatiṃ ca śnathiṣṭamRV 7.99.5).

1.4. The six riks forming the first portion of the Vishnu Sukta (RV 1.154) are most significant in the evolution; and the ever expanding glory and splendor of Vishnu. The significance of this Sukta is enormous. The Sukta not only sets up the identity of Vishnu with Surya the sun but also goes beyond to state that Vishnu is the very source of all gods and the savior of all existence.

RV_1,154.01a viṣṇor nu kaṃ vīryāṇi pra vocaṃ yaḥ pārthivāni vimame rajāṃsi |
RV_1,154.01c yo askabhāyad uttaraṃ sadhasthaṃ vicakramāṇas tredhorugāyaḥ ||
RV_1,154.02a pra tad viṣṇu stavate vīryeṇa mṛgo na bhīmaḥ kucaro giriṣṭhāḥ |
RV_1,154.02c yasyoruṣu triṣu vikramaṇeṣv adhikṣiyanti bhuvanāni viśvā ||
RV_1,154.03a pra viṣṇave śūṣam etu manma girikṣita urugāyāya vṛṣṇe |
RV_1,154.03c ya idaṃ dīrgham prayataṃ sadhastham eko vimame tribhir it padebhiḥ ||
RV_1,154.04a yasya trī pūrṇā madhunā padāny akṣīyamāṇā svadhayā madanti |
RV_1,154.04c ya u tridhātu pṛthivīm uta dyām eko dādhāra bhuvanāni viśvā ||
RV_1,154.05a tad asya priyam abhi pātho aśyāṃ naro yatra devayavo madanti |
RV_1,154.05c urukramasya sa hi bandhur itthā viṣṇoḥ pade parame madhva utsaḥ ||
RV_1,154.06a tā vāṃ vāstūny uśmasi gamadhyai yatra gāvo bhūriśṛṅgā ayāsaḥ |
RV_1,154.06c atrāha tad urugāyasya vṛṣṇaḥ paramam padam ava bhāti bhūri ||

The essential nature of Vishnu, as he evolves rapidly in Vishnu Sukta of Rig Veda, is his association with light, brilliance and his omnipresence.

Trivikrama

1.5. The first six riks of Vishnu Sukta (RV 1.154) revealed to sage  Medhātithi son of sage Kanva is the first Sukta in Rig Veda to be addressed entirely to Vishnu.

The Sukta   describes with awe and wonder the most celebrated three strides (Tri vikramana) of Vishnu (idam vishnum vichakrame). It said that the first and second of Vishnu’s strides (those encompassing the earth and air) were visible and the third was in the heights of heaven (space) (RV 1.155.1).This last stride is described as Vishnu’s supreme abode (paramam padam)   which only the enlightened (Suri) behold in their hearts, like the brilliantly shining sky. With those three great strides Vishnu came to be addressed as Tri-vikrama and as Uru-krama.

RV_1,022.17a idaṃ viṣṇur vi cakrame tredhā ni dadhe padam |
RV_1,022.17c samūḷham asya pāṃsure ||
RV_1,022.18a trīṇi padā vi cakrame viṣṇur gopā adābhyaḥ |
RV_1,022.18c ato dharmāṇi dhārayan ||
RV_1,022.19a viṣṇoḥ karmāṇi paśyata yato vratāni paspaśe |
RV_1,022.19c indrasya yujyaḥ sakhā ||
RV_1,022.20a tad viṣṇoḥ paramam padaṃ sadā paśyanti sūrayaḥ |
RV_1,022.20c divīva cakṣur ātatam ||
RV_1,022.21a tad viprāso vipanyavo jāgṛvāṃsaḥ sam indhate |
RV_1,022.21c viṣṇor yat paramam padam ||

1.6. There are several interpretations to these three colossal strides of Vishnu. To start with, Vishnu is identified with Surya; and the strides are the path traversed by sun in morning (samarohana), noon (Vishnu pada) and evening (gayasiras). The three strides are also said to represent the three realms of earth (bhu), mid-air (bhuvah) and outer- space (suvah); as also wakefulness, dream and sleep. Vishnu, with these strides, is also said to have recovered for the Devas the worlds we see (iman lokan); the Vedic corpus; and the very speech system.

vishnu as surya2

1.7. Yaska-charya while commenting  on the line “idam visnur vicakrame tredhā. ni.dadhe padam.samūḷham asya pāṃsure”, opines, when Surya shines forth with the brilliance of his rays he becomes Vishnu.

12,19: “idam.visnur.vi.cakrame.tredhā.ni.dadhe.padam.samūḷham.asya.pāṃsure/”.
12,19: yad.idam.kim.ca.tad.vikramate.visnuh/
12,19: tridhā.nidhatte.padam/
12,19: tredhā.bhāvāya.pṛthivī.ām.antarikṣe.divi.iti.śākapūnih/
12,19: samārohane.visnu.pade.gaya.śirasi.ity.aurṇavābhah/
12,19: samūḷham.asya.pāṃsure.pyāyane’antarikṣe.padam.na.dṛśyate/
12,19: api.vā.upamā.arthe.syāt.samūḷham.asya.pāṃsula.iva.padam.na.dṛśyata.iti/
12,19: pāṃsu1p.pādaiḥ.sūyanta.iti.vā,.pannāḥ.śerata.iti.vā,.piṃśanīyā.bhavanti.iti.vā/

Yaska_charya in his glossary Nirukta (12, 19) concurs with the argument of two of his predecessors- Sakapuni and Aurnavabha- the three strides of Vishnu could refer to the three realms of earth, the mid-region and the heavens traversed by Surya. He says the three regions represent the three forms of Surya – as fire on earth (prithviagni), the lightening (vidyut) in the mid-region and as the burning energy (Surya) in the heavens.

1.8. Yaska-charya says that with the first step Vishnu pervades all creation through his energy; with the second he enters all creation by light; and with the third he encompasses all things and beings.   He concludes that since Surya pervades (vashir, vyapta), enters (praveshena)   and encompasses (vivis) all the three regions with his splendor and energy, he indeed is Vishnu. The realms are his manifestations when Vishnu is called Surya.

1.9. Another hymn (1-155-6) of Rig Veda suggests Vishnu set in motion the wheel of time (kaala chakra), consisting ninety-four elements : Samvathsara (year-1);Aayana (Half-year: 2);Ritu (seasons -5); Maasa (months-12); Paksha (fortnights-24);Aho-ratri (solar days-30);Yama( roughly hours or parts of the day- 8); and Lagnas in each day(12).  

caturbhiḥ sākaṃ navatiṃ ca nāmabhiś cakraṃ na vṛttaṃ vyatīṃr avīvipat |
bṛhaccharīro vimimāna ṛkvabhir yuvākumāraḥ praty ety āhavam

The chakra in the hands of Vishnu is also regarded as the solar splendor (RV 5,063.04). It also denotes the cyclical nature of time (sūryo jyotiś carati citram āyudham).

With the identification of Vishnu with Surya, Vishnu is hailed as the soul (atman) of the universe. The virtues and powers of Surya merged with that of Vishnu.

1.10. Though Vishnu was identified with Surya, the sun, his movement across the space was both vertical and horizontal. The second mantra of the ‘Vishnu Sukta‘ says that the three enormous strides of Vishnu created space; empowered gods to secure and permeate all the three realms; and with that all the regions of the universe dwell in peace. It also enabled habitation of earth by human beings (bhuvaneṣu jīvase | RV. 9.86.38).

This all enveloping nature and benevolence towards all existence became in the later texts the substance for enlarging upon the enduring and endearing attributes of Vishnu.

1.11. A mantra in Rig Veda (indraś ca viṣṇo yad apaspṛdhethāṃ tredhā sahasraṃ vi tad airayethāmRV_6,069.08) says that Vishnu along with Indra took the famous three strides for the sake of all beings. Even elsewhere in Rig Veda, Indra, Indra-Vishnu, Vishnu are all used together, suggesting Indra and Vishnu are one. In this process, Vishnu, in place of Indra, became the lord of the universe. The attributes and titles that once applied to Indra were transferred to Vishnu. Not merely that; Indra-nila azure sky-blue as that of sapphire or emerald associated with Indra the lord of blue-sky and of dark clouds , now became the body-color of Vishnu . Indra is called Hari and Vishnu is Upendra.

In the later legends of the Puranas and Epics, Nara and Narayana; Arjuna and Vasudeva-Krishna preserve the old association between Indra and Vishnu. Accordingly, in the Mahabharata, while Krishna is the representation of Narayana; Arjuna , the Nara, is the spark (Amsha) of Indra. 

In a similar manner, with the fall of the mighty Varuna, the first of the Great Kings, his kingship initially passes on to Indra while his spiritual powers are inherited by Prajapathi. In the next phase, Vishnu and Prajapathi together inherit Varuna’s glory and majesty. The powers and attributes that were once associated with Varuna are divided into two distinct spheres; Vishnu the power of creation and encompassing all existence; and, Prajapathi the symbolic spiritual power. In the Brahmana texts both Vishnu and Prajapathi are identified with Yajna.

Indra too had a brief span of life as the premier god; and he did not become a Supreme God. Instead, he had to yield place to another god. Eventually, Indra surrenders to Vishnu the newly emerging super- god; and bequeaths to him most of his powers and virtues. Similarly Prajapathi who was not endowed with any other special powers pales into insignificance just as his two predecessors – Varuna and Dayus. Prajapathi loses his power and authority over creation, sustenance and ordered existence to Vishnu. Prajapathi merges into Vishnu just as the other gods

As regards Agni and other gods : Agni is the devatha of earth-realm (bhu), Indra is of the mid regions (bhuvar) and Surya is celestial realms (suvah); and Vishnu as tripat   (pervade three regions) encompasses all the three. Vishnu is thus said to symbolize the essence (rasa) of all existence.

By extension, Agni who is a form of Surya; Visvakarma (maker of all things) who too is regarded a form of Surya (yenemā viśvā bhuvanāny ābhṛtā viśvakarmaṇā viśvadevyāvatāRV_10,170.04), and Vayu the complement of Indra all merge into Vishnu. They all are identified with Vishnu; and come to be known as forms of Vishnu.

In a similar move, along with Agni , Soma  too was identified with Vishnu  .

Vishnu (until then a minor god)   emerges as the all compassing god, the god of all gods.  The virtuous attributes and powers of all other gods are transferred to the incomparable God Vishnu. Into Vishnu all the gods merge; and in him they find their identities.

Thus , by the end of Rig Veda,its until then major gods such as Varuna, Prajapathi, Surya, Indra and Soma all merged  into Vishnu. Eventually, it is Vishnu (neither Varuna; nor Prajapathi; nor  Indra; nor Agni; nor Soma) that is revered as the omniscient and omnipresent Godhead; he is ‘ashrutkarna’ ‘whose ears hear all things; and Svayambhuva – Self-existent or Self manifested.

1.12. There are sufficient indications in the Rig Veda and Vishnu Sukta in particular about the virtues of Vishnu: his compassion, being the savior of all existence, the protector of those in distress, his powers, valor etc (RV 6: 49; 13; 7: 100, 1; 155). He is also hailed as the protector of the fetus (bruna), bestower of progeny (RV 7:36), friend (bandhu) of the good people (1. 154.5), a compassionate protector (3, 55, 10) etc.

His all-enveloping nature and benevolence towards all existence were expanded and glorified in the later texts. Vishnu’s three great strides and his act of rescuing the Devas, their lore, their values etc inspired the development of series of avatars. The puranas enlarged upon the enduring and endearing attributes of Vishnu. The legends of the Vamana- King Bali; and the celestial Boar were woven around the hymns of Vishnu Sukta.

Vamana as trivikrama

1.12. Yaska_charya explains, the term Vishnu is derived from the root “vishair” which brings forth the sense of pervasion (paryaptha). Vishnu literally means that which pervades (vyapad vishnuhuh). He explains, the essence of the term Vishnu is its brilliance, universal pervasion and omnipresence. That essential nature of Vishnu is brought forth through several expressions: Vishnu is ‘Vishnu vishateh ‘ one who enters everywhere; he is veveshti vyapnoti vishvam yah, the one who enters and covers the whole universe, or is omnipresent; and ‘yad vishito bhavati tad vishnurbhavati, that which is free from fetters and bondages is Vishnu.’ In other words, Vishnu is not limited by space, time or substance. The Vishnu Sukta thus elevates Vishnu to sublime heights and regards him as the omnipresent dimension of the Supreme Lord.

Vishnu Shayana

1.13. With that, Vishnu at once emerged as the omnipresent divine-principle supporting and sustaining all the realms (bhuvanani vishvah); and as the spiritual source of the highest order. The Vedic seers urge the aspirants to celebrate the glory and magnificence of Vishnu the friend (bandhu) who is praised widely (urugaya). Vishnu, they say, is the ever flowing stream of bliss; and pray to him for spiritual enlightenment and bliss. For, though Vishnu is cosmic in nature, he dwells (jivase) in each being as its essence, spirit and strength (RV 1.155.04)

yasya̱ trī pū̱rṇā madhu̍nā pa̱dānyakṣī̍yamāṇā sva̱dhayā̱ mada̍nti |

ya u̍ tri̱dhātu̍ pṛthi̱vīmu̱ta dyāmeko̍ dā̱dhāra̱ bhuva̍nāni̱ viśvā̍ || 1.154.04

Behold the glorious achievements of Vishnu, who is the close friend of Indra and who established a cosmic order for protection of all beings in all the realms (RV 1.154.4)

tada̍sya pri̱yama̱bhi pātho̍ aśyā̱ṁ naro̱ yatra̍ deva̱yavo̱ mada̍nti |

u̱ru̱kra̱masya̱ sa hi bandhu̍ri̱tthā viṣṇo̍ḥ pa̱de pa̍ra̱me madhva̱ utsa̍ḥ ||1.154.05

May I attain his favorite path in which god – seeking men delight – (the path) of Vishnu with giant strides, in whose exalted station is a (perpetual) flow of felicity – for he is truly a friend (to all).’  (RV: 1.154.5)

design star

1.14. Thus, by the end of Rig Veda, Vishnu swiftly and gracefully strode across, evolved into the ever flowing stream of bliss, the very essence that protects and pervades all existence with its brilliance.

In the Brahmanas

2.1. Vishnu is elevated to far greater heights in the Brahmana texts.

The Brahmanas are centered on the yajna. The Taittiriya and Aitareya Brahmanas hail Vishnu as the Yajna-purusha and identify him with yajna (yajno vai Vishnuhuh) — (Aita.Br: 1.15.4), (Tait.Br: 2.1.83), (Satha,Pata.Br 1,1,3,1), (Pancha Vim.Br.1.3.3.2) . He is the protector and preserver of the Yajna (TB 3.1.6.7). He is the Yajna pathi (master of the Yajna) whom all the sacrifices are meant to please.

2.2. It is said the Devas derive their power (shakthi), pervasion (vyapthi) and position (pada) from Vishnu, as he is the very source of all gods. He is the Supreme God (AB: 1:1:1).

2.3. Devas gained the realm of earth, thanks to the prowess of Vishnu and therefore Aitareya Brahmana (1.30.19) declares Vishnu as the guardian and protector of the gods (devanam dvarapah). Vishnu  is the face (Vishnu mukhah vai devaha) and the comprehensive image of all gods (vishnur sarva devatah).

2.4. While Vishnu is Aditya (Sun), the gods are his brilliant rays. It is said the primary meaning of the term Deva “to shine” (div to shine divyati) was thus derived.

2.5. Satapatha Brahmana (14, 1, 1 . 5) declares Vishnu as the best and the foremost (sresta) among all the gods .

(tadviṣṇuḥ prathamaḥ prāpa sa devānāṃ śreṣṭho’bhavat tasmādāhur viṣṇurdevānāṃ  śreṣṭha iti).

According to Kapishthala -Katha-samhita, Agni is to be located ; and worshiped as Vishnu. 

Aitareya Brahmana (1:1:1) praises Vishnu as the greatest or oldest god (parama), higher than Indra and higher than Agni , the least or the youngest among gods (avama). All other gods are ranked in between (tadantarena sarva anya devata) – 

Agnir vai devānām avamo Viṣṇuḥ paramas, tadantareṇa sarvā anyā devatā

This is an astounding statement.

Agni, in Rig Veda, occupied a very special position. The Rig Veda opens with a rik in salutation to Agni (agnimīḷe purohitaṃ yajñasya devam ṛtvijam | … RV. 1.1.1). Agni is not merely the principal deity, he is also the chief priest  (pāñcajanyaḥ purohitaḥ) who conducts the yajna; he is the mantra; he is the yajna (tam īmahe mahā-gayam); he is the offering; he is the one that receives the offerings. Airareya Brahmana (1,1) hails Agni as the first among the gods (Agnirve Devo prathamaha).

The Rig Veda often refers to Agni as the Rishi (agnir ṛṣiḥ pavamānaḥRV.9.66.20); the first and the foremost among the Rishis (tvam agne prathamo aṅgirā ṛṣir1.31.1; ṛṣiḥ śreṣṭhaḥ – 3.21.3); he is the knower-of everything (agne kaviḥ kāvyenāsi viśvavit10.91.3); and, the one that pervades all life and existence . He is the enjoyer, devour (sarva baksha), digester, heat, lust and passion. He spreads, takes over and rules. Agni is the fire of life, the subtle energy in all beings and the fire of inner awakening. He is the symbol of life, wisdom, knowledge, compassion and lordship.  Agni is the symbol of Paramatman and all the other gods are different aspects or manifestations of Agni.He is the Vedic symbol of the Supreme.

Similarly, Indra is the most prominent god in Rig Veda. He is the first among the gods and is described as “Yo jata eva prathamo manasvan – RV_2,012.01” he who from his very birth is the first among the Devas, the lord of the universe etc. More hymns are addressed to Indra than to any other deity in the Rig Veda, with the exception of Agni. For; he was revered for his beneficent character, as the bestower of rain and the cause of fertility. He was feared as the awful ruler of the storm and wielder of lightning and thunder.

Considering the Brahmanas’ preoccupation is with the Yajna, it is surprising Agni was relegated to such low position in those texts. There is no explanation anywhere how or why such an amazing turn – around came about. From then on Vishnu is regarded the Supreme Lord of the universe.

In the Upanishads

3.1. The Kathopanishad regarded as one among the major ten Upanishads states that the final destination of one’s spiritual journey is the abode of Vishnu  he who holds the reins of the mind, he reaches the end of his journey, and that is the highest place of Vishnu.

vijñāna-sārathir yas tu manaḥ pragrahavān naraḥ / so ‘dhvanaḥ pāram āpnoti tad viṣṇoḥ paramaṃ padam // KaU_3.9 //

The other Upanishads like Maitri Upanishad regarded Vishnu as the Supreme Being.

3.2. It appears; therefore, by the time of later Upanishads Vishnu was regarded the highest divinity, the core-principle of existence and the very purpose of spiritual pursuit.

3.3 . By the time of Amarakosa almost all the gods and divine beings had merged into Vishnu-tattva. The Amara has as many as forty-six synonyms for Vishnu.

(1.1.37) viṣṇur nārāyaṇaḥ kṛṣṇo vaikuṇṭho viṣṭaraśravāḥ
(1.1.38) dāmodaro hṛṣīkeśaḥ keśavo mādhavaḥ svabhūḥ
(1.1.39) daityāriḥ puṇḍarīkākṣo govindo garuḍadhvajaḥ
(1.1.40) pītāmbaro ‘cyutaḥ śārṅgī viṣvakseno janārdanaḥ
(1.1.41) upendra indrāvarajaścakrapāṇiścaturbhujaḥ
(1.1.42) padmanābho madhuripur vāsudevas trivikramaḥ
(1.1.43) devakīnandanaḥ śauriḥ śrīpatiḥ puruṣottamaḥ
(1.1.44) vanamālī balidhvaṃsī kaṃsārātir adhokṣajaḥ
(1.1.45) viśvambharaḥ kaiṭabhajidvidhuḥ śrīvatsa lāñchanaḥ
(1.1.46) purāṇapuruṣo yajñapuruṣo narakāntakaḥ
(1.1.47) jalaśāyī  viśvarūpo  mukundo muramardanaḥ

floral design3

Only those Vedic gods whose characters were not explicitly known, and who offered significant traits to be developed into rich and complex mythology survived and flourished. For instance; Vishnu and Rudra were minor gods, but their profile indicated traits which could be expanded and enriched veraciously. Let’s take the case of Vishnu; he had the nucleus of ‘tri-pada-vikrama’ the collasal figure measuring the universe with his three enormous strides; his solar nature; lustrous body; his friendship with Indra; vague references to his unparallel valor;– all these were excellent material for developing him into concrete mythological supreme god…From Indra he imbibed the demon-killing valor; from Surya and Savitr the brilliance and sheen associated with gold; from Mitra the kindly  , compassionate and benevolent attitudes towards all existence; and , from Bhaga the fortune bestowing generosity. From solar gods in general he inherited associations with Devayana; and consequently his roles as a savior……The component Vedic gods disappear one after another, after bequeathing their virtues to their successor. They last only so long as their living trait remains relevant to the spiritual needs or material aspirations of the society. “

Excerpts from ‘The Indian Theogony’ by Dr. Sukumari Bahttacharji (Cambridge University Press, 1970)

Yoga Narayana Vishnu

Continued in

Part Two

  Narayana, Krishna and  Para-Vasudeva 

Iconography 

— Trivikrama

(i) The Rig Veda does not of course offer the iconographic details of Trivikrama. Those forms and details were evolved at a much later period. There are numerous forms of Trivikrama depictions. In the puranas, the gigantic Trivikrama image got entwined with the legend of the dwarfish Vamana. The Vaikhanasa-agama (ch.58) offers a detailed account of Trivikrama measuring out the three realms. He is depicted in three variations:

(i) with left-leg lifted up to the level of the knee of the right leg (which is placed firmly on the ground) to signify act of measuring the earth;(2) left leg lifted up to the level of the navel (nabhi) to signify occupation of the mid-regions; and, (3) left leg raised to the level of forehead, to signify occupation of celestial regions and beyond. The images of Trivikrama are to be scaled in superior (uttama) dasa-tala measure.

(ii) Sometimes, Trivikrama is depicted with  six  arms ; and also with  two or four arms (as in Badami caves); or with eight arms (as in Mamallapuram) holding a variety of ayudhas. But there is no uniformity among the texts about the ayudhas.

1-vishnu-bali-statue-210x300

(iii)According to Vishnudharmattara (85; 55-77) the face must be lifted up to blow the conch held in two hands; and the eyes must be wide open. The other hands should carry cudgel (danda), noose (pasha), discus (chakra), mace (gadha), sword (khadga) and lotus (padma).The well known image of Trivikrama at Mamallapuram carries a different set of ayudhas, such as bow, arrow, shield etc along with the usual ones.

(iv) Trivikrama, as a form of Vishnu, is usually visualized in dark complexion, like that of a ‘water bearing cloud’ wearing a red garment. At times, his body is depicted in red color. He is richly ornamented. His huge form must evoke awe , reverence and wonder in the hearts of the viewers.

Vamana holding an umbrella as also king Bali and several deities are shown separately in the same panel.

— Vishnu

(i) As mentioned earlier, there are no specific indications in the Rig Veda about the iconographic features of Vishnu. The Vishnu of Rig Veda is essentially a shining blissful spiritual source; he is yet unattached. His associations with his consort Lakshmi, Ananta sepent, water etc were all yet to come about. But centuries later most elaborate iconographic systems were developed depicting Vishnu in varieties of forms, postures and dispositions along with his entourage. Among the various texts devoted to Vishnu-iconography, the 5th century Vaishnava texts Brahmiya Chitra-karma sastram and Vishnudharmottara present graphic details of Vishnu icon. Generally, Vishnu is depicted either as standing (sthanaka), seated (asana) or lying down (sayana); and there are numerous variations in each type of depiction. The image of Vishnu is made with eight, four or two arms. (Please click here for details).

(ii) The general features of Vishnu the God of godsas depicted in texts are: His head should be in the form of an umbrella, his neck like conch, his ears like sukthi; he should have high nose, strong thighs and arms. His chest must bear Srivatsa crest symbolizing Lakshmi his divine consort; and also the foot-print of sage Brighu. He should be richly adorned with a beautiful crown, set of ear-rings, garlands of flowers (Vanamaala) and the Kaustubha gem. His complexion should be new-cloud-like-blue as of the limitless sky symbolizing his infinite nature, and he should be clad in yellow robes. His serene and gracious countenance should be lit up with blissful gentle smile uplifting the hearts of the devotees.

(iii) But usually, Vishnu is depicted with four arms representing his presence in the transactional and spiritual worlds.  The two hands on the right side display the abhaya mudra or lotus, and discus; and, his hands on the left hold the conch and mace. And, in case he is made with only two arms, then the right hand bestows peace and hope (shanthi-kara-dakshina hastha); and ,the left holds the conch. This is how the image of the Lord Vishnu is to be made for prosperity. 

When Vishnu is two armed and carries discus and mace, he is known as Loka-paala-VishnuMost of such images are believed to be of the Kushana period ( first to third century); and, are  usually small in size , easily  carried.

two armed Vishnuclitwo-armed-kushana-vishnu

(iv) Vishnudharmottara (part 3.ch 44.1-21) presents a unique portrayal of the four-faced Vishnu (chatur -mukhi Vishnu). It mentions that the image of Vishnu, the god of gods, should be made with four faces and eight arms. The Eastern face (turned towards the viewer should be a peaceful (saumya) human face representing Vasudeva and the virtue (guna) of bala (power). The face to the right, the Southern face, should be Narasimha representing Sankarshana and jnana (knowledge).The face to the left , the North face, should be Varaha (the celestial boar) representing Pradyumna and aishwarya ( wealth, prosperity) . And, the face to the back, the west face,should be Kapila (raudra or ferocious) representing Aniruddha and shakthi (strength).

[According to Vaikhanasa ideology, the four aspects of Vishnu -Purusha, Satya, Achyuta and Aniruddha– are identified with Dharma (virtue), Jnana (wisdom), Aishvarya (sovereignty) and vairagya (dispassion). Of the four faces of Vishnu, Purusha is to the East; Satya to the South; Achyuta to the west; and Aniruddha to the North.  Purusha facing east is fair in complexion, wearing yellow garments.Satya to the South is collyrium (kajal) Blue hued (?)  ; wearing red garments.Achuyuta located to the west of Vishnu is golden colored; wearing dark blue garments. And Aniruddha located to the north of Vishnu is coral colored.]

Four faced Vishnu Kashmir c.10th century

There is another representation of Vishnu as Caturmurti – with four faces and four hands (not eight hands).The specimens of this type of depictions, now, are mostly in public and private museums outside India. One such Caturmurti is in   Los Angeles County Museum of Art, Los Angeles, California, USA   ; and the other is in MuZéO collection Paris France.  Both are estimated to belong to mid 8th century; and both are from Kashmir region.

                        

Caturmurti in a musem at LA USA   Caturmurti in a museum at Paris France

In these images, the crown on Vishnu’s head is surrounded by a large and a prominent discus (chakra) . Vishnu has placed his upper-right-hand on the head of Chakra-purusha who is short, stout and potbellied resembling a Yaksha. Similarly Vishnu’s upper-left-hand too is placed on the head of another short figure.  His normal right-hand holds a lotus, while his normal-left-hand holds a mace (perhaps). These are rare representations of Vishnu; and one hardly gets to see them in present-day India.

There are also depictions of Vishnu with ten arms holding several Ayudhas and served by Sesha , Garuda and other celestial beings

vishnu with ten arms

There is also a description of Asta-bhuja Vishnu, the Vishnu with eight arms. Of the eight hands the four on the right side must have the sword (nandaka), mace(kaumodaki), arrow and abhaya -hastha mudra of assurance and protection (the fingers raised and the palm facing the devotees); and the four hands on the left side esha and hold the bow(saranga), buckler, discus (sudarshana) and conch (panchjanya).

The same text mentions that Vishnu should be mounted on Garuda, bedecked in rich ornaments, long garland of forest- flowers (vanamala) with Kaustubha gem adorning his chest. He should be clothed in splendid yellow (pitambara) garments. His complexion should resemble water-laden fresh clouds.


Sources and References

Brahmiya Chitrakarma Sastram by Prof G Gnanananda

Vaidika Sahitya Charitre by Dr. NS Anantarangachar

Vishnu Sukta by Prof.SK Ramachandra Rao

http://en.wikipedia.org/wiki/Vishnu

http://www.pantheon.org/articles/v/vishnu.htm

Trivikrama and Vishnu drawings from

http://www.drdhaarts.com/portfolio/?q=node/8

Other pictures from internet

 
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Posted by on October 1, 2012 in Vishnu

 

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