Archaeology of Varāha as Yajña Puruṣa

 caṣāla, ‘snout of Varāha is caṣāla, ‘fumes of wheat chaff’ to carburize metal

o Infusing element carbon hardens the alloy in the furnace of yajna kuṇḍa
o caṣāla is the principal metaphor

caṣāla, ‘fumes of wheat chaff’ is detailed in R̥gveda (RV 1.162.6) Śatapatha Brāhmaṇa
(5.1.2.12-18: Procedure for Soma Yāga of Vājapeya) गौधूम mf(ई g. बिल्वा*बि)n. made of
wheat (मैत्रायणी-संबिता); made of wheat straw (शतपथ-ब्राह्मण 2.1.6)

Octagonal-shaped, aṣṭāśri Yūpa Skambha and caṣāla are central to the proclamation and
performance of a Soma yajña.At an ādibhautikā level, this is a metallurgical process of
smelting alloy metal by infusinc the element carbon by the fumes of wheat chaff which is
called caṣāla. This caṣāla is signified by the snout of the boar which is also called caṣāla.
This is the reason why divine Varāha is a Mūrti of a boar, to signify a yajña. In the earliest
signifier of Varāha in a Udayagiri cave, the sculptural friezes show scores of Veda Puru ṣa-s
as devat ā and Rṣi-s, together with the worshipping Nāga (ignified by cobrahoods:
फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड 'manufactory, company,
guild, public office', keeper of all accounts.’

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 Varāha, Udayagiri

Varāha

Gupta, Early 5th century AD

Cave 5, Udayagiri, Madhya Pradesh, India.This large (4m, or 13 feet, high) relief sculpture is
one of the icons of Indian art. It is carved into a shallow niche and protected by an overhang,
but is otherwise open to the outside, where there was originally a water tank.

The relief depicts Varāha, the boar incarnation of Vishnu, rescuing the Earth Goddess (Bhu
Devi, also called Prithvi) from the engulfing Ocean. Varāha lifts Bhu Devi on his massive
shoulder, his foot subduing a naga who folds his hands in submission and adoration, while
gods and sages surround Varāha in recognition of the miracle. A circular lotus flower appears
above the god's head. Bhudevi is also supported by a lotus plant. The figure on a lotus
pedestal, at the left side of the photo beside Varāha's leg, holds the stem of the lotus that
appears above Varāha's head.

Technically this image is called a nara-Varāha, or man-boar, since it has a man's body and a
boar's head. The relief may have a political meaning in addition to the mythological one; it is
said to be an allegory of the unification of India under Chandragupta II.

As the texts detail, caṣāla is a ring atop aṣṭāśri, ‘octagonal shaped’ Yūpa Skambha.

The ‘octagonal shaped’ aṣṭāśri Yūpa Skambha evolves as the Rudra-bhāga of Śivalinga.

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 caṣāla is explained as godhuma ‘wheat chaff’ in th following descriptions in Śatapatha
Brāhmaṇa:

ŚBr.5.1.2.12. He then touches the wheat (top-piece) with a prayer. According to

the ritual of the Black Yajus (Sāy. on Taitt. S. I, 7, 9, vol. i, p. 1039), the yajñika,
having ascended, lifts up his arms to heaven, praying, 'We have gone to the light,
to the gods, we have become immortal; we have become Prajāpati's children!'
ŚBr.5.1.2.13. And as to why he touches the wheat: wheat is food, and he who
offers the Vājapeya, wins food, for vājapeya is the same as anna-peya (food and
drink): thus whatever food he has thereby won, therewith now that he has gone to
that supreme goal, he puts himself in contact, and possesses himself of it, --
therefore he touches the wheat (top-piece).

Procedure fo vājapeya soma yaga SBr. 5.1.2.1-18

1. Thereupon, taking the clipping-spoon (sruva) and the pot for melting butter, he goes to
the Āhavanīya fire. He either offers those twelve āptis [1], or makes (the Sacrificer)
pronounce (the formulas). Whether he offers, or makes him pronounce (the formulas),
the significance is the same.

2. He offers, with (Vāj. S. IX, 20), 'To the ally, hail!--To the good ally, hail!--To the
after-born, hail!--To the purpose, hail!--To the Vasu, hail!--To the Lord of day, hail!--To
the failing day, hail!--To the failing one, sprung from the evanescent, hail!--To the
evanescent one, sprung from the terminal, hail!--To the terminal descendant of being,
hail!--To the Lord of being, hail!--To the over-lord, hail!' These twelve āptis
(obtainments) he offers, because there are twelve months in the year, and Prajāpati is the
year, and the sacrifice is Prajāpati: hence whatever obtainment, whatever
accomplishment there is for him [2], that he thereby wins, that he makes his own.

3. He then either offers six kḷptis [3], or makes (the Sacrificer) pronounce them. Whether
he offers, or makes him pronounce them, the significance is the same.

4. He makes him pronounce (Vāj. S. IX, 21), 'May the life prosper through sacrifice!--
May the breath prosper through sacrifice!--May the eye prosper through sacrifice!--May
the ear prosper through sacrifice!--May the back prosper through sacrifice!--May the
sacrifice prosper through sacrifice!' These six kḷptis he makes him pronounce, because
there are six seasons in the year, and Prajāpati is the year, and the sacrifice is Prajāpati:
thus whatever success, whatever accomplishment there is for him, that he thereby wins,
that he makes his own.

5. The sacrificial post is eight-cornered; for the Gāyatrī metre has eight syllables, and the
Gāyatrī is Agni's metre: he thereby wins the world of the gods. The post is either wrapt
up, or bound up, in seventeen cloths; for Prajāpati is seventeenfold: he thus wins
Prajāpati.

6. There is a wheaten head-piece on it; for man is nearest to Prajāpati, and he is skinless.
And among plants wheat comes nearest to man, (for) it has no skin: thus he thereby wins
the world of men. (
For the ordinary mortar-shaped top-piece fixed on the post… On the present occasion it
is to be made of wheaten dough. According to a legend given at III, 1, 2, 13 seq., man

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had originally a (hairy) skin, or hide; but the gods having flayed him, put his skin on the
cow.)

7. The post has a hollow (at the top), and is not pointed at the end; for the hollow is
sacred to the Fathers: he thus gains the world of the Fathers. It is seventeen cubits long,
for Prajāpati is seventeen-fold: he thus wins Prajāpati.

8. Thereupon the Neṣṭṛ, being about to lead up the (Sacrificer's) wife, makes her wrap
round herself, over the garment of consecration, a cloth, or skirt, made of Kuśa grass[6];
for she, the wife, is the hind part of the sacrifice; and he wishes her, thus coming
forward, to propitiate the sacrifice. But impure is that part of woman which is below the
navel, and pure are the plants of (Kuśa) grass: thus having, by means of those plants of
(Kuśa) grass, made pure whatever part of her is impure, he causes her to propitiate the
sacrifice, while coming forward. This is why the Neṣṭṛ, being about to lead up the wife,
makes her wrap round herself, over the garment of consecration, a cloth, or skirt, made
of Kuśa grass.(In the ceremonial of the Black Yajus (Taitt. Br. I. 3, 7, 1) the Sacrificer
himself has to put on a 'tārpya' garment, for which see note on V, 2, 5, 20 (sic). Viz.
because her ordinary seat is at the back, or west, end of the altar.)

9. He then leans a ladder (against the post). He may ascend either from the south
northwards, or from the north southwards; but let him rather ascend from the south
northwards (udak), for thus it goes upwards (udak).

10. Being about to ascend, he (the Sacrificer) addresses his wife, 'Come, wife, ascend we
the sky!'--'Ascend we!' says the wife. Now as to why he addresses his wife: she, the wife,
in sooth is one half of his own self; hence, as long as he does not o btain her, so long he
is not regenerated, for so long he is incomplete. But as soon as he obtains her he is
regenerated, for then he is complete. 'Complete I want to go to that supreme goal,' thus
(he thinks) and therefore he addresses his wife.

11. He ascends, with, 'We have become Prajāpati's children;' for he who offers the
Vājapeya indeed becomes Prajāpati's child:

12. He then touches the wheat (top-piece) with a prayer. According to the ritual of the
Black Yajus (Sāy. on Taitt. S. I, 7, 9, vol. i, p. 1039), the yajñika, having ascended, lifts
up his arms to heaven, praying, 'We have gone to the light, to the gods, we have become
immortal; we have become Prajāpati's children!'
13. And as to why he touches the wheat: wheat is food, and he who offers the V ājapeya,
wins food, for vāja-peya is the same as anna-peya (food and drink): thus whatever food
he has thereby won, therewith now that he has gone to that supreme goal, he puts himself
in contact, and possesses himself of it,--therefore he touches the wheat (top-piece).
14. He then rises by (the measure of) his head over the post, with, 'We have become
immortal!' whereby he wins the world of the gods.
15. Thereupon, while looking in the different directions, he mutters (Vāj. S. IX, 22),
'Ours be your power, ours your manhood and intelligence ours be your energies!' For he
who offers the Vājapeya wins everything here, winning as he does Prajāpati, and
Prajāpati being everything here;--having appropriated to himself the glory, the power,
and the strength of this All, he now lays them within himself, makes them his own: that
is why he mutters, while looking in the different directions.

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16. They throw up to him bags of salt; for salt means cattle, and cattle is food; and he
who offers theVājapeya wins food, for vāja-peya is the same as anna-peya: thus
whatever food he thereby has gained, therewith now that he has gone to the supreme
goal, he puts himself in contact, and makes it his own,--therefore they throw bags of salt
up to him.
17. They (the pieces of salt) are done up in aśvattha (ficus religiosa) leaves: because
Indra on that (former) occasion called upon the Maruts staying on the Aśvattha tree,
therefore they are done up in aśvattha leaves. Peasants (viś) throw them up to him, for
the Maruts are the peasants, and the peasants are food (for the nobleman): hence peasants
throw them up. There are seventeen (bags), for Prajāpati is seventeenfold: he thus wins
Prajāpati.( See part ii, p. 334, with note 2. On the 'aśvattha devasadana' cp. also Ath. -
veda V, 4, 3; Rig-veda I, 164, 20-22; A. Kuhn, Herabkunft des Feuers and des
Göttertranks, p. 126 seq. (Mythol. Stud. i. p. 112 seq.).)
18. Thereupon; while looking down upon this (earth), he mutters, Homage be to the
mother Earth! homage be to the mother Earth!' For when Bṛhaspati had been
consecrated, the Earth was afraid of him, thinking, 'Something great surely has he
become now that he has been consecrated: I fear lest he may rend me asunder!' And
Bṛhaspati also was afraid of the Earth, thinking, 'I fear lest she may shake me off!' Hence
by that (formula) he entered into a friendly relation with her; for a mother does not hurt
her son, nor does a son hurt his mother.
19. Now the Bṛhaspati consecration is the same as the Vājapeya; and the earth in truth is
afraid of that (Sacrificer), thinking, 'Something great surely has he become now that he
has been consecrated: I fear lest he may rend me asunder!' And he himself is afraid of
her, thinking, 'I fear lest she may shake me off!' Hence he thereby enters into a friendly
relation with her, for a mother does not hurt her son; neither does a son hurt his mother.

20. He then descends (and treads) upon a piece of gold;--gold is immortal life: he thus
takes his stand on life immortal.

21. Now (in the first place) he (the Adhvaryu) spreads out the skin of a he-goat, and lays
a (small) gold plate thereon: upon that--or indeed upon this (earth) itself--he (the
Sacrificer) steps.

22. They then bring a throne-seat for him; for truly he who gains a seat in the air [12],
gains a seat above (others): thus these subjects of his sit below him who is seated above, -
-this is why they bring him a throne-seat.

23. It is made of udumbara wood,--the Udumbara tree being sustenance, (that is) food,--
for his obtainment of sustenance, food: therefore it is made of udumbara wood. They set
it down in front of the Havirdhāna (cart-shed), behind the Āhavanīya (fire).

24. He then spreads the goat-skin thereon; for truly the he-goat is no other than Prajāpati,
for they, the goats, are most clearly of Prajāpati (the lord of generation or creatures); --
whence, bringing forth thrice in a year, they produce two or three [13]: thus he thereby
makes him (the Sacrificer) to be Prajāpati himself,--this is why he spreads the goat-skin
thereon.

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25. He spreads it, with, 'This is thy kingship [14] !' whereby he endows him with royal
power. He then makes him sit down, with, Thou art the ruler, the ruling lord!' whereby
he makes him the ruler, ruling over those subjects of his Thou art firm, and stedfast!'
whereby he makes him firm and stedfast in
this world;--'Thee for the tilling!--Thee for
peaceful dwelling!--Thee for wealth!--Thee
for thrift!' whereby he means to say, '(here I
seat) thee for the welfare (of the people).'

Thus the formula 'iyam to rāṭ' is interpreted by

Mahīdhara (who, however, takes it to be
addressed to the throne-seat, and not, as would
seem preferable, to the king), and apparently
also by our author. The word 'rāj' would
indeed seem to mean here something like the
energy (śakti), or the symbol, of the king. The
St. Petersburg dictionary, however, takes it
here as the name of a female deity.)
http://www.wisdomlib.org/hinduism/book/the-
%C5%9Batapatha-
br%C4%81hma%E1%B9%87a-part-
iii/d/doc63270.html#note-t-36191
A skambha linking heaven and earth, a fiery
pillar of light. The following three ricas of
Rigveda also refer to and explain the
metaphor of skambha as a prop which upholds
heaven and earth; RV 9.89.6 places it in the
context of purification of Soma, reinforcing
the possibility that the Skambha signified the
impeller of the purification process of yajna --
a process which is replicated in the
purification of metals in a smelter/funace/fire-
altar:

10.111.05 Indra, the counterpart of heaven and earth, is cognizant of all sacrifices, he is the
slayer of S'us.n.a; he spread out the spacious heaven with the sun (to light it up); best of
proppers, he propped up (the heaven) with a prop. [Propped up the heaven with a prop:
Satyata_ta_ = that which is stretched out by the true ones, the gods; or, ta_ti as a suffix,
that which is true, i.e.,
heaven].

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9.074.02 The supporter of heaven, the prop (of the earth), the Soma-juice who, widely
spreading, filling (the vessels), flows in all directions-- may he unite the two great worlds
by his own strength; he has upheld them combined; (may he) the sage (bestow) food upon
(his worshippers). [The prop of the earth: cf. RV. 9.089.06; may he unite: yaks.at =
sam.yojayatu; a_vr.ta = by its own unaided strength].

9.089.06 The prop of heaven, the support of earth-- all beings (are) in his hands; may
(Soma) the fountain (of desires) be possessed of horses for you (his) adorer; the filament of
the sweet-flavoured (Soma) is purified for (the sake of winning) strength.

Linga with One Face of Shiva (Ekamukhalinga), Mon–Dvaravati period, 7th–early 8th
century. Thailand (Phetchabun Province, Si Thep) Stone; H. 55 1/8 in.
Octagonal form of ViSNubhAga and the occurrence of pancamukhalinga is consistent with
the tradition of pancaloha 'five dhAtu or five mineral alloy' images as utsavaberas.
7
 Varāha Upaniṣad of Kr̥ṣṇa Yajur Veda

Date: 10th century

Medium:Sandstone
Geographic Location: India
Dimensions: Height: 55 in. (139.7 cm)
Credit Line: Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley
Foundation and the Alconda-Owsley Foundation, E.E. Fogelson and Greer Garson Fogelson
Fund, General Acquisitions Fund, Wendover Fund, and gift of Alta Brenner in memory of
her daughter Andrea Bernice Brenner-McMullen
Object Number: 2002.25

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Varāha, sandstone, Sanchi

9
10
Varaha avatar sculpture on Vamana temple, Khajuraho, Madhya Pradesh India

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 Dulhadeo (Dulhadev) Khajuraho Vamana temple.

Sculpture of Varāha from Khajuraho

Varāha Mandapam Mahabalipuram, Tamilnadu, India. 7th century

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Lord Varāha and Bhudevi
Udaygiri Caves, Madhya Pradesh, Gupta period

The Sampradaya Sun - Independent Vaisnava News - Feature Stories - February 2009: "Feb
05, CANADA (SUN) — February 6th is the auspicious Appearance Day of Lord Varāha, the
Boar incarnation.

O Kesava! O Lord of the universe! O Lord Hari,

who have assumed the form of a boar! All
glories to You! The earth, which had become
merged in the Garbhodaka Ocean at the
bottom of the universe, sits fixed upon the tip of Your tusk like a spot upon the moon."
Sri Dasavatara Stotra, 3rd Sloka

Varāha in the Vedic Literature Lord Varāha is glorified in virtually all of the major Puranas
(the Vedic histories), which describe His different descents over the ages. In this kalpa (day
of Brahma), Lord Varāha appeared twice. The first time He appeared from Brahma's nostril
with a white (sveta) complexion, and He saved the Earth after the previous devastation.
Hence, He is called Sveta-Varāha and this kalpa is named after Him -- the Sveta-Varāha-
kalpa.

Later He appeared in a dark color from the ocean to save the Earth after she had been violated
by the demon Hiranyaksha. During this incarnation, LordVarāha reinstated the Earth in her
proper orbit and killed the demon. The Varāha of the popular dasavatara ("the ten
incarnations") refers to this, Lord Varāha's second appearance.

In addition to the Puranas, references abound in the Vedic literature. The most elaborate
glorification of the Varāha-avatara occurs in Srimad Bhagavatam, wherein Srila Vyasadeva
specifically glorifies the Lord's transcendental activities during His numerous descents in this
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world. These narrations culminate in the description of God's original form as Sri Krishna.

Following are the chapter titles (13-19) from the Srimad Bhagavatam, Third Canto dealing
with Varāha-katha:

13. The Appearance of Lord Varāha

14. Pregnancy of Diti in the Evening
15. Description of the Kingdom of God
16. The Two Doorkeepers of Vaikuntha, Jaya and Vijaya, Cursed by the Sages
17. Victory of Hiranyaksha Over All the Directions of the Universe
18. The Battle Between Lord Boar and the Demon Hiranyaksha
19. The Killing of Hiranyaksha
"O expert and thoughtful men, relish the Srimad Bhagavatam, the mature fruit of the desire
tree of Vedic literatures. It emanated from the lips of Sri Sukadeva Gosvami. Therefore this
fruit has become even more tasteful, although its nectarean juice, was already relishable for
all, including liberated souls."

Verses in Praise of Sri Varāha

When Lord Varāha appeared He declared: For the benefit of all, I shall bring back to her
former place the earth, who has the girdle of the oceans, whose limbs are overrun by all kinds
of creatures and who has disappeared. I shall kill the naughty Hiranyaksha, an offspring of
Diti. (Mahabharata 12.236.71-73)

The supreme enjoyer of all sacrifices accepted the incarnation of a boar for the welfare of the
earth. He lifted the earth from the nether regions of the universe. (Srimad Bhagavatam 1.3.7)

When the unlimitedly powerful Lord assumed the form of a boar as a pastime, just to life the
planet earth which was drowned in the great ocean of the universe called Garbhodaka, the
first demon (Hiranyaksa) appeared and the Lord pierced him with the tusk. (Srimad
Bhagavatam 2.7.1)

When her child falls in a well, the mother because of excessive parental affection (vatsalya)
jumps in and saves it. Similarly when earth (prthivi) was sinking in the underworld, the Lord
took the form of a boar and in the twinkling of an eye dived in and brought her out. (Sri
Pillan's Tiruvaymoli 7.5.5)

To rescue the earth He appeared during the Svayambhuva-manvantara, from Brahma's

nostril, and during the Caksusa-manvantara, He appeared from the water. Lord Varāha, the
best of tusked beasts, appears to kill Hiranyaksa and rescue the earth. Sometimes Varāha is a
wild animal of the forest and sometimes He is a domestic animal. Sometimes He is dark as a
raincloud and sometimes He is as white as the moon. In this way, smrti-sastra describes two
gigantic forms of Lord Varāha, the form of Vedic sacrifices. Maitreya Muni described Lord
Varāha's pastimes at two different times as if they happened at the same time. (Srila Rupa
Gosvami's Laghu-bhagavatamrta 1.3.10-12,17)

O Keshava! O Lord of the universe! O Lord Hari, who have assumed the form of a boar! All
glories to You! The earth, which had become immersed in the Garbhodaka Ocean at the
bottom of the universe, sits fixed upon the tip of Your tusk like a spot upon the moon. (Sri
Jayadeva's Dasavatara-stotra 3)

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O Boar-bodied, foe of the demon (Hiranyaksha), holder of the earth (on the tip of the tusk),
possessor of excellent limbs (serving as means of sacrifice), I salute You. (Sri
Madhvacharya's Dvadasha-Stotra 4.4)

yad roma-randhra-paripurti-vidhav adaksa

Varāha-janmani babhvur amI samudrah
tam nama natham aravinda-drzam yazodaa
pani-dvayantara-jalaih snapayam babhuva
"Although in His Varāha incarnation, many oceans could hardly even fill the Lord's hair
follicles, Yashodamayi bathed that same lotus-eyed Lord (i.e, Shri Krishna) with just the
water contained in her two joined palms." -- Krishna-karnamritam, 2.27

Varāha-tirthas

There are many places where Lord Varāha performed His transcendental pastimes here on
this earth, including:

The Mahabharata 3.81.15 mentions a Varāha-tirtha in Haryana State where Lord Vishnu
appeared as Varāha.

At the place known as Soronksetra Lord Varāha picked up the earth on His tusk. This place is
located 100 km northeast of Mathura in the Etah district and was visited by Lord Chaitanya
Mahaprabhu.
After killing the demon Hiranyakasipu, He rested at Vishrama-ghat in Mathura and spoke the
Varāha Purana to Mother Earth.
In Ramana-reti (Vrindavana, Mathura District) is Varāha-ghat where Lord Krishna revealed
His Varāha form to the gopis. The Bhakti-ratnakara (Fifth Wave) mentions a similar event
having occurred in a village known as Varāhara in Vrindavan.
Once when Lord Chaitanya Mahaprabhu visited His devotee Murari Gupta, He revealed His
form as Lord Varāha in Navadvipa, West Bengal. (See Caitanya-bhagavata Madhya-khanda
3)
By visiting these holy places and remembering the Lord, one receives the blessings of Lord
Varāha.

Source: Avatara.org

15
Varāha Upaniṣad
Translated by K. Narayanasvami Aiyar

Om! May He protect us both together; may He nourish us both together; May we work
conjointly with great energy, May our study be vigorous and effective; May we not mutually
dispute (or may we not hate any).

Om! Let there be Peace in me! Let there be Peace in my environment! Let there be Peace in
the forces that act on me!

CHAPTER I

16
The great sage Ribhu performed penance for twelve Deva (divine) years. At the end of the
time, the Lord appeared before him in the form of a boar. He said: “Rise, rise and choose
your boon”. The sage got up and having prostrated himself before him said: “O Lord, I will
not, in my dream, wish of thee those things that are desired by the worldly. All the Vedas,
Shastras, Itihasas and all the hosts of other sciences, as well as Brahma and all the other
Devas, speak of emancipation as resulting from a knowledge of thy nature. So impart to me
that science of Brahman which treats of thy nature.”

Then the boar-shaped Bhagavan (Lord) said:

1. Some disputants hold that there are twenty-four Tattvas (principles) and some thirty-six,
whilst others maintain that there are ninety-six.

2. I shall relate them in their order. Listen with an attentive mind. The organs of sense are
five, viz., ear, skin, eye and others.

3. The organs of action are five, viz., mouth, hand, leg and others. Pranas (vital airs) are five;
sound and other (viz., rudimentary principles) are five.

4. Manas, Buddhi, Chitta and Ahankara are four; thus those that know Brahman know these
to be the twenty-four Tattvas.

5. Besides these, the wise hold the quintuplicated elements to be five, viz., earth, water, fire,
Vayu and Akasa;

6. The bodies to be three, viz., the gross, the subtle and the Karana or causal; the states of
consciousness to be three, viz., the waking, the dreaming and the dreamless sleeping.

7-8. The Munis know the total collection of Tattvas to be thirty-six (coupled with Jiva). With
these Tattvas, there are six changes, viz., existence, birth, growth, transformation, decay and
destruction.

9. Hunger, thirst, grief, delusion, old age and death are said to be the six infirmities.

10. Skin, blood, flesh, fat, marrow and bones are said to be the six sheaths. Passion, anger,
avarice, delusion, pride and malice are the six kinds of foes.

11. Vishva, Taijasa and Prajna are the three aspects of the Jiva. Sattva, Rajas and Tamas are
the three Gunas (qualities).

12. Prarabdha, Sanchita and Agamin are the three Karmas. Talking, lifting, walking,
excreting and enjoying are the five actions (of the organs of action);

13. And there are also thought, certainty, egoism, compassion, memory (functions of Manas,
etc.,), complacency, sympathy and indifference;

14. Dik (the quarters), Vayu, Sun, Varuna, Ashvini Devas, Agni, Indra, Upendra and Mrityu
(death); and then the moon, the four-faced Brahma, Rudra, Kshetrajna and Ishvara.

15-16. Thus these are the ninety-six Tattvas. Those that worship, with devotion, me of the

17
form of boar, who am other than the aggregate of these Tattvas and am without decay are
released from Ajnana and its effects and become Jivanmuktas.

17. Those that know these ninety-six Tattvas will attain salvation in whatever order of life
they may be, whether they have matted hair or are of shaven head or have (only) their tuft of
hair on. There is no doubt of this.”

Thus ends the first Chapter of Varāha Upanishad.

CHAPTER II

1. The great Ribhu (again) addressed the Lord of Lakshmi of the form of boar thus: “O Lord,
please initiate me into the supreme Brahma-Vidya (or science).”

2-3. Then the Lord who removes the miseries of his devotees being thus questioned,
answered thus: “Through (the right observance of) the duties of one’s own caste and orders of
life, through religious austerities and through the pleasing of the Guru (by serving him
rightly), arise to persons the four, Vairagya, etc. They are the discrimination of the eternal
from the non-eternal; indifference to the enjoyments of this and the other worlds;

4-5(a). The acquisition of the six virtues, Sama, etc., and the longing after liberation. These
should be practised. Having subdued the sensual organs and having given up the conception
of ‘mine’ in all objects, you should place your consciousness of ‘I’ in (or identify yourself
with) me, who am the witness Chaitanya (consciousness).

5(b)-7(a). To be born as a human being is difficult - more difficult it is to be born as a male

being - and more so is it to be born as a Brahmana. Even then, if the fool does not cognise
through the hearing, etc., of Vedanta, the true nature of the Sachchidananda (of Brahman)
that is all-pervading and that is beyond all caste and orders of life, when will he obtain
Moksha?

7(b)-8. I alone am happiness. There is none other. If there is said to be another, then it is not
happiness. There is no such things as love, except on my account. The love that is on account
of me is not natural to me. As I am the seat of supreme love, that ‘I am not’ is not.

9. He who is sought after by all, saying “I should become such”, is myself, the all-pervading.
How can non-light affect Atman, the self-shining which is no other than the light whence
originates the words ‘I am not light’.

10-12(a). My firm conviction is whoever knows for certain that (Atman) which is self-shining
and has itself no basis (to rest upon), is one of Vijnana. The universe, Jiva, Ishvara, Maya and
others do not really exist, except my full Atman.

12(b)-13(a). I have not their characteristics, Karma which has Dharana and other attributes
and is of the form of darkness and Ajnana is not fit to touch (or affect) me, who am Atman,
the self-resplendent.

13(b)-14(a). That man who sees (his) Atman which is all-witness and is beyond all caste and
orders of life as of the nature of Brahman, becomes himself Brahman.

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14(b)-15(a). Whoever sees, through the evidence of Vedanta, this visible universe as the
Supreme Seat which is of the form of light, attains Moksha at once.

15(b)-16(a). When that knowledge which dispels the idea that this body (alone) is Atman,
arises firmly in one’s mind as was before the knowledge that this body (alone) is Atman, then
that person, even though he does not desire Moksha, gets it.

16(b)-17(a). Therefore how will a person be bound by Karma, who always enjoys the bliss of
Brahman which has the characteristics of Sachchidananda and which is other than Ajnana ?

17(b)-18. Persons with spiritual eyes see Brahman, that is the witness of the three states that
has the characteristics of be-ness, wisdom and bliss, that is the underlying meaning of the
words ‘Thou’ (Tvam) and ‘I’ (Aham) and that is untouched by all the stains.

19. As a blind man does not see the sun that is shining, so an ignorant person does not see
(Brahman). Prajnana alone is Brahman. It has truth and Prajnana as its characteristics.

20. By thus cognising Brahman well, a person becomes immortal. One who knows his own
Atman as Brahman, that is bliss and without duality and Gunas (qualities) and that is truth
and absolute consciousness is not afraid of anything.

21. That which is consciousness alone which is all-pervading, which is eternal, which is all-
full, which is of the form of bliss and which is indestructible, is the only true Brahman.

22-23(a). It is the settled determination of Brahma-Jnanis that there is naught else but that. As
the world appears dark to the blind and bright to those having good eyes, so this world full of
manifold miseries to the ignorant is full of happiness to the wise.

23(b)-24(a). In me, of the form of boar, who am infinite and the Bliss of absolute
Consciousness, if there is the conception of non-dualism, where then is bondage? And who is
the one to be emancipated?

24(b)-25(a). The real nature of all embodied objects is ever the absolute Consciousness. Like
the pot seen by the eyes, the body and its aggregates are not (viz., do not really exist).

25(b)-26. Knowing, as Atman, all the locomotive and fixed worlds that appear as other than
Atman, meditate upon them as ‘It I am’. Such a person then enjoys his real nature. There is
no other to be enjoyed than one-Self.

27. If there is anything that is, then Brahman alone has that attribute. One who is perfect in
Brahma-Jnana, though he always sees this established universe, does not see it other than his
Atman.

28-30. By cognising clearly my form, one is not trammelled by Karma. He is an undaunted

person who by his own experience cognises as his own real nature all (the universe and
Brahman) that is without the body and the organs of sense - that is the all-witness - that is the
one noumenal Vijnana, that is the blissful Atman (as contrasted with Jivatma or the lower
self) and that is the self-resplendent. He is one that should be known as ‘I’ (myself). O Ribhu,
may you become He.

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31. After this, there will be never any experience of the world. Thereafter there will always
be the experience of the wisdom of one’s own true nature. One who has this known fully
Atman has neither emancipation nor bondage.

32. Whoever meditates, even for one Muhurta (48 minutes) through the cognition of one’s
own real form, upon Him who is dancing as the all-witness, is released from all bondage.

33. Prostrations - prostrations to me who am in all the elements, who am the Chidatma (viz.,
Atman of the nature of wisdom) that is eternal and free and who am the Pratyagatman.

34-35. O Devata, you are I. I am you. Prostrations on account of myself and yourself who are
infinite and who are Chidatma, myself being the supreme Isha (Lord) and yourself being
Shiva (of a beneficent nature). What should I do? Where should I go? What should I reject?

36. (Nothing, because) the universe is filled by me as with the waters on the universal deluge.
Whoever gives up (fondness) love of the external, love of the internal and love of the body
and thus gives up all associations, is merged in me. There is no doubt about it.

37. That Paramahamsa (ascetic) who, though living in the world, keeps aloof from human
congregation as from serpent, who regards a beautiful woman as a (living) corpse and the
endless sensual objects as poison and who has abandoned all passion and is indifferent
towards all objects is no other than Vasudeva, (viz.,) myself.

38. This is Satya (Truth). This is nothing but truth. It is truth alone that is now said. I am
Brahman, the truth. There is naught else but I.

39. (The word) ‘Upavasa’ (lit., dwelling near) signifies the dwelling near (or union) of
Jivatma and Paramatman and not (the religious observance as accepted by the worldly of)
emaciating the body through fasts.

40. To the ignorant, what is the use of the mere drying up of the body? By beating about the
hole of a snake, can we be said to have killed the big snake within.

41. A man is said to attain Paroksha (indirect) wisdom when he knows (theoretically) that
there is Brahman; but he is said to attain Sakshatkara (direct cognition) when he knows (or
realises) that he is himself Brahman.

42. When a Yogin knows his Atman to be the Absolute, then he becomes a Jivanmukta.

43. To Mahatmas, to be always in the state ‘I am Brahman’ conduces to their salvation. There
are two words for bondage and Moksha. They are ‘mine’ and ‘not mine’.

44. Man is bound by ‘mine’, but he is released by ‘not mine’. He should abandon all the
thoughts relating to externals and so also with references to internals. O Ribhu, having given
up all thoughts, you should rest content (in your Atman) ever.”

45. The whole of the universe is caused through Sankalpa alone. It is only through Sankalpa
that the universe manifests. Having abandoned the universe, which is of the form of Sankalpa
and having fixed your mind upon the Nirvikalpa (one which is changeless), meditate upon
my abode in your heart.

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46. O most intelligent being, pass your time in meditating upon me, glorifying me in songs,
talking about me to one another and thus devoting yourself entirely to me as the Supreme.

47. Whatever is Chit (consciousness) in the universe is only Chinmatra. This universe is
Chinmaya only. You are Chit. I am Chit; contemplate upon the worlds also as Chit.

48-49(a). Make the desires nil. Always be without any stain. How then can the bright lamp of
Atmic Vijnana arising through the Vedas be affected by the Karma arising from the
ignorance of the actor and the agent?

49(b)-50(a). Having given up not-Atman and being in the world unaffected by it, delight only
in the Chinmatra within, ever intent on the One.

50(b)-51(a). As the Akasa of the pot and that of the house are both located in the all-
pervading Akasa, so the Jivas and Ishvara are only evolved out of me, the Chidakasa (the one
Akasa of universal consciousness).

51(b)-52(a). So that which did not exist before the evolution of Atmas (Jiva) (and Ishvara)
and that which is rejected at the end (viz., universal deluge) is called Maya by Brahma-Jnanis
through their discrimination.

52(b)-53(a). Should Maya and its effects (the universe) be annihilated, there is no state of
Ishvara, there is no state of Jiva. Therefore like the Akasa without its vehicle, I am the
immaculate and Chit.

53(b)-54. The creation, sentient as well as non-sentient from Ikshana (thinking) to Pravesha
(entry) of those having the forms of Jivas and Ishvara is due to the creation (or illusion) of
Ishvara; while the Samsara (worldly existence) from the waking state to salvation is due to
the creation of Jiva.

55. So the Karmas ordained in the sacrifice (called) Trinachaka (so called after Nachiketas of
Katha Upanishad) to Yoga are dependent upon the illusion of Ishvara; while (the systems
from) Lokayata (atheistical system) to Sankhya rest on the illusion of Jiva.

56. Therefore aspirants after salvation should never make their heads enter into the field of
controversy regarding Jiva and Ishvara. But with an undisturbed mind, Tattvas of Brahman
should be investigated.

57. Those who do not cognise the Tattva of the secondless Brahman are all deluded persons
only. Whence (then) is salvation to them? Whence then is happiness (to them) in this
universe?

58. What if they have the thoughts of the superiority and inferiority (of Ishvara and Jiva)?
Will sovereignty and mendicancy (experienced by a person) in the dreaming state affect him
in his waking state?

59. When Buddhi is absorbed in Ajnana, then it is termed, by the wise, sleep. Whence then is
sleep to me who have not Ajnana and its effects?

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60. When Buddhi is in full bloom, then it is said to be the Jagrat (waking state). As I have no
changes, etc., there is no waking state to me.

61. The moving about of Buddhi in the subtle Nadis constitutes the dreaming state. In me
without the act of moving about, there is no dreaming.

62. Then at the time of Sushupti when all things are absorbed, enveloped by Tamas, he then
enjoys the highest bliss of his own nature in an invisible state.

63. If he sees everything as Chit without any difference, he alone is an actual Vijnani. He
alone is Shiva. He alone is Hari. He alone is Brahma.

64. This mundane existence which is an ocean of sorrow, is nothing but a long-lived dream,
or an illusion of the mind or a long-lived reign of the mind. From rising from sleep till going
to bed, the one Brahman alone should be contemplated upon.

65. By causing to be absorbed this universe which is but a superimposition, the Chitta
partakes of my nature. Having annihilated all the six powerful enemies, through their
destruction become the non-dual One like the scent-elephant.

66. Whether the body perishes now or lasts the age of moon and stars, what matters it to me
having Chit alone as my body? What matters it to the Akasa in the pot, whether it (the pot) is
destroyed now or exists for a long time.

67. While the Slough of a serpent lies cast off lifeless in its hole, it (the serpent) does not
evince any affection towards it.

68. Likewise the wise do not identify themselves with their gross and subtle bodies. If the
delusive knowledge (that the universe is real) with its cause should be destroyed by the fire of
Atma-Jnana, the wise man becomes bodiless, through the idea ‘It (Brahman) is not this; It is
not this’.

69. Shastras, the knowledge of reality (of the universe) perishes. Through direct perception of
truth, one’s fitness for action (in this universe) ceases. With the cessation of Prarabdha (the
portion of the past Karma which is being enjoyed in this life), the destruction of the
manifestation (of the universe) takes place. Maya is thus destroyed in a three-fold manner.

70. If within himself no identification (of Jiva) with Brahman takes place, the state (of the
separateness) of Jiva does not perish. If the non-dual one is truly discerned, then all affinities
(for objects) cease.

71. With the cessation of Prarabdha (arising from the cessation of affinities), there is that of
the body. Therefore it is certain that Maya perishes thus entirely. If it is said that all the
universe is, that Brahman alone is that is of the nature of Sat.

72. If it is said that the universe shines, then it is Brahman alone that shines. (The mirage of)
all the water in an oasis is really no other than the oasis itself. Through inquiry of one’s Self,
the three worlds (above, below and middle) are only of the nature of Chit.

73. In Brahman, which is one and alone, the essence of whose nature is absolute

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consciousness and which is remote from the differences of Jiva, Ishvara and Guru, there is no
Ajnana. Such being the case, where then is the occasion for the universe there? I am that
Brahman which is all full.

74. While the full moon of wisdom is robbed of its lustre by the Rahu (one of the two nodes
of the moon) of delusion, all actions such as the rites of bathing, alms-giving and sacrifice
performed during the time of eclipse are all fruitless.

75. As salt dissolved in water becomes one, so if Atman and Manas become identified, it is
termed Samadhi.

76. Without the grace of a good (perfect) guru, the abandonment of sensual objects is very
difficult of attainment; so also the perception of (divine) truth and the attainment of one’s true
state.

77. Then the state of being in one’s own self shines of its own accord in a Yogin in whom
Jnana-Sakti has dawned and who has abandoned all Karmas.

78. The (property of) fluctuation is natural to mercury and mind. If either mercury is bound
(or consolidated) or mind is bound (or controlled), what then on this earth cannot be
accomplished?

79. He who obtains Murchchha cures all diseases. The dead are brought to life again. He who
has bound (his mind or mercury) is able to move in the air. Therefore mercury and mind
confer upon one the state of Brahman.

80. The master of Indriyas (the organs) is Manas (mind). The master of Manas is Prana. The
master of Prana is Laya (absorption Yoga). Therefore Laya-Yoga should be practised.

81. To the Yogins, Laya(-Yoga) is said to be without actions and changes. This Laya
(absorption) of mind which is above speech and in which one has to abandon all Sankalpas
and to give up completely all actions, should be known through one’s own (experience).

82. As an actress, though subject (or dancing in harmony) to music, cymbals and other
musical instruments of time, has her mind intent upon he protection of the pot on her head, so
the Yogin, though intent for the time being upon the hosts of objects, never leaves off the
mind contemplating on Brahman.

83. The person who desires all the wealth of Yoga should, after having given up all thoughts,
practise with a subdued mind concentration on Nada (spiritual sound) alone.” Thus ends the
second Chapter of Varāha Upanishad.

CHAPTER III

1. “The One Principle cannot at any time become of manifold forms. As I am the partless,
there is none else but myself.

2. Whatever is seen and whatever is heard is no other than Brahman. I am that Para-Brahman,
which is the eternal, the immaculate, the free, the one, the undivided bliss, the non-dual, the
truth, the wisdom and the endless.

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3. I am of the nature of bliss; I am of undivided wisdom; I am the supreme of the supreme; I
am the resplendent absolute Consciousness. As the clouds do not touch the Akasa, so the
miseries attendant on mundane existence do not affect me.

4. Know all to be happiness through the annihilation of sorrow and all to be of the nature of
Sat (be-ness) through the annihilation of Asat (not-be-ness). It is only the nature of Chit
(Consciousness) that is associated with this visible universe. Therefore my form is partless.

5. To an exalted Yogin, there is neither birth nor death, nor going (to other spheres), nor
returning (to earth); there is no stain or purity or knowledge but (the universe) shines to him
as absolute Consciousness.

6. Practise always silence ‘I am (viz., that you yourself are) Para-Brahman’ which is truth and
absolute Consciousness, which is undivided and non-dual, which is invisible, which is
stainless, which is pure, which is second-less and which is beneficent.

7. It (Brahman) is not subject to birth and death, happiness and misery. It is not subject to
caste, law, family and Gotra (clan). Practise silence - I am Chit, which is the Vivarta-
Upadana (viz., the illusory cause) of the universe.

8. Always practise silence - I am (viz., you are) the Brahman, that is the full, the secondless,
the undivided consciousness which has neither the relationship nor the differences existing in
the universe and which partakes of the essence of the non-dual and the supreme Sat and Chit.

9. That which always is and that which preserves the same nature during the three periods of
time, unaffected by anything, is my eternal form of Sat.

10. Even the state of happiness which is eternal without Upadhis (vehicles) and which is
superior to all the happiness derivable from Sushupti is of my bliss only.

11. As by the rays of the sun, thick gloom is soon destroyed, so darkness, the cause of rebirth
is destroyed by Hari (Vishnu) Viz., the sun’s lustre.

12. Through the contemplation and worship of my (Hari’s) feet, every person is delivered
from his ignorance. The means of destroying deaths and births is only through the
contemplation of my feet.

13. As a lover of wealth praises a wealthy man, so if with earnestness a person praises the
Cause of the universe, who will not be delivered from bondage?

14. As in the presence of the sun the world of its-own accord begins to perform its actions, so
in my presence all the worlds are animated to action.

15. As to the mother-of pearl, the illusory conception of silver is falsely attributed, so to me is
falsely attributed through Maya this universe which is composed of Mahat, etc.

16. I am not with those differences that are (observable) in the body of low caste men, the
body of cow, etc., the fixed one’s, the bodies of Brahmanas and others.

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17. As to a person, even after being relieved from the misconception of the directions, the
(same misconception of) direction continues (as before), just so is to me the universe though
destroyed by Vijnana. Therefore the universe is not.

18. I am neither the body nor the organs of sense and action, nor Pranas, Nor Manas, nor
Buddhi, nor Ahankara, nor Chitta, nor Maya, nor the universe including Akasa and others.

19. Neither am I the actor, the enjoyer, nor he who causes the enjoyment. I am Brahman that
is Chit, Sat and Ananda alone and that is Janardana (Vishnu).

20. As, through the fluctuation of water, the sun (reflected therein) is moved, so Atman arises
in this mundane existence through its mere connection with Ahankara.

21. This mundane existence has Chitta as its root. This (Chitta) should be cleansed by
repeated effort. How is it you have your confidence in the greatness of Chitta?

22. Alas, where is all the wealth of the kings! Where are the Brahmanas? Where are all the
worlds? All old ones are gone. Many fresh evolutions have occurred.

23. Many Crores of Brahmas have passed away. Many kings have flitted away like particles
of dust. Even to a Jnani, the love of the body may arise through the Asura (demoniacal)
nature. If the Asura nature should arise in a wise man, his knowledge of truth becomes
fruitless.

24. Should Rajas and others generated in us be burnt by the fire of discriminative (divine)
wisdom, how can they germinate again?

25. Just as a very intelligent person delights in the shortcomings of another, so if one finds
out his own faults (and corrects them) who will not be relieved from bondage?

26. O Lord of Munis, only he who has not Atma-Jnana and who is not an emancipated
person, longs after Siddhis. He attains such Siddhis through medicine, (or wealth), Mantras,
religious works, time and skill.

27. In the eyes of an Atma-Jnani, these Siddhis are of no importance. One who has become
an Atma-Jnani, one who has his sight solely on Atman, and one who is content with Atman
(the higher Self) through (his) Atman (or the lower self), never follows (the dictates of)
Avidya.

28. Whatever exists in this world, he knows to be of the nature of Avidya. How then will an
Atma-Jnani who has relinquished Avidya be immersed in (or affected by) it.

29. Though medicine, Mantras, religious work, time and skill (or mystical expressions) lead
to the development of Siddhis, yet they cannot in any way help one to attain the seat of
Paramatman.

30. How then can one who is an Atma-Jnani and who is without his mind be said to long after
Siddhis, while all the actions of his desires are controlled?”

Thus ends the third Chapter of Varāha Upanishad.

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CHAPTER IV

On another occasion Nidagha asked Lord Ribhu to enlighten him as to the characteristics of
Jivanmukti. To which Ribhu replied in the affirmative and said the following: “In the seven
Bhumikas (or stages of development of wisdom) there are four kinds of Jivanmuktas. Of
these the first stage is Subhechcha (good desire); the second is Vicharana (inquiry); the third
is Tanumanasi (or pertaining to the thinned mind); the fourth is Sattvapatti (the attainment of
Sattva); the fifth is Asamsakti (non-attachment); the sixth is the Padartha-Bhavana (analysis
of objects) and the seventh is the Turya (fourth or final stage). The Bhumika which is of the
form of Pranava (Om) is formed of (or is divided into) Akara - ‘A’, Ukara - ‘U’, Makara -
‘M’ and Ardha-Matra. Akara and others are of four kinds on account of the difference of
Sthula (gross) Sukshma (subtle), Bija (seed or causal) and Sakshi (witness). Their Avasthas
are four: waking, dreaming, dreamless sleeping and Turya (fourth). He who is in (or the
entity that identifies itself with) the waking state in the gross Amsa (essence or part) of Akara
is named Vishva; in the subtle essence, he is termed Taijasa; in the Bija essence, he is termed
Prajna; and in the Sakshi essence, he is termed Turya.

He who is in the dreaming state (or the entity which identifies itself with the dreaming state)
in the gross essence of Ukara is Vishva; in the subtle essence, he is termed Taijasa; in the
Bija essence, is termed Prajna; and in the Sakshi essence, he is termed Turya.

He who is in the Sushupti state in the gross essence of Makara is termed Vishva; in the subtle
essence, Taijasa; in the Bija essence, he is termed Prajna; and in the Sakshi essence, he is
termed Turya.

He who is in Turya State in the gross essence of Ardha-Matra is termed Turya-Vishva. In the
subtle, he is termed Taijasa; in the Bija essence, he is termed Prajna; and in the Sakshi
essence, he is termed Turya-Turya.

The Turya essence of Akara is (or embraces) the first, second and third (Bhumikas or stages
of the seven). The Turya essence of Ukara embraces the fourth Bhumika. The Turya essence
of Makara embraces the fifth Bhumika. The Turya essence of Ardha-Matra is the sixth stage.
Beyond this, is the seventh stage.

One who functions in the (first) three Bhumikas is called Mumukshu; one who functions in
the fourth Bhumika is called a Brahmavit; one who functions in the fifth Bhumika is called a
Brahmavidvara; one who functions in the sixth Bhumika is called a Brahmavidvariya; and
one in the seventh Bhumika is called a Brahmavidvarishtha.

With reference to this, there are Slokas. They are:

1. Subhechcha is said to be the first Jnana-Bhumi (or stage of wisdom); Vicharana, the
second; Tanumanasi, the third;

2. Sattvapatti, the fourth; then come Asamsakti as the fifth, Padartha-Bhavana as the sixth
and Turya as the seventh.

3. The desire that arise in one through sheer Vairagya (after resolving) ‘Shall I be ignorant? I
will be seen by the Shastras and the wise’ (or ‘I will study the books and be with the wise’) -

26
is termed by the wise as Subhechcha.

4. The association with the wise and Shastras and the following of the right path preceding
the practice of indifference is termed Vicharana.

5. That stage wherein the hankering after sensual objects is thinned through the first and
second stages is said to be Tanumanasi.

6. That stage wherein having become indifferent to all sensual objects through the exercise in
the (above) three stages, the purified Chitta rests on Atman which is of the nature of Sat is
called Sattvapatti.

7. The light (or manifestation) of Sattva-Guna that is firmly rooted (in one) without any
desire for the fruits of actions through the practice in the above four stages is termed
Asamsakti.

8-9. That stage wherein through the practice in the (above) five stages one, having found
delight in Atman, has no conception of the internals or externals (though before him) and
engages in actions only when impelled to do so by others is termed Padartha-Bhavana, the
sixth stage.

10. The stage wherein after exceedingly long practice in the (above) six stages one is
(immovably) fixed in the contemplation of Atman alone without the difference (of the
universe) is the seventh stage called Turya.

11. The three stages beginning with Subhechcha are said to be attained with (or amidst)
differences and non-differences. (Because) the universe one sees in the waking state he thinks
to be really existent.

12. When the mind is firmly fixed on the non-dual One and the conception of duality is put
down, then he sees this universe as a dream through his union with the fourth stage.

13. As the autumnal cloud being dispersed vanishes, so this universe perishes. O Nidagha, be
convinced that such a person has only Sattva remaining.

14. Then having ascended the fifth stage called Sushuptipada (dreamless sleeping seat), he
remains simply in the non-dual state, being freed from all the various differences.

15-16(a). Having always introvision though ever participating in external actions, those that
are engaged in the practice of this (sixth stage) are seen like one sleeping when fatigued (viz.,
being freed from all affinities).

16(b). (Lastly) the seventh stage which is the ancient and which is called Gudhasupti is
generally attained.

17. Then one remains in that secondless state without fear and with his consciousness almost
annihilated where there is neither Sat nor Asat, neither self nor not-self.

18. Like an empty pot in the Akasa, there is void both within and without; like a filled vessel
in the midst of an ocean, he is full both within and without.

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19. Do not become either the knower or the known. May you become the Reality which
remains after all thoughts are given up.

20. Having discarded (all the distinctions of) the seer, the sight and the seen with their
affinities, meditate solely upon Atman which shines as the supreme Light.

21. He is said to be a Jivanmukta (emancipated person) in whom, though participating in the

material concerns of the world, the universe is not seen to exist like the invisible Akasa.

22. He is said to be a Jivanmukta, the light of whose mind never sets or rises in misery or
happiness and who does not seek to change what happens to him (viz., either to diminish his
misery or increase his happiness).

23. He is said to be a Jivanmukta who though in his Sushupti is awake and to whom the
waking state is unknown and whose wisdom is free from the affinities (of objects).

24. He is said to be a Jivanmukta whose heart is pure like Akasa, though acting (as it) in
consonance to love, hatred, fear and others.

25. He is said to be a Jivanmukta who has not the conception of his being the actor and whose
Buddhi is not attached to material objects, whether he performs actions or not.

26. He is said to be a Jivanmukta, of whom people are not afraid, who is not afraid of people
and who has given up joy, anger and fear.

27. He is said to be a Jivanmukta, who though participating in all the illusory objects, is cool
amidst them and is a full Atman, (being) as if they belonged to others.

28. O Muni, he is said to be a Jivanmukta, who having eradicated all the desires of his Chitta,
is (fully) content with me who am the Atman of all.

29. He is said to be a Jivanmukta, who rests with an unshaken mind in that all pure abode
which is Chinmatra and free from all the modifications of Chitta.

30. He is said to be a Jivanmukta in whose Chitta do not dawn (the distinctions of) the
universe, I, he, thou and others that are visible and unreal.

31. Through the path of the Guru and Shastras, enter soon sat - the Brahman that is
immutable, great, full and without objects - and be firmly seated there.

32. Shiva alone is Guru; Shiva alone is Vedas; Shiva alone is Lord; Shiva alone is I; Shiva
alone is all. There is none other than Shiva.

33. The undaunted Brahmana having known Him (Shiva) should attain wisdom. One need
not utter many words as they but injure the organ of speech.

34. (The Rishi) Suka is a Mukta (emancipated person). (The Rishi) Vamadeva is a Mukta.
There are no others (who have attained emancipation) than through these (viz., the two paths
of these two Rishis). Those brave men who follow the path of Suka in this world become

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Sadyo-Muktas (viz., emancipated) immediately after (the body wear away);

35. While those who always follow the path of Vamadeva (i.e., Vedanta) in this world are
subject again and again to rebirths and attain Krama (gradual) emancipation, through Yoga,
Sankhya and Karmas associated with Sattva (Guna).

36. Thus there are two paths laid down by the Lord of Devas (viz.,) the Suka and Vamadeva
paths. The Suka path is called the bird’s path; while the Vamadeva path is called the ant’s
path.

37-38. Those persons that have cognised the true nature of their Atman through the
mandatory and prohibitory injunctions (of the Vedas), the inquiry into (the true meaning of)
Maha-Vakyas (the sacred sentences of the Vedas), the Samadhi of Sankhya Yoga or
Asamprajnata Samadhi and that have thereby purified themselves, attain the supreme seat
through the Suka path.

39-40. Having, through Hatha-Yoga practice with the pain caused by Yama, postures, etc.,
become liable to the ever recurring obstacles caused by Anima and other (Siddhis) and
having not obtained good results, one is born again in a great family and practises Yoga
through his previous (Karmic) affinities.

41. Then through the practice of Yoga during many lives, he attains salvation (viz.,) the
supreme seat of Vishnu through the Vamadeva path.

42. Thus there are two paths that lead to the attainment of Brahman and that are beneficent.
The one confers instantaneous salvation and the other confers gradual salvation. To one that
sees (all) as the one (Brahman), where is delusion? Where is sorrow?

43. Those that are under the eyes of those whose Buddhi is solely occupied with the truth (of
Brahman) that is the end of all experience are released from all heinous sins.

44. All beings inhabiting heaven and earth that fall under the vision of Brahmavits are at once
emancipated from the sins committed during many Crores of births.” Thus ends the fourth
Chapter of Varāha Upanishad.

CHAPTER V

Then Nidagha asked Lord Ribhu to enlighten him as to the rules (to be observed) in the
practice of Yoga. Accordingly He (the Lord) said thus:

1. “The body is composed of the five elements. It is filled with five Mandalas (spheres). That
which is hard is Prithvi (earth), one of them; that which is liquid is Apas;

2. That which is bright is Tejas (fire); motion is the property of Vayu; that which pervades
everywhere is Akasa. All these should be known by an aspirant after Yoga.

3. Through the blowing of Vayu-Mandala in this body, (there are caused) 21,600 breaths
every day and night.

4. If there is a diminution in the Prithvi-Mandala, there arise folds in the body; if there is

29
diminution in the essence of Apas, there arises gradually greyness of hair;

5. If there is diminution in the essence of Tejas, there is loss of hunger and lustre; if there is
diminution in the essence of Vayu, there is incessant tremor;

6. If there is diminution in the essence of Akasa, one dies. The Jivita (viz., Prana) which
possesses these elements having no place to rest (in the body) owing to the diminution of the
elements, rises up like birds flying up in the air.

7. It is for this reason that is called Udyana (lit., flying up). With reference to this, there is
said to be a Bandha (binding, also meaning a posture called Udyana-Bandha, by which this
flight can be arrested). This Udyana-Bandha is to (or does away with) death, as a lion to an
elephant.

8. Its experience is in the body, as also the Bandha. Its binding (in the body) is hurtful. If
there is agitation of Agni (fire) within the belly, then there will be caused much of pain.

9. Therefore this (Udyana-Bandha) should not be practised by one who is hungry or who has
urgency to make water or void excrement. He should take many times in small quantities
proper and moderate food.

10. He should practise Mantra-Yoga. Laya-Yoga and Hatha-Yoga, through mild, middling
and transcendental methods (or periods) respectively. Laya, Mantra and Hatha-Yogas have
each (the same) eight subservients.

11-12(a). They are Yama, Niyama, Asana, Pranayama, Pratyahara, Dharana, Dhyana and
Samadhi.

12(b)-13(a). (Of these), Yama is of ten kinds. They are non-injury, truth, non-coveting,
continence, compassion, straightforwardness, patience, courage, moderate eating and purity
(bodily and mental).

13(b)-14. Niyama is of ten kinds. They are Tapas (religious austerities), contentment, belief
in the existence of God or Vedas, charity, worship of Ishvara (or God), listening to the
expositions of religious doctrines, modesty, a (good) intellect, Japa (muttering of prayers) and
Vrata (religious observances).

15-16. They are eleven postures beginning with Chakra. Chakra, Padma, Kurma, Mayura,
Kukkuta, Vira, Svastika, Bhadra, Simha, Mukta and Gomukha are the postures enumerated
by the knowers of Yoga.

17. Placing the left ankle on the right thigh and the right ankle on the left thigh and keeping
the body erect (while sitting) is the posture “Chakra”.

18. Pranayama should be practised again and again in the following order, viz., inspiration,
restraint of breath and expiration. The Pranayama is done through the Nadis (nerves). Hence
it is called the Nadis themselves.

19. The body of every sentient being is ninety-six digits long. In the middle of the body, two
digits above the anus and two digits below the sexual organ, is the centre of the body (called

30
Muladhara or sacral plexus).

20-21. Nine digits above the genitals, there is Kanda of Nadis which revolves oval-shaped,
four digits high and four digits broad. It is surrounded by fat, flesh, bone and blood.

22. In it, is situate a Nadi-Chakra (wheel of nerves) having twelve spokes. Kundali by which
this body is supported is there. 23. It is covering by its face the Brahmarandhra (viz.,
Brahma’s hole) of Susumna. (By the side) of Susumna dwell the Nadis Alambusa and Kuhuh.

24. In the next two (spokes) are Varuna and Yasasvini. On the spoke south of Susumna is, in
regular course, Pingala.

25. On the next two spokes, are Pusha and Payasvini. On the spoke west of Susumna is the
Nadi called Sarasvati.

26. On the next two spokes are Sankhini and Gandhari. To the north of Susumna dwells Ida;

27-28. In the next is Hastijihva; in the next is Visvodara. In these spokes of the wheel, the
twelve Nadis carry the twelve Vayus from left to right (to the different parts of the body). The
Nadis are like (i.e. woven like the warp and woof of) cloth. They are said to have different
colours.

29-30. The central portion of the cloth (here the collection of the Nadis) is called the Nabhi
Chakra (navel plexus). Jvalanti, Nadarupini, Pararandhra and Susumna are called the (basic)
supports of Nada (spiritual sound). These four Nadis are of ruby colour. The central portion
of Brahmarandhra is again and again covered by Kundali.

31-33(a). Thus ten Vayus move in these Nadis. A wise man who has understood the course of
Nadis and Vayus should, after keeping his neck and body erect with his mouth closed,
contemplate immovably upon Turyaka (Atman) at the tip of his nose, in the centre of his
heart and in the middle of Bindu and should see with a tranquil mind through the (mental)
eyes, the nectar flowing from there.

33(b)-34. Having closed the anus and drawn up the Vayu and caused it to rise through (the
repetition of) Pranava (Om), he should complete with Sri Bija. He should contemplate upon
his Atman as Sri (or Parasakti) and as being bathed by nectar.

35. This is Kalavanchana (lit., time illusion). It is said to be the most important of all.
Whatever is thought of by the mind is accomplished by the mind itself.

36. (Then) Agni (fire) will flame in Jala (water) and in the flame (of Agni) will arise the
branches and blossoms. Then the words uttered and the actions done regarding the universe,
are not in vain.

37. By checking the Bindu in the path, by making the fire flame up in the water and by
causing the water to dry up, the body is made firm.

38. Having contracted simultaneously the anus and Yoni (the womb) united together, he
should draw up Apana and unite with it Samana.

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39. He should contemplate upon his Atman as Shiva and then as being bathed by nectar. In
the central part of each spoke, the Yogin should commence to concentrate Bala (will or
strength).

40. He should try to go up by the union of Prana and Apana. This most important Yoga
brightens up in the body the path of Siddhis.

41. As dam across the water serves as an obstacle to the floods, so it should ever be known by
the Yogins that the Chhaya of the body is to (Jiva).

42. This Bandha is said of all Nadis. Through the grace of this Bandha, the Devata (goddess)
becomes visible.

43. This Bandha of four feet serves as a check to the three paths. This brightens up the path
through which the Siddhas obtained (their Siddhis).

44. If with Prana is made to rise up soon Udana, this Bandha checking all Nadis goes up.

45. This is called Samputa-Yoga or Mula-Bandha. Through the Practising of this Yoga, the
three Bandhas are mastered.

46. By practising day and night intermittingly or at any convenient time, the Vayu will come
under his control.

47. With the control of Vayu, Agni (the gastric fire) in the body will increase daily. With the
increase of Agni, food, etc., will be easily digested.

48. Should food be properly digested, there is increase of Rasa (essence of food). With the
daily increase of Rasa, there is the increase of Dhatus (spiritual substances).

49. With the increase of Dhatus, there is the increase of wisdom in the body. Thus all the sins
collected together during many Crores of births are burnt up.

50. In the centre of the anus and the genitals, there is the triangular Muladhara. It illumines
the seat of Shiva of the form of Bindu.

51. There is located the Parasakti named Kundalini. From that seat, Vayu arises. From that
seat, Agni becomes increased.

52. From that seat, Bindu originates and Nada becomes increased. From that seat, Hamsa is
born. From that seat, Manas is born.

53. The six Chakras beginning with Muladhara are said to be the seat of Sakti (Goddess).
From the neck to the top of the head is said to be the seat of Sambhu (Shiva).

54. To the Nadis, the body is the support (or vehicle); to Prana, the Nadis are the support; to
Jiva, Prana is the dwelling place; to Hamsa, Jiva is the support;

55. To Sakti, Hamsa is the seat and the locomotive and fixed universe. Being without
distraction and of a calm mind, one should practise Pranayama.

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56. Even a person who is well-skilled in the practice of the three Bandhas should try always
to cognise with a true heart that Principle which should be known and is the cause of all
objects and their attributes.

57. Both expiration and inspiration should (be stopped and made to) rest in restraint of breath
(alone). He should depend solely on Brahman which is the highest aim of all visibles.

58. (The giving out of) all external objects is said to be Rechaka (expiration). The (taking in
of the) spiritual knowledge of the Shastras is said to be Puraka (inspiration) and (the keeping
to oneself of) such knowledge is said to be Kumbhaka (or restraint of breath).

59. He is an emancipated person who practises thus such a Chitta. There is no doubt about it.
Through Kumbhaka, it (the mind) should be always taken up and through Kumbhaka alone it
should be filled up within.

60. It is only through Kumbhaka that Kumbhaka should be firmly mastered. Within it is
Parama-Shiva. That (Vayu) which is non-motionless should be shaken again through Kantha-
Mudra (throat-posture).

61-62. Having checked the course of Vayu, having become perfect in the practice of
expiration and restraint of breath and having planted evenly on the ground the two hands and
the two feet, one should pierce the four seats through Vayu through the three Yogas. He
should shake Mahameru with the (aid of) Prakotis (forces) at the mouth of Vayu.

63. The two Putas (cavities) being drawn, Vayu throbs quickly. The union of moon, sun and
Agni should be known on account of nectar.

64. Through the motion of Meru, the Devatas who stay in the centre of Meru move. At first in
his Brahma-Granthi, there is produced soon a hole (or passage).

65. Then having pierced Brahma-Granthi, he pierces Vishnu-Granthi; then he pierces Rudra-
Granthi.

66-67(a). Then to the Yogin comes Vedha (piercing) through his liberation from the
impurities of delusion, through the religious ceremonies (performed) in various births,
through the grace of Gurus and Devatas and through the practice of Yoga.

67(b)-68. In the Mandala (sphere or region) of Susumna (situated between Ida and Pingala),
Vayu should be made to rise up through the feature known as Mudra-Bandha. The short
pronunciation (of Pranava) frees (one) from sins; its long pronunciation confers (on one)
Moksha.

69-70. So also its pronunciation in Apyayana or Pluta Svara (tone). He is a knower of Veda,
who through the above-mentioned three ways of pronunciation knows the end of Pranava
which is beyond the power of speech, like the never ceasing flow of oil or the long-drawn
bell-sound. The short Svara goes to Bindu. The long Svara goes to Brahmarandhra; the Pluta
to Dvadasanta (twelfth centre). The Mantras should be uttered on account of getting Mantra
Siddhis.

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71-72(a). This Pranava (OM) will remove all obstacles. It will remove all sins. Of this, are
four Bhumikas (states) predicated, viz., Arambha, Ghata, Parichaya and Nishpatti.

72(b)-73(a). Arambha is that state in which one having abandoned external Karmas
performed by the three organs (mind, speech and body), is always engaged in mental Karma
only.

73(b)-74(a). It is said by the wise that the Ghata state is that in which Vayu having forced an
opening on the western side and being full, is firmly fixed there.

74(b). Parichaya state is that in which Vayu is firmly fixed to Akasa, neither associated with
Jiva nor not, while the body is immovable.

75. It is said that Nishpatti state is that in which there take place creation and dissolution
through Atman or that state in which a Yogin having become a Jivanmukta performs Yoga
without effort.

Whoever recites this Upanishad becomes immaculate like Agni. Like Vayu, he becomes
pure. He becomes freed from the sin of drinking alcohol. He becomes freed from the sins of
the theft of gold. He becomes a Jivanmukta. This is what is said by the Rig-Veda. Like the
eye pervading the Akasa (seeing without effort everything above), a wise man sees (always)
the supreme seat of Vishnu. The Brahmanas who have always their spiritual eyes wide open
praise and illuminate in diverse ways the spiritual seat of Vishnu. OM, thus is the
Upanishad.”

Thus ends the fifth Chapter of Varāha Upanishad.

Om! May He protect us both together; may He nourish us both together; May we work
conjointly with great energy, May our study be vigorous and effective; May we not mutually
dispute (or may we not hate any).

Om! Let there be Peace in me! Let there be Peace in my environment! Let there be Peace in
the forces that act on me!

Here ends the Varāha Upanishad belonging to the Krishna-Yajur-Veda.

Varāha Dwadasi

Appearance day of Varāha

Transcendental Varāha gallery

34
Lord Varāha, Bhopal Museum

35
Temple carving, Java

36
Varāha in Durga temple, Aihole

37
Vara in a temple carving, Belur

Carved stela, Varāha, 18 c. Tibet

38
Vishnu as a wild boar-oid - 11th Century India - Asian Art Museum

Varāha Rescuing Bhu Devi. Brooklyn museum. Northern India (Rajasthan), circa 1000.
Schist, 33 x 17 1/4 x 6 in. (83.8 x 43.8 x 15.2 cm). Asian Art Museum, San Francisco, The
Avery Brundage Collection, B62S15+

39
Cosmic Varāha. Brooklyn Museum. Northern India (Rajasthan), 12th century. Black phyllite,
21 3/4 x 29 1/2 x 12 1/2 in. (55.3 x 75 x 31.8 cm). The James W. and Marilynn Alsdorf
Collection

Varāha Rescuing Bhu Devi. Southern India (Kerala), circa 14th–15th century. Bronze, 13 x 7
3/4 x 5 1/8 in. (33 x 19.7 x 13 cm). Brooklyn Museum, Gift of Paul E. Manheim, 78.259.1

40
Varāha Narasimha cave Sri Varāha Narasimha Swamy Cave (Krodha Narasimha Swamy) is
just few minutes away from the main temple, Sri Ahobileshwara Narasimha swamy in Upper
Ahobilam. It houses 3 deities, one from them is Lord Varāha keeping Mother Earth on his
noose with a lion tail on his back, representing the Narasimha lila to be part of the whole
story.

Coin with Varāha (Vishnu Avatar) on a Pratihara coin 850-900 CE (British Museum)

41
Varāha temple, Mahabalipuram

Mythologically, the third incarnation of Vishnu was in the form of Varāha, the Boar. There
are a number of temples dedicated to Lord Vishnu in the aspect of this incarnation. One of
such famous temples is at Tiruvadantai, 27 miles from Chennai towards south on the way to
Mahabalipuram.

The main deity is 3m (9 ft) tall and is called "Sri Lakshmi Adi Varāha". He is also known as
"Sri Nritya Kalyana Perumal'. The Lord holds a conch in his upraised right hand and the disc
in his left. The name of the Goddess is "Akhilavalli Ammal". The Goddess is seated over the
left thigh of Lord Vishnu in his Varāha aspect, His left hand encircling Her waist, while Her
feet are held in His lower right hand palm. Only the right leg of Varāhaswami is touching the
floor.

The deity is decorated with a garland formed of 108 saligrams around the neck. The legend
goes that one Hariseka Maharaj, the ruling chief of Mahabalipuram, possessed this garland
originally. He was a great devotee of Adi Varāhaswami and it was his daily routine to visit
the temple and pay homage. When he became old and was physically unable to move, he
presented the garland to the presiding deity.

There are four Utsavamurtis (processional deities), namely, Nitya - kalyanaswami, Kottukar,
Palpo Perumal and Spathanaperam. On festive occasions the processional deities are taken
around the temple.

Once upon a time there lived a sage named Kalava at Tiruvadantai. He had 360 daughters.
Tiruvadantai was a great city in those days and had 360 Agraharam (streets where Brahmins
lived). As the sage was greatly honoured and respected, one daughter was taken up by each of

42
the 360 streets to be respectfully maintained and looked after. Time rolled on. In due course,
when the girls came of age it became a great anxiety for the sage how to get them married
suitably. Praying fervently, the sage resigned himself to God.

Lord Vishnu elected to take the form of a 'Brahmachari' (bachelor) and appeared in the first
Agraharam and broached the subject of marriage with the first daughter and then married her.
It is customary with newly married Hindu couples to visit the village temple and pay their
homage to the presiding deity and receive blessings for their future life. When the
Brahmachari visited the local Varāhaswami temple with his newly - wedded wife, he and his
wife both mysteriously vanished in the sanctum sanctorum.

On the second day, Vishnu again took the form of another Brahmachari and proposed
marriage with the second daughter in the second Agraharam and married her too. After
marriage when the couple visited the local temple they too disappeared. Likewisely,
mysteriously, a new Brahmachari used to be performed with one of Kalava Maehashi's 360
daughters. And when the newly married couples visited the Varāhaswami temple, they just
vanished.

When all the 360 girls vanished in this manner, the episode reached Maharshi Kalava. He
was bewildered and agitated and wanted to know from God Himself the whereabouts of his
daughters and sons-in-law.

When the Sage entered the, sanctum sanctorum of the temple with the object of knowing
from the Lord's mouth the where abouts of his daughters, Lord Vishnu appeared before him
as Varāha, the Boar, holding all the 360 daughters on lap. Lord Varāhaswami embraced all
the 360 daughters of Maharshi with his left hand and pressed all the 360 souls into single soul
of Lakshmi, His consort, making her sit on his raised thigh. The merging of the souls of his
daughters with that of Goddess Lakshmi enlightened the Sage.

The sage was greatly elated that Goddess Lakshmi considered him fit enough to be her father.
As the marriage episode continued day after day for the 360 days of the year, the presiding
deity was fondly named "Nityakalyanaswami" (Nitya means daily, Kalyana means marriage).
Gradually the place gained in importance.

43
Varāha, Jagannatha temple, Puri. Archaeological Survey of India Collections, taken by
Poorno Chander Mukherji in the 1890s.

Varāha, Mahakuta, Deccan7th C.

44
45
Cave Two Badami has Vishnu's Varāha, or boar, avatar

46
Bronze Varāha, Tamil Nadu 15th cent.

Varāha, Halebidu

47
Simhachalam - Sri Varāha Narasimhaswamy Temple, Near Visakhapatnam,Andhra Pradesh

48
Varāha, Belur

The Story of VARĀHA Avatar

In VARĀHA Avatar, Lord Vishnu incarnates himself as a boar in this world. A demon
Hiranyaksha, had prayed for Lord Brahma and got awarded a boon that no beast nor man nor
god could kill him. But somehow from the list of beasts the name of boar was missing. This

49
proved to be his lacunae. He then started a campaign of plunder across the worlds. He pushed
the world to the Pataal loka, or the under of the sea. He stole the Vedas, the holy scriptures
from the Lord Brahma, while he was asleep and performed huge atrocities. To retrieve the
Vedas and to save the world the Lord Vishnu assumed the role of a boar and brought out the
earth from the under of the ocean, using its two tusks. It then killed Hiranyaksha and
retrieved the Vedas from the asura and brought it back to the safe custody of the Lord
Brahma.

Nava Torana Temple of Varāha at Khor in Neemach, Madhya Pradesh

ThirukKalvanoor - Sri Aadhi Varāha Perumal Temple, Kanchipuram

Sri Bhu Varāha Swamy, Sreemushnam temple, Chidambaram

चषालः caṣāla on Yupa, an Indus Script hieroglyph like a crucible to carburize ores into
steel/hard alloys
Mirror: http://tinyurl.com/h24ueao

चषालः caṣāla on Yupa, made of wheat straw, an Indus Script hieroglyph, signifies
pyrolysis/carburization in smelting ores into steel/hard alloys

Yupa is a kunda, a pillar of bricks. This kunda signifies a fire-alter or agnikunda in Vedic
tradition. A signifier of the pillar is a चषालः caṣāla as its top piece. This चषालः caṣāla
(Rigveda) is made of wheat straw for pyrolysis to convert firewood into coke to react with
ore to create hard alloys, e.g. iron reacting with coke to create crucible steel or carburization
of wrought iron in a crucible to produce steel.

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See: https://en.wikipedia.org/wiki/Crucible_steel

The sacredness associated with चषालः caṣāla is demonstrated by the architectural splendour
of ancient Varāha sculptures in the Hindu tradition. On the Varāha monolith in Khajuraho,
the चषालः caṣāla is signified by Devi Sarasvati. On many other sculptures of Varāha,
the चषालः caṣāla is associated with Mother Earth भूिेवी bhudevi. A gallery of Varāha
sculptural splendour is embedded together with explanatory notes on the dcipherment
of metal work catalogue in a Rakhigarhi seal with a rhinoceros decorated with a scarf (dhatu
'scarf' rebus: dhatu 'ore').

The Indus Script hieroglyphic hypertexts get expanded into metaphors during the historical
periods narrating Varāha as the third Avatara of Vishnu. In archaeometallurgical parlance,
the चषालः caṣāla is the core pyrolysis process to create crucible steel and/or hard alloys in
smelting processes.

See the yupa as a signifier on Kuwait gold disc with Indus Script hieroglyphs:

Hieroglyph: kunda = a pillar of bricks (Ka.); pillar, post (Tu.Te.); block, log (Malt.); kantu =
pillar, post (Ta.)(DEDR 1723).

Rebus: kun.d. = a pit (Santali) kun.d.amu = a pit for receiving and preserving consecrated
fire; a hole in the ground (Te.) kun.d.am, kun.d.a sacrificial fire
pit (Skt.) kun.d.a an altar on which sacrifices are made (G.)[i] gun.d.amu fire-pit; (Inscr.)

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See: http://bharatkalyan97.blogspot.in/2016/01/octagonal-yupo-bhavati-
satapatha.html चषालः caṣāla is made of wheat straw according to Satapatha Brāhmana.

caṣāla चषाल This is a Rigveda word which signifies the top-piece of the Yūpa.

1.162.01 Let neither Mitra nor Varun.a, Aryaman, A_yu, Indra, R.bhuks.in,nor the Maruts,
censure us; when we proclaim in the sacrifice the virtus of the swift horse sprung from the
gods. [a_yu = va_yu (a_yuh satataganta_ va_yuh, vaka_ralopo va_); r.bhuks.in = Indra;
but,here Praja_pati, he in whom the r.bhus,or the devas, abide (ks.iyanti); sprung from the
gods: devaja-tasya = born as the type of various divinities, who are identified with different
parts (e.g. us.a_ va_ as'vasya medhyasya s'irah: Br.hada_ran.yaka Upanis.ad 1.1.1); legend:
the horse's origin from the sun, either direct, or through the agency of the Vasus: sura_d
as'vam vasavo niratas.t.a].
1.162.02 When they, (the priests), bring the prepared offering to the presence (of the horse),
who has been bathed and decorated with rich (trappings), the various-coloured goat going
before him, bleating, becomes an acceptable offering to Indra and Pu_s.an. [The prepared
offering: ra_tim-gr.bhi_ta_m = lit. the seized wealth; the offering to be made for the horse;
pu_s.an = Agni; the goat is to be tied to the front of the horse at the sacrificial post, such a
goat, black-necked, kr.s.nagri_va (a_gneyah kr.s.n.agri_vah: Taittiri_ya Sam.hita_ 5.5.22),
being always regarded as an a_gneya pas'u, or victim sacred to Agni, and to be offered to
him (Ka_tya_yana Su_tra 98). A black goat is also dedicated to pu_s.an, along with soma
(Yajus. xxix.58; but, he is also to be attached to the na_bhi or middle of the horse (Yajus.
xxiv.1)].

52
1.162.03 This goat, the portion of Pu+s.an fit for all the gods, is brought first with the fleet
courser, to that Tvas.t.a_ may prepare him along with the horse, as an acceptable preliminary
offering for the (sacrificial) food. [The portion of Pu_s.an: he is to be offered in sacrifice to
Pu_s.an or Agni; Tvas.t.a_ = sarvasyotpa_daka, the producer of all forms; tvas.t.a_ ru_pa_n.i
vikaroti (Taittiri_ya Sam.hita_ 1.5.92); or, identified wiith Agni;preliminary offering
purod.a_s'am = offering of cakes and butter; purasta_d-da_tavyam, that which is to be first
offered].
1.162.04 When the priests at the season (of the ceremony), lead forth the horse, the offering
devoted to the gods, thrice round (the sacrificial fire); then the goat, the portion of Pu_s.an,
goes first, announcing the sacrificer to the gods. [The goat is to be first immolated]. 1.162.05
The invoker of the gods, the minister of the rite, the offerer of the oblation, the kindler of the
fire, the bruiser of the Soma, the director of the ceremony, the saage (superintendent of the
whole); do you replenish the rivers by this well-ordered, well-conducted, sacrifice. [The
invoker of the gods: designations applied to eight of the sixteen priests employed at a
solemn rite: the two first are: hota_ and adhvaryu; avaya_j = pratiprastha_ta_, who brings
and places the offering; agnimindha = agni_dh, the kindler of the fire; gra_vagra_bha = the
praiser of the stones that bruise the Soma,or he who applies the stones to that purpose;
s'am.sta_ = pras'a_sta_; suvipra = Brahma_ (brahmaiko ja_te ja_te vidya_m vadatibrahma_
sarvavidyah sarva veditumarhati: Nirukta 1.8); replenish the rivers: vaks.an.a_
apr.n.adhvam, nadi_h pu_rayata, fill the rivers; the consequence of sacrifice being rain and
fertility; or, it may mean, offer rivers of butter, milk, curds, and the like].
1.162.06 Whether they be those who cut the (sacrificial) post, or those who bear the post, or
those who fasten the rings on the top of the post, to which the horse (is bound); or those who
prepare the vessels in which the food of the horse is dressed; let the exertions of them all
fulfil our expectation. [The post: twenty-one posts, of different kinds of wood, each twenty-
one cubits long, are to be set up, to which the different animals are to be fastened, amounting
to three hundred and forty-nine, besides two hundred and sixty wild animals, making a total
of six hundred and nine (Ka_tya_yana); the text seems to refer to a single post: cas.a_lam ye
as'vayu_pa_ya taks.ati: cas.a_la = a wooden ring, or bracelet, on the top of the sacrificial
post; or, it was perhaps a metal ring at the foot of the post].

Satapatha Brāhmana describes this as made of wheaten dough (gaudhūma).

गौधूम [p= 369,3] mf(ई g. बिल्वा*बि)n. made of wheat MaitrS. i Hcat. i , 7 (f(आ).) made of
wheat straw S3Br. v , 2 , 1 , 6 Ka1tyS3r. xiv , 1 , 22 and 5 , 7.

http://www.sanskritdictionary.com/agnir/961/6#sthash.aDu8onbZ.dpuf

"Pyrolysis has been used since ancient times for turning wood into charcoal on an industrial
scale...Pyrolysis is used on a massive scale to turn coal into
coke for metallurgy, especially steelmaking."
https://en.wikipedia.org/wiki/Pyrolysis In archaeometallurgical terms, the use of wheat straw
to prepare the चषालः caṣāla fixed atop a Yupa may relate to such pyrolysis process to convert
charcoal used in the fire-altar (furnace) into charcoal/coke to react with the dhAtu in the earth
subjected to smelting/melting process (e.g. iron reacting with coke in a crucible to be
transmuted as steel).

చషాలము [ caṣālamu ] chashālamu. [Skt.] n. A chalice, or cup used in sacrifice. A ring

attached to the sacrificial post in a horse sacrifice. రాజ మాయము నందు

53
యూపస్తంభమునకు అడుగున తగిలంచే కడియము.‫ څلي‬ṯ s̱ alaey, s.m. (1st) A ring for the
finger. 2. A pillar of mud or stones as a mark for land. 3. A butt or mark for arrows. 4. A
mound or platform for watching a field. 5. A temporary building or shed. Pl. ‫ ي‬ī. See ‫منا‬
(Pashto)

चषाल [p= 391,2]mn. (g. अधधचाध *बि) a wooden ring on the top of a sacrificial post RV. i , 162 ,
6 TS. vi Ka1t2h.xxvi , 4 (चशाल) S3Br. &c चषालः caṣālḥचषालः 1 A wooden ring on the top of
a sacrificial post; चषालं ये अश्वयूपाय तक्षबत Rv.1.162.6; चषालयूपत- च्छन्नो बिरण्यरशनं बवभः
Bhāg.4.19.19.-2 An iron ring at the base of the post.-3 A hive.

In lokokti, the yupa is associated with potaraju. The word pota signifies casting or smelting of
metal.

పోతురాజు or పోతరాజు pōtu-rāḍsu. n. The name of a rustic god, like Pan, worshipped
throughout the Telugu, Canarese and Mahratta countries. He represents the male principle
associated with the village goddesses Gangamma, Peddamma, &c. A proverb
says పాడుఊరికి మంచపుకోడుపోతురాజు in a ruined village the leg of a cot is a god. cf., 'a
Triton of the minnows' (Shakespeare.) పోత [ pōta ] pōta. [Tel. from పోయు.] n.
Pouring, పోయుట. Casting, as of melted metal. Bathing, washing. Eruption of the small
pox. ఆకుపోత putting plants into the ground. పెట్టుపోతలు శాశ్వ తములుకావు meat and
drink (literally, feeding and bathing) are not matters of eternal consequence. పోత pōta. adj.
Molten, cast in metal. పోతచంబు a metal bottle or jug, which has been cast not hammered.

పోతము [ pōtamu ] pōtamu. [Skt.] n. A vessel, boat, ship. ఓడ. The young of any
animal. పిల.ల శిశువు. An elephant ten years old, పదండ ల యేనుగు. A cloth,వస్తస్తము.
శుకపోతము a young parrot. వాతపోతము a young breeze, i.e., a light
wind. పోతపాత్రిక pōta-pātrika. n. A vessel, a ship, ఓడ. "స్ంసార సాగరమతుల
ధైరయ పోత పాత్రికనిస్తరింపుముకు మార." M. XII. vi.
222. పోతవణిక్కు or పోతవణిజుడు pōta-vaṇikku. n. A sea-faring merchant. ఓడను
కేవుకు పుచ్చు కొనన వాడు, ఓడ బేరగాడు. పోతవహుడు or పోతనాహుడు pōta-vahuḍu. n.
A rower, a boatman, a steersman. ఓడనడుపువాడు, తండేలు.

Shapes of Yupa: A. Commemorative stone yupa, Isapur – from Vogel, 1910-11, plate 23;
drawing based on Vedic texts – from Madeleine Biardeau, 1988, 108, fig. 1; cf. 1989, fig. 2);

54
C. Miniature wooden yupa and caSAla from Vaidika Samsodana Mandala Museum of Vedic
sacrificial utensils – from Dharmadhikari 1989, 70) (After Fig. 5 in Alf Hiltebeitel, 1988, The
Cult of Draupadi, Vol. 2, Univ. of Chicago Press, p.22)

"Lord Vishnu appeared in the form of a Boar in order to defeat Hiranyaksha, a demon who
had taken the Earth (Prithvi) and carried it to the bottom of what is described as the cosmic
ocean in the story. The battle between Varāha and Hiranyaksha is believed to have lasted for
a thousand years, which the former finally won. Varāha carried the Earth out of the ocean
between his tusks and restored it to its place in the universe. Vishnu married Prithvi
(Bhudevi) in this avatar.The Varāha Purana is a Purana in which the form of narration is a
recitation by Varāha."
https://en.wikipedia.org/wiki/Varāha_Temple,_Khajuraho

वराह [p= 923,2]m. (derivation doubtful) a boar , hog , pig , wild boar RV. &c (ifc. it denotes
, " superiority , pre-eminence " ; » g.व्याघ्रा*बि)N. of बवष्ण in his third or boar-incarnation
(cf. वरािा*वतार) TA1r. MBh. &c

वराह an array of troops in the form of a boar Mn. vii , 187 வராகம் ² varākam, n. < varāka.
Battle; ப ார். (யாழ் . அக.)

கட்டிவராகன் kaṭṭi-varākaṉ, n. < ககட்டி +. A gold coin, the varākaṉ. கட்டிப ா

கமத் ததபயா கட்டிவராகபனா. (குற் றா. குற.).கருக்குவராகன் karukku-
varākaṉ, n. < id. +. New pagoda coin on which the figures are well defined;
புதுநாணயம் . (W.)தங் கவராகன் taṅka-varākaṉ, n. < தங் கம் +. Pagoda, a gold
coin = 3½ rupees; 3½ ரூ ாய் க றுமான வராகன்
என்னும் நாணயம் .வராகன்¹ varākaṉ, n. < Varāha. 1. Viṣṇu, in His boar-
incarnation; வராகரூபியான திருமா ் . (பிங் .) 2. Pagoda, a gold coin = 3½ rupees,
as bearing the image of a boar; மூன்றதர ரூ ாய்
மதி ்ள்ளதும் ன்றிமுத்திதர ககாண்டதுமான ஒரு வதக ்
க ான்நாணயம் . (அரு. நி.)

Sarasvati with veena in her hands is shown on the चषाल 'snout (of boar).'

Devi Sarasvati: in Hindu civilization. Sarasvati on the lip (snout) of a Varāha monolithic
sculpture.

Devi Sarasvati

Why is Sarasvati shown on the upper lip (snout) of Varāha? Varāha is the 3rd avatar of
Vishnu, rescuing the earth and the Vedas from the pralayam. Sarasvati on the lip of Varāha is
a metaphor for Vaak and Vedas (Knowledge).

Varāha is Veda purusha, the avatar who ensured the continued prevalence of the Knowledge
embodied in the Vedas.

55
 Shaft-hole
axe head with bird-headed demon, boar, and dragon.Bronze Age, ca. late 3rd–early 2nd
millennium B.C.,Bactria-Margiana metmuseum.org

See: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html
The pattern of double-heading in artistic representation and duplication of signs or glyphs
(e.g. two bulls facing each other) in an inscription have been explained in decoded Indus
script as connoting dula 'pair'; rebus: dul 'casting (metal)'. If the eagle is read rebus using a
lexems of Indian linguistic area to connote pajhar 'eagle' (rebus: pasra 'smithy'), the double-
headed eagle can be read as: dul pajhar = metal casting smithy. The body of a person
ligatured to the double-headed eagle can denote the smith whose metalworking trade is
related to casting of metals.
See: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html

See: http://bharatkalyan97.blogspot.in/2015/06/tvastr-is-is-taksa-engrave-cire-perdue.html

56
Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E.
L. 12.68 cm. Ceremonial Axe Baktria,Northern Afghanistan
http://www.lessingimages.com/search.asp?a=L&lc=202020207EE6&ln=Collection+George+
Ortiz%2C+Geneva%2C+Switzerland&p=1 "The whole cast by the lost wax process. The
boar covered with a sheet of gold annealed and hammered on, some 3/10-6/10 mm in
thickness, almost all the joins covered up with silver. At the base of the mane between the
shoulders an oval motif with irregular indents. The lion and the boar hammered, elaborately
chased and polished. A shaft opening - 22 holes around its edge laced with gold wire some
7/10-8/10 mm in diameter - centred under the lion's shoulder; between these a hole (diam:
some 6.5 mm) front and back for insertion of a dowel to hold the shaft in place, both now
missing.

Condition: a flattening blow to the boar's backside where the tail curled out and another to the
hair between the front of his ears, his spine worn with traces of slight hatching still visible, a
slight flattening and wear to his left tusk and lower left hind leg. A flattening and wear to the
left side of the lion's face, ear, cheek, eye, nose and jaw and a flattening blow to the whole
right forepaw and paw. Nicks to the lion's tail. The surface with traces of silver chloride
under the lion's stomach and around the shaft
opening." https://www.flickr.com/photos/antiquitiesproject/4616778973

57
Cast axe-head; tin bronze inlaid with silver; shows a boar attacking a tiger which is attacking
an ibex.ca. 2500 -2000 BCE Bactria-Margiana Archaeological Complex. Length: 17.8 cm (7
in). Weight: 675.5 g (23.82 oz). British Museum.ME 123268 (1913,0314.11913,0314.1) R.
Maxwell-Hyslop, 'British Museum “axe” no. 123628: a Bactrian bronze', Bulletin of the Asia
Institute, NS I (1987), pp. 17-26

58
Curator's comments: See RL file 6616 (29/6/1995); also Research Lab file 4992 of
12/09/1983 where XRF analysis of surface indicates composition as tin bronze with approx
10% tin and traces of arsenic, nickel, silver and lead. Dalton's inclusion in the 'Catalogue of
the Oxus Treasure' among a small group of comparative items has unfortunately led to
recurrent confusion over the date and provenance of this piece. It was first believed to be
Achaemenid in date (Dalton, 'Catalogue of the Oxus Treasure', p. 48), labelled as such in
1975 in the former Iranian Room and thus suggested to be an Achaemenid scabbard chape (P
R S Moorey CORRES 1975, based on an example said to have been excavated by P. Bernard
at Ai Khanoum or seen by him in Kabul Bazaar, cf. P. Bernard CORRES 1976). It has also
been assigned a 4th-5th century AD Sasanian date (P. Amiet, 1967, in 'Revue du Louvre' 17,
pp. 281-82). However, its considerably earlier - late 3rd mill. BC Bronze Age - date has now
been clearly demonstrated following the discovery of large numbers of objects of related
form in south-east Iran and Bactria, and it has since been recognised and/or cited as such, for
instance by H. Pittmann (hence archaeometallurgical analysis in 1983; R. Maxwell-Hyslop,
1988a, "British Museum axe no. 123628: a Bactrian bronze", 'Bulletin of the Asia Institute' 1
(NS), pp. 17-26; F. Hiebert & C.C. Lamberg-Karlovsky 1992a, "Central Asia and the Indo-
Iranian Borderlands",' Iran' 30, p. 5; B. Brentjes, 1991a, "Ein tierkampfszene in bronze",
'Archäologische Mitteilungen aus Iran' 24 (NS), p. 1, taf. 1).
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?obj
ectId=367862&partId=1

Eagle incised on a ceremonial axe made of chlorite. Tepe Yahya. (After Fig. 9.6 in Philip H.
Kohl, 2001, opcit.)

59
Zoom: Sarasvati depicted on the upper lip (snout) of Varāha.

60
The Varāha shrine, built on a lofty plinth, is essentially similar in design to the Lalguan
Mahadeva Temple, but is simpler and more modest. It is an oblong pavilion with a pyramidal
roof of receding tiers, resting on fourteen plain pillars and enshrines a colossal monolithic
(2.6 m long and 1.7 high) image of Yajna Varāha (incarnation of Vishnu) which is
exquisitely finished to a glossy luster and is carved all over with multiple figures of gods and
goddesses. The flat ceiling of the shrine is carved with a lotus flower of exquisite design in
relief. The shrine built entirely of sandstone is assignable to circa 900-925.

61
http://asibhopal.nic.in/monument/chhatarpur_khajuraho_Varāhatemple.html#

Varāha temple. Khajuraho.

62
63
64
65
66
 Site
Name: Khajuraho
Monument: Varāha Mandir
Subject of Photo: Varāha
Locator Info. of Photo: SE of Laksmana temple courtyard
Photo Orientation: overview from SW looking NE
Iconography: Varāha
Dynasty/Period: Candella
Date: ca. latter half of the tenth century CE, 950 CE - 1000 CE
Material: stone
Architecture: structural

67
Zoom into Sarasvati image on the upper lip (snout) of Varāha

Along with various divinities, shown on the body of Viṣṇu's Varāhāvatara, third among
incarnations, Sarasvatī figures appropriately on the mouth of Varāha Boar's monolithic image
at Khajurāho (10th cent.)

Contemplating on pan-Indian tendencies of making images of Sarasvatī in the Hindu,

Buddhist and Jaina pantheons, Catherine Ludvik, with her extensive researches on the
theme[*], suggests two possibilities of Sarasvatī's feminine form : 1. the Mahābhārata
narrative details, 2. Or, the other way around 'the female figure of Sarasvatī in the epic
(Mahābhārata) might conceivably have been inspired from already existing, but no longer
extant or known to be extant, representations of her' [Ludvik 107]. Thus the origin of
Sarasvatī's iconographic conceptualization goes back to the third century bce. From then on
gradually her human-like representations developed in the three different religions of the
Hindu, Buddhist and Jain.

Vedānāṁ mātaraṁ paśyamatsthāṁ.

'Behold goddess Sarasvatī, the mother of Vedas enshrined in me' says Nārāyaṇa to Nārada
[Vyasa's Mahābhārata, 12 : 326 : 5.]

Sarasvatīha vāgbhūtā śarīram te pravekṣyati

Sarasvatī enters the body as speech - [supra 12 : 306 : 6.]

jihvāyām vāk Sarasvatī

Sarasvatī dwells in the tongue [- ibid 12 : 231 : 8.].

devī jihvā sarasvatī

68
'goddess Sarasvatī is (your) tongue' says Bhīṣma, in veneration of Viṣṇu - [supra 6 : 61 : 56.].

parama jinendra-vāṇiye Sarasvatī

the supreme Lord Jina's preaching is Sarasvatī - [Pampa, Ādipurāṇa, 1-16.].
The Mahābhārata has referred to Sarasvatī as vāc [12 : 306 : 6] and vaṇī [3 : 132 : 2].
Besides, her beautiful form and lovely celestial body is lauded [3 : 184 : 18].
rūpaṁ ca te divyam atyanta kāntam

http://www.herenow4u.net/index.php?id=68838
Srimad Bhagavatam Canto 3 Chapter 18

Canto 3: The Status Quo Chapter 18: The Battle Between Lord Boar and the Demon
Hiranyaksha
Bhaktivedanta VedaBase: Srimad Bhagavatam

SB 3.18.1: Maitreya continued: The proud and falsely glorious Daitya paid little heed to the
words of Varuna. O dear Vidura, he learned from Narada the whereabouts of the Supreme
Personality of Godhead and hurriedly betook himself to the depths of the ocean.

SB 3.18.2: He saw there the all-powerful Personality of Godhead in His boar incarnation,
bearing the earth upward on the ends of His tusks and robbing him of his splendor with His
reddish eyes. The demon laughed: Oh, an amphibious beast!

SB 3.18.3: The demon addressed the Lord: O best of the demigods, dressed in the form of a
boar, just hear me. This earth is entrusted to us, the inhabitants of the lower regions, and You
cannot take it from my presence and not be hurt by me.

SB 3.18.4: You rascal, You have been nourished by our enemies to kill us, and You have
killed some demons by remaining invisible. O fool, Your power is only mystic, so today I
shall enliven my kinsmen by killing You.

SB 3.18.5: The demon continued: When You fall dead with Your skull smashed by the mace
hurled by my arms, the demigods and sages who offer You oblations and sacrifice in
devotional service will also automatically cease to exist, like trees without roots.

SB 3.18.6: Although the Lord was pained by the shaftlike abusive words of the demon, He
bore the pain. But seeing that the earth on the ends of His tusks was frightened, He rose out
of the water just as an elephant emerges with its female companion when assailed by an
alligator.

SB 3.18.7: The demon, who had golden hair on his head and fearful tusks, gave chase to the
Lord while He was rising from the water, even as an alligator would chase an elephant.
Roaring like thunder, he said: Are You not ashamed of running away before a challenging
adversary? There is nothing reproachable for shameless creatures!

SB 3.18.8: The Lord placed the earth within His sight on the surface of the water and
transferred to her His own energy in the form of the ability to float on the water. While the

69
enemy stood looking on, Brahma, the creator of the universe, extolled the Lord, and the other
demigods rained flowers on Him.

SB 3.18.9: The demon, who had a wealth of ornaments, bangles and beautiful golden armor
on his body, chased the Lord from behind with a great mace. The Lord tolerated his piercing
ill words, but in order to reply to him, He expressed His terrible anger.

SB 3.18.10: The Personality of Godhead said: Indeed, We are creatures of the jungle, and We
are searching after hunting dogs like you. One who is freed from the entanglement of death
has no fear from the loose talk in which you are indulging, for you are bound up by the laws
of death.

SB 3.18.11: Certainly We have stolen the charge of the inhabitants of Rasatala and have lost
all shame. Although bitten by your powerful mace, I shall stay here in the water for some
time because, having created enmity with a powerful enemy, I now have no place to go.

SB 3.18.12: You are supposed to be the commander of many foot soldiers, and now you may
take prompt steps to overthrow Us. Give up all your foolish talk and wipe out the cares of
your kith and kin by slaying Us. One may be proud, yet he does not deserve a seat in an
assembly if he fails to fulfill his promised word.

SB 3.18.13: Sri Maitreya said: The demon, being thus challenged by the Personality of
Godhead, became angry and agitated, and he trembled in anger like a challenged cobra.

SB 3.18.14: Hissing indignantly, all his senses shaken by wrath, the demon quickly sprang
upon the Lord and dealt Him a blow with his powerful mace.

SB 3.18.15: The Lord, however, by moving slightly aside, dodged the violent mace-blow
aimed at His breast by the enemy, just as an accomplished yogi would elude death.

SB 3.18.16: The Personality of Godhead now exhibited His anger and rushed to meet the
demon, who bit his lip in rage, took up his mace again and began to repeatedly brandish it
about.

SB 3.18.17: Then with His mace the Lord struck the enemy on the right of his brow, but since
the demon was expert in fighting, O gentle Vidura, he protected himself by a maneuver of his
own mace.

SB 3.18.18: In this way, the demon Haryaksha and the Lord, the Personality of Godhead,
struck each other with their huge maces, each enraged and seeking his own victory.

SB 3.18.19: There was keen rivalry between the two combatants; both had sustained injuries
on their bodies from the blows of each other's pointed maces, and each grew more and more
enraged at the smell of blood on his person. In their eagerness to win, they performed
maneuvers of various kinds, and their contest looked like an encounter between two forceful
bulls for the sake of a cow.

SB 3.18.20: O descendant of Kuru, Brahma, the most independent demigod of the universe,
accompanied by his followers, came to see the terrible fight for the sake of the world between
the demon and the Personality of Godhead, who appeared in the form of a boar.

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SB 3.18.21: After arriving at the place of combat, Brahma, the leader of thousands of sages
and transcendentalists, saw the demon, who had attained such unprecedented power that no
one could fight with him. Brahma then addressed Narayana, who was assuming the form of a
boar for the first time.

SB 3.18.22-23: Lord Brahma said: My dear Lord, this demon has proved to be a constant
pinprick to the demigods, the brahmanas, the cows and innocent persons who are spotless and
always dependent upon worshiping Your lotus feet. He has become a source of fear by
unnecessarily harassing them. Since he has attained a boon from me, he has become a demon,
always searching for a proper combatant, wandering all over the universe for this infamous
purpose.

SB 3.18.24: Lord Brahma continued: My dear Lord, there is no need to play with this
serpentine demon, who is always very skilled in conjuring tricks and is arrogant, self-
sufficient and most wicked.

SB 3.18.25: Brahma continued: My dear Lord, You are infallible. Please kill this sinful
demon before the demoniac hour arrives and he presents another formidable approach
favorable to him. You can kill him by Your internal potency without doubt.

SB 3.18.26: My Lord, the darkest evening, which covers the world, is fast approaching. Since
You are the Soul of all souls, kindly kill him and win victory for the demigods.

SB 3.18.27: The auspicious period known as abhijit, which is most opportune for victory,
commenced at midday and has all but passed; therefore, in the interest of Your friends, please
dispose of this formidable foe quickly.

SB 3.18.28: This demon, luckily for us, has come of his own accord to You, his death
ordained by You; therefore, exhibiting Your ways, kill him in the duel and establish the
worlds in peace.

Varāha, rock carving from the early 5th century, in Udayagiri, Orissa, India. (Encyclopaedia
Britannica).
See: http://bharatkalyan97.blogspot.in/2015/11/rakhigarhi-seal-evidence-for.html

71
On the Rakhigarhi seal, a fine distinction is made between two orthographic options for
signifying an arrow with fine pronunciation variants, to distinguish between an arrowhead
and an arrow: kaNDa, kANDa. The word kANDa is used by Panini in an expression
ayaskANDa to denote a quantity of iron, excellent iron (Pāṇ.gaṇ) i.e., metal (iron/copper
alloy). This expression ayas+ kāṇḍa अयस् --काण्ड is signified by hieroglyphs: aya 'fish'
PLUS kāṇḍa, 'arrow' as shown on Kalibangan Seal 032. An allograph for this hieroglyph
'arrowhead' is gaNDa 'four' (short strokes) as seen on Mohenjo-daro seal M1118.

Rebus: ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas =
metal (Skt.)

Thus, the arrowhead is signified by the hieroglyph which distinguishes the arrowhead as a
triangle attached to a reedpost or handle of tool/weapon.

As distinct from this orthographic representation of 'arrowhead' with a triangle PLUS

attached linear stroke, an arrow is signified by an angle ^ (Caret; Circumflex accent; Up
arrow) with a linear stroke ligatured, as in the Rakhigarhi seal. To reinforce the distinction
between 'arrow' and 'arrowhead' in Indus Script orthography, a notch is added atop the tip of
the circumflex accent. Both the hieroglyph-components are attested in Indian sprachbund
with a variant pronunciation: khANDA. खााडा [ kāṇḍā ] m A jag, notch, or indentation (as
upon the edge of a tool or weapon) (Marathi)

It is thus clear that the morpheme kANDa denotes an arrowhead, while the ^ circumflex
accent hieroglyph is intended to signify rebus: kāṇḍā 'edge of tool or weapon' or a sharp
edged implement, like a sword. In Indian sprachbund, the word which denotes a sword
is khaṁḍa -- m. ʻswordʼ(Prakritam).

In the hieroglyph-multiplex of Rakhigarhi seal inscription, the left and right parentheses are
used as circumscript to provide phonetic determination of the gloss: khaṁḍa -- m. ʻswordʼ
(Prakritam), while the ligaturing element of 'notch' is intended to signify खााडा [ kāṇḍā ] 'A
jag, notch, or indentation (as upon the edge of a tool or weapon)' Rebus: kaNDa 'implements'
(Santali).
Thus, the hieroglyph-multiplex is read rebus as kaNDa 'implements' PLUS khaṁḍa ʻswordʼ.
The supercargo is thus catalogued on the seal as: 1. arrowheads; 2. metal implements and
ingots; 3. swords.

The hieroglyph 'rhinoceros is: kANDA rebus: kaNDa 'implements/weapons'.

The entire inscription or metalwork catalogue message on Rakhigarhi seal can be deciphered:
kaNDa 'implements/weapons' (Rhinoceros) PLUS खााडा [ kāṇḍā ] 'weapons'
PLUS mūhā 'cast ingots'(Left and Right parentheses as split rhombus or ellipse).

Thus, the supercargo consignment documented by this metalwork catalogue on Rakhigarhi

seal is: metal (alloy) swords, metal (alloy) implements, metal cast ingots.

72
 Rakhigarhi seal

Hieroglyph-multiplex on Rakhigarhi seal.

M1118

Kalibangan032

See: http://bharatkalyan97.blogspot.in/2015/08/supercaro-ingots-1-of-cast-metal-2-for.html

This monograph deciphers m1429 Prism tablet with Indus inscriptions on 3 sides. Three
Sided Moulded Tablet with a boat and crocodile+fish Indus inscription Fired clay L.4.6 cm
W. 1.2 cm Indus valley, Mohenjo-daro,MD 602, Harappan,ca 2600 -1900 BCE Islamabad
Museum, Islamabad NMP 1384, Pakistan.
One side of a Mohenjo-daro tablet.
baTa 'quail' Rebus: bhaTa 'furnace' (i.e., supercargo out of furnace)

73
What was the cargo carried on the boat? I suggest that the cargo was Meluhha metalwork.
The shape of the pair of ingots on the boat (shown on the tablet) is comparable to following
figures: 1. the ingot on which stands the Ingot-god (Enkomi); 2. Copper ingot from Zakros,
Crete, displayed at the Heraklion Archaeological Museum But the script used on the tablet is
NOT Cypro-Minoan or Cretan or Minoan but Meluhha:

The shape of the pair of ingots on the boat (shown on the tablet) is comparable to following
figures: 1. the ingot on which stands the Ingot-god (Enkomi); 2. Copper ingot
from Zakros, Crete, displayed at the Heraklion Archaeological Museum But the script used
on the tablet is NOT Cypro-Minoan or Cretan or Minoan but Meluhha: One side of a
Mohenjo-daro prism tablet (Full decipherment of the three sided inscription is embedded).
What was the cargo carried on the boat? I suggest that the cargo was Meluhha metalwork --
castings and hard copper alloy ingots. Together with the pair of aquatic birds, the metalwork
is with hard alloys (of copper).

bagalo = an Arabian merchant vessel (Gujarati) bagala = an Arab boat of a particular

description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Kannada)
Rebus: bangala = kumpaṭi = angāra śakaṭī = a chafing dish a portable stove a goldsmith’s

portable furnace (Telugu) cf. bangaru bangaramu = gold (Telugu)

karaṇḍa ‘duck’ (Sanskrit) karaṛa ‘a very large aquatic bird’ (Sindhi) Rebus: करडा [karaḍā]
Hard from alloy--iron, silver &c. (Marathi)

Side A: kāru a wild crocodile or alligator (Telugu) ghariyal id. (Hindi)

kāru 'crocodile' (Telugu) கராம் karām, n. prob. grāha. 1. A species of alligator;
முதத வதக. முதத யு மிடங் கருங் கராமும் (குறிஞ் சி ் . 257). 2. Male
alligator; ஆண் முதத . (திவா.) కారుమొస్ల a wild crocodile or alligator. (Telugu)
Rebus: kāru ‘artisan’ (Marathi) kāruvu 'artisan' (Telugu) khār 'blacksmith' (Kashmiri)
[fish = aya (G.); crocodile = kāru (Telugu)] Rebus: ayakāra ‘ironsmith’ (Pali)

khār 1 खार् । लोिकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन् ,
which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf.
bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.)

Text 3246 (l., to r.)

mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) karNika 'rim of jar'

Rebus: karNI 'supercaro'

74
 dula 'pair' Rebus: dul 'cast metal' Thus the the pair of ellipses with an

inscripted 'notch' hieroglyph component: dul mūhā 'cast ingot.

karNika 'rim of jar' Rebus: karNI 'supercargo'

kárṇa— m. ‘ear, handle of a vessel’ RV., ‘end, tip (?)’ RV. ii 34, 3. [Cf. *kāra—6] Pa.
kaṇṇa— m. ‘ear, angle, tip’; Pk. kaṇṇa—, °aḍaya- m. ‘ear’, Gy. as. pal. eur. kan m., Ash.
(Trumpp) karna NTS ii 261, Niṅg. kõmacr;, Woṭ. kanƏ, Tir. kana; Paš. kan, kaṇ(ḍ)— ‘orifice
of ear’ IIFL iii 3, 93; Shum. kõmacr;ṛ ‘ear’, Woṭ. kan m., Kal. (LSI) kuṛõmacr;, rumb. kuŕũ,
urt. kŕã (< *kaṇ), Bshk. kan, Tor. k *l ṇ, Kand. kōṇi, Mai. kaṇa, ky. kān, Phal. kāṇ, Sh. gil.
ko̯n pl. ko̯ṇí m. (→ Ḍ kon pl. k *l ṇa), koh. kuṇ, pales. kuāṇƏ, K. kan m., kash. pog. ḍoḍ.
kann, S. kanu m., L. kann m., awāṇ. khet. kan, P. WPah. bhad. bhal. cam. kann m., Ku. gng.
N. kān; A. kāṇ ‘ear, rim of vessel, edge of river’; B. kāṇ ‘ear’, Or. kāna, Mth. Bhoj. Aw. lakh.
H. kān m., OMarw. kāna m., G. M. kān m., Ko. kānu m., Si. kaṇa, kana. — As adverb and
postposition (ápi kárṇē ‘from behind’ RV., karṇē ‘aside’ Kālid.): Pa. kaṇṇē ‘at one's ear, in a
whisper’; Wg. ken ‘to’ NTS ii 279; Tir. kõ; ‘on’ AO xii 181 with (?); Paš. kan ‘to’; K. kȧni
with abl. ‘at, near, through’, kani with abl. or dat. ‘on’, kun with dat. ‘toward’; S. kani ‘near’,
kanã ‘from’; L. kan ‘toward’, kannũ ‘from’, kanne ‘with’, khet. kan, P. ḍog. kanē ‘with,
near’; WPah. bhal. k *l ṇ, °ṇi, k e ṇ, °ṇi with obl. ‘with, near’, kiṇ, °ṇia,̃ k *l ṇia,̃ k e ṇ° with
obl. ‘from’; Ku. kan ‘to, for’; N. kana ‘for, to, with’; H. kane, °ni, kan with ke ‘near’;
OMarw. kanai ‘near’, kanã sā ‘from near’, kañ ı ̃ ‘towards’; G. kan e ‘beside’. Addenda:
kárṇa—: S.kcch. kann m. ‘ear’, WPah.kṭg. (kc.) kān, poet. kanṛu m. ‘ear’, kṭg. kanni f.
‘pounding—hole in barn floor’; J. kā'n m. ‘ear’, Garh. kān; Md. kan— in kan—fat ‘ear’
(CDIAL 2830)

aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda)

kolom 'thre' Rebus: kolami 'smithy, forge'

kolami mūhā 'ingot (for)smithy,forge ingot'

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Thus, the message of the text on the Mohenjo-daro prism tablet of a boat + crocodile + fish
is: supercargo of kolami mūhā 'smithy,forge ingots' dul mūhā 'cast metal ingots'. The metal is
sinified as ayas.

mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little
pointed at each of four ends (Santali)

Maysar c.2200 BCE Packed copper ingots. The shape of the ingots is an 'equilateral lump a
little pointed at each of four ends' -- like an ellipse or rhombus. See:
http://bharatkalyan97.blogspot.in/2015/08/decipherment-of-harappa-zebu-figurine.html

See: http://nautarch.tamu.edu/pdf-files/JonesM-MA2007.pdf Michael Rice Jones' thesis of

2007 on the importance of Maysar for copper production.

An ingot may be signified by an ellipse or parenthesis of a rhombus. It may also be signified

by an allograph: human face.

Hieroglyph: mũhe ‘face’ (Santali) mũhã = the quantity of iron produced at one time in a
native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-
cornered piece a little pointed at each end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes
have to-day produced pig iron(Santali) Rebus: mūhā 'ingot'; Compound formation: mleccha-
mukha (Skt.) = milakkhu ‘copper’ (Pali)

Santali glosses

Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-
Maori, an Indian link between the antipodes new tracks of Hungarian
origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the
Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language
affinities have been noted. Given the presence of Meluhha settlements in Sumer, some
Meluhha glosses might have been adapted in these languages. One etyma cluster refers to
'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the
gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda
family of Meluhha language stream:

76
Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M).
Ma. <i>mErhE'd</i> `iron'.
Mu. <i>mERE'd</i> `iron'.
~ <i>mE~R~E~'d</i> `iron'. ! <i>mENhEd</i>(M).
Ho <i>meD</i> `iron'.
Bj. <i>merhd</i>(Hunter) `iron'.
KW <i>mENhEd</i>
@(V168,M080)
http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda

— Slavic glosses for 'copper'

Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
http://www.vanderkrogt.net/elements/element.php?sym=Cu
Miedź, med' (Northern Slavic, Altaic) 'copper'.

One suggestion is that corruptions from the German "Schmied", "Geschmeide" =

jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result
in med ‘copper’.

A lexicon suggests the semantics of Panini's compound अयस् --काण्ड [p= 85,1] m. n. " a
quantity of iron " or " excellent iron " , (g. कस्का*बि q.v.)( Pa1n2. 8-3 , 48)(Monier-
Williams).

From the example of a compound gloss in Santali, I suggest that the suffix -kANDa in
Samskritam should have referred to 'implements'. Indus Script hieroglyphs as hypertext
components to signify kANDa 'implements' are: kANTa, 'overflowing water' kANDa, 'arrow'
gaNDa, 'four short circumscript strokes' 'rhonoceros'.

Hieroglyph: gaṇḍá4 m. ʻ rhinoceros ʼ lex., °aka -- m. lex. 2. *ga- yaṇḍa -- . [Prob. of same
non -- Aryan origin as khaḍgá -- 1: cf. gaṇōtsāha -- m. lex. as a Sanskritized form ← Mu.
PMWS 138]1. Pa. gaṇḍaka -- m., Pk. gaṁḍaya -- m., A. gãr, Or. gaṇḍā.2.
K. goḍ̃ m.,S. geṇḍo m. (lw. with g -- ), P. gaĩḍā m., °ḍī f., N. gaĩṛo, H. gaĩṛā m.,
G. gẽḍɔ m., °ḍī f., M. gẽḍā m.Addenda: gaṇḍa -- 4. 2. *gayaṇḍa -- : WPah.kṭg. geṇḍɔ mirg m.
ʻ rhinoceros ʼ, Md. genḍā ← (CDIAL 4000) காண்டாமிருகம் kāṇṭā-mirukam , n.
[M. kāṇṭāmṛgam.] Rhinoceros;

77
க ் யாதன. খ়াাঁড়া (p. 0277) [ khān̐ḍ়ā ] n a large falchion used in immolat ing beasts; a
large falchion; a scimitar; the horny appendage on the nose of the rhinoceros.গণ্ডক (p.
0293) [ gaṇḍaka ] n the rhinoceros; an obstacle; a unit of counting in fours; a river of that
name.গন্ড়ার (p. 0296) [ ganḍāra ] n the rhinoceros.(Bengali. Samsad-Bengali-English
Dictionary) गेंडा [ gēṇḍā ] m ( H) A rhinoceros. (Marathi)
Rebus: H.gaṇḍaka m. ʻ a coin worth four cowries ʼ lex., ʻ method of counting by fours ʼ W.
[← Mu. Przyluski RoczOrj iv 234]S. g̠aṇḍho m. ʻ four in counting ʼ; P. gaṇḍā m. ʻ four
cowries ʼ; B. Or. H. gaṇḍā m. ʻ a group of four, four cowries ʼ; M. gaṇḍā m. ʻ aggregate of
four cowries or pice ʼ.Addenda: gaṇḍaka -- . -- With *du -- 2: OP. dugāṇā m. ʻ coin worth
eight cowries ʼ.(CDIAL 4001)

Rebus: *gaṇḍāsi ʻ sugarcane knife ʼ. [gaṇḍa -- 2, así -- ]Bi. gãṛās, °sā ʻ fodder cutter ʼ, °sī ʻ
its blade ʼ; Bhoj. gãṛās ʻ a partic. iron instrument ʼ; H. gãṛāsī f., °sā m. ʻ knife for cutting
fodder or sugarcane ʼ (→ P. gãḍāsā m. ʻ chopper for cutting fodder &c. ʼ).(CDIAL
4004) gaṇḍa2 m. ʻ joint of plant ʼ lex., gaṇḍi -- m. ʻ trunk of tree from root to branches ʼ lex.
2. *gēṇḍa -- . 3. *gēḍḍa -- 2. 4. *gēḍa -- 1. [Cf. kāˊṇḍa -- : prob. ← Drav. DED 1619]
1. Pa. gaṇḍa -- m. ʻ stalk ʼ, °ḍī -- f. ʻ sugarcane joint, shaft or stalk used as a bar ʼ,
Pk. gaṁḍa -- m., °ḍiyā -- f.; Kt. gäṇa ʻ stem ʼ; Paš. lauṛ. gaṇḍīˊ ʻ stem, stump of a tree, large
roof beam ʼ (→ Par. gaṇḍāˊ ʻ stem ʼ, Orm. goṇ ʻ stick ʼ IIFL i 253, 395), gul. geṇḍū,
nir. gaṇīˊ, kuṛ. gã̄ṛo; Kal. urt. gəṇ ʻ log (in a wall) ʼ, rumb. goṇ (st.gōṇḍ -- ) ʻ handle
ʼ, guṇḍík ʻ stick ʼ; Kho. (Lor.) gon, gonu, (Morgenstierne) gɔ̄ˋn ʻ haft of axe, spade or knife ʼ
(or < ghaná -- 2?); K. gonḍu, groṇ̆ ḍu m. ʻ great untrimmed log ʼ; S. ganu m.ʻ oar, haft of a
tool ʼ, °no m. ʻ sweet stalks of millet ʼ; P. gannā m. ʻ sugarcane ʼ (→ H. gannā m.),
Bi. gaṇḍā, H. gã̄ṛā m., M. gã̄ḍā m. -- Deriv. Pk. gaṁḍīrī -- f. ʻ sugarcane joint ʼ;
Bhoj. gãṛērī ʻ small pieces of sugarcane ʼ; H. gãḍerī f. ʻ knot of sugarcane ʼ; G. gãḍerī f. ʻ
piece of peeled sugarcane ʼ; -- Pk. gaṁḍalī -- ʻ sugarcane joint ʼ; Kal.
rumb. gaṇḍau (st. °ḍāl -- ) ʻ ancestor image ʼ; S. g̠anaru m. ʻ stock of a vegetable run to seed
ʼ.2. Ku. gino ʻ block, log ʼ; N. gĩṛ ʻ log ʼ, gĩṛo ʻ piece of sugarcane ʼ (whence gẽṛnu, gĩṛ° ʻ to
cut in pieces ʼ); B. gẽṛ ʻ tuber ʼ; Mth. gẽṛī ʻ piece of sugarcane chopped ready for the mill ʼ.3.
Pk. geḍḍī -- , giḍḍiā -- f. ʻ stick ʼ; P. geḍī f. ʻ stick used in a game ʼ, H. geṛī f. (or < 4).4.
N. gir, girrā ʻ stick, esp. one used in a game ʼ, H. gerī f., geṛī f. (or < 3), G. geṛī f.*gaṇḍāsi --
; *agragaṇḍa -- , *prāgragaṇḍa -- .Addenda: gaṇḍa -- 2: S.kcch. gann m. ʻ handle ʼ; --
WPah.kṭg. gannɔ m. ʻ sugar -- cane ʼ; Md. ganḍu ʻ piece, page, playing -- card ʼ.(CDIAL
3998)
Rebus: kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster,
heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ;
Pk. kaṁḍa -- , °aya -- m.n. ʻ knot of bough, bough, stick ʼ; Ash. kaṇ ʻ arrow ʼ, Kt. kåṇ,
Wg. kāṇ,, Pr.kə̃, Dm. kān; Paš. lauṛ. kāṇḍ, kāṇ, ar. kōṇ, kuṛ. kō ,̃ dar. kã̄ṛ ʻ arrow ʼ, kã̄ṛī ʻ torch
ʼ; Shum. kō ṛ̃ , kō ̃ ʻ arrow ʼ, Gaw. kāṇḍ, kāṇ; Bshk. kāˋ'nʻ arrow ʼ, Tor. kan m., Sv. kã̄ṛa,
Phal. kōṇ, Sh. gil. kōn f. (→ Ḍ. kōn, pl. kāna f.), pales. kōṇ; K. kã̄ḍ m. ʻ stalk of a reed, straw
ʼ (kān m. ʻ arrow ʼ ← Sh.?); S. kānu m. ʻ arrow ʼ, °no m. ʻ reed ʼ, °nī f. ʻ topmost joint of the
reed Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã̄ m. ʻ stalk of the reed Sara
ʼ, °nī˜ f. ʻ pen, small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's
warp ʼ, kānī f. ʻ arrow ʼ; WPah. bhal. kān n. ʻ arrow ʼ, jaun. kã̄ḍ; N. kã̄ṛ ʻ arrow ʼ, °ṛo ʻ rafter
ʼ; A. kã̄r ʻ arrow ʼ; B. kã̄ṛ ʻ arrow ʼ, °ṛā ʻ oil vessel made of bamboo joint, needle of bamboo
for netting ʼ, kẽṛiyā ʻ wooden or earthen vessel for oil &c. ʼ; Or. kāṇḍa, kã̄ṛ ʻ stalk, arrow ʼ;
Bi. kã̄ṛā ʻ stem of muñja grass (used for thatching) ʼ; Mth. kã̄ṛ ʻ stack of stalks of large millet

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ʼ, kã̄ṛī ʻ wooden milkpail ʼ; Bhoj. kaṇḍā ʻ reeds ʼ; H. kã̄ṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed,
bush ʼ (← EP.?); G. kã̄ḍ m. ʻ joint, bough, arrow ʼ, °ḍũ n. ʻ wrist ʼ, °ḍī f. ʻ joint, bough,
arrow, lucifer match ʼ; M. kã̄ḍ n. ʻ trunk, stem ʼ, °ḍẽ n. ʻ joint, knot, stem, straw ʼ, °ḍī f. ʻ joint
of sugarcane, shoot of root (of ginger, &c.) ʼ; Si. kaḍaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to
shoot with an arrow ʼ.kāˊṇḍīra -- ; *kāṇḍakara -- , *kāṇḍārā -- ; *dēhīkāṇḍa --
Add.Addenda: kāˊṇḍa -- [< IE. *kondo -- , Gk. kondu/los ʻ knuckle ʼ, ko/ndos ʻ ankle ʼ T.
Burrow BSOAS xxxviii 55]S.kcch. kāṇḍī f. ʻ lucifer match ʼ?kāṇḍakara 3024 *kāṇḍakara ʻ
worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1]L. kanērā m. ʻ mat -- maker ʼ;
H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.*kāṇḍārā ʻ bamboo -- goad ʼ. [kāˊṇḍa -
- , āˊrā -- ]Mth. (ETirhut) kanār ʻ bamboo -- goad for young elephants ʼ kāˊṇḍīra ʻ armed with
arrows ʼ Pāṇ., m. ʻ archer ʼ lex. [kāˊṇḍa -]H. kanīrā m. ʻ a caste (usu. of arrow -- makers)
ʼ.(CDIAL 3024-3026)
An insight in the orthography of Indus Script hieroglyphs is the matching of orthographic
components with the semantics of the message in Meluhha (Prakritam).
A unique example is the deployment of an ellipse (also as a rhombus or parenthesis) to
signify the semantics of mūhā '(metal) ingot'. An allograph also signifies the
semantics: mũhe ‘face’.
Semantics: mūhā mẽṛhẽt 'iron smelted by the Kolhes and formed into an equilateral lump a
little pointed at each of four ends.' Matching orthography of a rhombus or ellipse:
A Rakhigarhi seal presents an alternative orthographic representation of the 'split ellipse':
That this innovation signifies rebus kaNDa 'arrow' is reinforced by the phonetic determinant
of 'arrow' used in the hieroglyph-multiplex, resulting in the new 'sign' shown below:

On this hieroglyph-multiplex, one parenthesis is FLIPPED to create a new circumgraph of

two orthographic components:

Right parenthesis

( Left parenthesis

Note: The splitting of the ellipse 'ingot' into Right and Left parethesis and flipping the left
parenthesis (as a mirror image) may be an intention to denote cire perdue casting method
used to produce the metal swords and implements.
An alternative hieroglyph is a rhombus or ellipse (created by merging the two forms:
parnthesis PLUS fipped parenthesis) to signify an 'ingot': mũhã = the quantity of iron
produced at one time in a native smelting furnace of the Kolhes; iron produced by the
Kolhes and formed like a four-cornered piece a little pointed at each end (Munda).
This circumgraph of right-curving and left-curving parentheses encloses an 'arrow'
hieroglyph PLUS a 'notch'.

79
Hieroglyph: kANDa 'arrow' Rebus: kaṇḍ 'fire-altar' (Santali) kāṇḍa 'tools, pots and pans and
weapons' (Marathi)
This gloss is consistent with the Santali glosses including the word khanDa:

Hieroglyph: खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a
tool or weapon) (Marathi) Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Marathi)
What the hieroglyph-multiplex seeks to convey is that the seal as a metalwork catalogue
documents the process of making kāṇḍa 'metal implements' from the fire-altar kaND signified
by the arrow AND circumfix of split parentheses with one parenthesis presented as a unique
flipped configuration. Thus the hieroglyph-multiplex is an orthographic reinforcement of the
two other hieroglyphs signified on the Rakhigarhi seal; the two other hieroglyphs
are: kANDa 'rhinoceros'; kANDa 'arrow'. Thus, all the three signifiers on the Indus Script
inscription of Rakhigarhi seal are a proclamation of the production of metal implements
(from ingots). There is also a Meluhha (Prakritam) gloss khaṁḍa which means 'a sword'. It is
possible that the concluding sign on the inscription read from left to right signifies 'sword'.
Thus, the Rakhigarhi seal inscription can be read in Prkritam: khaṁḍa 'sword' PLUS खााडा [
kāṇḍā ] 'metal implements', more specifically, recorded as a Santali compound expression:

*khaṇḍaka3 ʻ sword ʼ. [Perh. of same non -- Aryan origin as khaḍgá -- 2]

Pk. khaṁḍa -- m. ʻ sword ʼ (→ Tam. kaṇṭam), Gy. SEeur. xai̦ o, eur. xanro, xarno, xanlo,
wel. xenlī f., S. khano m., P. khaṇḍā m., Ku. gng. khã̄ṛ, N. khã̄ṛo, khũṛo (Xchuri < kṣurá -- );
A. khāṇḍā ʻ heavy knife ʼ; B. khã̄rā ʻ large sacrificial knife ʼ; Or. khaṇḍā ʻ sword ʼ, H. khã̄ṛā,
G. khã̄ḍũ n., M. khã̄ḍā m., Si. kaḍuva.(CDIAL 3793).

80
Figure 4: (A) Seal RGR 7230 from Rakhigarhi. (B) The side of the seal where surface has
partially worn away revealing the black steatite beneath. (C) A swan black steatite debris
fragment from Harappa.
See: http://bharatkalyan97.blogspot.in/2015/08/supercaro-ingots-1-of-cast-metal-2-for.html
An ingot may be signified by an ellipse or parenthesis of a rhombus. It may also be signified
by an allograph: human face.
Hieroglyph: mũhe ‘face’ (Santali) mũhã = the quantity of iron produced at one time in a
native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-
cornered piece a little pointed at each end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes
have to-day produced pig iron (Santali) Rebus: mūhā 'ingot'; Compound formation: mleccha-
mukha (Skt.) = milakkhu ‘copper’ (Pali)
See:Previous report
http://asi.nic.in/pdf_data/rakhigarhi_excavation_report_new.pdf Excavations at Rakhigarhi
1997 to 2000 (Dr. Amarendranath)

Rakhigarhi seal with the carving of a tiger is reported by Prof.

Shinde of Deccan College.
Here is a decipherment using the rebus-metonymy layered Indus Scipt cipher in Meluhha
language of Indian sprachbund (language union):kul ‘tiger’ (Santali); kōlu id. (Telugu)
kōlupuli = Bengal tiger (Telugu)
कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi)
Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that
of Santals’ (Santali) kol ‘working in iron’ (Tamil)

Figure 9: Agate-carnelian nodule fragments and flakes from Rakhigarhi

81
82
83
Figure 18: Lead and silver artifacts from Rakhigarhi compared to South Asian lead and lead-
silver sources.

84
Figure 29: Saddle quern (left) and fragment (right) composed of a deep red sandstone of
unknown origin.

Figure 30: Hematite cobbles/nodules of unknown origin. Geologic provenience studies of

Rakhigarh's stone and metal artifact assemblage are ongoing or in the planning stages.

85
Figure 31: Rakhigarhi grindingstone acquisition networks

Figure 32: Rakhigarhi stone and metal sources and acquisition networks identified in this
study. Potential, but as of yet unconfirmed, copper, gold and chert source areas are also
indicated.

Rakhigarhi seal. See for decipherment of hieroglyph-multiplexes

: http://bharatkalyan97.blogspot.in/2015/11/rakhigarhi-seal-evidence-for.html This
monograph discussed the decipherment of the inscription as a metalwork catalogue of
swords, ingots and metal implements. This seal also shows a scarf on the neck of the

86
rhinoceros or boar. This hieroglyph is read as: mirhhẽ ʻboarʼrebus: merhd 'iron ore'.

kāṇṭāmṛgam is a Malayalam gloss which reinforces the 'rhinoceros' as a -mṛgam 'wild

animal'. It is possible that the hieroglyph shown on the Rakhigarhi was read as: kāṇṭāmṛga.

The hieroglyph-multiplexes on the seal are depicted with such orthographic precision to
render the semantics describing the products: ingots, swords, metal implements.

Hence, the proclamation on the inscription may be seen as a description of swords, weapons,
metal implements made of hard alloy metal.
Hieroglyph: dhaṭu 'scarf': *dhaṭa2, dhaṭī -- f. ʻ old cloth, loincloth ʼ lex. [Drav., Kan. daṭṭi ʻ
waistband ʼ etc., DED 2465]Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo, B. dhaṛā; Or. dhaṛā ʻ rag,
loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow loincloth ʼ.*dhaṭavastra -- .Addenda:
*dhaṭa -- 2. 2. †*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m.
(also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105).(CDIAL 6707)
Rebus: dhatu 'ore (esp. of red colour); dhatu = mineral (Santali): dhāˊtu n. ʻ substance ʼ
RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the
dead ʼ lex., ʻ *strand of rope ʼ (cf.tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an
uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic
ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ;
Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic.
soft red stone ʼ (whence dhāvaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or
relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a
rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)
In this decipherment, an important hieroglyph-component was missed out. It relates to the
'scarf' shown on the neck of the rhinoceros.

Santali glosses.
Origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.)
of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M).
Ma. <i>mErhE'd</i> `iron'.
Mu. <i>mERE'd</i> `iron'.
~ <i>mE~R~E~'d</i> `iron'. ! <i>mENhEd</i>(M).
Ho <i>meD</i> `iron'.
Bj. <i>merhd</i>(Hunter) `iron'.
KW <i>mENhEd</i>
@(V168,M080)

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http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda
— Slavic glosses for 'copper'
Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
http://www.vanderkrogt.net/elements/element.php?sym=Cu
Miedź, med' (Northern Slavic, Altaic) 'copper'.
One suggestion is that corruptions from the German "Schmied", "Geschmeide" =
jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result
in med ‘copper’.

L. mirhõ, °hũ, pl. °hẽ m. ʻ boar ʼ (mirhõ ʻ ravine deer ʼ for *mirũ < *mr̥garūpa -- ?).mr̥gá --
usu. is ʻ markhor ʼ in Dard. AO viii 306.Wg. mreč ʻ ibex ʼ

‫ مته‬matœh, s.m. (6th) A wild boar. Sing. and Pl.See ‫ سډر‬and ‫(سرکوزي‬Pashto)
10271 *mr̥gasūkara ʻ wild boar ʼ. [mr̥gá -- , sūkará -- ]L. mirhõ, °hũ, pl. °hẽ m. ʻ boar ʼ
(mirhõ ʻ ravine deer ʼ for *mirũ < *mr̥garūpa -- ?).10272 *mr̥gahana2 ʻ act of hunting ʼ.
[mr̥gá -- , hana -- ]Kal.rumb. mrū*̃ ln ʻ shooting, hunting ʼ.10273 *mr̥gahanaka, mr̥gahan(a)
-- m. ʻ hunter ʼ MBh. [mr̥gá -- , hana -- ]Tor. mīṅg ʻ leopard ʼ (rather than < mr̥gá -- );
S. muhāṇo m. ʻ one of a class of fishermen and boatmen ʼ,
L. mohāṇā m., °ṇī f.10274 *mr̥gākāra ʻ shaped like a deer ʼ. [mr̥gá -- , ākāra --
]Sh.pales. mayāˊro m. ʻ oorial ʼ, koh. mãyāˊro m. ʻ deer ʼ, gil. (Lor.) maiāro ʻ wild animal of
goat or sheep type (including markhor, ibex and oorial) ʼ. -- Or < *mr̥gatara -- ʻ animal like a
deer ʼ, for formation cf. aśvatará -- ʻ mule ʼ.10270 *mr̥garūpa ʻ animal ʼ. [mr̥gá -- , rūˊpa --
]S. mirū̃ m. ʻ wild animal ʼ.mr̥gáśiras -- n. ʻ 3rd or 5th lunar mansion ʼ AV. [mr̥gá -- , śíras --
]10264 mr̥gá m. ʻ wild animal, deer ʼ RV. 2. mr̥gī -- f. ʻ doe ʼ R. 3. *mr̥gā -- .1. Pa. maga --
, miga -- m. ʻ deer ʼ, Aś.shah. mruga -- , man. mriga -- , kāl. miga -- , gir. maga -- ,
NiDoc. mr̥ga, Dhp. mruya -- , muya -- , Pk. mia -- , maya -- m.; Tor. mīṅg ʻ leopard ʼ
(but mr̥gá -- usu. is ʻ markhor ʼ in Dard. AO viii 306. -- Poss. < *mr̥gahanaka -- );
Phal. mriṅga -- čhōl ʻ markhor kid ʼ; Sh. brĭṅ m. ʻ bird ʼ NTS ii 269; WPah. bhal. mig,

88
pl. miggã̄ n. ʻ wild goat ʼ (< *mirga -- < mr̥gá -- ?); Si. muvā, obl. pl. muvan ʻ deer
ʼ, miyulā EGS 134.2. Pa. migī -- f. ʻ doe ʼ, Pk. migī -- , maī -- f.; Paš.kch. lē f. ʻ mountain goat
ʼ, ar. bleaṭo ʻ ibex or markhor ʼ.3. Kal.rumb. mūr̃ u ʻ female ibex ʼ; Kho. múru f. ʻ mountain
goat ʼ.10265 *mr̥gacī ʻ small animal, bird ʼ. [mr̥gá -- ]Ash. niṅasäˊ ʻ bird, sparrow ʼ NTS ii
269, Wg. nĩgaċá, Kt. mŕəṅéċ (→ Wkh. miṅgás IIFL ii 529), Pr. nĩje; -- Wg. mreč ʻ ibex ʼ,
Pr. murčū NTS xvii 278.10267 *mr̥gadr̥ti ʻ deer -- skin ʼ. [mr̥gá -- , dŕ̊ti -- ]Kho. muriri ʻ
ibex skin ʼ.(CDIAL)

See: காண்டாமிருகம் kāṇṭā-mirukam , n. [M. kāṇṭāmṛgam.] Rhinoceros;

க ் யாதன. The suffix -mṛga is cognate with mirhhẽ ʻboarʼ rebus: merhd 'iron
ore',metallic (red) ore.

Chola dynasty, around AD 900. British

Museum Asia OA 1955.10-18.1 Ht. 138 cm. "The iconography is explained by a narrative of
competition for status among the gods. Brahma and Vishnu were arguing over who was the

89
most powerful, when a huge shaft of fire appeared between them, that appeared to have no
top or bottom. They went to investigate. Vishnu in his boar incarnation dug down into the
earth, seen at the base of the sculpture. Meanwhile, Brahma flew into the sky on his vehicle,
the Hamsa bird, seen at the top. When neither could find either top or bottom they realized
that the column of fire was more powerful than either of them. Its identity was revealed to
them when Siva appeared out of the shaft, and they bowed down to Siva as the most powerful
deity. Siva stands in an oval of flames wearing a tall crown and holding his distinctive
attributes, the deer and axe. This image combines the aniconic form of Siva as a linga with
the human image of the god with multiple arms, such as Nataraja or Dakshinamurti. Images
of Lingodbhava are popular in Tamil Nadu and Shaiva temples normally have an image of
this deity on the exterior of the rear or west wall of the main sanctum."

Dallas Museum of Art

VISHNU AS VARĀHADATE 10TH
CENTURY DEPARTMENT ASIAN DIMENSIONS OVERALL: 56 X 26 X 10 1/4 IN.
(142.24 X 66.04 X 26.04
CM) MEDIUM SANDSTONE HTTPS://WWW.DMA.ORG/COLLECTION/ARTWORK/
ASIAN/VISHNU-VARĀHA
The chronology of Hindu tradition from the days of Atharva Veda is that iconic form of
Mahesvara Siva emerges out of the aniconic Skambha (linga) or pillar of light and fire. What
we find in the seven Sivalingas of Harappa is the aniconic form. Sivalinga appeared as a
flame. Brahma, as hamsa, searches for the end in the heavens. Vishnu, as Varāha, searches
for the beginning in the bowels of the earth. This Lingodbhava narrative is in many Puranas.

Appar, Shaiva saint of the 7th century, provides a similar narrative for this Lingodbhava.
Tirugnana Sambandar refers to Brahma and Vishnu who set out on a search and
comprehend Siva as the nature of light.

I submit that the most abiding form of worship is that which is displayed architecurally in
Amaravati where Naga venerate the Skambha, the fiery pillar of light with the adornment of
Srivatsa as the capital. The Srivatsa is a Indus Script hieroglyph of a pair of fish-tails: dula
'pair' Rebus: dul 'cast metal' Kur. xolā tail. Malt. qoli id. (DEDR 2135) The hooded snake
which adorns as headgear is also read rebus: kula 'hooded snake' M. khoḷ f. ʻ hooded cloak
ʼ(CDIAL 3942) A. kulā ʻ winnowing fan, hood of a snake ʼ(CDIAL 3350) Rebus: kol
'working in iron' kolle 'blacksmith' kolhe 'smelters'.

90
 Naga

worshippers of fiery pillar, Amaravati stup Smithy is the temple of Bronze Age: stambha,
thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher
signifies: tamba, tã̄bṛā, tambira 'copper'

http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html
Railing crossbar with monks worshiping a fiery pillar, a symbol of the Buddha,

91
Varāha, sandstone, Sanchi

VISHNU VARĀHA SAVING THE GODDESS EARTH FROM THE FLOOD, MANDAPA
OF VARĀHA 7TH CENTURY, MAMALLAPURAM, TAMIL NADU, INDIA

92
Lord Varāha and Bhu devi
Udaygiri Caves, Madhya Pradesh, Gupta period

The Sampradaya Sun - Independent Vaisnava News - Feature Stories - February 2009: "Feb
05, CANADA (SUN) — February 6th is the auspicious Appearance Day of Lord Varāha, the
Boar incarnation.

O Kesava! O Lord of the universe! O Lord Hari,

who have assumed the form of a boar! All
glories to You! The earth, which had become
merged in the Garbhodaka Ocean at the
bottom of the universe, sits fixed upon the tip of Your tusk like a spot upon the moon."
Sri Dasavatara Stotra, 3rd Sloka

Varāha in the Vedic Literature Lord Varāha is glorified in virtually all of the major Puranas
(the Vedic histories), which describe His different descents over the ages. In this kalpa (day
of Brahma), Lord Varāha appeared twice. The first time He appeared from Brahma's nostril
with a white (sveta) complexion, and He saved the Earth after the previous devastation.
Hence, He is called Sveta-Varāha and this kalpa is named after Him -- the Sveta-Varāha-
kalpa.

Later He appeared in a dark color from the ocean to save the Earth after she had been violated
by the demon Hiranyaksha. During this incarnation, LordVarāha reinstated the Earth in her
proper orbit and killed the demon. The Varāha of the popular dasavatara ("the ten
incarnations") refers to this, Lord Varāha's second appearance.

In addition to the Puranas, references abound in the Vedic literature. The most elaborate
glorification of the Varāha-avatara occurs in Srimad Bhagavatam, wherein Srila Vyasadeva
specifically glorifies the Lord's transcendental activities during His numerous descents in this
93
world. These narrations culminate in the description of God's original form as Sri Krishna.

Following are the chapter titles (13-19) from the Srimad Bhagavatam, Third Canto dealing
with Varāha-katha:

13. The Appearance of Lord Varāha

14. Pregnancy of Diti in the Evening
15. Description of the Kingdom of God
16. The Two Doorkeepers of Vaikuntha, Jaya and Vijaya, Cursed by the Sages
17. Victory of Hiranyaksha Over All the Directions of the Universe
18. The Battle Between Lord Boar and the Demon Hiranyaksha
19. The Killing of Hiranyaksha
"O expert and thoughtful men, relish the Srimad Bhagavatam, the mature fruit of the desire
tree of Vedic literatures. It emanated from the lips of Sri Sukadeva Gosvami. Therefore this
fruit has become even more tasteful, although its nectarean juice, was already relishable for
all, including liberated souls."

Verses in Praise of Sri Varāha

When Lord Varāha appeared He declared: For the benefit of all, I shall bring back to her
former place the earth, who has the girdle of the oceans, whose limbs are overrun by all kinds
of creatures and who has disappeared. I shall kill the naughty Hiranyaksha, an offspring of
Diti. (Mahabharata 12.236.71-73)

The supreme enjoyer of all sacrifices accepted the incarnation of a boar for the welfare of the
earth. He lifted the earth from the nether regions of the universe. (Srimad Bhagavatam 1.3.7)

When the unlimitedly powerful Lord assumed the form of a boar as a pastime, just to life the
planet earth which was drowned in the great ocean of the universe called Garbhodaka, the
first demon (Hiranyaksa) appeared and the Lord pierced him with the tusk. (Srimad
Bhagavatam 2.7.1)

When her child falls in a well, the mother because of excessive parental affection (vatsalya)
jumps in and saves it. Similarly when earth (prthivi) was sinking in the underworld, the Lord
took the form of a boar and in the twinkling of an eye dived in and brought her out. (Sri
Pillan's Tiruvaymoli 7.5.5)

To rescue the earth He appeared during the Svayambhuva-manvantara, from Brahma's

nostril, and during the Caksusa-manvantara, He appeared from the water. Lord Varāha, the
best of tusked beasts, appears to kill Hiranyaksa and rescue the earth. Sometimes Varāha is a
wild animal of the forest and sometimes He is a domestic animal. Sometimes He is dark as a
raincloud and sometimes He is as white as the moon. In this way, smrti-sastra describes two
gigantic forms of Lord Varāha, the form of Vedic sacrifices. Maitreya Muni described Lord
Varāha's pastimes at two different times as if they happened at the same time. (Srila Rupa
Gosvami's Laghu-bhagavatamrta 1.3.10-12,17)

O Keshava! O Lord of the universe! O Lord Hari, who have assumed the form of a boar! All
glories to You! The earth, which had become immersed in the Garbhodaka Ocean at the
bottom of the universe, sits fixed upon the tip of Your tusk like a spot upon the moon. (Sri
Jayadeva's Dasavatara-stotra 3)

94
O Boar-bodied, foe of the demon (Hiranyaksha), holder of the earth (on the tip of the tusk),
possessor of excellent limbs (serving as means of sacrifice), I salute You. (Sri
Madhvacharya's Dvadasha-Stotra 4.4)

yad roma-randhra-paripurti-vidhav adaksa

Varāha-janmani babhvur amI samudrah
tam nama natham aravinda-drzam yazodaa
pani-dvayantara-jalaih snapayam babhuva
"Although in His Varāha incarnation, many oceans could hardly even fill the Lord's hair
follicles, Yashodamayi bathed that same lotus-eyed Lord (i.e, Shri Krishna) with just the
water contained in her two joined palms." -- Krishna-karnamritam, 2.27

Varāha-tirthas

There are many places where Lord Varāha performed His transcendental pastimes here on
this earth, including:

The Mahabharata 3.81.15 mentions a Varāha-tirtha in Haryana State where Lord Vishnu
appeared as Varāha.
At the place known as Soronksetra Lord Varāha picked up the earth on His tusk. This place is
located 100 km northeast of Mathura in the Etah district and was visited by Lord Chaitanya
Mahaprabhu.
After killing the demon Hiranyakasipu, He rested at Vishrama-ghat in Mathura and spoke the
Varāha Purana to Mother Earth.
In Ramana-reti (Vrindavana, Mathura District) is Varāha-ghat where Lord Krishna revealed
His Varāha form to the gopis. The Bhakti-ratnakara (Fifth Wave) mentions a similar event
having occurred in a village known as Varāhara in Vrindavan.
Once when Lord Chaitanya Mahaprabhu visited His devotee Murari Gupta, He revealed His
form as Lord Varāha in Navadvipa, West Bengal. (See Caitanya-bhagavata Madhya-khanda
3)
By visiting these holy places and remembering the Lord, one receives the blessings of Lord
Varāha.

Source: Avatara.org

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Varāha Upanishad
Translated by K. Narayanasvami Aiyar

Om! May He protect us both together; may He nourish us both together; May we work
conjointly with great energy, May our study be vigorous and effective; May we not mutually
dispute (or may we not hate any).

Om! Let there be Peace in me! Let there be Peace in my environment! Let there be Peace in
the forces that act on me!

CHAPTER I

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The great sage Ribhu performed penance for twelve Deva (divine) years. At the end of the
time, the Lord appeared before him in the form of a boar. He said: “Rise, rise and choose
your boon”. The sage got up and having prostrated himself before him said: “O Lord, I will
not, in my dream, wish of thee those things that are desired by the worldly. All the Vedas,
Shastras, Itihasas and all the hosts of other sciences, as well as Brahma and all the other
Devas, speak of emancipation as resulting from a knowledge of thy nature. So impart to me
that science of Brahman which treats of thy nature.”

Then the boar-shaped Bhagavan (Lord) said:

1. Some disputants hold that there are twenty-four Tattvas (principles) and some thirty-six,
whilst others maintain that there are ninety-six.

2. I shall relate them in their order. Listen with an attentive mind. The organs of sense are
five, viz., ear, skin, eye and others.

3. The organs of action are five, viz., mouth, hand, leg and others. Pranas (vital airs) are five;
sound and other (viz., rudimentary principles) are five.

4. Manas, Buddhi, Chitta and Ahankara are four; thus those that know Brahman know these
to be the twenty-four Tattvas.

5. Besides these, the wise hold the quintuplicated elements to be five, viz., earth, water, fire,
Vayu and Akasa;

6. The bodies to be three, viz., the gross, the subtle and the Karana or causal; the states of
consciousness to be three, viz., the waking, the dreaming and the dreamless sleeping.

7-8. The Munis know the total collection of Tattvas to be thirty-six (coupled with Jiva). With
these Tattvas, there are six changes, viz., existence, birth, growth, transformation, decay and
destruction.

9. Hunger, thirst, grief, delusion, old age and death are said to be the six infirmities.

10. Skin, blood, flesh, fat, marrow and bones are said to be the six sheaths. Passion, anger,
avarice, delusion, pride and malice are the six kinds of foes.

11. Vishva, Taijasa and Prajna are the three aspects of the Jiva. Sattva, Rajas and Tamas are
the three Gunas (qualities).

12. Prarabdha, Sanchita and Agamin are the three Karmas. Talking, lifting, walking,
excreting and enjoying are the five actions (of the organs of action);

13. And there are also thought, certainty, egoism, compassion, memory (functions of Manas,
etc.,), complacency, sympathy and indifference;

14. Dik (the quarters), Vayu, Sun, Varuna, Ashvini Devas, Agni, Indra, Upendra and Mrityu
(death); and then the moon, the four-faced Brahma, Rudra, Kshetrajna and Ishvara.

15-16. Thus these are the ninety-six Tattvas. Those that worship, with devotion, me of the

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form of boar, who am other than the aggregate of these Tattvas and am without decay are
released from Ajnana and its effects and become Jivanmuktas.

17. Those that know these ninety-six Tattvas will attain salvation in whatever order of life
they may be, whether they have matted hair or are of shaven head or have (only) their tuft of
hair on. There is no doubt of this.”

Thus ends the first Chapter of Varāha Upanishad.

CHAPTER II

1. The great Ribhu (again) addressed the Lord of Lakshmi of the form of boar thus: “O Lord,
please initiate me into the supreme Brahma-Vidya (or science).”

2-3. Then the Lord who removes the miseries of his devotees being thus questioned,
answered thus: “Through (the right observance of) the duties of one’s own caste and orders of
life, through religious austerities and through the pleasing of the Guru (by serving him
rightly), arise to persons the four, Vairagya, etc. They are the discrimination of the eternal
from the non-eternal; indifference to the enjoyments of this and the other worlds;

4-5(a). The acquisition of the six virtues, Sama, etc., and the longing after liberation. These
should be practised. Having subdued the sensual organs and having given up the conception
of ‘mine’ in all objects, you should place your consciousness of ‘I’ in (or identify yourself
with) me, who am the witness Chaitanya (consciousness).

5(b)-7(a). To be born as a human being is difficult - more difficult it is to be born as a male

being - and more so is it to be born as a Brahmana. Even then, if the fool does not cognise
through the hearing, etc., of Vedanta, the true nature of the Sachchidananda (of Brahman)
that is all-pervading and that is beyond all caste and orders of life, when will he obtain
Moksha?

7(b)-8. I alone am happiness. There is none other. If there is said to be another, then it is not
happiness. There is no such things as love, except on my account. The love that is on account
of me is not natural to me. As I am the seat of supreme love, that ‘I am not’ is not.

9. He who is sought after by all, saying “I should become such”, is myself, the all-pervading.
How can non-light affect Atman, the self-shining which is no other than the light whence
originates the words ‘I am not light’.

10-12(a). My firm conviction is whoever knows for certain that (Atman) which is self-shining
and has itself no basis (to rest upon), is one of Vijnana. The universe, Jiva, Ishvara, Maya and
others do not really exist, except my full Atman.

12(b)-13(a). I have not their characteristics, Karma which has Dharana and other attributes
and is of the form of darkness and Ajnana is not fit to touch (or affect) me, who am Atman,
the self-resplendent.

13(b)-14(a). That man who sees (his) Atman which is all-witness and is beyond all caste and
orders of life as of the nature of Brahman, becomes himself Brahman.

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14(b)-15(a). Whoever sees, through the evidence of Vedanta, this visible universe as the
Supreme Seat which is of the form of light, attains Moksha at once.

15(b)-16(a). When that knowledge which dispels the idea that this body (alone) is Atman,
arises firmly in one’s mind as was before the knowledge that this body (alone) is Atman, then
that person, even though he does not desire Moksha, gets it.

16(b)-17(a). Therefore how will a person be bound by Karma, who always enjoys the bliss of
Brahman which has the characteristics of Sachchidananda and which is other than Ajnana ?

17(b)-18. Persons with spiritual eyes see Brahman, that is the witness of the three states that
has the characteristics of be-ness, wisdom and bliss, that is the underlying meaning of the
words ‘Thou’ (Tvam) and ‘I’ (Aham) and that is untouched by all the stains.

19. As a blind man does not see the sun that is shining, so an ignorant person does not see
(Brahman). Prajnana alone is Brahman. It has truth and Prajnana as its characteristics.

20. By thus cognising Brahman well, a person becomes immortal. One who knows his own
Atman as Brahman, that is bliss and without duality and Gunas (qualities) and that is truth
and absolute consciousness is not afraid of anything.

21. That which is consciousness alone which is all-pervading, which is eternal, which is all-
full, which is of the form of bliss and which is indestructible, is the only true Brahman.

22-23(a). It is the settled determination of Brahma-Jnanis that there is naught else but that. As
the world appears dark to the blind and bright to those having good eyes, so this world full of
manifold miseries to the ignorant is full of happiness to the wise.

23(b)-24(a). In me, of the form of boar, who am infinite and the Bliss of absolute
Consciousness, if there is the conception of non-dualism, where then is bondage? And who is
the one to be emancipated?

24(b)-25(a). The real nature of all embodied objects is ever the absolute Consciousness. Like
the pot seen by the eyes, the body and its aggregates are not (viz., do not really exist).

25(b)-26. Knowing, as Atman, all the locomotive and fixed worlds that appear as other than
Atman, meditate upon them as ‘It I am’. Such a person then enjoys his real nature. There is
no other to be enjoyed than one-Self.

27. If there is anything that is, then Brahman alone has that attribute. One who is perfect in
Brahma-Jnana, though he always sees this established universe, does not see it other than his
Atman.

28-30. By cognising clearly my form, one is not trammelled by Karma. He is an undaunted

person who by his own experience cognises as his own real nature all (the universe and
Brahman) that is without the body and the organs of sense - that is the all-witness - that is the
one noumenal Vijnana, that is the blissful Atman (as contrasted with Jivatma or the lower
self) and that is the self-resplendent. He is one that should be known as ‘I’ (myself). O Ribhu,
may you become He.

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31. After this, there will be never any experience of the world. Thereafter there will always
be the experience of the wisdom of one’s own true nature. One who has this known fully
Atman has neither emancipation nor bondage.

32. Whoever meditates, even for one Muhurta (48 minutes) through the cognition of one’s
own real form, upon Him who is dancing as the all-witness, is released from all bondage.

33. Prostrations - prostrations to me who am in all the elements, who am the Chidatma (viz.,
Atman of the nature of wisdom) that is eternal and free and who am the Pratyagatman.

34-35. O Devata, you are I. I am you. Prostrations on account of myself and yourself who are
infinite and who are Chidatma, myself being the supreme Isha (Lord) and yourself being
Shiva (of a beneficent nature). What should I do? Where should I go? What should I reject?

36. (Nothing, because) the universe is filled by me as with the waters on the universal deluge.
Whoever gives up (fondness) love of the external, love of the internal and love of the body
and thus gives up all associations, is merged in me. There is no doubt about it.

37. That Paramahamsa (ascetic) who, though living in the world, keeps aloof from human
congregation as from serpent, who regards a beautiful woman as a (living) corpse and the
endless sensual objects as poison and who has abandoned all passion and is indifferent
towards all objects is no other than Vasudeva, (viz.,) myself.

38. This is Satya (Truth). This is nothing but truth. It is truth alone that is now said. I am
Brahman, the truth. There is naught else but I.

39. (The word) ‘Upavasa’ (lit., dwelling near) signifies the dwelling near (or union) of
Jivatma and Paramatman and not (the religious observance as accepted by the worldly of)
emaciating the body through fasts.

40. To the ignorant, what is the use of the mere drying up of the body? By beating about the
hole of a snake, can we be said to have killed the big snake within.

41. A man is said to attain Paroksha (indirect) wisdom when he knows (theoretically) that
there is Brahman; but he is said to attain Sakshatkara (direct cognition) when he knows (or
realises) that he is himself Brahman.

42. When a Yogin knows his Atman to be the Absolute, then he becomes a Jivanmukta.

43. To Mahatmas, to be always in the state ‘I am Brahman’ conduces to their salvation. There
are two words for bondage and Moksha. They are ‘mine’ and ‘not mine’.

44. Man is bound by ‘mine’, but he is released by ‘not mine’. He should abandon all the
thoughts relating to externals and so also with references to internals. O Ribhu, having given
up all thoughts, you should rest content (in your Atman) ever.”

45. The whole of the universe is caused through Sankalpa alone. It is only through Sankalpa
that the universe manifests. Having abandoned the universe, which is of the form of Sankalpa
and having fixed your mind upon the Nirvikalpa (one which is changeless), meditate upon
my abode in your heart.

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46. O most intelligent being, pass your time in meditating upon me, glorifying me in songs,
talking about me to one another and thus devoting yourself entirely to me as the Supreme.

47. Whatever is Chit (consciousness) in the universe is only Chinmatra. This universe is
Chinmaya only. You are Chit. I am Chit; contemplate upon the worlds also as Chit.

48-49(a). Make the desires nil. Always be without any stain. How then can the bright lamp of
Atmic Vijnana arising through the Vedas be affected by the Karma arising from the
ignorance of the actor and the agent?

49(b)-50(a). Having given up not-Atman and being in the world unaffected by it, delight only
in the Chinmatra within, ever intent on the One.

50(b)-51(a). As the Akasa of the pot and that of the house are both located in the all-
pervading Akasa, so the Jivas and Ishvara are only evolved out of me, the Chidakasa (the one
Akasa of universal consciousness).

51(b)-52(a). So that which did not exist before the evolution of Atmas (Jiva) (and Ishvara)
and that which is rejected at the end (viz., universal deluge) is called Maya by Brahma-Jnanis
through their discrimination.

52(b)-53(a). Should Maya and its effects (the universe) be annihilated, there is no state of
Ishvara, there is no state of Jiva. Therefore like the Akasa without its vehicle, I am the
immaculate and Chit.

53(b)-54. The creation, sentient as well as non-sentient from Ikshana (thinking) to Pravesha
(entry) of those having the forms of Jivas and Ishvara is due to the creation (or illusion) of
Ishvara; while the Samsara (worldly existence) from the waking state to salvation is due to
the creation of Jiva.

55. So the Karmas ordained in the sacrifice (called) Trinachaka (so called after Nachiketas of
Katha Upanishad) to Yoga are dependent upon the illusion of Ishvara; while (the systems
from) Lokayata (atheistical system) to Sankhya rest on the illusion of Jiva.

56. Therefore aspirants after salvation should never make their heads enter into the field of
controversy regarding Jiva and Ishvara. But with an undisturbed mind, Tattvas of Brahman
should be investigated.

57. Those who do not cognise the Tattva of the secondless Brahman are all deluded persons
only. Whence (then) is salvation to them? Whence then is happiness (to them) in this
universe?

58. What if they have the thoughts of the superiority and inferiority (of Ishvara and Jiva)?
Will sovereignty and mendicancy (experienced by a person) in the dreaming state affect him
in his waking state?

59. When Buddhi is absorbed in Ajnana, then it is termed, by the wise, sleep. Whence then is
sleep to me who have not Ajnana and its effects?

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60. When Buddhi is in full bloom, then it is said to be the Jagrat (waking state). As I have no
changes, etc., there is no waking state to me.

61. The moving about of Buddhi in the subtle Nadis constitutes the dreaming state. In me
without the act of moving about, there is no dreaming.

62. Then at the time of Sushupti when all things are absorbed, enveloped by Tamas, he then
enjoys the highest bliss of his own nature in an invisible state.

63. If he sees everything as Chit without any difference, he alone is an actual Vijnani. He
alone is Shiva. He alone is Hari. He alone is Brahma.

64. This mundane existence which is an ocean of sorrow, is nothing but a long-lived dream,
or an illusion of the mind or a long-lived reign of the mind. From rising from sleep till going
to bed, the one Brahman alone should be contemplated upon.

65. By causing to be absorbed this universe which is but a superimposition, the Chitta
partakes of my nature. Having annihilated all the six powerful enemies, through their
destruction become the non-dual One like the scent-elephant.

66. Whether the body perishes now or lasts the age of moon and stars, what matters it to me
having Chit alone as my body? What matters it to the Akasa in the pot, whether it (the pot) is
destroyed now or exists for a long time.

67. While the Slough of a serpent lies cast off lifeless in its hole, it (the serpent) does not
evince any affection towards it.

68. Likewise the wise do not identify themselves with their gross and subtle bodies. If the
delusive knowledge (that the universe is real) with its cause should be destroyed by the fire of
Atma-Jnana, the wise man becomes bodiless, through the idea ‘It (Brahman) is not this; It is
not this’.

69. Shastras, the knowledge of reality (of the universe) perishes. Through direct perception of
truth, one’s fitness for action (in this universe) ceases. With the cessation of Prarabdha (the
portion of the past Karma which is being enjoyed in this life), the destruction of the
manifestation (of the universe) takes place. Maya is thus destroyed in a three-fold manner.

70. If within himself no identification (of Jiva) with Brahman takes place, the state (of the
separateness) of Jiva does not perish. If the non-dual one is truly discerned, then all affinities
(for objects) cease.

71. With the cessation of Prarabdha (arising from the cessation of affinities), there is that of
the body. Therefore it is certain that Maya perishes thus entirely. If it is said that all the
universe is, that Brahman alone is that is of the nature of Sat.

72. If it is said that the universe shines, then it is Brahman alone that shines. (The mirage of)
all the water in an oasis is really no other than the oasis itself. Through inquiry of one’s Self,
the three worlds (above, below and middle) are only of the nature of Chit.

73. In Brahman, which is one and alone, the essence of whose nature is absolute

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consciousness and which is remote from the differences of Jiva, Ishvara and Guru, there is no
Ajnana. Such being the case, where then is the occasion for the universe there? I am that
Brahman which is all full.

74. While the full moon of wisdom is robbed of its lustre by the Rahu (one of the two nodes
of the moon) of delusion, all actions such as the rites of bathing, alms-giving and sacrifice
performed during the time of eclipse are all fruitless.

75. As salt dissolved in water becomes one, so if Atman and Manas become identified, it is
termed Samadhi.

76. Without the grace of a good (perfect) guru, the abandonment of sensual objects is very
difficult of attainment; so also the perception of (divine) truth and the attainment of one’s true
state.

77. Then the state of being in one’s own self shines of its own accord in a Yogin in whom
Jnana-Sakti has dawned and who has abandoned all Karmas.

78. The (property of) fluctuation is natural to mercury and mind. If either mercury is bound
(or consolidated) or mind is bound (or controlled), what then on this earth cannot be
accomplished?

79. He who obtains Murchchha cures all diseases. The dead are brought to life again. He who
has bound (his mind or mercury) is able to move in the air. Therefore mercury and mind
confer upon one the state of Brahman.

80. The master of Indriyas (the organs) is Manas (mind). The master of Manas is Prana. The
master of Prana is Laya (absorption Yoga). Therefore Laya-Yoga should be practised.

81. To the Yogins, Laya(-Yoga) is said to be without actions and changes. This Laya
(absorption) of mind which is above speech and in which one has to abandon all Sankalpas
and to give up completely all actions, should be known through one’s own (experience).

82. As an actress, though subject (or dancing in harmony) to music, cymbals and other
musical instruments of time, has her mind intent upon he protection of the pot on her head, so
the Yogin, though intent for the time being upon the hosts of objects, never leaves off the
mind contemplating on Brahman.

83. The person who desires all the wealth of Yoga should, after having given up all thoughts,
practise with a subdued mind concentration on Nada (spiritual sound) alone.” Thus ends the
second Chapter of Varāha Upanishad.

CHAPTER III

1. “The One Principle cannot at any time become of manifold forms. As I am the partless,
there is none else but myself.

2. Whatever is seen and whatever is heard is no other than Brahman. I am that Para-Brahman,
which is the eternal, the immaculate, the free, the one, the undivided bliss, the non-dual, the
truth, the wisdom and the endless.

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3. I am of the nature of bliss; I am of undivided wisdom; I am the supreme of the supreme; I
am the resplendent absolute Consciousness. As the clouds do not touch the Akasa, so the
miseries attendant on mundane existence do not affect me.

4. Know all to be happiness through the annihilation of sorrow and all to be of the nature of
Sat (be-ness) through the annihilation of Asat (not-be-ness). It is only the nature of Chit
(Consciousness) that is associated with this visible universe. Therefore my form is partless.

5. To an exalted Yogin, there is neither birth nor death, nor going (to other spheres), nor
returning (to earth); there is no stain or purity or knowledge but (the universe) shines to him
as absolute Consciousness.

6. Practise always silence ‘I am (viz., that you yourself are) Para-Brahman’ which is truth and
absolute Consciousness, which is undivided and non-dual, which is invisible, which is
stainless, which is pure, which is second-less and which is beneficent.

7. It (Brahman) is not subject to birth and death, happiness and misery. It is not subject to
caste, law, family and Gotra (clan). Practise silence - I am Chit, which is the Vivarta-
Upadana (viz., the illusory cause) of the universe.

8. Always practise silence - I am (viz., you are) the Brahman, that is the full, the secondless,
the undivided consciousness which has neither the relationship nor the differences existing in
the universe and which partakes of the essence of the non-dual and the supreme Sat and Chit.

9. That which always is and that which preserves the same nature during the three periods of
time, unaffected by anything, is my eternal form of Sat.

10. Even the state of happiness which is eternal without Upadhis (vehicles) and which is
superior to all the happiness derivable from Sushupti is of my bliss only.

11. As by the rays of the sun, thick gloom is soon destroyed, so darkness, the cause of rebirth
is destroyed by Hari (Vishnu) Viz., the sun’s lustre.

12. Through the contemplation and worship of my (Hari’s) feet, every person is delivered
from his ignorance. The means of destroying deaths and births is only through the
contemplation of my feet.

13. As a lover of wealth praises a wealthy man, so if with earnestness a person praises the
Cause of the universe, who will not be delivered from bondage?

14. As in the presence of the sun the world of its-own accord begins to perform its actions, so
in my presence all the worlds are animated to action.

15. As to the mother-of pearl, the illusory conception of silver is falsely attributed, so to me is
falsely attributed through Maya this universe which is composed of Mahat, etc.

16. I am not with those differences that are (observable) in the body of low caste men, the
body of cow, etc., the fixed one’s, the bodies of Brahmanas and others.

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17. As to a person, even after being relieved from the misconception of the directions, the
(same misconception of) direction continues (as before), just so is to me the universe though
destroyed by Vijnana. Therefore the universe is not.

18. I am neither the body nor the organs of sense and action, nor Pranas, Nor Manas, nor
Buddhi, nor Ahankara, nor Chitta, nor Maya, nor the universe including Akasa and others.

19. Neither am I the actor, the enjoyer, nor he who causes the enjoyment. I am Brahman that
is Chit, Sat and Ananda alone and that is Janardana (Vishnu).

20. As, through the fluctuation of water, the sun (reflected therein) is moved, so Atman arises
in this mundane existence through its mere connection with Ahankara.

21. This mundane existence has Chitta as its root. This (Chitta) should be cleansed by
repeated effort. How is it you have your confidence in the greatness of Chitta?

22. Alas, where is all the wealth of the kings! Where are the Brahmanas? Where are all the
worlds? All old ones are gone. Many fresh evolutions have occurred.

23. Many Crores of Brahmas have passed away. Many kings have flitted away like particles
of dust. Even to a Jnani, the love of the body may arise through the Asura (demoniacal)
nature. If the Asura nature should arise in a wise man, his knowledge of truth becomes
fruitless.

24. Should Rajas and others generated in us be burnt by the fire of discriminative (divine)
wisdom, how can they germinate again?

25. Just as a very intelligent person delights in the shortcomings of another, so if one finds
out his own faults (and corrects them) who will not be relieved from bondage?

26. O Lord of Munis, only he who has not Atma-Jnana and who is not an emancipated
person, longs after Siddhis. He attains such Siddhis through medicine, (or wealth), Mantras,
religious works, time and skill.

27. In the eyes of an Atma-Jnani, these Siddhis are of no importance. One who has become
an Atma-Jnani, one who has his sight solely on Atman, and one who is content with Atman
(the higher Self) through (his) Atman (or the lower self), never follows (the dictates of)
Avidya.

28. Whatever exists in this world, he knows to be of the nature of Avidya. How then will an
Atma-Jnani who has relinquished Avidya be immersed in (or affected by) it.

29. Though medicine, Mantras, religious work, time and skill (or mystical expressions) lead
to the development of Siddhis, yet they cannot in any way help one to attain the seat of
Paramatman.

30. How then can one who is an Atma-Jnani and who is without his mind be said to long after
Siddhis, while all the actions of his desires are controlled?”

Thus ends the third Chapter of Varāha Upanishad.

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CHAPTER IV

On another occasion Nidagha asked Lord Ribhu to enlighten him as to the characteristics of
Jivanmukti. To which Ribhu replied in the affirmative and said the following: “In the seven
Bhumikas (or stages of development of wisdom) there are four kinds of Jivanmuktas. Of
these the first stage is Subhechcha (good desire); the second is Vicharana (inquiry); the third
is Tanumanasi (or pertaining to the thinned mind); the fourth is Sattvapatti (the attainment of
Sattva); the fifth is Asamsakti (non-attachment); the sixth is the Padartha-Bhavana (analysis
of objects) and the seventh is the Turya (fourth or final stage). The Bhumika which is of the
form of Pranava (Om) is formed of (or is divided into) Akara - ‘A’, Ukara - ‘U’, Makara -
‘M’ and Ardha-Matra. Akara and others are of four kinds on account of the difference of
Sthula (gross) Sukshma (subtle), Bija (seed or causal) and Sakshi (witness). Their Avasthas
are four: waking, dreaming, dreamless sleeping and Turya (fourth). He who is in (or the
entity that identifies itself with) the waking state in the gross Amsa (essence or part) of Akara
is named Vishva; in the subtle essence, he is termed Taijasa; in the Bija essence, he is termed
Prajna; and in the Sakshi essence, he is termed Turya.

He who is in the dreaming state (or the entity which identifies itself with the dreaming state)
in the gross essence of Ukara is Vishva; in the subtle essence, he is termed Taijasa; in the
Bija essence, is termed Prajna; and in the Sakshi essence, he is termed Turya.

He who is in the Sushupti state in the gross essence of Makara is termed Vishva; in the subtle
essence, Taijasa; in the Bija essence, he is termed Prajna; and in the Sakshi essence, he is
termed Turya.

He who is in Turya State in the gross essence of Ardha-Matra is termed Turya-Vishva. In the
subtle, he is termed Taijasa; in the Bija essence, he is termed Prajna; and in the Sakshi
essence, he is termed Turya-Turya.

The Turya essence of Akara is (or embraces) the first, second and third (Bhumikas or stages
of the seven). The Turya essence of Ukara embraces the fourth Bhumika. The Turya essence
of Makara embraces the fifth Bhumika. The Turya essence of Ardha-Matra is the sixth stage.
Beyond this, is the seventh stage.

One who functions in the (first) three Bhumikas is called Mumukshu; one who functions in
the fourth Bhumika is called a Brahmavit; one who functions in the fifth Bhumika is called a
Brahmavidvara; one who functions in the sixth Bhumika is called a Brahmavidvariya; and
one in the seventh Bhumika is called a Brahmavidvarishtha.

With reference to this, there are Slokas. They are:

1. Subhechcha is said to be the first Jnana-Bhumi (or stage of wisdom); Vicharana, the
second; Tanumanasi, the third;

2. Sattvapatti, the fourth; then come Asamsakti as the fifth, Padartha-Bhavana as the sixth
and Turya as the seventh.

3. The desire that arise in one through sheer Vairagya (after resolving) ‘Shall I be ignorant? I
will be seen by the Shastras and the wise’ (or ‘I will study the books and be with the wise’) -

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is termed by the wise as Subhechcha.

4. The association with the wise and Shastras and the following of the right path preceding
the practice of indifference is termed Vicharana.

5. That stage wherein the hankering after sensual objects is thinned through the first and
second stages is said to be Tanumanasi.

6. That stage wherein having become indifferent to all sensual objects through the exercise in
the (above) three stages, the purified Chitta rests on Atman which is of the nature of Sat is
called Sattvapatti.

7. The light (or manifestation) of Sattva-Guna that is firmly rooted (in one) without any
desire for the fruits of actions through the practice in the above four stages is termed
Asamsakti.

8-9. That stage wherein through the practice in the (above) five stages one, having found
delight in Atman, has no conception of the internals or externals (though before him) and
engages in actions only when impelled to do so by others is termed Padartha-Bhavana, the
sixth stage.

10. The stage wherein after exceedingly long practice in the (above) six stages one is
(immovably) fixed in the contemplation of Atman alone without the difference (of the
universe) is the seventh stage called Turya.

11. The three stages beginning with Subhechcha are said to be attained with (or amidst)
differences and non-differences. (Because) the universe one sees in the waking state he thinks
to be really existent.

12. When the mind is firmly fixed on the non-dual One and the conception of duality is put
down, then he sees this universe as a dream through his union with the fourth stage.

13. As the autumnal cloud being dispersed vanishes, so this universe perishes. O Nidagha, be
convinced that such a person has only Sattva remaining.

14. Then having ascended the fifth stage called Sushuptipada (dreamless sleeping seat), he
remains simply in the non-dual state, being freed from all the various differences.

15-16(a). Having always introvision though ever participating in external actions, those that
are engaged in the practice of this (sixth stage) are seen like one sleeping when fatigued (viz.,
being freed from all affinities).

16(b). (Lastly) the seventh stage which is the ancient and which is called Gudhasupti is
generally attained.

17. Then one remains in that secondless state without fear and with his consciousness almost
annihilated where there is neither Sat nor Asat, neither self nor not-self.

18. Like an empty pot in the Akasa, there is void both within and without; like a filled vessel
in the midst of an ocean, he is full both within and without.

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19. Do not become either the knower or the known. May you become the Reality which
remains after all thoughts are given up.

20. Having discarded (all the distinctions of) the seer, the sight and the seen with their
affinities, meditate solely upon Atman which shines as the supreme Light.

21. He is said to be a Jivanmukta (emancipated person) in whom, though participating in the

material concerns of the world, the universe is not seen to exist like the invisible Akasa.

22. He is said to be a Jivanmukta, the light of whose mind never sets or rises in misery or
happiness and who does not seek to change what happens to him (viz., either to diminish his
misery or increase his happiness).

23. He is said to be a Jivanmukta who though in his Sushupti is awake and to whom the
waking state is unknown and whose wisdom is free from the affinities (of objects).

24. He is said to be a Jivanmukta whose heart is pure like Akasa, though acting (as it) in
consonance to love, hatred, fear and others.

25. He is said to be a Jivanmukta who has not the conception of his being the actor and whose
Buddhi is not attached to material objects, whether he performs actions or not.

26. He is said to be a Jivanmukta, of whom people are not afraid, who is not afraid of people
and who has given up joy, anger and fear.

27. He is said to be a Jivanmukta, who though participating in all the illusory objects, is cool
amidst them and is a full Atman, (being) as if they belonged to others.

28. O Muni, he is said to be a Jivanmukta, who having eradicated all the desires of his Chitta,
is (fully) content with me who am the Atman of all.

29. He is said to be a Jivanmukta, who rests with an unshaken mind in that all pure abode
which is Chinmatra and free from all the modifications of Chitta.

30. He is said to be a Jivanmukta in whose Chitta do not dawn (the distinctions of) the
universe, I, he, thou and others that are visible and unreal.

31. Through the path of the Guru and Shastras, enter soon sat - the Brahman that is
immutable, great, full and without objects - and be firmly seated there.

32. Shiva alone is Guru; Shiva alone is Vedas; Shiva alone is Lord; Shiva alone is I; Shiva
alone is all. There is none other than Shiva.

33. The undaunted Brahmana having known Him (Shiva) should attain wisdom. One need
not utter many words as they but injure the organ of speech.

34. (The Rishi) Suka is a Mukta (emancipated person). (The Rishi) Vamadeva is a Mukta.
There are no others (who have attained emancipation) than through these (viz., the two paths
of these two Rishis). Those brave men who follow the path of Suka in this world become

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Sadyo-Muktas (viz., emancipated) immediately after (the body wear away);

35. While those who always follow the path of Vamadeva (i.e., Vedanta) in this world are
subject again and again to rebirths and attain Krama (gradual) emancipation, through Yoga,
Sankhya and Karmas associated with Sattva (Guna).

36. Thus there are two paths laid down by the Lord of Devas (viz.,) the Suka and Vamadeva
paths. The Suka path is called the bird’s path; while the Vamadeva path is called the ant’s
path.

37-38. Those persons that have cognised the true nature of their Atman through the
mandatory and prohibitory injunctions (of the Vedas), the inquiry into (the true meaning of)
Maha-Vakyas (the sacred sentences of the Vedas), the Samadhi of Sankhya Yoga or
Asamprajnata Samadhi and that have thereby purified themselves, attain the supreme seat
through the Suka path.

39-40. Having, through Hatha-Yoga practice with the pain caused by Yama, postures, etc.,
become liable to the ever recurring obstacles caused by Anima and other (Siddhis) and
having not obtained good results, one is born again in a great family and practises Yoga
through his previous (Karmic) affinities.

41. Then through the practice of Yoga during many lives, he attains salvation (viz.,) the
supreme seat of Vishnu through the Vamadeva path.

42. Thus there are two paths that lead to the attainment of Brahman and that are beneficent.
The one confers instantaneous salvation and the other confers gradual salvation. To one that
sees (all) as the one (Brahman), where is delusion? Where is sorrow?

43. Those that are under the eyes of those whose Buddhi is solely occupied with the truth (of
Brahman) that is the end of all experience are released from all heinous sins.

44. All beings inhabiting heaven and earth that fall under the vision of Brahmavits are at once
emancipated from the sins committed during many Crores of births.” Thus ends the fourth
Chapter of Varāha Upanishad.

CHAPTER V

Then Nidagha asked Lord Ribhu to enlighten him as to the rules (to be observed) in the
practice of Yoga. Accordingly He (the Lord) said thus:

1. “The body is composed of the five elements. It is filled with five Mandalas (spheres). That
which is hard is Prithvi (earth), one of them; that which is liquid is Apas;

2. That which is bright is Tejas (fire); motion is the property of Vayu; that which pervades
everywhere is Akasa. All these should be known by an aspirant after Yoga.

3. Through the blowing of Vayu-Mandala in this body, (there are caused) 21,600 breaths
every day and night.

4. If there is a diminution in the Prithvi-Mandala, there arise folds in the body; if there is

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diminution in the essence of Apas, there arises gradually greyness of hair;

5. If there is diminution in the essence of Tejas, there is loss of hunger and lustre; if there is
diminution in the essence of Vayu, there is incessant tremor;

6. If there is diminution in the essence of Akasa, one dies. The Jivita (viz., Prana) which
possesses these elements having no place to rest (in the body) owing to the diminution of the
elements, rises up like birds flying up in the air.

7. It is for this reason that is called Udyana (lit., flying up). With reference to this, there is
said to be a Bandha (binding, also meaning a posture called Udyana-Bandha, by which this
flight can be arrested). This Udyana-Bandha is to (or does away with) death, as a lion to an
elephant.

8. Its experience is in the body, as also the Bandha. Its binding (in the body) is hurtful. If
there is agitation of Agni (fire) within the belly, then there will be caused much of pain.

9. Therefore this (Udyana-Bandha) should not be practised by one who is hungry or who has
urgency to make water or void excrement. He should take many times in small quantities
proper and moderate food.

10. He should practise Mantra-Yoga. Laya-Yoga and Hatha-Yoga, through mild, middling
and transcendental methods (or periods) respectively. Laya, Mantra and Hatha-Yogas have
each (the same) eight subservients.

11-12(a). They are Yama, Niyama, Asana, Pranayama, Pratyahara, Dharana, Dhyana and
Samadhi.

12(b)-13(a). (Of these), Yama is of ten kinds. They are non-injury, truth, non-coveting,
continence, compassion, straightforwardness, patience, courage, moderate eating and purity
(bodily and mental).

13(b)-14. Niyama is of ten kinds. They are Tapas (religious austerities), contentment, belief
in the existence of God or Vedas, charity, worship of Ishvara (or God), listening to the
expositions of religious doctrines, modesty, a (good) intellect, Japa (muttering of prayers) and
Vrata (religious observances).

15-16. They are eleven postures beginning with Chakra. Chakra, Padma, Kurma, Mayura,
Kukkuta, Vira, Svastika, Bhadra, Simha, Mukta and Gomukha are the postures enumerated
by the knowers of Yoga.

17. Placing the left ankle on the right thigh and the right ankle on the left thigh and keeping
the body erect (while sitting) is the posture “Chakra”.

18. Pranayama should be practised again and again in the following order, viz., inspiration,
restraint of breath and expiration. The Pranayama is done through the Nadis (nerves). Hence
it is called the Nadis themselves.

19. The body of every sentient being is ninety-six digits long. In the middle of the body, two
digits above the anus and two digits below the sexual organ, is the centre of the body (called

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Muladhara or sacral plexus).

20-21. Nine digits above the genitals, there is Kanda of Nadis which revolves oval-shaped,
four digits high and four digits broad. It is surrounded by fat, flesh, bone and blood.

22. In it, is situate a Nadi-Chakra (wheel of nerves) having twelve spokes. Kundali by which
this body is supported is there. 23. It is covering by its face the Brahmarandhra (viz.,
Brahma’s hole) of Susumna. (By the side) of Susumna dwell the Nadis Alambusa and Kuhuh.

24. In the next two (spokes) are Varuna and Yasasvini. On the spoke south of Susumna is, in
regular course, Pingala.

25. On the next two spokes, are Pusha and Payasvini. On the spoke west of Susumna is the
Nadi called Sarasvati.

26. On the next two spokes are Sankhini and Gandhari. To the north of Susumna dwells Ida;

27-28. In the next is Hastijihva; in the next is Visvodara. In these spokes of the wheel, the
twelve Nadis carry the twelve Vayus from left to right (to the different parts of the body). The
Nadis are like (i.e. woven like the warp and woof of) cloth. They are said to have different
colours.

29-30. The central portion of the cloth (here the collection of the Nadis) is called the Nabhi
Chakra (navel plexus). Jvalanti, Nadarupini, Pararandhra and Susumna are called the (basic)
supports of Nada (spiritual sound). These four Nadis are of ruby colour. The central portion
of Brahmarandhra is again and again covered by Kundali.

31-33(a). Thus ten Vayus move in these Nadis. A wise man who has understood the course of
Nadis and Vayus should, after keeping his neck and body erect with his mouth closed,
contemplate immovably upon Turyaka (Atman) at the tip of his nose, in the centre of his
heart and in the middle of Bindu and should see with a tranquil mind through the (mental)
eyes, the nectar flowing from there.

33(b)-34. Having closed the anus and drawn up the Vayu and caused it to rise through (the
repetition of) Pranava (Om), he should complete with Sri Bija. He should contemplate upon
his Atman as Sri (or Parasakti) and as being bathed by nectar.

35. This is Kalavanchana (lit., time illusion). It is said to be the most important of all.
Whatever is thought of by the mind is accomplished by the mind itself.

36. (Then) Agni (fire) will flame in Jala (water) and in the flame (of Agni) will arise the
branches and blossoms. Then the words uttered and the actions done regarding the universe,
are not in vain.

37. By checking the Bindu in the path, by making the fire flame up in the water and by
causing the water to dry up, the body is made firm.

38. Having contracted simultaneously the anus and Yoni (the womb) united together, he
should draw up Apana and unite with it Samana.

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39. He should contemplate upon his Atman as Shiva and then as being bathed by nectar. In
the central part of each spoke, the Yogin should commence to concentrate Bala (will or
strength).

40. He should try to go up by the union of Prana and Apana. This most important Yoga
brightens up in the body the path of Siddhis.

41. As dam across the water serves as an obstacle to the floods, so it should ever be known by
the Yogins that the Chhaya of the body is to (Jiva).

42. This Bandha is said of all Nadis. Through the grace of this Bandha, the Devata (goddess)
becomes visible.

43. This Bandha of four feet serves as a check to the three paths. This brightens up the path
through which the Siddhas obtained (their Siddhis).

44. If with Prana is made to rise up soon Udana, this Bandha checking all Nadis goes up.

45. This is called Samputa-Yoga or Mula-Bandha. Through the Practising of this Yoga, the
three Bandhas are mastered.

46. By practising day and night intermittingly or at any convenient time, the Vayu will come
under his control.

47. With the control of Vayu, Agni (the gastric fire) in the body will increase daily. With the
increase of Agni, food, etc., will be easily digested.

48. Should food be properly digested, there is increase of Rasa (essence of food). With the
daily increase of Rasa, there is the increase of Dhatus (spiritual substances).

49. With the increase of Dhatus, there is the increase of wisdom in the body. Thus all the sins
collected together during many Crores of births are burnt up.

50. In the centre of the anus and the genitals, there is the triangular Muladhara. It illumines
the seat of Shiva of the form of Bindu.

51. There is located the Parasakti named Kundalini. From that seat, Vayu arises. From that
seat, Agni becomes increased.

52. From that seat, Bindu originates and Nada becomes increased. From that seat, Hamsa is
born. From that seat, Manas is born.

53. The six Chakras beginning with Muladhara are said to be the seat of Sakti (Goddess).
From the neck to the top of the head is said to be the seat of Sambhu (Shiva).

54. To the Nadis, the body is the support (or vehicle); to Prana, the Nadis are the support; to
Jiva, Prana is the dwelling place; to Hamsa, Jiva is the support;

55. To Sakti, Hamsa is the seat and the locomotive and fixed universe. Being without
distraction and of a calm mind, one should practise Pranayama.

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56. Even a person who is well-skilled in the practice of the three Bandhas should try always
to cognise with a true heart that Principle which should be known and is the cause of all
objects and their attributes.

57. Both expiration and inspiration should (be stopped and made to) rest in restraint of breath
(alone). He should depend solely on Brahman which is the highest aim of all visibles.

58. (The giving out of) all external objects is said to be Rechaka (expiration). The (taking in
of the) spiritual knowledge of the Shastras is said to be Puraka (inspiration) and (the keeping
to oneself of) such knowledge is said to be Kumbhaka (or restraint of breath).

59. He is an emancipated person who practises thus such a Chitta. There is no doubt about it.
Through Kumbhaka, it (the mind) should be always taken up and through Kumbhaka alone it
should be filled up within.

60. It is only through Kumbhaka that Kumbhaka should be firmly mastered. Within it is
Parama-Shiva. That (Vayu) which is non-motionless should be shaken again through Kantha-
Mudra (throat-posture).

61-62. Having checked the course of Vayu, having become perfect in the practice of
expiration and restraint of breath and having planted evenly on the ground the two hands and
the two feet, one should pierce the four seats through Vayu through the three Yogas. He
should shake Mahameru with the (aid of) Prakotis (forces) at the mouth of Vayu.

63. The two Putas (cavities) being drawn, Vayu throbs quickly. The union of moon, sun and
Agni should be known on account of nectar.

64. Through the motion of Meru, the Devatas who stay in the centre of Meru move. At first in
his Brahma-Granthi, there is produced soon a hole (or passage).

65. Then having pierced Brahma-Granthi, he pierces Vishnu-Granthi; then he pierces Rudra-
Granthi.

66-67(a). Then to the Yogin comes Vedha (piercing) through his liberation from the
impurities of delusion, through the religious ceremonies (performed) in various births,
through the grace of Gurus and Devatas and through the practice of Yoga.

67(b)-68. In the Mandala (sphere or region) of Susumna (situated between Ida and Pingala),
Vayu should be made to rise up through the feature known as Mudra-Bandha. The short
pronunciation (of Pranava) frees (one) from sins; its long pronunciation confers (on one)
Moksha.

69-70. So also its pronunciation in Apyayana or Pluta Svara (tone). He is a knower of Veda,
who through the above-mentioned three ways of pronunciation knows the end of Pranava
which is beyond the power of speech, like the never ceasing flow of oil or the long-drawn
bell-sound. The short Svara goes to Bindu. The long Svara goes to Brahmarandhra; the Pluta
to Dvadasanta (twelfth centre). The Mantras should be uttered on account of getting Mantra
Siddhis.

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71-72(a). This Pranava (OM) will remove all obstacles. It will remove all sins. Of this, are
four Bhumikas (states) predicated, viz., Arambha, Ghata, Parichaya and Nishpatti.

72(b)-73(a). Arambha is that state in which one having abandoned external Karmas
performed by the three organs (mind, speech and body), is always engaged in mental Karma
only.

73(b)-74(a). It is said by the wise that the Ghata state is that in which Vayu having forced an
opening on the western side and being full, is firmly fixed there.

74(b). Parichaya state is that in which Vayu is firmly fixed to Akasa, neither associated with
Jiva nor not, while the body is immovable.

75. It is said that Nishpatti state is that in which there take place creation and dissolution
through Atman or that state in which a Yogin having become a Jivanmukta performs Yoga
without effort.

Whoever recites this Upanishad becomes immaculate like Agni. Like Vayu, he becomes
pure. He becomes freed from the sin of drinking alcohol. He becomes freed from the sins of
the theft of gold. He becomes a Jivanmukta. This is what is said by the Rig-Veda. Like the
eye pervading the Akasa (seeing without effort everything above), a wise man sees (always)
the supreme seat of Vishnu. The Brahmanas who have always their spiritual eyes wide open
praise and illuminate in diverse ways the spiritual seat of Vishnu. OM, thus is the
Upanishad.”

Thus ends the fifth Chapter of Varāha Upanishad.

Om! May He protect us both together; may He nourish us both together; May we work
conjointly with great energy, May our study be vigorous and effective; May we not mutually
dispute (or may we not hate any).

Om! Let there be Peace in me! Let there be Peace in my environment! Let there be Peace in
the forces that act on me!

Here ends the Varāha Upanishad belonging to the Krishna-Yajur-Veda.

Varāha Dwadasi

Appearance day of Varāha

Transcendental Varāha gallery

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Lord Varāha, Bhopal Museum

Temple carving, Java

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Varāha in Durga temple, Aihole

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Varāha in a temple carving, Belur

Carved stela, Varāha, 18 c. Tibet

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Varāha Rescuing Bhu Devi. Brooklyn museum. Northern India (Rajasthan), circa 1000.
Schist, 33 x 17 1/4 x 6 in. (83.8 x 43.8 x 15.2 cm). Asian Art Museum, San Francisco, The
Avery Brundage Collection, B62S15+

Cosmic Varāha. Brooklyn Museum. Northern India (Rajasthan), 12th century. Black phyllite,
21 3/4 x 29 1/2 x 12 1/2 in. (55.3 x 75 x 31.8 cm). The James W. and Marilynn Alsdorf
Collection

Varāha Rescuing Bhu Devi. Southern India (Kerala), circa 14th–15th century. Bronze, 13 x 7
3/4 x 5 1/8 in. (33 x 19.7 x 13 cm). Brooklyn Museum, Gift of Paul E. Manheim, 78.259.1

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Varāha paintings as saviour of the earth (Brooklyn Museum).

Varāha murti, avatar of Vishnu

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Varāha Narasimha cave Sri Varāha Narasimha Swamy Cave (Krodha Narasimha Swamy) is
just few minutes away from the main temple, Sri Ahobileshwara Narasimha swamy in Upper
Ahobilam. It houses 3 deities, one from them is Lord Varāha keeping Mother Earth on his
noose with a lion tail on his back, representing the Narasimha lila to be part of the whole
story.

Coin with Varāha (Vishnu Avatar) on a Pratihara coin 850-900 CE (British Museum)

Varāha temple, Mahabalipuram

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Varāha Mandapam Mahabalipuram, Tamilnadu, India

Mythologically, the third incarnation of Vishnu was in the form of Varāha, the Boar. There
are a number of temples dedicated to Lord Vishnu in the aspect of this incarnation. One of
such famous temples is at Tiruvadantai, 27 miles from Chennai towards south on the way to
Mahabalipuram.

The main deity is 3m (9 ft) tall and is called "Sri Lakshmi Adi Varāha". He is also known as
"Sri Nritya Kalyana Perumal'. The Lord holds a conch in his upraised right hand and the disc
in his left. The name of the Goddess is "Akhilavalli Ammal". The Goddess is seated over the
left thigh of Lord Vishnu in his Varāha aspect, His left hand encircling Her waist, while Her
feet are held in His lower right hand palm. Only the right leg of Varāhaswami is touching the
floor.

The deity is decorated with a garland formed of 108 saligrams around the neck. The legend
goes that one Hariseka Maharaj, the ruling chief of Mahabalipuram, possessed this garland
originally. He was a great devotee of Adi Varāhaswami and it was his daily routine to visit
the temple and pay homage. When he became old and was physically unable to move, he
presented the garland to the presiding deity.

There are four Utsavamurtis (processional deities), namely, Nitya - kalyanaswami, Kottukar,
Palpo Perumal and Spathanaperam. On festive occasions the processional deities are taken
around the temple.

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Once upon a time there lived a sage named Kalava at Tiruvadantai. He had 360 daughters.
Tiruvadantai was a great city in those days and had 360 Agraharam (streets where Brahmins
lived). As the sage was greatly honoured and respected, one daughter was taken up by each of
the 360 streets to be respectfully maintained and looked after. Time rolled on. In due course,
when the girls came of age it became a great anxiety for the sage how to get them married
suitably. Praying fervently, the sage resigned himself to God.

Lord Vishnu elected to take the form of a 'Brahmachari' (bachelor) and appeared in the first
Agraharam and broached the subject of marriage with the first daughter and then married her.
It is customary with newly married Hindu couples to visit the village temple and pay their
homage to the presiding deity and receive blessings for their future life. When the
Brahmachari visited the local Varāhaswami temple with his newly - wedded wife, he and his
wife both mysteriously vanished in the sanctum sanctorum.

On the second day, Vishnu again took the form of another Brahmachari and proposed
marriage with the second daughter in the second Agraharam and married her too. After
marriage when the couple visited the local temple they too disappeared. Likewisely,
mysteriously, a new Brahmachari used to be performed with one of Kalava Maehashi's 360
daughters. And when the newly married couples visited the Varāhaswami temple, they just
vanished.

When all the 360 girls vanished in this manner, the episode reached Maharshi Kalava. He
was bewildered and agitated and wanted to know from God Himself the whereabouts of his
daughters and sons-in-law.

When the Sage entered the, sanctum sanctorum of the temple with the object of knowing
from the Lord's mouth the where abouts of his daughters, Lord Vishnu appeared before him
as Varāha, the Boar, holding all the 360 daughters on lap. Lord Varāhaswami embraced all
the 360 daughters of Maharshi with his left hand and pressed all the 360 souls into single soul
of Lakshmi, His consort, making her sit on his raised thigh. The merging of the souls of his
daughters with that of Goddess Lakshmi enlightened the Sage.

The sage was greatly elated that Goddess Lakshmi considered him fit enough to be her father.
As the marriage episode continued day after day for the 360 days of the year, the presiding
deity was fondly named "Nityakalyanaswami" (Nitya means daily, Kalyana means marriage).
Gradually the place gained in importance.

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Varāha, Jagannatha temple, Puri. Archaeological Survey of India Collections, taken by
Poorno Chander Mukherji in the 1890s.

Varāha, 6th cent. cave temple, Badami

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Varāha Mahakuta, Deccan 7th C.

Cave Two Badami has Vishnu's Varāha, or boar, avatar

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 Bronze Varāha, Tamil Nadu 15th cent.

Varāha, Halebidu

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Simhachalam - Sri Varāha Narasimhaswamy Temple,Near Visakhapatnam,Andhra Pradesh

Varāha, Belur

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The Story of VARĀHA Avatar

In VARĀHA Avatar, Lord Vishnu incarnates himself as a boar in this world. A demon
Hiranyaksha, had prayed for Lord Brahma and got awarded a boon that no beast nor man nor
god could kill him. But somehow from the list of beasts the name of boar was missing. This
proved to be his lacunae. He then started a campaign of plunder across the worlds. He pushed
the world to the Pataal loka, or the under of the sea. He stole the Vedas, the holy scriptures
from the Lord Brahma, while he was asleep and performed huge atrocities. To retrieve the
Vedas and to save the world the Lord Vishnu assumed the role of a boar and brought out the
earth from the under of the ocean, using its two tusks. It then killed Hiranyaksha and
retrieved the Vedas from the asura and brought it back to the safe custody of the Lord
Brahma.

Nava Torana Temple of Varāha at Khor in Neemach, Madhya Pradesh

ThirukKalvanoor - Sri Aadhi Varāha Perumal Temple, Kanchipuram

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 Sri Lakshmi Varāhaswamy, Nithyakalyanar kovil,
Varāha Kshetram, Thiruvidandai, Chennai (One of 108 divyadesam).

Sri Bhu Varāha Swamy, Sreemushnam temple, Chidambaram

चषाल n. the snout of a hog MaitrS. i , 6 , 3.

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Ellora Cave XIV. चषालः caṣāla in front of the Mother Earth.

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Varāha cave temple, Mamallapuram, a photo from the 1860's चषालः caṣāla in front of the
Mother Earth.

Varāha. Vikramasila wall carving. चषालः caṣāla in front of, holding up the Mother Earth. His
foot controls a nAga as the Earth is lifted up from the Ocean.

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Varāha. Khajuraho.

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Badami Cave III. चषालः caṣāla in front of the Mother Earth.

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 Varāha's चषालः
caṣāla in front of the Mother Earth.

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 Udayagiri
Varāha. Close-up photograph of the snout.चषालः caṣāla in front of the Mother Earth.

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Udayagiri Varāha's चषालः caṣāla in front of the Mother Earth.

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Badami Cave II. Varāha's चषालः caṣāla in front of the Mother Earth.

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 \

Rani-ki-wav. Varāha.

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