Did you know the story of Krishna and Trivakra? The beautiful tale of devotion, love and grace is one of many miracles performed by Krishna for his devotees.
Illustration: Ritoparna Hazra
Trivakra was a hunchback whose work was to take sweet-smelling ointments (angaraga) for Kamsa to smear on his body. Once, as she was going to the palace, she met Krishna and Balarama. Krishna’s presence filled her with love and she offered the angaraga to him. Krishna anointed himself and then holding her by the chin, stepped on her feet and straightened her back. Trivakra was cured of her hunch.
Did you know that the Mahabharata ends with a dog? (It also starts with one, but that story is for another day.)
After years of prosperous rule, the Pandavas and Draupadi renounced the throne and embarked on their last great adventure. They crossed land and sea and came to a winding mountain, where a dog joined them. As they climbed higher, one by one they began to die, but the dog followed at Yudhisthira’s heels like a silent shadow. When the two finally reached heaven, Yudhishthira refused to enter unless his faithful companion was also allowed inside.
This story is not unusual. In world mythologies, dogs have often been associated with death.
Hunting parties led by kings always included hounds to fetch the fallen kill. A dog’s howl, especially in the middle of war, was considered an ill omen. And the gates of Yama’s realm, the Underworld, are guarded by two dogs—Shyama and Sabala.
Illustration: Ankita Badade
Shyama (meaning ‘dark’) and Sabala (meaning ‘spotted’) can be described as dusk and dawn. Only one of them can see at a time, so they each have two pairs of eyes.
In some stories, they are kind—messengers sent by Yama to collect the souls of the dead and guide them through the afterlife. In other stories, they are fierce—standing watch over the gates that all must pass through to reach the hall of judgement.
The origins of Shyama and Sabala are uncertain. One version says they are from a group of asuras, called Kalakanjas, who were building a stairway to heaven. As the structure grew taller and taller, Indra pulled out one of the bricks. The whole thing fell apart, sending the asuras tumbling down. Most of them turned into spiders, landing safely. However, the two asuras at the top turned into dogs and were cursed to guard Yama’s kingdom forever. Another version calls them ‘Sarameya’ or the children of Sarama, Indra’s dog, who is considered the goddess of intuition and the mother of wild animals.
Wherever they may come from, Shyama and Sabala still hold a place in our rituals. They are given offerings of rice-balls and mentioned in prayers to Yama, dating as far back as the Rigveda, where a seer says:
Design: Abhirami Ganesh
The legend of these dogs has crossed the borders of India with Tihar, a five-day Nepalese Hindu festival, to honour creatures associated with Yama. On the second day, Kukur Tihar, dogs are worshipped.
Shyama and Sabala are also significant in astronomy, representing the Canis Minor and Canis Major constellations respectively. The Kailasanathar Temple at Kanchipuram includes two dogs in a depiction of Shiva bringing the river Ganga down to earth. This could be hinting at the Akasha Ganga (Milky Way) and its Canis constellations—Yama’s two watchdogs, eternally gracing the night sky.
The Indian epics – Ramayana and Mahabharata – are both fascinating studies of human behaviour. They are full of myriad characters with unique personalities and motivations, all trying to navigate through concepts like duty, honour, love, morality, loyalty and courage. Unlike a lot of other modern and ancient literature however, the epics focus equally on men as well as women, allowing both genders the same level of complexity, thus giving us some of the most well-rounded, balanced, and interesting female characters.
Women in the Epics
Often women like Sita, Savitri, Sati and Anasuya are named as ideals of purity and chastity. They are seen to be women with excellent moral fibre, women who choose death over dishonour to their husbands and families, women for whom duty and sacrifice come above all else. However, the epics also contain female characters that have shades of grey. They are intelligent, confident and duty-bound, but they also display pride, rage and thirst for revenge.
Ahalya Draupadi Kunti Tara Mandodari tatha
Panchakanya smaranityam mahapataka nashaka
This age-old Sanskrit verse is an ode to five such complex women from the epics. Literally translated, the verse means “One should forever remember the five virgins, Ahalya, Draupadi, Kunti, Mandodari and Tara, who are destroyers of great sin.”
The Virgins
Illustration: Sundarlal and Durgesh Velhal
At first glance, these five women don’t appear to be ‘chaste’ or ‘virgins’ in the traditional sense of the word. After all, all these women had relations with more than one man and some of them have also had to bear shame, abuse and punishment because of that. So why does this verse laud them? If these women were unchaste, then why do married women often chant this verse every day during their morning prayers?
To answer these questions, we must examine our understanding of words like ‘chaste’ or ‘virgin’. In the traditional sense, a chaste woman would refer to someone who puts her husband above all else. She is devoted to only one man, never even entertaining the thought of loving another. She obeys her husband even if that means going against her own wishes. She is ready to sacrifice everything, even her life, to this end. Sita walking through fire to prove her chastity or Savitri following Yama to win back her husband’s life, can be seen as classic examples.
However, there is another way of looking at the word ‘virgin’. A virgin could mean to be a woman who belongs to no man. She is essentially self-contained in the spiritual sense. She is a woman that no man can control or shame or ‘sully’, because she allows no one that power over herself, not even her husband. In that way, she is like the ‘pure’ spiritual ascetics, who always remain true only to themselves, dependent on no one, come what may.
Draupadi and Kunti
Ahalya, Mandodari and Tara belong to the Ramayana, while Kunti and Draupadi are from the Mahabharata. Kunti, the mother of the Pandavas, and Draupadi, their shared wife, both have massive roles to play in the way the Mahabharata plays out. Both are shown as intelligent, shrewd women with a deep understanding of the human mind. They were the guides to the Pandavas, providing advice, support and help throughout their journey, allowing them to fulfil their destiny. Both women also bear heavy burdens. They go through immense loss, sorrow and suffering but show strength and resilience that far surpasses the men around them.
Kunti, whose boon allows her to beget children from various gods, has a son, Karna, before her marriage. Her action is born out of curiosity and the courage to explore outside the bounds of traditional taboos around unmarried mothers. She is however, forced to abandon her first son – a decision that causes her much pain throughout her life. After her marriage to Pandu, she bears him three sons, all from different gods, as per his desire. She is generous enough to share her boon with Madri, Pandu’s other wife. When Pandu and Madri die, she does not crumble. She becomes the strong matriarch that her sons need and fights tooth and nail to ensure they get their rightful place in the court of Hastinapur.
Draupadi, born to avenge her father’s insult at the hands of Drona, has a life full of suffering caused by the actions of others. She is made the common wife of the Pandavas against her wishes, and faces insults about this all her life. She is staked in a game of dice like chattel by her husband, who is supposed to protect her. She is disrobed and publicly insulted in a roomful of men who watch on, unable to help her. That is where she learns not to depend on men or her husbands to protect her. She channels her rage and grief into a weapon meant to spur on her husbands in their journey. She ensures her honour is restored and assumes her rightful place as the queen of Hastinapur in the end.
Kunti and Draupadi are perfect examples of autonomous women, bound to no man. They are extraordinary in their abilities and are aware that they must shape their own destinies, rather than depend upon others. While doing so, they are more than simply wives or mothers or daughters, they are their own women.
Ahalya, Mandodari and Tara
Illustration: Dilip Kadam
Ahalya, the beautiful wife of Sage Gautama, was cursed when she was seduced by Indra, who came to her disguised as her husband. While different versions of this story exist, most agree that she recognised Indra, but followed her instinct and curiosity and allowed herself to be seduced. Hers is a unique case of a married woman having a liaison with another man, without it being adultery or rape.
On the face of it, Ahalya can be seen as an immoral woman. But when one analyses further, one sees that she represents a primal, unbound, female energy that instinctually responds to Indra’s masculine energy. Married to an old sage, Ahalya is never given the opportunity to actualise her beauty and youth. By giving in to Indra, she allows herself to rise beyond her roles as mother and wife and becomes a lover – a woman. Throughout all, she remains true to herself, her instincts and her deepest feminine urges, making her an extraordinary woman.
Illustration: Sundarlal and Durgesh Velhal
Tara, the wife of Vali and Mandodari, the wife of Ravana are similar in a lot of aspects. Both are married to strong, powerful men. However, they are confident, intelligent women who act as counsellors to their husbands, preventing tragedies and ensuring their kingdoms run smoothly. However, when their husbands don’t listen to their advice, it leads to Ravana and Vali both perishing due to Rama. Upon losing their husbands, these women don’t collapse. Tara marries her brother-in-law Sugriva, to ensure her son, Angada’s place on the throne. Mandodari marries Ravana’s youngest brother, Vibhishana, and rules by his side to keep the peace in her beloved Lanka. Tara and Mandodari are true queens. They refuse to be their husband’s shadow and do what is best for themselves and their kingdoms, showing their unparalleled determination and strength.
Panchakanya as Shakti
These five kanyas, while not chaste in the traditional sense, are true virgins in the spiritual sense. They are not bound to any man and are manifestations of feminine power. They go beyond their earthly roles of being mothers and wives and excel at being individuals, always true to themselves. While their autonomy, strength and intelligence are awe-inspiring, they also have to contend with loneliness, grief and suffering because of their extraordinary natures. Their ferocity in remaining true to their humanistic core makes these five maidens true representations of Shakti in our epics, and worthy of veneration.
The Ashwattha tree, more commonly known as the Peepul tree, is revered as sacred for many reasons. It is seen as the king of trees. This is because the tree is said to contain the Trimurti within itself. Brahma is said to exist in the roots, Vishnu in its roots and Shiva in the foliage.
Illustration: Ritoparna Hazra
The Peepul is also believed to be a wish-fulfilling tree by many communities. Interestingly, it was under this tree that Krishna was lying when Jara, a hunter, shot an arrow into his foot, that led to Krishna’s death in the mortal world.
Once, Yama complained to Brahma that he found it difficult to keep track of everyone’s actions on earth. Brahma meditated upon the problem and out of his body emerged a man holding a pen and an inkpot. Brahma named him Chitragupta and he became the accountant of people’s deeds, responsible for keeping track of their actions, virtues and vices.
Illustration: Durgesh Velhal
After human beings depart from the land of the living, they are brought to Yama so that their fate of going to Svarga Loka or Naraka Loka can be decided. Based on Chitragupta’s records of the person’s deeds and misdeeds on earth, Yama passes his judgement.
Chitragupta is also known as Kayastha, as he existed unseen in Brahma’s kaya or body. The Chitraguptavanshi Kayastha community of North India, who traditionally worked as administrators, accountants and scribes, believe that their lineage can be traced back to Chitragupta.
The Sindhi community worships Varuna in his incarnation as Jhulelal, also known as Uderolal or Zinda Pir. He is their patron saint, associated with rivers, water and marine life and is therefore also depicted as being seated on the Pala fish. Jhulelal is celebrated during the Sindhi festival of Cheti Chand, which usually falls in March or April.
The story of Jhulelal is a fascinating tale which ultimately talks of communal harmony. It is believed that in 10th century C.E., a tyrannical Turkish ruler known as Mirk Shah or Makrab Khan was reigning the province of Thatta, in present day Sindh, Pakistan. He started to force Hindus in the region to convert to Islam. The people then prayed to their lifeline, the River Indus. They fasted and appealed to the river for forty days, after which a voice emerged from the river. The voice told the people that Varuna would be born among them and become their saviour.
Illustration: Bhavani Nadgonde
Soon, a couple – Ratanchand and Devaki Lohana – had a child they named Uderolal (The One Who Came from the Waters). A number of miracles took place during the boy’s childhood, which convinced his parents and the community that he was extraordinary. When he was but a baby, his parents looked in his open mouth and saw the mighty Indus. Similarly, it is said that his cradle would rock itself and put him to sleep. Thus, he began to be called Jhulelal or ‘Lord of the Swing’.
As news of this miraculous child reached Mirk Shah, he sent his soldiers to take the child captive. When the soldiers reached, Jhulelal transformed from a child to an old saintly man with a white beard, within a matter of seconds. Soon, Jhulelal and Mirk Shah came face to face. The saint preached a message of unity and harmony to the king. He is believed to have said, “He whom you call Allah, and my people call Krishna, are but one and the same!”
Mirk Shah, however, was bent on putting an end to Jhulelal. During his trial, it is said that the court flooded with water as the roof suddenly caught fire. Awed and terrified by this spectacle, Mirk Shah was reformed and begged for mercy. Immediately, the water receded and the fire extinguished and Jhulelal is said to have been swallowed by the earth.
After this incident, the Hindus built a temple to mark the holy spot, while the Muslims built a dargah right next to it. This rare phenomenon symbolises everything that Jhulelal preached to the people, namely unity, communal harmony and love for all.
Read more about the Vedic deities, in the title ‘Devas’on the ACK Comics app, or order a copy from our website today!
The terms asura and rakshasa are associated with destruction and violence throughout Indian mythology. In the epics, like the Mahabharata and the Ramayana, they are seen as demonic figures – monstrous in form and nature. However, a closer look reveals that not all asuras were the same. A lot of the asuras were not only talented and skilled at various crafts and warfare, but they were also great devotees of gods and had virtues like loyalty, selflessness and even righteousness.
To delve into these ‘noble’ asuras, we must first dispel this mist and recognise their unique identity, not merely as ‘villains’, but as a distinct group with their own complex history, lineage, and qualities. Through the course of this article, we will see unexpected facets of these mythical beings, revealing many virtues hidden beneath the imposing faces and fearsome roars.
Illustration: Shobhana Rao
Kumbhakarna
Kumbhakarna, the younger brother of King Ravana, stood out not only for his immense size and insatiable appetite but also for being a virtuous and formidable warrior. While the Ramayana revolves around characters like Rama, Sita, Ravana, and Hanuman, Kumbhakarna holds a unique place in this epic.
According to the Bhagavad Purana, Kumbhakarna is believed to be the incarnation of Vijaya, a gatekeeper deity, along with his brother Jaya. The two brothers faced punishment for their misconduct while guarding Vishnu’s abode. They were granted three lifetimes as Vishnu’s adversaries, cursed to die at his hands before being welcomed back to Vaikuntha. In their second incarnation, Jaya became Ravana, and Vijaya took the form of Kumbhakarna.
Ravana, humiliated by Rama and his army, sought aid during the war from Kumbhakarna. However, a divine boon from Brahma made waking Kumbhakarna a daunting task. Legend has it that he was roused only when a thousand elephants trod upon his colossal frame. Upon awakening, Kumbhakarna learned of what Ravana had done and, despite his best efforts to persuade Ravana to reconsider, Kumbhakarna’s advice fell on deaf ears due to Ravana’s pride. Driven by loyalty, Kumbhakarna reluctantly joined Ravana’s army, demonstrating his prowess on the battlefield by single-handedly defeating thousands of Vanaras. Kumbhakarna’s dedication to his brother, even in the face of his own reservations, exemplifies his familial loyalty. Even though he had his arms severed by powerful divine weapons during the confrontation with Rama, he continued to fight valiantly. Some versions of the Ramayana even depict him recognizing the divinity of Rama.
Ultimately, this powerful warrior met his demise at the hands of Rama, while dutifully serving his brother. Additionally, his attempt to counsel Ravana against the impending conflict, showcases a deep understanding of divine truths and underscores his moral compass. All these qualities make Kumbhakarna a figure worthy of re-evaluation and respect, adding a nuanced layer to the epic narrative of the Ramayana.
Maya
Maya, the king of a demonic race called the Danavas, is renowned for his architectural prowess. Among his many creations, he is particularly known for building the Palace of Illusions in the Mahabharata.
Indraprastha, the kingdom established by the Pandavas, began as the untamed forest named Khandavaprastha, situated along the banks of the Yamuna river. When Arjuna set fire to the forest to clear the land, Mayasura, who was visiting a friend there, found himself trapped. It was in this dire moment that Arjuna extended a benevolent hand, rescuing Mayasura from the fiery inferno. This selfless act forged an unbreakable bond, and the grateful Mayasura pledged to build the Pandavas a beautiful home.
Illustration: Shobhana Rao
Thus, from the ashes of Khandava forest, rose the city of Indraprastha. Described by Veda Vyasa as a paradise, it became a model of organised governance. Constructed by Mayasura in just five years, the Indraprastha Palace, also known as the Maya Sabha, boasted sweeping lines, grand rooms made of crystal and gems, and an opulent design. The palace had floors made of reflective crystals, giving the illusion of pools, and clear still-water pools that resembled floors.
Unaware of this illusion, a visiting Duryodhana who was filled with envy over the luxurious palace, walked through it, mistaking one of the pools for the floor. As he fell into it, the mishap sparked laughter and ridicule from Draupadi and her maids. Enraged by the humiliation, Duryodhana’s anger flared, escalating the tension that paved the way for the infamous game of dice and, ultimately, the Kurukshetra war. Hence, Mayasura’s structures were not only renowned for their beauty, but also, settings that held narrative significance.
Ghatotkacha
Ghatotkacha, from the Mahabharata, is the son of Bheema and Hidimbi. When the Pandavas were living out their exile in the forest, a rakshasi named Hidimbi crossed paths with Bheema and they fell in love and got married later. Their son, Ghatotkacha, was half-human and half-demon. Despite her own brother seeing Bheema as an enemy, Hidimbi’s choice to marry him reflects a desire to take charge of her own destiny by gracefully assuming the role of a single mother and raising her son.
Ghatotkacha inherited both human and rakshasa qualities, making him a formidable warrior. During the Kurukshetra war, he readily came to help his father. His proficiency in magic turned the tide of the war in favour of the Pandavas during critical moments. He could change his form and size at will, growing to gigantic proportions that dwarfed even buildings, or shrink to become tiny and invisible. This ability often proved advantageous in battle, intimidating enemies and allowing him to navigate difficult terrain. He also had the power to levitate and soar through the air with ease, which he used while helping Vatsala, the daughter of Balarama, leave her palace to meet her husband, Abhimanyu.
He was also skilled at creating illusions to deceive his enemies. During the battle, he created a magical mountain from which came a stream of weapons. He could conjure up mirages, cast spells, and even made a dark cloud which rained down stones during the war. His immense strength could send trees flying at his enemies, and he could duplicate himself to confuse and tackle them. In the end, Ghatotkacha sacrificed his life to deploy the potent “Rakshasa Astra” against the Kaurava forces. This selfless act, born out of his commitment to the Pandavas’ cause, showcases his valour and willingness to prioritise the greater good.
The temple in Champawat, Uttarakhand, associated with the site where Ghatotkacha’s head is believed to have fallen, adds a local touch to the Mahabharata narrative. The presence of a Ghatotkacha Temple in the Dieng Temples complex in Central Java, Indonesia, further illustrates the spread of Hindu mythology beyond the Indian subcontinent. Also, nestled amidst a sacred cedar forest near the town of Dungri, at the lush base of the Himalayan mountains, the Hidimba Devi Temple stands as a sacred sanctuary to Ghatotkacha’s mother, Hidimbi, who is revered as a deity there. A short distance away from this temple, a shrine has been dedicated to Ghatotkacha as well.
Read more about the devas and asuras, only on the ACK Comics app!
Varahi, the boar-headed consort of Varaha, was created from Vaishnavi, the consort of Vishnu. This goddess has several origins attributed to her depending on the text in which her story is told.
Illustration: Ritoparna Hazra
In the Devi Mahatmya, she is one of the seven Matrikas created out of Durga to fight the demon army of Shumbha and Nishumbha. Varahi is also believed to represent knowledge.
Did you know the legend behind how Lava and Kusha, Sita and Rama’s twin sons, were named?
Illustration: Sanjhiya Mayekar
The Uttara Kand in Valmiki’s Ramayana tells us the story of the twins’ naming. When Sita gave birth to her sons in Valmiki’s ashram, the other sages asked Valmiki to protect them from evil spirits, as was the custom in those days.
Valmiki then took Kusha grass and cut (lava) it into two parts. He then instructed that the elder child be cleaned with the upper part and be named Kusha, and the younger child be cleaned with the lower part and be called Lava. That is how Lava and Kusha got their names.
In Hinduism, the cycle of life and death is endless until one attains moksha (liberation from birth). However, there are some people who do not follow the same cycle. These are the Chiranjeevis. The Sanskrit word ‘chiranjeevi’ means immortal. Different texts mention either seven or eight such beings. This article explores how all of them attained immortality.
Parashurama
Illustration: Madhu Powle
Parashurama is the sixth reincarnation of Vishnu. After his family was mistreated by Kshatriyas, he made it his mission to rid the earth of them. Trained by Shiva himself, Parashurama was brave, knowledgeable and devoted. Shiva gave him his axe, the Parashu, which led to him being called Parusharama, meaning ‘Rama with an axe’. Parashurama was a skilled teacher who taught Bheeshma, Drona and Karna. In fact, it is said that he was granted immortality by Shiva in order to train Kalki, the last reincarnation of Vishnu. He has met both Rama and Krishna, making him one of the few Dashavatars who has interacted with the others.
Ashwatthama
Ashwatthama, the son of Drona, was born with a powerful gem on his forehead. This gem eliminated hunger, thirst, disease, and fear of any weapons, rakshasas, nagas and even gods, making Ashwatthama invincible. During the Kurukshetra War, Ashwatthama’s father, Drona, and his friend, Duryodhana, were killed. Full of rage and grief, he went to seek revenge on the Pandavas. In the darkness, believing Draupadi’s five sons to be the Pandavas, he killed them instead and as a result, a furious battle ensued. He then tried to kill the unborn child of Uttara (Abhimanyu’s wife and Arjuna’s daughter-in-law), to end the Pandava lineage. However, before that could happen, Krishna took away his gem, condemning him to a life of endless suffering. It is believed that he still wanders the earth, filled with sickness and misery, his immortality being a curse instead of a boon.
Vibhishana
Vibhishana was Ravana’s brother and an asura. However, during the war, he defected to Rama’s side because of his righteousness. Some legends say that after the war, Rama granted him immortality to oversee the asuras and guide them along the path of righteousness. Others believe that it was Brahma who granted him immortality. When Brahma allegedly appeared in front of Vibhishana to grant him a boon, the latter asked for his mind to never stray from his conscience and that he always stay truthful. Impressed by this, Brahma bestowed upon him the gift of immortality.
Mahabali
Mahabali was an asura king who captured the three worlds, defeating the devas. When they prayed to Vishnu, he took the form of a poor dwarf, Vamana, and asked the charitable king for three pieces of land measured by his stride. Mahabali agreed and suddenly, Vamana grew to an enormous size, covering the earth and heaven with his first two steps. When the humble Mahabali offered his own head for the third step, Vishnu, impressed by his gesture, crowned him the king of the underworld. Mahabali asked to be able to visit his subjects once every year, and so Vishnu made him immortal. Legends say that he might become the next king of heaven, taking Indra’s place. To this day, the festival of Onam in Kerala is a celebration of his annual return.
Hanuman
Illustration: Durgesh Velhal
Hanuman is the son of the wind god, Vayu, and his tales are recounted in the Ramayana, the Mahabharata and the Puranas. He is known for his devotion to Rama. According to some, when Rama was about to offer himself to River Sarayu, his last instruction was that Hanuman stay on earth till the end of this era to spread the Ramayana. This made him immortal. Other stories say that he was struck by Indra for trying to eat the sun as a child, and when revived, granted immortality by the devas. Some legends also speculate that he was granted immortality by Sita as a token of gratitude, and for his devotion.
Kripa
In the Mahabharata, Kripa was Drona’s brother-in-law and Ashwatthama’s uncle. He taught the Pandavas and the Kauravas, when they were growing up, and was considered a great teacher by all the princes. Unlike Drona, he was a fair and impartial guru, in whose eyes all his students were the same. Due to this nature, he was given the title ‘Acharya’ meaning ‘teacher’ or ‘guru’, and blessed with immortality.
Veda Vyasa
Illustration: TNP Nedungadi
Born as Krishna Dwaipayana, Veda Vyasa (literally translated as ‘splitter of the Vedas’) is a sage and scholar who compiled the Vedas into four books. He is also known for writing the Mahabharata, the Upanishads, and the Puranas, all of which are important scriptures in Hinduism. Guru Purnima, a festival dedicated to honour teachers, is also known as Vyasa Purnima because it falls on his birthday. Some legends say that Vyasa was granted immortality so he could share his vast knowledge with the world. Other legends say that he was born an adult and has been immortal since.
Markandeya
Some sources believe that Markandeya is the eighth Chiranjeevi. When his parents prayed to Shiva for a son, they were given the option of either having a pious child who would not live long, or a wicked child who would enjoy a long life. They chose the former and Markendeya was born — the ideal son, who destined to die at sixteen. He grew up to be a staunch devotee of Shiva, performing severe austerities and worshipping the Lingam. When the time came for Markandeya’s death, his devotion to Shiva protected him from dying. When Yama came to take his life, Shiva emerged from the Lingam, defeating Yama, and reviving Markandeya. He was then made immortal, remaining sixteen forever.
