18 — — Mahabharat

“18” sounds to be a simple number but if you analyse critically it is very much closely associated with the Epic-Mahabharat. The number “18” has a lot of importance in the Epic-Mahabharat. Here are some points which I get from different sources about the importance of number 18 in Mahabharat.

Mahabharata has 18 Parva.

The Bhagavad Gita has 18 chapters.

The war involves 18Akshauhini armies, 11 of the Kauravas and 7 of the Pandavas.

Each Akshauhini army consisted of 21870 chariot force, 21870 elephant force, 65610horse force and 109350 soldiers where each number sums up to 18.

The war lasts for 18 days

Lord Krishna killed Kansa at the age of 18.

Jarasandha attacked Mathura and the Yadavas 18 times.

Jarasandha attacked them for 18 years.

Sishupala was killed when he was 54 (54 divided by 3 equals 18).

Their are 18 books in the Mahabharata, which are as follows:

Adi Parva, Sabha Parva, Vana Parva, Virata Parva, Udyoga Parva, Bhisma Parva, Drona Parva, Karna Parva, Shalya Parva, Sauptika Parva, Stri Parva, Shanti Parva, Anushasana Parva, Ashwamedhika Parva, Ashramavasika Parva, Mausala Parva, Mahaprasthanika Parva, Svargarohana Parva.

One more Chapter, Harivamsa Parva is added to the Epic as an addendum to the 18 books, and covers those parts of the life of Lord Krishna which is not covered in the 18 parvas of the Mahabharata.

The Bhagavad Gita has 18 chapters.

In chapter 5 verse 13, of Bhagavad Gita, Krishna describes human body as a city with 9 gates(nava dvara pura):two eyes, two ears, two nostrils,one mouth, one anus and one genital. Also we all know that the Mahabharat war was basically a conversation of two groups comprising two persons each, namely Krishna and Arjuna on one side and Sanjay and Dhrutrashtra on other side. So, its again 9x2=18.

In sanskrit often literals are given a value. The sloka that describes the governing rules is given below.
कादिनव टादिनव पादिपञ्चक यद्यश्टक क्ष:शुन्यम्
Meaning:

• Kaadi Nava Starting from ka, the sequence of 9 letters represent 1,2,..9.
• Similarly Taadi Nava , starting from ta,
• Paadi panchaka (1–5), starting from pa,
• Yadyashtaka(1–8) starting from ya.
• And ksha represents 0.
  In detail:
• ka(क)-1, kha(ख)-2, ga(ग)-3, gha(घ)-4, gna(ङ)-5, cha(च)-6, cha(छ)-7, ja(ज)-8, jha(झ)-9.
• ta(ट)-1, tha(ठ)-2, da(ड)-3, dha(ढ)-4, ~na(ण)-5, Ta(त)-6, Tha(थ)-7, Da(द)-8, Dha(ध)-9.
• pa(प)-1, pha(फ)-2, ba(ब)-3, bha(भ)-4, ma(म)-5.
• ya(य)-1, ra(र)-2, la(ल)-3, va(व)-4, Sa(श)-5, sha(ष)-6, sa (स)-7, ha(ह)-8.
• kshah(क्ष)-0.

So the value of Jaya as you can see is 81. Mahabharatha is filled with irony. The title is jaya meaning victory but in the end the victor’s side loses everything, their brethren, kids, even their will to rule the kingdom that they won after a huge battle.

This Sanskrit word means victory. But Sanskrit alphabets also denote the numerical digits. ‘Ya’ stands for 1 and ‘Ja’ for 8. But the convention to depict numbers with alphabets is to write them in the reverse order. Thus ‘JAYA’, the other name by which Mahabharata is known, stands for the number 18!

One can also add that the Mahabharata has about 1.8 million or 18 lakh words. You have the number 18 again, though it is only an approximate figure here.

To be contd…….

Ref: 1)https://www.quora.com/Why-has-the-number-18-been-given-so-much-importance-in-the-epic-of-Mahabharata

2)https://en.wikipedia.org/wiki/18_(number)

3)https://en.wikipedia.org/wiki/Katapayadi_system

Varahi Temple

Varahi Temple, Chaurasi

Varahi, is one of the Matrikas, a group of seven or eight mother goddesses in the Hindu religion. With the head of a sow, Varahi is the shakti (feminine energy, or sometimes, consort) of Varaha, the boar Avatar of the god Vishnu. In Nepal, she is called Barahi.

Varahi is worshipped by all the three major schools of Hinduism: Shaktism(goddess worship); Shaivism (followers of the god Shiva); and Vaishnavism(devotion to Vishnu). She is usually worshipped at night, and according to secretive Vamamarga Tantric practices. The Buddhist goddesses Vajravārāhīand Marichi are believed to have their origins in the Hindu goddess Varahi.

This temple was built in honour of Varahi in the first quarter of 10th century A.D. during Somavamsi rule.

The temple is east facing and built with Sand stone. The area dimension (L x B x H) of the temple is 15.84 m x 8.23 m x 8.40 m. Varahi is believed to be the Sakti of Varaha. In the Tantric text ‘Varahi Tantra’ mention has been made of five forms of Varahi i.e., Svapna Varahi, canda Varahi, Mahi Varahi (Bhairavi), Krcca Varahi and Matsya Varahi.

PC: http://ignca.nic.in/asp/showbig.asp?projid=orpur0770001

The description of Matsya Varahi closely corresponds to the image enshrined in he temple. She has two arms and she is shown seated in Lalitasana on a pedestal. Following the iconographic canons, the image bears the face of a boar and body of a divine woman. Her right hand holds a fish while the left hand holds a Kapala. She has kept her right foot on her Vahana buffalo which is seated on the pedestal at the bottom. Varahi is represented with a third eye on her forehead which is not clearly visible at present. Her hair is decorated in the form of spiral coils.” The beauty of this image lies in her big belly to indicate her as holding the universe in her womb (Bhugarbha Paranesvari Jagaddhatri).

The Pattajali window on the side walls of the temple.

In the niche of the south wall Ganesa, the deity of the learning has been represented, while the niche of the west wall protects the image of Surya, the deity of light. The niche of the north wall is empty. Most probably, it contained the image of some tantric deity i.e Bhairava. Lord Ganesa belongs to the divine family of Goddess Durga and Varahi is considered to be a form of Durga. In Durga Saptasati, Varahi is evoked for bestowing long life. So Ganesa’s representation as parsvadevata is obvious.

For the first time, here I saw Sun God or Suryadeva as a Parsvadevta. The oldest surviving Vedic hymns, such as the hymn 1.115 of the Rigveda, mention Sūrya with particular reverence for the “rising sun” and its symbolism as dispeller of darkness, one who empowers knowledge, the good and all life. However, the usage is context specific. In some hymns, the word Surya simply means sun as an inanimate object, a stone or a gem in the sky (Rigvedic hymns 5.47, 6.51 and 7.63); while in others it refers to a personified deity.

Surya is celebrated as a deity in Buddhist artwork, such as the ancient works attributed to Ashoka. For example, Surya appears in Mahabodhi temple in Bodhgaya, riding in a chariot pulled by four horses. Such artwork suggests that the Surya as symbolism for the victory of good over evil is a concept that may have developed independently in ancient Indian subcontinent in parallel to ideas that may have been exchanged between India and Persia.

Varahi is basically a Ratri Devi. She is otherwise called as Dhumra Varahi or Dhumavati. According to tantric rituals, She should be worshipped only after sunset and before sunrise. According to Parsurama Kalpasutra, the time for worshipping Varahi is in the middle of the night. How can Sun, the God of the Day be worshipped alongwith the Goddess of Darkness ? Apparently this seems to be a riddle.

Beautiful floral motifs on one of the pillar of the temple. Such were very common things in olden kalingan architecture. The majestic moulding, designs and carvings of the entire temple are found in remarkable varieties and profusion not being overdone and accentuated the singular beauty and richness of the monuments in a manner that was hitherto unknown in the Prachi Valley.

An image om the wall showing the killing of deer by Rama and Laxmana.

Various emotions of the couples also shown on the wall of temples such as to get upset and to cheer up.

Also the life cycles of human being are there.

A beautiful image on the wall. The images in this temple are exquisitely beautiful and considered to be one of the masterpieces among the images found all over India.

Lots of erotic images are there. These erotic images by their number, presentation, variety, arrangement and nakedness have caused much sexual indication. Temples with sexual sculpture have always been a part of our way of life,there are several reasons on why there are sexual sculptures in temples.

An erotic image along with a Nagistambha.

Varahi is a complex deity to understand. She occupies a very important position in different cults. In Saktism Varahi occupies the highest position of the commander-in-chief of Lalita Paramesvari’s army. In Tantric Saktism Varahi possesses a very powerful position. In Buddhism Varihi is called Vajra Varahi and is the queen of God Heruka who is combodiment of Sunya. In Vaisnavism, the images of Varahi is represented with Sankha, Chakra, Gada and Varada or Abhaya Mudra in her hands. In the tantric Saktism the same Goddess is depicted with pot-belly and as holding matsya, manias and wine pot in the hands. While in Vaisnavism and Saktism She is shown standing or seated on either lotus pitha or on the Vahana of Mahisa or Mahisa’s head or boar or lion or Garuda or Sesanaga, the same deity in the Tantric Saktism is shown either seated or standing exclusively on the Vahana of Shebuffalo or corpse.

Ref:1) http://odisha.gov.in/e-magazine/Orissareview/sept-oct2007/engpdf/Pages37-39.pdf

2)https://en.wikipedia.org/wiki/Varahi

3)https://en.wikipedia.org/wiki/Surya

GANGESVARI TEMPLE

GANGESHVARI TEMPLE

GANGESHVARI TEMPLE, VILLAGE-BAYALISBATI, GOP, PURI, ODISHA, INDIA

It was a perfect sunny day to start this much awaited long drive. I started at 6:30am from Uttara Square, Bhubaneswar (Odisha). From where I reached to Gop at 7:30am. I took my breakfast at local tiffin center and suddenly I get delighted by seeing this board of dept of culture.

Last year when I visited this place, board was not there and it took me near about two hrs to reach that place. Odisha state archeology was repairing and renovating this temple at that time and this time all repairing work was completed. Gangeshvari temple, which was, a model temple for the Sun temple Konarka, situated in Bayalisbati, the temple of Goddess Gangeshvari, who was the Ishtadevi of kings of Ganga Vamsa, like, ChodGanga Dev, Narusingh Dev, etc. is a beautifully carved temple. According to the legends, near about 1200 artisans stay at that place and they travel with big logs keeping stones on them in a nearby river, which was converted in a small pond in due course of time, and taken those to build a bigger temple.

The Engineers, Architects, Supervisors and a lot of workmen stayed, discussed, make rough and final drawings, make layouts and finalize the things for the Sun temple here.

Gangeshvari temple has a unique entrance gate. Although the images of all parshvadevtas/ parshvadevis are not there but a beautiful image of Goddess Varahi is still exist as a parshvadevi. Also, an image of Lord Indra on his Airavat elephant is there. Beautiful stone carvings are also there depicting stories and flowers beads. Images of Naga-purusha and Naga-kanya are also there.

Entrance of the temple

Image of Muchalinda Buddha

It was very much intresting part of this temple. As Goddess Gangesvari was the Ishtadevi of Ganga Vamsha who were the strong believers of Vaishnavism but the temple has a very good image of Muchalinda Buddha. Muchalinda is the name of a nāga, a snake-like being, who protected the Gautama Buddhafrom the elements after his enlightenment. This suggests that the temple may have some connections with Buddhism also.

Goddess Varahi as Parsvadevi

According to the Shumbha-Nishumbha myth of the Devi Mahatmya from theMarkandeya Purana religious texts, the Matrikas goddesses appear as shaktis (feminine powers) from the bodies of the gods. The scriptures say that Varahi was created from Varaha. She has a boar form, wields a chakra (discus), and fights with a sword. After the battle described in the myth, the Matrikas dance — drunk on their victim’s blood.

Image of a Naga-Kanya

Image of a deity on the wall

Window of the temple

Side wall of the temple

Image of a warrior

Side wall of temple

Various images on the wall of temple

Window of temple

Side wall of the temple

Side wall of the temple

Image of a king with his ministers

Image of a deity on the wall

Image of a deity at lower portion of the side wall of temple

Beautiful carvings on the wall

Carvings on the walls of temple

God Indra on his Airavat elephant

Image of a deity on the wall

Lower portion of temple

The temple has a khakhra vimana and pidha jagamohana of Kalingan order. The exterior is decorated with Dikpalas, Dikpalikas, different form of Siva, Durga, Nayikas, gajas-nara vidala, Chaitya medallion, hunting scene, animals and social scene. Both vimana and jagamohana is pancharatha on plan and panchangabada in elevation. The temple has a Khakhara style vimana and pidha jagamohana of kalingan orde. Although the date is not but on the basis of architectural features and sculptural embellishments the temple can be assigned to the Ganga period i.e. about the 13th century A.D. You can find lot of antiquities in this temple and we all odias must feel proud that we are still having a model temple for the Great Sun Temple at Konarka.