DARUBRAHMA WORSHIP AS ADIJAGANNATHA & PURI JAGANNATHA

Darubrahma Worship as Adi & Puri Jagannatha  Highten Hindu Confusion-ism in Temple Traditions

[Compiled from Various Discourses & Communications   by   N. R.  Srinivasan September 2019]

At Puri, Orissa, the Lord Jagannath-Krishna is worshiped along with His brother Balabhadra and his sister Subhadra writes Devadatta Pattanaik from Odisha, putting end to all myths as well as reality drawing strength from   great saints like Chaitanya Mahaprabhu and Shankerdev,  who allured by the classic work  Gita Govind of Jayadeva describing the love of Krishna and Radha,   worshipped the deity as  Jagannatha-Krishna. 

It is eminently clear from Odia Bhagabata that for its author, Krishna was only another name for Jagannatha and Sri Kshetra, the seat of Lord of the universe was the focal point of Odisha’s social life and culture. It is this Jagannatha consciousness that fully permeates Bhagabata.

Perhaps many in Odisha miss to quote a verse from Rigveda to support the theory that Jagannaatha Puri with its temple of wooden images is a very ancient center of pilgrimage and its Vedic origin:

“Ado yaddaaru plavate   sindhoh paare apoorusham | tadaarabhasva durhano tena-gaccha parastaram” --Rigveda Mantra (10—155—30)

Sayana probably a Krishna devotee like Jayadeva commented on this as follows:

“Vipra krishnadese vartamaanam apoorusham yaddaarumayam purushottamaakhyam devataa, devataa sareeram, sindhoh  paare samudra teere plavate… taddaru…hay stotah aalmebhasva upaasva”

Oh   Unconquerable Learned man, located in the Land of Krishna! Meditate   and follow the wood that comes floating around   and comes to the shore   that has not been created by anybody seeking its protection reach the yonder shores of Parampada (Supreme abode).

Odisha Jagannatha Philosophy draws its support   from the above Rigveda mantra that this natural log of wood which is not in the human form made it appearance on the sea shore where River Sindhu merged with the sea and made its travel afloat to the shores of Puri which is considered to be Bhoo-Vaikuntha (Heaven on Earth).    Alas! That original wood no longer exists but probably lies buried in the Purushottamakshetra backyards where a deities after Nava Kalevar lie buried! Hindus believe Brahma to be the root, Vishnu to be the Trunk and Siva to be the top portion with leaves to be the hair of Siva in Aswattha tree. That is how the log of wood has been imagined to be Vishnu and the deity carved of it should be Jagannatha. This belief is further fortified by the mythological background of Jagannatha Temple in Puri. Bhagawan said in Gita “aswatthah aham sarva vrihkshaanaam”-I, Narayana, is Aswattha among all trees.

The present    Purushottama Kshetra Mahatmya of Jagannatha-Krishna as popularized by Gowdiya Sampradaya inspired by Jayadeva’s Gita Govinda    runs as follows and may be taken as the final word on Odisha Jaganntha Philosophy on Jagannatha as Jagannath-Krishna. Jayadeva’s Dasavatara stotra is invariably sung in all Jaganntha worships.

“After the mortal remains   of Krishna had been cremated in Prabhas-Patan near Dwaraka, there rose from the ashes a great Pipal tree that in time fell into the sea and made its way to the coast of Orissa where it was found by the local king, Indradyumna.   (This brings the story of Jagannatha of   Purushottama Kshetra from Krita Yuga to the end of Dwapara Yuga or even Kali Yuga)

The king commissioned the celestial artisan, Viswakarma, to carve out the image of the lord from the log of wood. Viswakarma demanded complete isolation until the project was complete; but the impatient king broke his promise and entered the workshop before the idols were fully ready. And so, even today the idols have an unfinished look: flat faces, incomplete arms and no feet. The idols made of wood are replaced every twelve years or eighteen years. The Jagannatha temple is associated with great Ratha-Yatra that takes place on the second day of the waxing moon in the month of Ashadha when the Lord with his brother and sister goes to the shrine of their aunt Gundicha, on colorful chariot made especially for the occasion”

It is believed that Lord Jagannath was originally worshipped as Nila Madhava by the tribal community residing in a dense forest. A king named Indradyumna of the Malwa plateau (not Kritayuga or Tretayuga) had a dream that Lord Vishnu could be viewed in his true form in Utkala (ancient name of Odisha). He appointed a person named Vidyapati to search for this form. Vidyapati came upon the tribal community and found out about the worshiping of the Nila Madhava. Vidyapati married the daughter of the chief of the tribal and was shown the way to the place housing the Nila Madhava.  Vidyapati informed the king about the place of worship but when the King went there by himself, the Nila Madhava by then had disappeared. The King was deeply dejected. Lord Vishnu, taking pity, issued a divine message to him in a dream that he should go to the shores of Puri and create the image of Lord Jagannath from a log of wood (not tree) that will be floating on the waves. Lord Vishnu appeared as a carpenter and asked to leave him undisturbed for 21 days (not 14 days) in a room so that he could prepare the image. However, at the insistence of the Queen, the room was opened early and only the unfinished images of the three gods (not full figures carved out of tree) and the Sudarsana Chakra were left behind. Thus its temple traditions essentially based on a dream and fantasy.

An ancient monarch of Puri Indradyumna is glorified in Brahma-vaivarta Purana also, Prakrita Khanda and Utkala Khanda also. The pious king is stated to have performed a penance as a result of which Vishnu appeared in his dream or vision in a four-fold form as Purushottama Vasudeva, Sankarshana, Subhadra and Sudarsana. As he contemplated getting his vision translated into iconic representations, a huge log floating on the sea, and an old sculptor, Vardhaki, appeared on the scene and the sculptor volunteered to carve out of the log the images exactly as the king saw them. The wooden images that he carved out, working in seclusion and left partially done were installed on a stone platform called Ratna-vedhi. A temple was built in due course.    

Jagannatha worship dates back to Treta Yuga by ancestors of Sri Rama of Ikshvaku Dynasty mentioned in Adikavya, Valmiki Ramayana, now accepted as Historic Itihaasa and not any mythology.  But Skanda Purana says the solar dynasty existed even in Krita Yuga and the kings of Solar Dynast worshiped Jagannatha.

Please go through the details of Skanda Purana’s Purushottama Kshetra Mahatmya that has the earliest reference to Lord Jagannatha’s worship in   Kritayuga and so most ancient:

“In Kritayuga, there was a great king Indradyumna. He was righteous and belonged to the Solar dynasty, and was the fifth descendant from Lord Brahma. He was a devotee of Lord Vishnu and very truthful. His capital was Avanti in the Malva country. Down the line was Ikshvaku after whom the solar dynasty was named Ikshvaku Dynasty. Rama of Ikshvaku Dynasty worshipped Lord Jagannatha as revealed by Sri Rama himself.  Rama was also later glorified as Maryada (respectable) Purushottama (one who showed respect to Purushottama) as a favorite devotee of Purushottama.

A certain widely travelled pilgrim once revealed to a learned Bramin Assembly (Vidwat Sabha) about Sri Purushottama in Odhra Desa on the southern shore sea of Bharata. Hearing this the king intended to settle there with his entire kingdom and worship Lord Jagannatha.  Vidyapati, his emissary travelled all the way and met Viswavasu and expressed the desire of the king.  Vishwavasu though initially worried because the sabaras (hunter community) were secretly worshipping the Lord then, remembered a traditional legend that in future the Lord would vanish and a king named Indradyumna will perform hundred horse sacrifices and install the Daru (wooden) form of the Lord. Vishwavasu showed the idol of Nilamadhava to Vidyapati. After deciding about a place of residence for the king, Vidyapati left for Avanti. In the meantime a violent gust of wind raised the sands of the sea shore and submerged the Lord along with the Rauhina kunda. The devas became highly sorrowful and lamented. Narada visited the king in the meantime and stayed with him to guide the king in the great journey to Purushottama Kshetra. The king departed on the auspicious day of Jyestha Shukla Paksha Panchami (a Wednesday). The entire kingdom accompanied him. That is why Tamils consider Wednesday as the most auspicious day in the week--(pon kidaittaalum budhan kidaikkadu-- You can get gold but not Wednesday)

The king passed through various lands and forests and reached the shrine of Carcika (Goddess Durga) at the boundary of Utkaladesa. At the behest of sage Narada, the king got down the chariot and eulogized the Devi. Reaching Nila Mountain the king wanted to worship the idol of Purushottama installed on the bank. Then bad omens began to appear before him. Sage Narada told the king that the deity being worshiped there has suddenly vanished below the sand and he will not be able to see Nil Madhav. The king fell on the ground unconscious. Bringing back his consciousness, sage Narada told the king about the prediction of Lord Brahma and urged the king to perform the horse sacrifices at Purushottama Kshetra.  Indradyumna's grief was dispelled. Sage Narada guided the king to the place where now the Lord was residing as Nrisimha. The idol was of extremely terrible form and the king bowed to the Lord from a distance. Then he enquired the sage about the exact spot of Nila Madhava before his disappearance.

King Indradyumna then decided to perform the horse sacrifice and started the horse sacrifice at that place.  Sage Narada invoked the celestial architect Vishwakarma, and instructed the king to build a shrine for Nrisimha at the place of horse sacrifice with Viswakarma’s help, who completed the work in four days. Narada himself got this second idol of Nrisimha built by Vishwakarma consecrated meditating for five days and infusing the idol with the prana of the original Nrisimha idol (pranapratishtha-consecration). Thus   the idol of Nrisimha was installed on Jyestha Shukla Paksha Dwadashi in conjunction with the Swati Nakshatra. 

A celestial tree (not a log of wood) was seen at the sea shore whose fragrance spread across the whole surroundings and caught the attention of all attending the sacrifice. Sage Narada told the king that the hair of Sri Vishnu (not the hair of Siva) had incarnated as the tree (not the one floating from Dwaraka). In Gita Krishna says that he Himself is Sankara and not His hair--Rudraanaam Sankarah thereby implying He is the whole tree. He instructed the king to complete the horse sacrifice and install the tree in the sacrificial altar. When the tree was installed, an ethereal voice told the king to conceal (cut off from viewers) the sacrificial altar for fifteen days (not twenty-one days) during which time a carpenter would   build the divine idols of the Lord. Music should be played during this time to hide the sound of carving. Sri Vishnu (not Viswakarma) assumed the form of an old carpenter and started carving the idol of the Lord. During this work divine fragrance, divine music and a shower of Parijata (so dear to Lord Krishna) flowers took place. After the work was over, an ethereal voice gave instructions about how the idols (fully completed and not half-finished as worshiped in Puri) should be painted and decorated. When the king unveiled the altar he saw the divine idols of Krishna (Jagannatha), Balarama and Subhadra. The king was immersed in joy of bliss and stood there motionless. All his exertions had finally became fruitful. The king eulogized the Lord and prostrated before.”

The worship of Jagannatha started as Daru (tree as in Devadaru) worship both in Puri and Thiruppullani. Vishnu took birth as Chaturbhuja to Devaki and Vasudeva in the prison and at their request took normal human form to present himself as baby Krishna and eighth avatar of Krishna.  In Tiruppullani earlier Vishnu appeared too as Chaturbhuja Murti coming out of the tree at the request of Rishis. Rest is all myth and belief. Why then discredit the Kritayuga king Indradyumna and misguide the devotees now?

Rishabhanatha (also Ṛṣabhadeva, Rishabhadeva,or Ṛṣabha) is the first ford maker and propagator of Dharma and the founder of Ikshvaku dynasty. Rama pays   tribute to Rishabha recalling the glory of Ayodhya under his rule on returning to Ayodhya with Sita after vanquishing Ravana in Valmiki   Ramayana.  Rishabha in Jain cosmology is called a "ford maker" because his teachings helped one across the sea of interminable rebirths and deaths (saṃsāra). He is also known as Ādinātha which translates into "First (Adi) Lord (nātha) as well as Adi Ishvara (first ishvara), Yugadideva (deva of the yuga Prathama-raja (first king) and Nebheya (son of Nabhi).   He was the first of the twenty-four teachers in the present half-cycle. Rishabha did not start Jainism but followers of his philosophy called themselves Jains and integrated various schools of thought among them and separated from Hinduism under the 24^th Tirthankara Mahabir Vardhamana.

According to the Buddhist texts, Prince Siddhartha belonged to this dynasty. The important personalities belonging to this royal house are Mandhatri, Muchukunda, Ambarisha, Bahubali, Harischandra, Dilipa, Sagara, Raghu,   Dasaraatha, Rama and Pasenadi. Both the Hindu Puranas and the Buddhist  texts include Shuddodhana, Gautama Buddha   in their accounts of the Ikshvaku dynasty.  But according to the Buddhist texts, Mahasammata, an ancestor of Ikshvaku was the founder of this dynasty, who was elected by the people as the first king of the present era. According to the Puranas, Supreme preceptor of the Ikshvaku dynasty was sage Vashishta. Both Rishabha and Buddha are avatars of Vishnu worshipped by Hindus.  It is therefore no wonder Hindu Temples in USA have consecrated both Buddha and Vardhamana idols in Hindu Temples.

You now know why Lord Jagannatha is successively worshiped by Jains,   Buddhists and Hindus as they all had ancestry in Ikshvaku dynasty and Jaganntha was the family deity of Ikshvakus as revealed by Rama himself in Ramayana. Parting advice given by Sri Rama to Vibhishana in Ramayana is as follows: In Uttarakanda, Sarga 108, Slokas 30-31 he said to Vibhishana:  “Rakshsendra Mahaa bala! Aaraadhaya Jagannaatham Ikshvaaku Kuladaivatam | Aaraadhaneeyamanisham devairapi savaasavaih | tatheti pratjagraaha ramavakyam vibhishnah ||”—O mighty Rakshasa King! Worship Lord Jagannatha the presiding deity of Ikshvaaku dynasty. He (Vishnu) is to be worshiped   even by the Devas (divines) together with Indra”. The king of the chief of Rakshas accepted the words of Srirama keeping in mind the orders of the descendant of Raghu.

The Adi Jagannatha Temple is a South Indian Hindu temple in Thiruppullani, a village in the outskirts of Ramanathapuram in the South Indian state of Tamil Nadu,   dedicated to the Hindu god Vishnu. Constructed in the Dravidian style of architecture, the temple is glorified in the Divya Prabandha, the early medieval Tamil canon of the Azhwar saints from the 6th–9th centuries CE. It is one of the 108 Divyadesams dedicated to Vishnu, who is worshipped as Adi Jagannatha and his consort Lakshmi as Padmaasini. 

The Jagannatha Temple in Puri was built in the 12^th century during the Era of Eastern Ganga Dynasty by King Ananta Chodaganga Deva,   a dynasty Well-known    for building the Sun Temple in Konarak and several Shaivism temples. King Choddaganga as a Vishnu devotee remained significantly mesmerized by the teachings of   Ramanuja.   There is said to be considerable influence of Sri Ramanuja on its temple procedures, including the Ratha Yatra festival fashioned after Rathotsava in South Indian Temples.  Rathotsava is the concluding festival of annual ten days of Brahmotsava celebrations that was already in vogue in all Vishnu temples in South India before it was introduced in Puri temple.  May be this is to remember Ratha Yatra in Kritayuga of Indradyumna in Skanda Purana. Or may be to recall Lord Krishna as the Charioteer in Mahabharata War sitting on which He preached Bhagavad Gita to Arjuna.  Rathotsava in Orissa introduced for the first time in the North in Puri Jagannath Temple soon caught up the fantasy of devotees to make it popular, unique in the North, which made Jagannatha Temple in Puri famous.  Ratha with six horses and charioteer with its occupant is philosophically discussed in Chandogya Upanishad about which we discussed in the past. The name Jagannatha in Rathayatra mistakenly pronounced as Jagger Naught (a strong military vehicle) caught the admiration of all Western   rulers who ruled India later.  Thus Jagannatha became famous to ignorant too because of Ratha Yatra.  It is believed that Jaganntha is worshiped even by Christians and Muslims, like Murugan in Pazhani and Balaji in Thirupati. 

Tamils think Thiruppullani is the birth place of Jagannatha worship being much older to Puri Temple.   The prime deity faces east in the sitting posture with Sri Devi and Bhu Devi here.   Similarly, His Consort Sri Padmasani Thayar sits and renders her blessings to the devotees.  Near this shrine is the age-old Pipal (Aswatha) tree (Vatavriksha) and is considered to be the incarnation of Aswatha Narayanan who revealed Himself to the three sages, Pullavar, Kannuvar, and Kalavar. The Prime Deity is also known as ‘Dakshina Jagannathan’, installed as a Saalagrama by the Devas during the Swayambhu Manvantara.    As per Hindu legend, Rama in the epic Ramayana prayed to the Samudraraja (God of Ocean) to seek way to reach Lanka. He did a penance lying on Kusa grass, the act of which is described in Sanskrit as Dharbasayanam.  Pulllani means, bridge of grass. The name perhaps is coined after the great Setu and abundant grass used in its construction from this place! As per another legend, Dasaratha, the father of Rama, performed different sacrifices and did a lot of penance to obtain the sacred payasam (sweet pudding). He distributed it among his three wives, resulting in the birth of Rama, Lakshmana, Bharatha and Shatrughna.  The presiding deity of this temple is Kalyana Jagannathan. He is found in sleeping posture facing along the East direction.

Thousands of centuries ago, three Maharshis, Pullavar, Kalavar and Kannvar performed severe penance on Lord Mahavishnu sitting on the Darbha grass. The Lord gave Darsan (vision) to the Rishis in the form of an Aswattha (Arasa Maram in Tamil) tree. Though they were happy to have the Darsan of the Lord in the form of Aswattha Tree they begged him to show them His original form. The Lord obliged and appeared as Adhi Chaturbhujha   Jagannatha Perumal.  This matches well with Odisha belief that Jagannatha is Darubrahman (daru means wood as well as tree as in devadaru) and therefore believed to be Vishnu (who later assumed form of baby Krishna) born to Devaki as in Puri.  This is the present Thirupullani abundant with Dharbha grass.   Tirupullani is one of the celebrated 108 Vaishnava temples. Sri Rama icon graces this place in a reclining form. The Bodhi Tree (Arasa Maram) dates back to centuries said to have been graced by the Darsan of the Lord.

Based on the above it is logical to conclude the Hindu deity Lord Jaganntha  in Tiruppullani  is the  Sthiti (sustenance)  aspect of Prabrahman Vishnu and  not the  Avatar deity  Krishna,   the eighth incarnation of Vishnu of later days presented to the world in Dwapara Yuga. As we all know He appeared to Devaki and Vasudeva   as Chaturbhuja Vishnu with conch and disc and at their request assumed the form of baby Krishna Avatar (Balakrishna).

There is no mention of Subhadra in Tiruppullani.  Subhadraa if addressed in prayers here only means an epithet of Lakshmi as pretty faced. Subhadra is worshipped only in the lone temple of Puri Jagannath   in recent times  that  brings her  to the status of Devi which surprises everyone probably due to the importance given to a sister in Rakshabandhan. This goes well with the later story of driving away Lakshmi from Ratnavedhi as some Odisha author writes!  May be it is based on the events of Kritayuga when Indradyumna   had consecrated Subhadra whom someone now interpret as sister of Krishna! But she was not a half-finished deity but carved out of tree.  No carving is involved in the present deities of Puri except preliminary planning of shaped parts of human body that later got and paintied. Jayadeva who is almost a contemporary   of Ramanuja firmly established that this deity is Krishna in the form of Jagannath (jai jagannathasamy --and not an Avatar like Balarama and hence big and prominent in display) which paved the way for Krishna Consciousness Movement of today, inspired by Chaitanya Movement.    ISKCON focus is on Radha and not on Rukmini who is believed to be incarnation of Lakshmi. Story of Radha as told by Krishna to Rukmini and Satyabhama in Odisha Haribansha by Achyutananda Das is interesting. Krishna tells  Rukmini that Radha is a manifestation of Goddess Lakshmi and her father found her on a lotus leaf (may be to justify his amours with Radha 

Jagannath idol, once upon a time was the god of tribal in eastern part of India (reminding us of sabarasa tribal tradition of Kritayuga) and was made of some precious blue stone as Nila Madhava.   Many scholars suggest the current form is adopted from the tribal art form of the then Odra desh, which primarily was ruled by the tribal kings. May be the present worship of wooden deities   could be the inspiration from Vedic times because Jagannatha is mentioned in Vedas as Daru Brahman or The Lord of Tree.   This was the first synthesis of Brahmin culture with tribal and even today   the tribal community are one of the main servitors of Jagannath in the Puri temple.

Gautama Buddha visited Puri and converted   the   then King   to Buddhism.  Kalinga   (currently known as Odisha) then after became a Buddhist country. After death of Buddha, his tooth was embedded into the pedestal of the Lord and Puri Temple became a Buddhist shrine.

Right after, Jain religion raised its head.  The most powerful king at one time,    named Kharabela, who expanded Kalinga to a vast empire, was a Jain and he prayed Jagannath as Lord of Jains and Jagannath became a major deity of Jains.Valmiki   writes in the last chapter of Uttara Khanda Sloka 10: “Ayodhyaapi Puree ramyaa soonyaa varshaganaan bahoon| Rishabham praapya Rajaqnam nivaasamupaayaasyati ||   Beautiful Ayodhya remaining desolate for long years, will become habitable again having secured the protection of King Rishabha.  Rishabha is an incarnation of Vishnu glorified by   both Jains and Hindus.

To the Tantriks of India Puri is the most important Sakti Peetha and they consider Puri as Srikshetra and not Puroshottma Kshetra— Sakti Peetha of   Katyaayini.  Mother earth is hailed as Katyaayini  (MNU) though Saktas identify here as Durga (reminds of Kritayuga Indradyumna’s first worship of Durga in Puirushottama Kshetra), influenced by Devi Culture of Bengal. They say Indradyumna dreamt Krishna Balabhadra and Katyayini.

Brahma Vaivarta Purana says Vishnu appeared in dream in four fold form as Purushottama (Vasudeva), Bala-bhadra (Sankarshana), Subhadra (Katyayini) and Sudarsana. In the dream Janardhana was stationed on a divine throne with four arms along with Balabhadra and Sudarsana; Balabhadra appeared as seven -hooded snake and Subhadra was verily Lakshmi who manifested herself as life-force of all beings (sarva  Chaitanya rupini)

Skanda Purana also says-- trayormadhya-sthitam bhadraa  Subhadraam that is Jagannatha, Bala-bhadra with Lakshmi or Katyaayini, Bhuvaneshvari or Ekanaamsa).  Subhadraa in this account stands separately (prithak sthitam) is red complexioned, and two armed carrying in the hands the gesture of boon bestowal and lotus (varaabha dhaarini)

Deities on Ratna Vedhi in Puri were for some time worshipped as Krishna, Rudra and Katyaayani. There is a claim that the pole image with no carving represent Narasimha form of Vishnu. We all know Rudra appeared as a column of fire. Narasimha appeared from a wooden pillar as Jwala Narasimha. Panchabrahma mantras are equally applied to Rudra and Narasimha as Sadyojata or instant born. All these facts gave birth to speculation as to one of the deities being Rudra. Jayadeva was mainly responsible to bring in Haladhara Balarama on the Ratnavedhi glorified in Dasavatara stotra as the eighth incarnation of Vishnu.

In this portrayal Jagannatha, Rudra and Katyaayani represent Supreme Principle as,  sustainer Vishnu, Rudra, the dissolution aspect of Supreme Principle and Katyaayini as the power aspect of Supreme principle.  Brahma as creative aspect was not considered as He had already completed his job when humans are born who are only concerned with Sthiti (Sustenance) and Laya (Dissolution) and its Sakti or Power aspect in keeping with Temple Traditions not to worship Brahma. Some attribute Brahma Padartha to Trinity Brahma, the creative essence.

Ramanuja, the Vaishnava Saint   during his conquest tour visited Purushottama-kshetra. Swami Ramakrishnanada writes in his Book on Sri Ramanuja: “Resting in Puri for some time Ramanuja founded the monastery there called Embar Math after the name Govinda, his own disciple. During Satya Yuga, Brahma performed great tapas on Vishnu, and Vishnu pleased with the worship instructed Brahma to construct a temple here with a standing pose of Vishnu. This place came to be known as Brahmagiri. It is said that Sri Ramanuja also visited this temple during his Orissa visit. He must have been delighted to see a beautiful deity of a four armed Sri Maha Vishnu, with Conch, discus, Mace and Lotus flower. It is also believed that he named the deity ‘Sri Alwarnath’ or the ‘Lord of the Alwars’. As we know, the   azhwars were the divine saints of Sri Vaishnava Sampradaya. The place which housed Alwarnath hence also came to be known as Alwarpur. And today the words have been shortened with time, the temple known as Sri ‘Alarnath’ or ‘Alalanath’ and the place called ‘Alarpur’!

Ramanuja had many meetings with the then king, holding religious discussions with him. ‘Ananta Varman Choda Ganga Deva’ (Chodaganga) was the king at that time, who earlier had a leaning towards Saivite philosophy. The king developed a strong belief in Vaishnavism in his later years, during which time he had the opportunity of meeting Sri Ramanuja. 

Despite Sri Ramanujar’s sudden departure from Puri, the influence of his vision on Puri Jagannath temple remains. There is a shrine/sannadhi for Lakshmi built inside the compound of the Jagannath temple by Chodaganga, as suggested by Ramanuja. Even a metallic Lakshmi icon is placed near Jagannatha, though not prominently displayed, on Ratna Vedhi. The Puri temple is actually known as Sri Mandira, in line with the belief that Jagannath is always with Lakshmi.

South Indians believe Jagannatha in Krita Yuga revealed his identity as Kurma Avatar on appearing as Vishnu to the three sages while people in Orissa today make people believe that Jagannatha is none other than Krishna of Dwapara Yuga who called himself Bhagawan in Gita influenced by Gowdieeya Sampradaya and Bhakti Vedanta of Krishna Consciousness.    

Adi Jagaantha icon in Pullani matches with the description in Brahma–vaivarta-purana described above I am more inclined to go by the description in Skanda Purana which treats Vishnu, Siva and Brahma on equal footings unlike other Puranas which are sectarian biased that I have explained in detail.   Skanda Purana   says-- trayormadhya-sthitam bhadraa  Subhadraam that is Jagannatha, Bala-bhadra with Lakshmi or Katyaayini, Bhuvaneshvari or Ekanaamsa).  Subhadraa in this account stands separately (prithak sthitam). 

This goes well with the story popular in Orissa where it is stated that Lakshmi was driven away from Ratnavedhi by protagonists who believed in sister-in-law and daughter-in-law conflict prevalent in Orissa culture in those days admitting the fact that Lakshmi was originally there.   To those who do not like this story they have another story. An elder brother is not even supposed to look at the wife of his younger brother. She always covers her head and face with Sari when moving around the house   if brother-in-law or father-in-law or even older males are around.  This explains why Subhadraa or pretty faced Lakshmi stood separate (prthak sthitam) and not in line with Jagannatha and Balabhsdra.  Also if Subhadraa were to be seen in the assembly    she should be placed to the left   and not to the right of Jagannatha as Laksmi is the consort of Jagannatha.

Later a metallic Lakshmi was installed on Ratnavedhi not very prominent to please those who believe in Jagannatha as Vishnu and not the later Avatar of Krishna. Thus we see that Ratnavedhi often went with house-cleaning which is not acceptable to South Indian Temple traditions. They also do not approve Nava Kalevara with new deity every time unheard of in temple tradition.

The images now worshipped in Puri Temple are wooden ones but not the original images of the   days of Indradyumna. As you all know every twelve years or nineteen years the old images are discarded and buried and new ones installed in their place in an elaborate ritual known as “Nava Kalevara”.   So there is nothing ancient about these deities whereas the deity of Adi Jagannatah is of stone and believed to be Udbhava Murti (self-emerged) as it was discovered and consecrated. It is relevant here to know how Attivaradar idol of Kanchipuram made of wood is preserved from ancient times carefully under water and revealed to the public once in forty years. Tirupati deity as well as Pazhani Murugan are all believed to be wood and well preserved in original form. Why Odisha did not do it is a myster? According to Puri Jagannath history the first ever hand-crafted Jagannatha was made from a reddish brown wood (daru) that Indradyumna got from the sea shore that started its journey from the sea in Gujarat near Dwaraka where the ancient city of Yadavas got submerged in water and the whole Yadu dynasty got destroyed as cursed lot after the departure of Sri Krishna from the mortal world.  This makes one believe that the non-identifiable   Jagannatha icon of Puri is that of Krishna.    Even today lot of care is taken in   identifying the trees suitable for the purpose by experts which is kept as guarded secret and the wood brought every time mysteriously.   Here only  logical  thing to conclude is that Temple Tradition started with Jagannatha worship as Nature, in the form of Aswattha Tree from very early times.  In Gita Bhagawan declared that among trees I am Aswattha. While Adi Jaganntha of Tirupppullani emerges from the divine tree Aswattha that extends to three Worlds Puri Jaganntha is conceptualized from the tree found on sea by Indradyumna and also a later concept. The idols of Krityuga Indradyumna were carved out of the whole tree that appeared floating near the shores of Puri and not log of wood. Unfortunately we do not have any trace of these original idols carved out tree.  

It is strange that in Temple Traditions today myths, beliefs, dreams and fantasies overrule historic facts or actual Puranic happenings! With all the explanation above the worship of three deities as Balarama, Subhadra and Jagannatha remains a mystery and unconvincing unlike the Adi Jagannatha worship in Tiruppllanni where Vishnu and Lakshmi are worshiped as Jagannatha and Padmasini. Some deep research needs to be taken forth, if we need to come to a conclusion on this subject based on facts recovered from the old artifacts discovered by the archeologists. 

The foremost question is why the unusual worship of Subhadra on the Ratnavedi. Here the Sakta traditional worship   sounds logical and convincing aligning Jagannatha worship tradition to the most ancient Jagannatha Temple in Tiruppllani with Padmasini. 

Jagannath is venerated as Bhairava or Lord Shiva, the consort of Goddess Vimala, by Shaivites and Shakta sects. The prominent eyes of the main deity expresses Rudratva or ferociousness.  The priests of Jagannath Temple at Puri belong to the Shakta sect, then arises the question why the Vaishnava sect's influence should predominate?

Both Vedanta Desika and Jayadeva have glorified Balabhadra as an avatar of Vishnu and none has raised Subhadra to even to the status of Draupadi in Mahabharata or Bhagavata. It would have been more appropriate to include   Arjuna as Nara whose original identity Krishna reveals so telling that he was Narayana and Arjuna was Nara and together they had spent lot of time together. I am not sure whether Jayadeva has ever mentioned about Subhadra in fact anybody except a myth and dream of Indradyumna of later days and not the actual revelation to Indraduyumna of Kritayuga.

Along with Jagannatha, Balabhadra (his elder brother),   Subhadra (his sister)   worship in Puri baffles everybody.  These three should constitute the basic and fundamental Trinity and considered to be the forms and manifestations of the omnipresent, omniscient and omnipotent supreme power. Sudarsan who is supposed to be the fourth important divine manifestation is also worshiped. They therefore often justify Subhadra worship as Yogamaya and hence Sakti.

Yogamaya was born to Yashoda-Nandagopa but Subhadra is the daughter of Rohini-Vasudeva.   Yogamaya was born just a day after Krishna was born,   while Subhadra's birth happened while Krishna and Balarama were at the Ashrama of Sandipani.  

Vishnu Purana mentions Devi Yoganidra as: - Arya, Durga, Vedagarbha, Bhadra, Ambika, Kaushiki, Bhadrakali, Khsemada and Bhagyadaa. Subhadra is not included in the list of these names. Devi marries no one else than Shiva and   Subhadra marries Arjuna.

Indra accepts Yogamaya as his sister when she goes to paradise of Indra after warning Kamsa according to Puranas.    Then the son of that Indra (Arjuna) would not marry Yogamaya being sister of Indra.

Based on these facts I would go by the explanation of Madhvacharya, an authority on Sastras and Puranas. According his work on Mahabharata Tatparya Nirnaya, Subhadra is reincarnation of Trijata, Vibhishana's daughter, who had served Sita Devi in the garden of Asoka while she was held captive in Lanka. By the virtue of her service, she took birth as sister of Krishna and Balarama.   

In another Puranic version Subhadra is mentioned to be reincarnation of Madhvi, the daughter of sage Galava.   Madhvi was cursed by Lakshmi to have a horse head in next birth since she wanted to marry Vishnu.   Subhadra with horse face was born to Vasudeva and Suprabha, his third wife.   Krishna had taken her to Hatakeshvara and performed a penance. Brahma was appeased and blessed Subhadra to have the most charming and beautiful face that bewitched Arjuna.  

The projection of Mahamaya and Yogamaya for identifying Subhadra as Sakti by ISKCON and others also seems incredible and exaggerated to justify the present deities on Ratnvedi. Yogamaya and Mahamaya are verily the same Goddess, and this fact is attested by Vishnu Purana. All these facts justify that Subhadra has no place on the Ratnavedi as a deity or Devi and Jagannatha Worship in Tiruppullani seems to be more authentic.

One more interesting fact is the popularity of Narasimha worship along with Jagannatha. It is true Narasimha is Darubrahma and assumed the peculiar form to kill Hiranya Kasipu coming out of a wooden pillar. In Tiruppullani he came out of an Aswattha Tree. It is said that Vishnu himself stood in the form of Peepal Tree. In Sanskrit Peepal is known as “Achyastava or Ashvattha,” and its Botanical name is Ficus Religiosa.  There are many legends & mythologies which have been described in Vedic Puaranas. One of the incident described in one of the Puaranas that when Demons (Asuras) were very powerful and defeated divines or devas, Lord Vishnu took the shelter in Peepal Tree. Since Narayan himself took shelter in Peepal, it gained the divine significance for humans, and people began to worship the tree, considering it to be one way to offer prayers to Lord Vishnu as Aswattha Narayana. Aswattha Narayana name is very popular in Karnataka. Both Rudra and Narasimha are worshiped as   ”Sadhyojaata” instant born and worshiped with Panchabrahma Mantras that I explained in detail before. This worship of Narasimha made some believe Rudra is present on Ratnavedi with fierce eyes!

Another popular worship in South India is Aswattha Tree with stone-snake slabs.  While Aswattha symbolizes Narayana as Daru Brahman snake symbolizes Adishesha on which Narayana reclined that took avatars of Lakshmana in Rama avatar and Balarama in Krishna avatar. While Laksmana and Rama idols are always consecrated together we seldom see Krishna and Balarama Idols together except in Puri and Chennai and wherever Krishna is hailed as Parthasarathy. Brahmavaivarta Purana states Balabhadra appeared as seven -hooded snake to Injdradyumana

I wonder why Odisha did not think of Radha on the Ratnavedihi t6o add to the confusion since Radha Krishna Pair worship is most popular all over India where Radha symbolizes Jivatma while Krishna is Paramatma and Sesha is the Sakti? The placing of Radha in the same line along with Balabhadra and Jagannatha makes sense as she is friend of both not married to any!

Present day Hindu worship seems to take a fancy to myths and beliefs moving away from even actual facts. This can be clearly understood looking at the Adi Vinayaka Naramukha Temple in Tamil Nadu which worship in true Human form as created by Parvati has become history while the unbelievable story of creation of Ekadanta by angry Siva has become so popular further made most popular by our musicians. Parvati frustrated by being deprived of a womb born child created her own version of a body-guard with her Kriyasakti and Icchasakti to be worshiped as a deliverance of her Hladinisakti. Today He is worshiped as Ekadaanta with pot belly elephant head riding on a tiny mouse appealing to children and kindergarten level of religious followers.   Another myth and popularity is Jagannatha worship of half-finished wooden carved idols left half-done in anger by a divine carpenter and also a concocted dream by Indradyumna of later origin made to believe by all. Among many puranas   Skanda Purana though sounds a Purana of Saivism is authentic, logical and unbiased. Sanatkumra is Skanda says Chhandogya Upanishad.  So this Purana is not biased as other Saivite Puranas. Sanatkumara was born as Skanda as requested by Siva. I have seen Jaganntha’s arm studs are decorated with Sankha and Chakra being worshiped on festive days of Ratha yatra everywhere. Also one Odisha author describes Radha as incarnation of Lakshmi. I do not know why anybody did not think of Radha in place of Subhadra so popularized in Gita Govind in their speculations!   

Hindu Confusion-ism is not isolated cases of worship of Jagannatha and Ekadanta Ganesha. Look at the current confused festival season! Gowri Habba, or Gowri Ganesha Festival, is observed during the Ganesh Chaturthi, or Vinayaka Chaturthi Festival in Karnataka celebrated on September 1, Sunday in 2019.  Married women perform Ganesh Gowri worship for a happy and peaceful married life. Unmarried women perform it for getting good husbands. The popular belief is that Goddess Parvati visits her devotees on the day and Lord Ganesha comes on the next day (Ganesh Chaturthi day) to take her back to Kailasa, the abode of Lord Shiva. 

Teej Festival fasting day is also September 1 in 2019. The last day of Teej (September 3, 2019) is observed as Rishi Panchami dedicated to Goddess Parvati and Lord Shiva and is observed for three consecutive days as Hartalika Teej in India.  Teej commemorates the intense austerity observed by Goddess Parvati to get Lord Shiva as husband. In Nepal, Teej is also the period when married women visit their parents. The night before Teej day is known as Dar khane Di. The day after Teej is Ganesh Chaturthi and special prayers are held.   The next day is Rishi Panchami and special prayers are offered to the Sapta Rishis.  In India, there are three Teej festivals and the most important is the Hartalika Teej.

Jyeshta Gowri (Parvati) Pujan is performed in many households during Ganesh Chaturthi festival in Maharashtra. In 2019, Gowri Avahan is on September 5, 2019. Gowri Puja is on September 6 and Gowri Visarjan is on September 7, 2019.  Two idols of Goddess Gaowri are brought home and worshiped.  The arrival is regarded as the coming of the sisters of Ganesha by some communities. Most people believe that it is Goddess Parvati, mother of Ganesha. Legend has it that the two forms Gowri follow Ganesha to the   homes.

Gowri Puja is also considered as Upasana of Goddess Lakshmi in some regions. The idols of Goddess Gowri which are brought in pairs as two different forms of Gowri   are decorated and special pujas are offered.   The popular belief is that Goddess Goweri visits and resides in homes during the period. 

Many Hindus might raise an eyebrow when they hear Gowri as sister of Ganesha. A Gowri Puja is held the day before or on Ganesh Chaturthi in Karnataka and in it Gowri is the mother of Ganesha. In West Bengal, Goddess Lakshmi and Goddess Saraswati are sisters of Ganesha and all three are children of Goddess Durga.

Varaha Jayanti 2019 on September 1 in the North.  In South India,   Varaha Jayanti was observed in Vaishakh Month (April - May) on Vaishakh Krishna Paksha Dwadasi Tithi. In 2019, this was on May 31. In Kerala it was observed on fifth day during the waxing phase of moon in Vaishakh month and this is on April 23.

Each region in India has an independent culture of its own and most of these cultures are sometimes 5000 years old. Each region has developed madness in its own way of interpreting the make attempt to give form to the Nirguna Parabrahman. Brahman cannot be defined they say but each Hindu defines Brahman and enjoys the freedom to make an attempt to define in it. This   Freedom of Sanatana Dharma goes often hay wire in Hinduism and Temple Traditions are more focused on an individual’s dictate of Brahman and   playing to the gallery than spiritually leading! American Hindus have brought all these confusions from various lands not necessarily from Bharat alone (more the merrier),   and Hindu American Temples are more confused than even India. Puranas and beliefs make mother sister, daughter   wife,   son   brother, calf-love wife etc., all at the same time of creation for Hinduism nay Hindu confusion-ism where even Hindu is a confused term. To top it we have the calendar confusion that stands not corrected for several centuries. Hinduism says “Ask no question; follow the elders, follow the Purans; If you don’t you are an atheist. There are   two Hanuman Jayantis and Krishna's Birth Days too. How can we worship together like ancient Sanatana Dharma sages? So traditional Vedantins live in their own world! Neo Vedantins are trying to remove confusion but are fighting shy afraid of Religious Pundits!  

Andal like Radha did not marry Krishna she loved and dreamed Krishna to be her husband. In South India Andal has shrines for her alone in most of the Vishnu temples. But throughout India Radha as consort of Krishna being worshiped is very popular and their wedding is celebrated in all temples ceremoniously. I believe there are   temples to Meerabai also!

Jagannatha Philosophy friends of mine often explain to me thus the present thoughts of Jaganntha strongly believing in the form as worshiped today: As far as the uncouth form, art has no form and how the Paramatma really looks can be anybody’s guess. It will be childish to even imagine that He looks like a human; therefore is handsome. How can one fathom the unfathomable? What is beautiful to you is uncouth and ugly to another. That is why the three deities were left to your imagination; male or female or both? They represent all complexions of humans as can be imagined at that early times. Look at the eyes too and you will notice Balabhadra and Subhadra have two types of eyes of humans and Jagannath’s stays open all times without eye lids to blink until the end of this creation (one Bramhaa’s duration)”. 

In Mahabharata Lord Krishna revealed his Viswarupa as Universal Form three times in full form.  I do chant Purushasukta daily. Here the Supreme is described as “sahasraseershaa purushah sahasraakshah saharapath” in full- form. It further says “Padbhyaam bhoomih sudro ajayata”-- earth and sudra emerged out of his feet showing his lotus feet to the praying rishis. In Kritayuga Jaganntha revealed in full form. In every Vishnu temple first worship begins with Padapuja and also in Gaya. Vardhmana worshipion Jainism is only to the holy feet. So the above explanation is not convincing. He always presents to devotees in human form with extra powers like four hands confirmed by many Puranas.

Coming to the post that is identified as Sudarshana, though it is kept to back of Lord Jagannath during Ratha Festival the Sudarshana travels in Subhadra’s Ratha identifying Subhadra as the manifestation of Shakti or Shridevi. Therefore, it will be a mistake to worship her as the younger sister of Krishna as in Mahabharata. Only she need to be either lowered down or elevated and not in line with Jagannatha and Balabhadra.

 

Bhagavad Gita says 'tasmaat saastram pramaanam te kaaryaakaarya vyavasthithou.'    Agamas also say that worships that are not performed according to the auspicious time for the place are ineffective without telling the right Sastra and auspicious time of worship with right understanding of the deity. It is high time our Religious Pundits and Spiritual Gurus come together, sit together and think together to give a sense of   single and straight direction to practice Sanatana Dharma as our Rishis did in the past--Sangacchadhvam sam vadadhvam; Samaano mantrah samitih; Samaano vaa aakootih:

Compiled from:

 http://nrsrini.blogspot.com/2015/07/jagannatha-parivaara-and nrusingha.html

http://nrsrini.blogspot.com/2016/10/jagannatha-worship-prompted-iconic.html

http://nrsrini.blogspot.com/2012/06/jagannaatha-of-puri-andn-rathab-yatra.html

PurushottAma Mahatmya in SkandA Purana

Ramachandra S.K., Vishnu Kosha, Kalpataru Research Academy, Sharadha peetham Sankar Math, Sringeri

APPENDIX

PURUSHOTTAMA KSHETRA MAHATMYA

(Skanda Purana Vaishnava Khanda--7)

Introduction:

Enquiry about visible manifestation of Lord Jagannatha: Once in an assembly of learned Bahmanas and pilgrims he asked his priest whether Lord Jagannath exists visibly in any place. The priest asked the assembly of pilgrims. A certain widely travelled pilgrim told about Sri Purushottama in Odhra desa on the southern shore sea of Bharata. There is a mountain names Nilagiri surrounded by forests. In the middle of the forest there is a kalpa tree extending a krosha whose shade dispels sins. To the west is a holy pool named Rauhina filled with primordial waters which bestows salvation. On the eastern bank Lord Jagannatha visibly exists holding conch, discus and club. On the western side the sabaras (hunter community) live in hermitage known as sabara dipika. The place is so holy that heaven dwellers come there every night to worship the Lord. There is also a legend about a crow getting liberated there. Saying this the pilgrim vanished.

Vidyapati travelling to Sri Purushottama: Hearing this the king intended to settle there with his entire kingdom and worship Lord Jagannatha. In consultation with the priest he sent the younger brother of the priest named Vidyapati to locate the place and also find a suitable place of residence. On an auspicious day Vidyapati left in a chariot with emissaries.

Vidyapati reaching Mahanadi: Vidyapati considered himself highly fortunate to be able to see the Lord with his own eyes. Towards the end of the day he reached the bank of river Mahanadi at Odhra. He performed his evening rites meditating on the Lord and spent the night in the chariot.

Vidyapati crossing Mahanadi and reaching Ekamraka vana and Nila mountain: Early in the morning Vidyapati crossed the river Mahanadi and saw the villages of Vedic Brahmanas. He then crossed the Ekamraka forest and came to the Nila mountain. He climbed the top of the forested mountain but could not locate the path further. He spread darbha grass on the ground and meditated on the Lord. Then Vidyapati heard some voices discussing about the Lord. He saw Sabaradipika surrounded by the house of Sabaras.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 7 - 8):

Vidyapati meeting sabara Vishwavasu and seeing the Lord: Then Vidyapati approached a sabara named Vishwavasu who welcomed him and asked about his purpose. Vidyapati told him about the mission of king Indradyumna and his own eagerness to see the Lord. Vishwavasu was initially worried because the sabaras were secretly worshipping the Lord. But he remembered a traditional legend that in future the Lord will vanish and a king named Indradyumna will perform hundred horse sacrifices and install the wooden form of the Lord. Thinking that the time has come for this legend to come true, he took Vidyapati through rugged mountain forest to the holy pool Rauhina. To the east was the great Kalpa banyan tree and between these two was the presence of the Lord. Vidyapati took his bath in the holy pool and eulogized the Lord with ecstasy. Towards the evening they returned to the hermitage of Vishwavasu. Vishwavasu offered a warm hospitality to Vidyapati with the Nirmalya (remnants of the worship of the devas) of the Lord. Vidyapati was surprised. Next day in the early morning, they took bath in the ocean and Vishwavasu showed the idol of Nilamadhava to Vidyapati.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 9 - 10

Vidyapati returning and the Lord vanishing:- After deciding about a place of residence for the king, Vidyapati left for Avanti. In the meantime a violent gust of wind raised the sands of the sea shore and submerged the Lord along with the Rauhina kunda. The devas became highly sorrowful and lamented. Vidyapati returned to Avanti and reported everything to the king. The king was overjoyed. At the same time sage Narada visited the king and stayed with him to guide the king in the great journey.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 11):

Indradyumna to get ready to go to Purushottama Kshetra--The king departed on the auspicious day of Jyestha Shukla Paksha Panchami (a Wednesday). The entire kingdom accompanied him.

Indradyumna reaching the shrine of Carcika on the boundary of Utkaladesa: The king passed through various lands and forests and reached the shrine of Carcika (Goddess Durga) at the boundary of Utkaladesa. At the behest of sage Narada, the king got down the chariot and eulogized the Devi.

Indradyumna camping at the bank of river Chitrotpala and meeting the king of Utkala:--Later on, the king camped at the bank of river Chitrotpala (Mahanadi) and performed his evening rites. During this stay the king of Utkala came to meet him with various gifts. King Indradyumna welcomed him and in the course of the conversation came to know that the idol of Madhava has been covered by a sandstorm. When the king left, Indradyumna was highly dejected but sage Narada consoled him saying that he will certainly see the Lord.

Indradyumna crossing river Mahanadi and going towards Ekamravana: Next morning after performing the religious rites the king started the journey. He crossed the river Mahanadi and proceeded towards Ekamravanaka (modern Bhuvaneshwar). The king of Odhra showed the way.

Indradyumna reaching the river Gandhavaha and the shrine of Kotilingeshwara: After travelling some distance the king reached the river Gandhavaha and heard the sound of the forenoon worship of the Kotilingeshwara shrine. The Nila mountain was three yojanas from there. The king took bath in the Bindu Tirtha and worshipped the idol of Purushottama installed on the bank. Then he visited the temple of Koteshwara and sang devotional songs accompanied by Veena. Lord Koteshwara through a voice told the king that his desire will be fulfilled. Through another voice the Lord Koteshwara told sage Narada to guide the king to perform the horse sacrifices as per the command of the Lord.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 12 - 13):

Indradyumna reaching Kapotesha and Bilvesha:--The next day the king reached the shrines of Sri Kapotesha and Bilvesha and worshipped them.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 14):

Indradyumna reaching Nilakantha and hearing about the Lord vanishing--Proceeding further the king reached the boundary of the holy place of Nilakantha. Then bad omens began to appear before him. Sage Narada told the king that the deity had vanished below the sand and he will not be able to see Nilmadhava. The king fell on the ground unconscious. Bringing back his consciousness, sage Narada told the king about the prediction of Lord Brahma and urged the king to perform the horse sacrifices at Purushottama Kshetra. Indradyumna's grief was dispelled.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 15):

Indradyumna climbing the Nila Mountain; Seeing the idol of Nrisimha and the former place of Nilamadhava: The king left the chariot behind and worshipping Mahadeva and Devi Durga climbed the difficult terrain of the Nila mountain. Sage Narada guided the king to the place where the Lord was residing as Nrisimha. The idol was of extremely terrible form and the king bowed to the Lord from a distance. Then he enquired the sage about the former place of Nilamadhava. When sage Narada showed him the spot, the king prostrated on the ground and eulogized the Lord with deep devotion. An ethereal voice assured the king that the Lord will be visible to him later and urged him to carry out the direction of Brahma as mentioned by Narada. King Indradyumna was assured and decided to perform the horse sacrifies.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 16):

King Indradyumna building a shrine and sage Narada installing Nrisimha at the place of the horse sacrifice: Then sage Narada invoked the celestial architect Vishwakarma, and instructed the king to build a shrine for Nrisimha at the place of horse sacrifice with the help of Vishwakarma (this was completed in four days). Narada himself got a second idol of Nrisimha built by Vishwakarma and meditating for five days infused this idol with the prana of the original Nrisimha idol. Then he installed this idol of Nrisimha on Jyestha Shukla Paksha Dwadashi in conjunction with the Swati Nakshatra. King Indradyumna eulogized Nrisimha with various hymns.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 17):

King Indradyumna performing thousand horse sacrifices: Then the king constructed sacrificial halls and the houses for the guests and invited all the devas and thousands of sages and Brahmanas. He made elaborate arrangements for them and extended a grand hospitality. He beseeched the favour of Indra deva to ensure that the sacrifice is completed without obstacles.  The devas assured their full support for this work of Madhava. The king started performing the horse sacrifices as per the prescribed rules of the scriptures. Gradually all but the last sacrifice remained to be performed. The king had a vision of Lord Vishnu in the milky ocean. He eulogized the Lord with tears of joy.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 18)

Emerging of a celestial tree: On the last day of the last sacrifice when the Sutya rite (extraction of Soma) was being performed, the servants reported to the king that a celestial tree was seen at the sea shore whose fragrance spreads across the whole surroundings. Sage Narada told the king that the hair of Sri Vishnu had incarnated as the tree. He instructed the king to complete the horse sacrifice and install the tree in the sacrificial altar. When the tree was installed, an ethereal voice told the king to conceal the sacrificial altar for fifteen days during which time a carpenter will build the divine idols of the Lord. Music should be played during this time to hide the sound of carving.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 19):

Carving of the idol of Purushottama: Sri Vishnu assumed the form of an old carpenter and started carving the idol of the Lord. During this work divine fragrance, divine music and shower of parijata flowers took place. After the work was over, an ethereal voice gave instructions about how the idols should be painted and decorated. When the king unveiled the altar he saw the divine idols of Krishna (Jagannatha), Balarama and Subhadra.   The king was immersed in a joy of bliss and stood there motionless. All his exertions had finally became fruitful. The king eulogized the Lord and prostrated before Him. Sage Narada and other sages also eulogized the Lord.

 Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 20):

Forming of Indradyumna lake--During the horse sacrifices the king donated crores of cows. A pit got formed by the hoofs of the cows which got filled with water poured while giving charity. This pool of holy water was known as Indradyumna lake.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 21):

King Indradyumna building a great shrine for the Lord---Thereafter the king built a large shrine for the Lord. Sage Narada told that Lord Brahma will himself inaugurate that shrine. Then sage Narada started rising in the sky.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 22 - 23):

Indradyumna going to the abode of Lord Brahma--King Indradyumna requested sage Narada to take him to Brahmaloka. Both of them started for Brahmaloka in a divine chariot. When the king reached the presence of Lord Brahma, he requested the Lord to install the idol of Lord Jagannatha in the shrine. Lord Brahma told him that during his stay in Brahmaloka, a manvantara has passed in the earth and the first Yuga of second manvantara (Swarocisa) has arrived. Crores and crores of kings have departed from the earth but the Lord and His shrine still remained. Thereafter Lord Brahma told Indradyumna to first go to the earth and make preparations for the installation of the Lord. He himself would then come there to install the wooden idol of the Lord. Lord Brahma told the  devas and Padmanidhi to assist Indradyumna.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 24 - 26):

Indradyumna making arrangements for installation and building the chariots: When Indradyumna reached the earth he saw the Lord and the shrine still intact due to the grace of Purushottama. With the help of sage Narada and Padmanidhi he started making all the arrangements for the installation of the Lord. Sage Narada told him to build three chariots for Krishna (Jagannatha), Balarama and Subhadra. The chariots were built by Vishwakarma on a single day and were installed by sage Narada. During this time a king by name Gala was worshipping a stone image of Madhava in the shrine (when Indradyumna was in Brahmaloka) which Indradyumna moved to an adjacent smaller shrine. The king was angry and came to attack Indradyumna with a huge army. But when he came to know about him and his purpose, he submitted to him and joined him in this work of Madhava.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 27):

Lord Brahma installing the deities: When all the arrangements for installation of the deities were completed, Lord Brahma Himself came down from Satyaloka. He eulogized Narayana, Balarama, Subhadra and Sudarshana and ceremoniously installed the deities from the chariots inside the shrine. The installation was performed on Vaisakha Shukla Paksha Ashtami on a Thursday in conjunction with the Pushya nakshatra.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 27 - 28):

Lord assuming the form of Narasimha: --After installing Madhava,  Lord Brahma repeated the Mantraraja a thousand times. By the power of that Mantra, the Lord assumed the terrible form of Narasimha with a blazing tongue as if licking the entire universe. Upon enquiry by sage Narada, Lord Brahma said that this mantra was used previously by Brahma when the Lord killed the demon Hiranyakasapu. Then Lord Brahma eulogized Narasimha and initiated king Indradyumna in that mantra.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 29):

Granting of boon to Indradyumna: Thereafter Lord Brahma took away the Narasimha form and idols were seen as before. Lord Brahma requested Madhava to bless the king to be able to continue His worship with devotion. The wooden body of Lord Madhava then directly blessed king Indradyumna with boons. Madhava blessed that his devotion will be steady and He (i.e. Madhava) will never abandon that place even if the shrine crumbles.

Skanda Purana (Vaishnava Khanda - Purushottama Kshetra Mahatmya 29):

Lord telling about festivals to be performed: The Lord told about some festivals to be performed by the king.

1. On the full moon day of Jyestha, the birthday of the incarnation should be celebrated (The Lord incarnated on the second Chaturyugas of Manu on Jyestha of Krita Yuga). The Lord should be bathed and taken to the banyan tree.

2. The great procession named Gundicha should be celebrated on the Ashadha Shukla Paksha Dwitiya preferably in conjunction with the Pushya nakshatra. The Gundicha pavilion should be built on the place of the altar of the thousand horse sacrifices. The Indradyumna lake exists there consisting of all the tirthas. The Lord should be taken there for nine days, after which the Lord should be taken back to the shrine.

3. On Phalguna Poornima, the festivals of swing (dola) should be celebrated.
4. On Chaitra Shukla Paksha Tryodashi the festival of Karmaprapuranam should be celebrated. The Lord should be worshipped with Damana flowers on the Chaitra Shukla Paksha Chaturdashi.

5. On Vaishakha Shukla Paksha Tritiya (Akshaya Tritiya), the Lord should be smeared with special unguents.

Thus the Lord blessed king Indradyumna and commanded to celebrate the great festivals and processions.

Nava Kalevara of 900 Year Old Hindu Monastery after Demolisheing old one

  Current News by Alpana Agarwal  August 31

The Puri administration is tearing down many structures, including ancient Mathas, within 75-metre distance of the Jagannath temple walls in the name of development. Some of these Hindu religious institutions date back to hundreds of years. One of them is the 900 year old Emmar Matha, established by none other than Sri Ramanujacharya himself.

Heads of these Mathas as well as archaeologists, historians, and other experts have opposed this move by the government. These Mathas have a huge religious significance for practicing Hindus. Some of them house rare murals, manuscripts, sculptures and other historical artifacts. If this was any other country, these temples would have been declared as heritage monuments, and been carefully preserved and maintained. Would such apathetic treatment ever be meted out to an old mosque or a church?

The biggest tragedy here is that there is not even a murmur by local Hindus or Hindu organizations. There were 2 petitions filed in the Supreme Court to stay the demolition, one from a Chennai resident, and another by the Intercontinental Lawyers’ Association. However, both were dismissed by the SC. The next hearing will happen on September 17th.

In the meantime, the century old Languli Matha of the Naga cult was torn down by the administration citing safety reasons. Odisha CM is promising to “rehabilitate” the Mathas. This is highly irregular and uncalled for. Old, heritage structures should be retrofitted and rebuilt by authorities, not torn down! Deities are sanctified in a temple or religious place by doing prana pratishtha. They cannot be moved at will after being sanctified. Rehabilitation is a dangerous idea here, as this is not just loss of a building structure, this is loss of cultural heritage. The people who are a part of the Mathas cannot simply be “rehabilitated” to work on other jobs. They carry knowledge of the place and the functioning of a Hindu monastery. That lineage gets destroyed by destroying ancient monasteries.

Next to be demolished is the 900 year old Emmar Matha, which was postponed due to the silent protest by the Mahant Rajgopal Ramanuj Das. As of the date of writing this article, its historical gate and Raghunandan library which housed ancient manuscripts had already been razed to the ground.

This utter apathy and disinterest in preserving the cultural and architectural heritage of Hindus is alarming. Numerous mosques, which were built by demolishing Hindu temples, gather mold, but are never demolished by authorities. But a Hindu monastery is now being demolished, without a whimper from anyone.

   

Nrusimha Worship in Puri

Prof. Purna Chandra Mohapatra (2018)

Even-though Puri is a famous Vaisnavite center there is no other Vaisnavite shrine, worth the name except the Temple of Jagannath and minor Vaisnava shrines of other incarnations of Vishnu.

The worship of Visnu is very much popular among the Hindus. He is the Protector who rescues humanity at the time of distress. The time when the evil prevails upon the truth, Vishnu takes different incarnations to annihilate the evil and rescue the saints and truthful. The Vaishnavas believe in the ten incarnations of Vishnu. His fourth incarnation is the great god Narasimha, the body of a man and the head of the lion. The concept of man-animal combined feature or the anthropomorphic form are to be noticed in the icons of Daksha Prajapati, Varaha, Ganesha, Gomukhi Keshaba and Narasimha. Similarly in Egypt, the people worship a goddess Bast, who had a human body and the face of a cat. The image of Narasimhanath of Paikamal, in Baragarh district is Marjara Keshari. The image of Sarabha is illustrated in the composite of a man, bird and beast. Evolved as one of the Avataras of Vishnu, Nrisimha grew into prominence and worshiped independently and considered as the full incarnation.

The story of Vishnu assuming Narasimha incarnation is very popular throughout the country. Hiranya Kasyapu, the demon king, in order to avenge the death of his elder brother Hiranakhya (who was killed by Vishnu in Varaha or boar incarnation) decided to conquer death and worshiped Brahma the Creator. After prolonged and rigorous Tapas, he received five-fold boon-he will not meet death at the hands of a man, beast, bird, or demon or at the hands of any new creation. He should not die inside or outside. Neither on the day nor at night, neither on earth nor in the sky and finally not with weapon.

After receiving the boon, he possessed unlimited power and ruled over all the creatures. He prohibited Vishnu worship in his territory. But interestingly his son Prahallad became an ardent devotee of Vishnu. Dissuasions and punishments did not fault Prahallad in his devotion to Vishnu.

Hiranyakasyapu challenged the omnipotence of Vishnu by his mocking querry whether Vishnu resided in the pillar of the palace hall, which he kicked. The pillar broke open and Vishnu appeared in his terrifying form and killed the demon,assuming man, lion form observing all the conditions of the boon of Brahma, (neither man nor beast, bird demon, or any creation,) at dusk, (neither day nor night), on the threshold (neither indoor nor outdoor,) with his sharp claws, (not by means of any weapon,) after placing him on his thighs (neither on earth nor sky.)

In the Sakti Sangama tantra, it is mentioned that Vishnu assumed the Narasimha Avatar in the Kritayuga, Angira year, Madhav month and 14^th day in the Swati Nakshatra. In the Skanda Purana, it is written that Narasimha appeared on the lunar 14th day of Baishakha in Swati Nakshatra on Saturday during dusk.

We do not find the name Narasimha in the Vedic period. Only the name is found in Atharvaveda, Narahari is worshipped by Ganadeva. Ashtadhyayi of Panini did not mention the name. Epic Mahabharata (Harivamsa), Puranas like Matsya, Padma, Kurma, Vishnu, and Vishnu Dharmottara associate Narasimha with Vishnu. Basing on these K.C. Das believes that all these Puranic references on Narasimha were known during the Gupta period. There are two broad types of Narasimha images i.e. Ugra and Saumya. But T.Gopinatha Rao has divided the images of Narasimha into three groups, Sthauna, Girija and Yanak. The word Sthauna, Narasimha coming out of the pillar (Ugra) and Girija coming out of caves (yoga). Some call it Keshava, and Yanak is seated on Garuda or Shesha with five hooded canopy held like an umbrella. When Laxmi is on the left lap the image is called Laxmi-Narasimha. The deity sitting in Utkutikasana with Yogapatta and Laxmi on the left lap is very common and popular in Orissa, and Oriyas believehim as the embodiment of valour, vitality and virtue. The popularity of the god is evinced from the hymns and Suktas composed for him inclusive Stotram, Puranas and Upanisads. Not only in literatures but also in epigraphic records and sculptural art, there are references of Narasimha worship. There are 105 Narasimha temples with land endowments in Orissa. The list prepared by G. C. Tripathy out of the materials collected by H.V. Stietencorn. Besides this, there exists many more temples scattered throughout the State. In addition, a large number of detached images find place in other temples as Parswadevatas. The worship of Narasimha was sanctioned in Western Orissa during the Gupta era. "In the research article of scholar Sasanka Sekhar Panda, "Purushyottama Jagannath is Purushottama Narasimha" published in "Orissa Review", Ratha Yatra Special Issue, June - 2006, it has been mentioned that Three Narasimha images are found at Podagarh, Sarguli and Parwa in Nabarangapur district which are believed to be the images of the Vakataka period who conquered Puskari (Podagarh) of the Nala kings in 5th and 6th century A.D. Another image of Narasimha of Maraguda now in Khariar Branch Museum is believed to be of the period of the Sarabhapuriyas. In Sirpur Inscription, queen Vatasa, mother of king Mahasivagupta Balajurna of Pandu dynasty had paid her homage to Lord Purushottam and sought the blessings of Narasimha." During the Somavamsi rule, Narasimha worship got a new impetus afterwards. Some of the ruling dynasties like Kadambas of Goa, the Imperial Gangas of Orissa and the Vijayanagar kings in India have Narasimhaas their tutelary deity.

From the Dasagoba copper plate of Rajarajadeva, it is revealed that Sri Laxmi

Narasimha was the tutelary deity of the Ganga. In the Kaleswar Siva Temple Inscription of Anangabhimadeva-III, the Ganga ruler Chodagangadeva is compared with Narasimha.

Four of the Ganga kings bore the title of Narasimha which proves the popularity of Narasimha of that time. As found in the Dynasty Ganga Vamsanucharita from among the 27 kings of Eastern Ganga, seven kings before Chodaganga had the word Narasimha added to their names. Narasimha temples and Narasimha sculptures of large varieties of this time (10th to 13th century AD) found in every nook and corner the State, proves the patronization the cult by theruling dynasties.

The association of Narasimha with Puri is unique. Puri is the recognized Vaisnavite center of India, in the Province of Orissa. Puri came to prominence, not as a political center but as a socio-religious and cultural center. It has not been the capital of the kingdom at any point of history of Orissa. Therefore, the rise and fall of the dynasties in its long history have no role in the tale of the sanctity of the city. Puri is the site of the gods from the time immemorial. Puri, the city of gods, was the land of Narasimha at one time, the land of Purushottama at other time and finally the land of Lord Jagannath now. With scanty historical sources it is very difficult to reach a positive conclusion. Puri was under the domain of different dynasties ruling over the kingdom in different periods of history. We don't find any specific historical references about this place during the rule of the Chedis, Murundas, Matharas, Pitruvaktas, Vigrahas, Sailodvabas or the Bhaumakars. But during this period Puri had gained a remarkable popularity as a place of religious importance and there are literary and archaeological references of Madhava worship by the tribals at this place. It led Dr. S.N. Rajaguru to justify that Madhavaraja II of

Sailodvaba dynasty had established the shrine of Madhava at Puri and entrusted its management to some of his kinsmen, who were supposed to be tribal. During this period the philosophy of Vaishnavism was divided into two section School. The Vaikhanasa worshipped Vishnu in three phases, namely Purusha (Omnipotent), Achyuta (imperishable), and Aniruddha (unconstraint), while the later Pancharatrikas followed Chaturvyuha cult and worshiped Vasudeva, Sankarsana, Pradyumna, and Aniruddha. The Pancharatrika school might have gained popularity in Kalinga, Kangoda and other neighboring tracts as long as the Sailodvabas continued their rule in that region. The Sailodvabas were the followers of Saivism. They must have constructed a large number of temples of Lord Siva in their dominion, surrounding all sides of Chilika Lake. Srikshetra (Puri) was topographically a religious center of Kangoda, where some muni-asramas were established in the temples of Markandeya (Markandeswar Sahi near Markanda temple and Markanda Tank), Angira (Dolamandap Sahi), Pandu or Kandu, (Gaudabada Sahi near Jameswar temple) and Bragu.

According to a system, introduced in Puri temples, the image of Sudarsana is carried to visit those rishi-asramas on the auspicious days of Radhashmi, Kumarotsava and Gamha Purnima. Sudarsana is to honor each sage at his temple or Asrama. That old system is still practiced in Puri. According to Mahabharata (Banaparva) the Pandavas were advised by Lomasha-muni to visit some sacred places after they crossed the river Vaitarani on their way to Kalinga. Again Pandit Nilakantha Dash states that the Jinasana brought back by Kharavela in the 1st century B.C. was nworshiped as Purushottama Jagannath at Puri. But for want of any convincing evidence, we are not able to accept it, although Puri was an ancient Tirtha where Tapasvinis were dwelling in the hill caves. Some inscriptions of later Sailodvaba kings of Kongoda narrate the following verse, expressing that a king of that province could earn similar religious glory at his own capital what the  yogis and munis could achieve by performing hard austerity in mountain caves. Most probably those hermits who lived in Kangodamandal, were worshiping either Vishnu or Siva in the coastal tracts while in the hill areas. i. e. the western part of Kongoda, there lived Tantri yogis who were worshiping Devi, (Durga) in the form of Stambheswari. In the Bhagavad Gita, Sri Krishna says," I am Visnu among the Adityas" (Adityanam aham Visnuh)". It is therefore presumed that Puri, the seat of Madhava-Narasimha-Purushottama might not have experienced the apathy of Bhaumakaras who were not hostile to Brahmanism, though they were Buddhists.

During the Somavamsi rule, the epoch-making event was the coming of Sankaracharya to Puri. The visit of Sankaracharya inspired Narasimha worship to be popular in this locality. It is believed that Sankara had the blessings of Laxmi-Narasimha and wrote Sri Laxminarasimha Pancharatna Stotram, Sankatanasan Laxmi-Narasimha Stotram, and the Bhasyas of Narasimha Tapini Upanisad. Narasimha worship in the Gobardhana Math and the figure of Sankar beneath the sculpture of Laxmi-Narasimha in the Jagamohana of Sri Laxmi temple of Shree Jagannath temple of Puri also associate Narasimha and Sankar. This fact is supplemented in the Skanda Purana (narration of Indradyumna) and the Narasimha temple construction near Gundicha temple. A Telugu inscription of Chodagangadeva at Narasimha temple refers to Narasimha worship in the pre-Ganga period.

During the Ganga rule, after the coming of Sri Ramanuja of Sri Sampradaya, adevotee of Narasimha and promoter of Bhaktimarga, Narasimha Worship reached its climax. Narasimha worship reached every doorsteps of Sakalautkala in general and Puri in particular. It led Sena king Laxman to adopt the title of "Paramanarasimha." Narasimha became the Kshetrapala or the guardian deity of the kshetra. At present we find a dozen or Narasimha temples in the city with many more in the Maths of Sankar, Ramanuja, and Madhugaudeswara order as well as in the Jagagharas. We also find Narasimha as Parswadevata in Vaishnava, Saiva and Sakti temples.

Present - Day Narasimha Temples in and around Puri :

(i) Narasimha Temple, (Jagannath Temple Precinct) : It is a pancharatha rekha deula. Its height is about 55 ft. The presiding deity is the Vidarana Narasimha in ugra pose. The image is of 1 ft. high which is not matching size to the height of the temple (in accordance with the Silpasastras).

(ii) Yagna Narasimha Temple: It is near Gundicha temple. Its height is about 60ft. The presiding deity is Laxmi-Narasimha. An elevated place has been levelled for the erection of the main temple and its two front apartments. The area around the temple complex mhas been protected by high masonry walls with provision of a series of steps for entry into the premises on the eastern side. The main temple built in pancharatha rekha order is fronted by a pyramidal Jagamohan and a rectangular natamandap. All the structures within the premises is thickly plastered in lime mortar painted in matching colors. The bada of the main temple as well as the jagamohan indicate fivefold horizontal divisions and five vertical paga projections. The gandi of the main shrine is bereft of figure sculptures and decorative designs except however the projecting lions of the central rahapaga of all directions. The mastaka consists of the usual beki, amalakasila, khapuri, kalasa, and nilachakra. The central niche of the outer walls contain figures of Varaha-Vishnu, Trivikrama, of later workmanship and a Visnu image of early medieval period as parsva devatas. The sanctum preserves a remarkable image of Laxmi- Narasimha on a high masonry pedestal. The artistic finish and iconographic peculiarity of the image take us back to the time of the Ganga period. The deity was very likely installed at Puri by Chodagangadeva who is said to have introduced the system of Narasimha worship in Orissa. A similar Laxmi-Narasimha image is still noticed in the premises of Gangamandira of Cuttack town. The image in question is seated in Yogasana with both legs crossed and tied nearthe knee. Laxmi is found seated on his left lap. Of his four hands the two lower ones are stretched mover the knees and the two upper ones display conch and disc, the most favorite weapons of Vishnu. The jambs of the doorways leading to the sanctum are embellished with floral motifs, creepers, nagabandhas and scroll works. Figures Jaya and Vijaya, the two legendary door-keepers, of a Vishn temple are seen at the base of the jambs. The architrave over the door entrance is relieved with the figures of nine planets. A figure of Gajalaxmi is carved at the center of the door lintel. The outer walls of the Jagamohan are set with several figures sculptures of much later workmanship. A large panel on the left wall of the Jagamohana represents three mounted elephants on the march. The window grills of the Jagamohana are relieved with ladies playing on various musical instruments, salabhanjikas, alasakanyas, and gajasimha motifs, also of much later workmanship.

(iii) Chakra Narasimha Temple : It is at Chakratirtha road. It is a Pidha Deula. Its height is about 55ft. In the Sanctum of the temple there are three Narasimha images. Among these three deities the middle one is bigger than the other two and is seated inside the Chakra. It is known as the Chakra Narasimha and the others, on left isPurushottmnarasimha is right on Anantanarasimha.

(iv) Pandu Narasimha Temple: It is in Pandu Asrama near Jameswar temple, Gaudabada Sahi. The presiding deity is the eight-armed Vidarana Narasimha in Ugra pose.

(v) Laxmi-Narasimha Temple: It is at Mangalaghat road near Bali school. It is a  Pancharatha rekha Deula. Its height is about 25ft. It has Jagamohan.

(vi) Narasimha Temples: (inside Jagannath temple) (A) Baisi Pahacha (B) Suka

(C) Simachala. (D) Uttar Dwara.

(vii) Singada Narasimha Temple: (Near Lokanath Temple) The presiding deity is four armed Laxmi-Narasimha, sitting on Utkatasan. A small image of Goddess Laxmi is sitting on the yoga-pita at the left thigh of the deity. She is offering betel in her right hand looking to the god. She has a lotus in her left-hand. Narasimha in his uplifted backhands hold sankha and chakra and his front two hands rest on his knee. The deity is crowned by Kiritamukuta and he has three  glittering eyes. The deity is adorned with different types of ornaments. He wears the Anantasarpa as sacred thread. Seven hoods of the snake cover as canopy over his head, amidst which the face of Balabhadra is seen with plough. Two female battendants like Sridevi and Bhudevi are found with folded hands on either sides of the deity. A Gajatorana, supported by two pilasters is found just by the side of the deity. At the right side base of the pillar there is a standing royal figure with folded hands. Perhaps it is the figure of legendary king Indradyumna. Just at the backside of Prahallad, god Siva is found in a aradhana pose, the image of Brahma with folded hands is seen at the left side. The presiding deity is flanked by two Vidyadharas with garlands. It is said so because the image is very near to the pond full of a water-fruit

named Singada.

(viii) Narasimha Temple: It is at Gadanti Chowk by the side of Meghanada Pachery of Srimandir. There is a miniature temple. The presiding deity is four-armed Laxmi-Narasimha.

(ix) Kanchisasana Narasimha Temple: Kanchisasana is a Brahmin sasana village under Chalisbatia Gram Panchayat in the Sadar Block, Puri. This village is renowned for Narasimha worship. Most of the Brahmins are Atharvavedi and Narasimha is their tutelary deity. The village has one Narasimha temple on the eastern side of the village temple. The presiding deity is four-armed ,Laxmi-Narasimha. The temple is of panchratra-rekha order and the height of the temple is 25 feet.

(x) Jagannathpur Laxmi-Narasimha Temple: Jagannathpur is a Brahmin sasana village under Chalisbatia Gram Panchayat in the Sadar Block, Puri. It is 2 km from Kanchi sasana. The temple is of pidha order and of about 35ft height. The presiding deity is four-armed Laxmi Narasimha made of granite stone, exclusively carved and a fine elegance of craftsmanship, about 6 ft. in height.

(xi) Rendha Narasimha Temple: It is on Puri- Brahmagiri Road at a distance of 10 km from Puri at Rendha Chowk. The god is highly revered. The presiding deity is four-armed LaxmiNarasimha.

(xii) Kusunikhuntia Jaga Narasimha : It is in the Jaga in Harachandi Sahi. It is a Pidha Deula of about 25ft height. The presiding deity is fou-rarmed Saumya Narasimha. The peculiar feature is the absence of any Laxmi figure. The deity is crowned with seven-hooded Adisesha whichforms like a canopy over the head.

(xiii) Jadamath Narasimha: It is a private Math in Pathuria Sahi. It is a pidha deula of about 23ft height. The presiding deity is four-armed Laxmi-Narasimha.

(xiv) Radhamadhav Narasimha Temple: It is located at Hatisal Chowk in Dukhishyama Chhata Math. The temple is of 20ft height. The presidingdeity is four-armed Vidarana Laxmi-Narasimha.

(xv) Hinjalajaga Narasimha Temple: The temple

is in the premises of the Jaga in Bali Sahi.

(xvi) Barabatijaga Narasimha Temple: The temple is in the premises of the Jaga in Harachandi SW=ahi. The presiding deity is four-armed Vidarana Laxmi-Narasimha.

(xvii) Narasimha images in the temple-walls: Inside the temples in the premises of Jagannath temple Narasimha images are worshipped as wall-god at least at 50 places like Mukti Mandap, Bhogamandap, Natamandir, Narasimha and Nisanarasimha, Laxmi, Dadhibamana, Bhubaneswari and Madanamohan, Nandagopal temples, Ramamandira at Baisapahacha, Lion's Gate near Patitapaban.

(xviii) Narasimha images in the temple as Parswadevata: These images are generally four-armed and in Vidarana posture on the back-raha niche of the temple (a) Gopinath temple at Keponjharkothi on Grand Road (b) Radhakrisna

temple at Gopinathpur near Atharnala,(c) Jagannath temple - Manikarnika Sahi, (d) Radhakrisna temple - Manikarnika Sahi, (e) Patitapaban temple at Patitapaban Lane, Markandeswar Sahi.

(xix) Narasimha images in the temple as Parswadevata in Sakti temples : (a) a four-armed 1ft image with back hands uplifted with sankha and chakra and  Kalikadevi Sahi and (b) a 4ft high, three eyed, with ramanandi chita, back hands uplifted with sankha and charka and front hands on his knee, sitting on a Garuda in the Ramachandi temple, Ramachandi sahi are the examples. It seems like recent installations.

(xx) Narasimha images in the Saiva temples as wall-god: This type of images are found in the temples of Jameswar, Lokanath and Kapalamochana.

(xxi) Specific Image: (a) The image (sculpture) is known as Panchamukhi Mahavir having five faces; Varaha in north, Narasimha in south, Siva or Hanuman in east, Garuda in west and Hayagriba in top near Indradyumna Tank. It has ten hands, holding sankha, trident, khatwanga, pasa, ankusa, hillock, dhuma, musthi, mace and snake. He is standing over the demon. It is stated in the Kapila Samhita that one will earn most punya if he/she makes a darsana of Sri Nilakantheswar, Yajna Narasimha and Panchamukhi Mahavir after the sacred bath in Indradyumna Tank. (It is related to Adapa Mandap Yatra of Jagannath) (b) Garuda Torana: It is also an unique sculpture in the niche of Bhogamandap. t is a two-armed image standing on dwibhanga pose over the lotus pedestal. There is a Garuda image in worshipping pose in the right side of the deity. In his right hand the deity is offering a laddu to Garuda when his left hand is in katyavalambita posture. The legend associates it with the great Sankar.

(xxii) Laxmi images: In almost all Laxmi- Narasimha sculptures of Puri the size of Laxmi is very small and two-armed. The peculiarity noticed here is that Laxmi touches the mouth of Narasimha in her right hand in the process of offering betel. Another variation is found with the image at Algum where Laxmi is four-armed.

(xxiii) Narasimha is worshipped in almost all the Maths of Puri. The Maths at Puri have developed over the centuries into unique institutions, which have exercised profound influence on the religious and cultural life of the local as well as people coming to Puri. Adisankar is credited with, as the pioneer of Math building. When he established Gobardhana / Bhavavardhana Math at Puri in the early 9th century A.D. there is a saying that Puri had 752 Maths. But the number is far less below 100 at present. The head of the Math is the Mahanta. He lives in these maths with sadhusanyasis, sisyas of the institution and some inmate students. These Maths belong to various Sampradayas and socio-religious groups. In these Maths various deities are worshipped as per the sect they represent. The main deity or subsidiaries are worshipped in the Maths. By this process all Maths of different monastic order have promoted Narasimha worship.

Ramanuja followed Adisankar in establishing Maths in considerable mnumber which are situated at every strategic places by his two categories of sisya order, the Bagel and Dingal and they facilitated Narasimha worship like their guru. These sisyas are of sanyasis and gruhastas (Narasimhachari and Venkatachari).

Madhavacharya, another saint of 13th century had established one Narasimha temple at Soda. Some Maths of Madhavacharya order also worship Narasimha. Narahari Tirtha had established one Narasimha temple at  Srikakulam. Ramayati Vaisnavas at Puri are worshipping Narasimha alongwith Rama and Sita.

Sri Chaitanya advised his disciples to have Danda Pranama (Salutation by laying on the ground) to Narasimha before the Darsan of Sri Jagannath. Sri Chaitanya himself worshipped the Narasimha at third step of Baisapahach before going to have the Darsan of Sri Jagannath. So in some Gaudiya Maths Narasimha is worshipped. There is a legend that Sri Gauranga saved Thakur attack of an enemy assuming the form of  Haridas from the Narasimha. There is a separate temple for Narasimha in the Sidhabakula Math of Thakur Haridas. Similarly some Maths of Ramananda order also have Narasimha worship.

Atibadi Jagannath Das, author of Oriya Bhagabat started his writing with salutation to Narasimha. So the Math of Atibadi Jagannath Das order has Narasimha worship. The plam leaf manuscript of Oriya Bhagabat is worshipped with great reverence as the representative of Jagannath or Narasimha. Therefore with the spread of Bhagabata and Bhagabata Tungi in Orissa, Narasimha became more popular as a deity. In all these Maths Narasimha is worshipped either in iconic form or aniconic form. The iconic forms are normally made of metals mostly astadhatu and sometimes stone. The aniconic form is the worship of Salagrama on which the face of Narasimha is drawn.

Traditionally, seven Sahis of Puri were set up encircling Sri Jagannath temple with a view to have Sevas of the Lord and to protect the shrine at the time of crises. Each Sahi has an Akhada. Under each Akhadas there are some Jagaghars. These Jagaghars are the center of physical andcultural training like Kusti (wrestling), Oddisi song, Oddisi dance, Gotipua dance, special Jaga Sangeetas under reputed gurus. The term of Jaga in Oriya connotes the "place" like jagar of Himachal Pradesh. (In Kannada jaga means place) These Jagagharas in Puri are the ghara root level. Considering from this angle it may not be out of place to state that the term jaga is derived from the word Jagarana which means to keep awake. The members of these Jagagharas  the sources of power and strength. Even some jagas have been named after Narasimha like Narasimha Ballav and Nrusingha Ghar. Narasimha is associated with Saivism. It has been analysed by Eshmann. She states that the representation of Lingodbhava where Siva appeared from the endless flaming Lingam, usually represented as a huge column resembling the sense of Narasimha bursting out of pillar. To support her view we find a description in Vishnudhramottara Purana that the face of Narasimha and manes surrounded with flames (Jwalamukhi Narasimha). The flaming Lingam of Saivism and the flaming manes of Narasimha cult have close affinity. Eschmann has also stated another story from Visnudhramottar Purana where a devotee worships the Lingam until he has a vision of Narasimha appearing from it. This connection is represented in one of the early Siva temple in Orissa near Baramba called Simhanath. The figure of Simhanath is carved on the front entrance. Astanding human figure with a lion head holding a trident is locally called as Simhanath. This speaks of Siva-Narasimha or Siva incorporating Narasimha. The panels of Bhimeswar and Madhukeswar temples at Mukhalingam contain Narasimha images. In the Lingaraj templepremises, there is a Laxmi-Narasimha image. At the Manibhadreswar temple at Bhubaneswar and Nilakantheswar temple at Denua, Narasimha is the Parswadevata. 

In Puri, the association of Narasimha with Siva is intimately noticed. Near all the Narasimha temples, there are Siva temples.Near Chakra Narasimha temple, there is Panchabati Siva temple. Similarly, near Pandu Narasimha temple, there is Jameswar temple and inside the Jagamohan of Jameswar temple there is the image of Narasimha. In the temples of Lokanath and Kapalalochana the images of Narasimha are there. A Narasimha image was found from the earth while digging of the compound of the Grameswar Siva temple in Kanchi Sasana was going on. The beautiful image was made of chlorite. Another interesting feature of this Siva temple is that there is Narayan image at the right door-jamb as Dwarapala. Another peculiarity of this temple is that animal sacrifice is given during Dasahara every year at the sanctum of this Siva temple. This shows the close association of tantricism. Another resemblance between Narasimha and Siva is its Ugra form. The Vidarana Narasimha is Ugra as Lokanath of Puri on whose name the local people fear to take vow. In some Puranas, Siva is Kirtimukha. In some Narasimha image there is Kirtimukha.

Ananta is sometimes described as Sankarsana or Siva as well as Narasimha. Eschmann has rightly pointed out Saiva element in Narasimha which probably also made him eligible to be the tutelary god of the latter Gangas.

H.V. Stetencorn narrated that in western Orissa people give more emphasis to the Narasimha aspect of Vishnu. The trend was finally found in the Jagannath cult of Puri. G.C. Tripathy has stressed the tantric element which helped the evolvement of Narasimha cult from Vaishnavism. Narasimha's appearance from the pillar and the body of Lord Jagannath, they believe, have some affinity. Eschmann has rightly pointed out that the head of Jagannath is an attempt to represent a lion head and the round eyes are typical features of Narasimha's furry.

According to Indradyumna legend the satiated god assumed the form of Saumya Narasimha with Chakra and bow in his up-lifted hands and main two hands are on the knee. Balabhadra covers the head of Narasimha with the thousands hood. Narasimha is the guardian deity of the temple and all the performances beginning from cooking to puja are preceded by offering to Narasimha first. The initiation by a new servitor (sadhibandha) starts with worshipping the Khamba Narasimha (image of Laxmi-Narasimha) on the first pillar of Jagamohana. The Palia Pujapanda sits at this pillar and offers the bhoga of the public to Narasimha, then to the Lord and at the time of Pahuda (door-closed) offerings are also given here. Narasimha is described as the protector of Jagannath. He is the protector of Nandighosha chariot. It is customary that a wooden image of Narasimha after due ritual (Rath-pratistha), completed by the Deula-purohit the only srotriya Brahmin servitor of the temple is to be brought with proper procession with Bijekahali and other Vadyas to the Chariots (Hanuman and Bhubaneswari for Balabhadra and Subhadra, respectively). Narasimha is also one of the nine parswadevatas of the said chariot. In the Nabakalebara the role of Lord Narasimha is indispensable. The new images of the Lords are to be consecrated in presence of Narasimha and trees selected for image making are to be cut also in the presence of Narasimha. These rituals are called as Banajaga. In all these above rituals Mantraraja (the Mantra of the god Narasimha) only are to be recited by the Brahmins. Yajna- Narasimha is associated in the process of the journey of the logs of the Lord. Narasimha is one of the Veshas of the Lord on the 13th day of month of Kartik and worshipped as Narasimha on 14^th day of lunar fortnight of the month of Vaishakha (Narasimha Chaturdasi). Angyamala (garland) of the Lord is taken on this day to Chakra Narasimha for his birthday-celebration. The birthday celebration of Narasimha is celebrated at the temple of Narasimha near Muktimandap. On the said day Narasimha image (from Dakhinighar) visits Jagannath Ballav Math. On the 9th day of lunar fortnight of the month of Srabana and the 14th day of lunar fortnight of the month of Margasira, Laxmi-Narasimha move around the city.

Narasimha is treated as the embodiment of valor and energy. Sometimes Sudarsan is linked with Narasimha. Sudarsan is the Ugra aspect and the working force. Similarly Narasimha is the Ugra form of Vishnu. When Sudarsan is consecrated, it is recited that he belongs to Narasimha group. Representation in sculpture is made on the combined aspect of Narasimha and Sudarsan. Sudarsan in form of wheel is found at the back of the image of Narasimha in the sculpture Chakra Narasimha. Sudarsan is the moveable image of Narasimha. It is claimed by the scholars that Jagannath and Narasimha are inseparable and all the four deities of Jagannath pantheon are linked intimately with Narasimha. Balabhadra as Ananta, Subhadra as post, Sudarsan as fury and Jagannath as Narasimha, speak the story of intimacy of

Narasimha in Jagannath consciousness.

The Narasimha sculpture found at Puri are two-armed to twenty-armed images. Important of them are the Garuda-tosana Narasimha, eight armed Pandu Narasimha, Narasimha sitting on Garuda. All the parswadevatas are in vidarana posture. These images are made of different varieties of stones but common is chlorite. Metal images of the Jagagharas and Maths are of ashtadhatu. Some of these institutions worship the salagramas with Narasimha, Chakra and Sankha drawn on it and also called Chitra Narasimha.

It is unique in Puri that the amalgamation of several cults are found here. It includes exclusively the Narasimha Upasana. The most common images of Narasimha found in Puri are Laxmi-Narasimha in utkurita posture. The Ugra aspect of the deity is not there rather it represents the erotic elements in the character of Purushottam.

Prof. Purna Chandra Mohapatra is a Srimandir Purohit, Head of Department in History, Sadasiva Campus, Puri.(This  is the latest thinking based on nresearch)

 

NARASIMHA LINGA REVEALS TO PUBLIC ON MARCH 30, 2020 AFTER SPANISH FLU 1920 PANDEMIC 

 

While the reality of COVID-19 continues to involve and effect every part of our culture, in terms of public health, socialization, the economy, foreign policy, Religious worship and beyond, what might we glean from the lessons of our past? Not knowing what the eventual toll will be, looking into the lessons of history —and the impact of the 1918 Influenza Epidemic (which infected 20 – 30% of the world’s population, accounting for as many as 50 million deaths including roughly 675,000 Americans) — could perhaps offer clues to how we might navigate this moment collectively. It is also the Timing. 1918 was soldiers active time. They carried the virus where-ever they went. 2020 March was starting of Spring and Traffic season and spring rains!

One thing we know is the strong religious faith of Hindus that continues time after time to fight such crisis with Yajnas and Prayers. I believe Badi Nrusingh came out in 1920 and now after about 100 years he came out again to restore confidence. Pandemonium comes and goes but He will always appears to hear our prayers and help us in spite of our ego and neglect disregarding how to live in harmony with Nature, Bade Nrusingha came out on Saturday 30, 2020. For 100 years He was calm we worshiped Him as Darubrahma but in Sarvari 2020 year of Darkness He again came out in fury with Kalasarpa Dosha that we are faced with. Let us appease him with prayers ans Yajnas during the coming Rath Yatra!

The COVID-19 epidemic is without a doubt an enormous and unique challenge worldwide, and the battle is nowhere near being over. But there are signs that government policies in several countries, including Germany, South Korea, Bali in Indonesia and India have been able to contain the virus, and news about several antiviral drug trials on the anvil should give people hope. Even in China, where the pandemic appears to have originated, seems three months later, to have things largely under control. And as has been experienced from pandemics-- the 1918 Spanish flu to the H1N1 pandemic of 2009, do end. Sometimes with seemingly unbearable numbers of deaths, but eventually they do end. It therefore calls for not only flattening the virus, if not can’t be eliminated, but also flatten fear by proper EQ and SQ Management.

PURI: Even as the entire world grappled with the coronavirus pandemic, Badi Nrusingha, a deity worshipped as protector against various diseases, came out of the Sri Jagannath temple in a palanquin on Saturday on March 30 and moved around the city.

The deity was offered ‘pankti bhog’ by devotees at many places of the holy town. According to the convention, the image of Badi Nrusingha comes out of the temple on the fourth day of the month of Chaitra every year and makes parikrama of the city, including the four ancient ashramas of Rishi Markand, Angira, Bhrugu and Kandu located in four corners of Srikshetra. Popular belief is that Badi Nrusingha wards of all diseases from Shrikshetra and protects the devotees.

The ritual attracted attention as it came at a time when unprecedented panic grips the world, including India. Legend has it that when people are affected by different diseases and pray Lord Jagannath, he comes out in the form of Badi Nrusingha to cure his devotees. It is believed that by going around the temple city, the deity, in fact, traverses the entire world to cure people of diseases. ‘Badi’ in Odia means disease and Lord Jagannath blesses people every year to cure them of diseases on this day.After his ritualistic parikrama, Badi Nrusingha returns to the Jagannath Temple again. He is considered the Nrunsigha Avatar about which I wrote a lot though Jagannatha philosophers are silent and not reacted! I believe American Jagannatha Devotees are not alive or dormant to this fact since they did not talk about it during present crisis! I am not sure many Hindus in India know about it?

--E-Mail sent to HR participants on June 14, 2020