Page 1 of 14 - Cover Page Submission ID trn:oid:::3618:79087037
Hemalatha M
RE-2022-457014.docx
United International University
Document Details
Submission ID
trn:oid:::3618:79087037 11 Pages
Submission Date 2,756 Words
Jan 13, 2025, 1:05 PM GMT+5:30
15,498 Characters
Download Date
Jan 13, 2025, 1:06 PM GMT+5:30
File Name
RE-2022-457014.docx
File Size
30.2 KB
Page 1 of 14 - Cover Page Submission ID trn:oid:::3618:79087037
Page 2 of 14 - Integrity Overview Submission ID trn:oid:::3618:79087037
4% Overall Similarity
The combined total of all matches, including overlapping sources, for each database.
Filtered from the Report
Bibliography
Quoted Text
Match Groups Top Sources
7 Not Cited or Quoted 4% 3% Internet sources
Matches with neither in-text citation nor quotation marks
1% Publications
0 Missing Quotations 0% 2% Submitted works (Student Papers)
Matches that are still very similar to source material
0 Missing Citation 0%
Matches that have quotation marks, but no in-text citation
0 Cited and Quoted 0%
Matches with in-text citation present, but no quotation marks
Integrity Flags
0 Integrity Flags for Review
Our system's algorithms look deeply at a document for any inconsistencies that
No suspicious text manipulations found. would set it apart from a normal submission. If we notice something strange, we flag
it for you to review.
A Flag is not necessarily an indicator of a problem. However, we'd recommend you
focus your attention there for further review.
Page 2 of 14 - Integrity Overview Submission ID trn:oid:::3618:79087037
Page 3 of 14 - Integrity Overview Submission ID trn:oid:::3618:79087037
Match Groups Top Sources
7 Not Cited or Quoted 4% 3% Internet sources
Matches with neither in-text citation nor quotation marks
1% Publications
0 Missing Quotations 0% 2% Submitted works (Student Papers)
Matches that are still very similar to source material
0 Missing Citation 0%
Matches that have quotation marks, but no in-text citation
0 Cited and Quoted 0%
Matches with in-text citation present, but no quotation marks
Top Sources
The sources with the highest number of matches within the submission. Overlapping sources will not be displayed.
1 Internet
ir.amu.ac.in 2%
2 Internet
archive.org 2%
3 Submitted works
University of North Texas on 2023-11-09 <1%
Page 3 of 14 - Integrity Overview Submission ID trn:oid:::3618:79087037
Page 4 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
A NOTE ON VEERABHADRA CULT VALUE AND ART VALUE
Dr. A. KARKUZHALI,
Associate professor and Head,
2 P.G and Research Department of History,
Kunthavai Naacchiyaar Government Arts College for women (Autonomous),
Thanjavur, Tamil Nadu – 613007, India.
Mail Id: [email protected],
[email protected]
Cell: 9626062410
Dr. S. RATHNAPANDIYAN
Assistant professor of Education,
Muthayammal Education College Rasipuram
Mail Id: [email protected]
Cell No: 9342578432
Abstract:
Veerabhadra, a formidable figure in Hindu mythology, has been immortalized in
various art forms across India. This paper delves into the multifaceted representation of
Veerabhadra, examining his attributes, symbolism, and regional variations in his
depiction. By analyzing sculptures, paintings, and temple architecture, this article aims
to unravel the visual language employed to convey the divine power and ferocity of this
awe-inspiring deity.
From his terrifying appearance to his potent weapons, Veerabhadra's
iconography is rich with symbolism. His association with specific deities and myths
further enriches his narrative. We will explore how these elements have been interpreted
and adapted by different artistic traditions, resulting in a diverse range of depictions.
Beyond his historical significance, Veerabhadra continues to hold a prominent
3 place in contemporary culture and religious practices. His enduring appeal is a testament
to the power of mythology to inspire and captivate. By examining his role in popular
culture, religious festivals, and devotional practices, we seek to understand the ways in
which this ancient deity remains relevant in the modern world.
Page 4 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Page 5 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Keywords:
Veerabhadra – Siva – Padma Purna – Daksa’s Lamentation – Bhiksatana – Darukavana
– Mahakali – Yoginia – Bhutas – Ksetrapalakas – Bhairavas – Pramataganas – Yajna –
Pasupathi – Tevaram – Tiruvasagam – Mahatmym – Sarabhamurti – Ugra – Khadga –
Ketaka – Kapala – Trisula.
1 Veerabhadra is one of the terrific forms of Shiva who appeared at the time of
destruction of the yajna of Daska. The yajna was not legally conducted, because the
great god Shiva was not invited, hence the congregation was unvedic and hence not
sanctioned. Padma purana remarks about daksa’s lamentation thus :-
“He wanders about signing and dancing. As he assumed the sensual Bhiksatana
form, he had gone through the streets of Rishis (darukavana) and done despicable
things. this makes me ashamed and hence his anti-social behavior irks me and hence I
have not invited him to the sacrifice, but afterwards I will bring him here and honor him
privately”.
From a matted locks of indignant Shiva, Veerabhadra emerged (Rudra Jata
Sambhava) and beheaded his haughty father-in-law Daksa. Virabhadra was
accomplished my Mahakali, Nava Durgas, yoginis, Dakinis, Sakins, Bhutas,
Pramataganas, Guhyas, Bhairavas and ksetrapalakas and the Gods who assembled in
the sacrificial filed helter-skelter. But later when Gods pleaded to revive the life of
Daska, Veerabhadra joined the body with the head of a goat and henceforth Daska
became a fervent devotee of Shiva (Sivadhyana Paraana). Some puranic accounts
mention differently that he originated from the sweat of Shiva and some say that he
originated from the mouth of Shiva. He destroyed the yajna of daksa prajapati and in
the eyes of the Brahmanas, he was a non-conformist, iconoclast and anti-social.
It is also told in other account, that an elephant-demon, known as Nila attempted
to kill Shiva, there upon Veerabhadra pounced upon it and killed the demon and
Page 5 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Page 6 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Virabhadra gave the hide of the elephant to Shiva who wore it during his operation
against Andhakasura.
It is also conceptualized by researchers that all the daughters of Daska were
married to reputed Aryans but one of his daughters vowed to marry a non -Aryan Shiva.
Daksa felt humiliated and hence he did not extend invitation to him. More over after
their unification, the ancient Rig vedic rites did not permit Shiva to take part in the
sacrifice.
Shiva was called as Pasupati, an animal chief of the Devas. Daksa represents the
proud class conscious aristocrat, now carries a goat head on human trunk. These are the
gradual introduction of the cult of animals, birds and even insects into the stream of
Hinduism like Egyptian, Sumerian and Iranian Zoomorphism. It is undoubtedly post-
vedic concepts. Purely animal-figured gods or half-animal figured human figures like
Narashimha, Ganapati and Varaha, indicate the synthesis of the indigenous cult with
Vedism. Even Tamil Tevaram hymns abound with reference to the cult of Veerabhadra
and also Tiruvasagam composed by Manickavasakar (9th Century A.D)refers about this.
Among Attavirattanam (eight heroic deeds of Shiva) of Tamil Nadu, this is one
of the divine exploit (Daksyyajnamurti). The place Tiruppariyalur located near
Sempanarkovil near Mayiladuthurai, is stated to have been the place where the incident
occurred.
Shiva is considered to have five primary forms or bodies of faces like Tatpuruṣa
(facing east), Agora (south), Satyojata (west), Vamadeva (north) and Isana (facing sky
or top face). From each of the Shiva’s body, five forms of Shiva sprang forth
constituting twenty five forms called Sadasiva. From the body of Aghora, Gajari,
Daksinamurti, Veerbhadra, Nilakanta and Kiratarjuna had originated. Hence
Veerbhadra was born from the Aghora aspect of Shiva.
Page 6 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Page 7 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Virabhadra has Sakti ie., energy counterpart namely saturvidvesta-Vinasini, so
says Daksinagudidvipa Ksetra Mahatmym.
Veerabhadra constitutes one of the sixty four forms of Shiva. Among the group
of Shiva, Sarabhamurti, Kacchapesvara, Varaharimurti and Kamadahnamurti are some
of them which originated after 15-16th centuries A.D.
Silparatna mentions his vehicle as vampire on which he rides (Vetalarudha)
surrounded by Pramatagna sahita, carrying parasu, damaru, Khadga, ketaka, Kapala,
trisula and showing Abhaya and varadanamudras. He should be rupa-shown white like
milk (gosrirabha), having yellow jatas. Sometimes he may be shown digambara (naked)
and seated upon white lotus. He is decorated with snakes (bhujangagnabhusana) having
third eye (bhayada-phalanetrananam). His body is besmeared with blood. Bhuja with
gata, trisula, hatasvasatru rudhiroksitam of his enemy whom he killed with sula. His
eyebrows should be knit in anger (bhurukuti) having jvalakesa and be smeared with
blood. These attitudes reminds us of the Bhairava form of Shiva. Hence in some temples
Bhairava is identified with Veerabhadra as guarding image as in the city of Ujjaini is
popularly designated as Veerabhadra only.
This is dealt in the Kurmapurana, Varahapurana and Bhagavatapurana
1 According to Sritatvanidhi the image Veerabhadra should have four arms, three eyes
1 and a terrific face with fierce side tusks. He should be wearing a jatamakuta and a
garland of skulls and should be standing on padukas (foot-sandals) He should hold
dhanus and gada in the left arms and Khadga in the right hands. The figures of Daksa
and Bhadrakali should be shown on either side of the deity. Bhadrakali is said to have
emanated from Lakamahadevi says Mahabharata.
Sritatvanidhi gives the following description:
Chaturbhujam - Four armed
Trinetram - Three eyed
Jatamakuta samyutam - with jatamakuta
Page 7 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Page 8 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Daksinai khadgabana - Having sword and arrow
Vamaicha gadai dhara - left hands mace and bow
Danstra Karala vaktram - fierce face with protruding teeth’
Bhimam Bhairava gariditam - terror producing roar
Mundamala samyutam - with skull garland
padukoparistitiam - standing on wooden sandals
bhadrakali samayutam - accompanied by Bhadrakali
The Karanagama ( 10th Century A.D) states that the figure of Veerabhadra should
be shown with tusks protruding out of the mouth, jatas of fire emanating to the sides
and as wearing a kapalamala, nagayajnopavita a garland of bells, ornaments showing
scorpions and short drawers as underwear. He should carry the khadga, the khetaka, the
dhanus and the bana in his four hands. He is a red - god. He should be decked with
rundamala (garland of bones) and snakes. The two horned and goat headed Daksa –
Brahma should be shown right of Veerabhadra paying namaskara- anjali.
Veerabhadra-dhyanam refers to him that he is white-complexioned, having
snake-decorations and wearing a garland of flowers. He has a beautiful jata.
Svetangam sesbhusangam Khadga vinadharam subham
Dhrutakrsnamrgam netram tam trinetrancha jatadharam
Sugandhipuspamalam sri Virabhadram namamyaham
Another dhyana sloka gives a variant description of him. He is three - faced, six
– eyed, six-armed and having terrific appearance. He is black complexioned like the
dark cloud. He had urdhavakesa (having upward plaits as in horripilation) or agnikesa.
He holds panapatra, khadga, sula, chapam, dhanus and bana. He is the subdue of Bhutas
and Pretaganas (souls of the dead). He is one who lives in Meru-mountain.
Sannetram trimukham Bhiman kalamegha samprabham
Udarchijvalanam nilagatram sadbahusbhinam
Page 8 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Page 9 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
panapatrassisulesu chapakhsgadharam subham
Bhutapretadidamanam dustarativinasanam
Meruvasam mahesan tam Virabhadram namamyaham
1 Mayamatam also prescribes that he should be shown as mounted upon a bull and
holds trisula and danda (mace) in the upper hands, his two lower hands, hold the vina
or exhibiting Abhaya and Varada poses. He is provided with all jewels sarvabharana
samyuktam. He is seared against a banyan tree (Vatavrksamaschitam). he has bull
emblem in his flag (vrsadhajar). He is seated on a lotiform seat. He is the Snakara and
Sambhu who is at the head of the Matrkas.
Silpa Sangragha mentions three varieties of Veerabhadra ie., sattivika, tamsa and
rajasika, with two, four or eight arms. Seated depiction is called Yoga-veera. In the
Yoga Veera depiction he appears seated in sukhasana carrying Khadga and khetaka.
Two armed Yoga Veera holds a sword and a shield, wearing garland of skulls, crown
bearing the emblem of Linga and Daksa in Anjali should be on the right the Bhoga
Veera he carries sword, shield, bow and arrow and in the Vira Veera figures he is
depicted with eight arms carrying in addition trisula, pasa, Kapala and deer. In the
temple at Tenkasi, one finds ten armed Veerabhadra trampling upon Daksa (15th century
AD) carrying in addition parasu and musala (pounding stick). He is Vira Veerabhadra
variety. He is locally termed as Agni or Aghora Veerabhadra.
Veerabhadra temples
There are a few sculptures available in tamil Nadu, not unlike the Bhairava. the
early illustration of the destruction of Daksa’s sacrifice is found in Ahichchatra,
belonging of the Gupta period (3-4th centuries A.D)
The Brahadisvara temple at Thanjavur has one-doubtful image of Veerabhadra
and his sculpture may also represent pasupatamurti. One finds dancing Veerabhadra
Page 9 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Page 10 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
sculptures in some temples. In Darasuram (Airavatesvara Temple built by Rajaraja
chola II 1143-710). One finds dancing figure of Martanda Bhairava or Aghora
Veerabhadra with four hands, three heads and a terrible countenance.
The Nellore region in Andhra Pradesh has a few centers where Veerabhadra sculptures
are available. A twelfth century image of Veerabhadra is found in a shrine in Nagesvara
2 temple as Sulurpettai. He stands with two bends (dvibhanga). He holds bana in the
upper right hand, dhanus in the upper left, khadga in the lower right and khetaka in the
left. He wears jatamakuta, headgear, keyuras in the upper arm kankanas in the wrist,
haras, graiveyaka-hara and yajnopavita on the chest skandamala katisutra around the
waist (purnoruka) from where hangs a dagger, and a long kapalamala and padasaras. A
goat headed daksa stands right of Virabhadra with hands held in Anjali.
Two images, one from Paravai Mantali temple in Tiruvarur and another icon
from Manakkal Ayyampettai near Tiruvarur (dancing type) have been noticed by a
scholar. They belong to 15-16th centuries A.D.
There is a temple in Lepaksi, built into triple-celled patter, following Hoysala
model of architecture, into which the central cell being dedicated to Veerabhadra the
others meant for papanasesvara beautiful natyamandapa at Lepaksi, built in front of the
main cell by Bharama (Playing on cymbals), Indra (Playing on flute), Rambha
(dancing), Tumburu (Stunning some stringed instrument) and Srasvati (Playing on
veena). this is a rare combination of divine dancers dance in unison which appears as if
appearing Veerabhadra who is known for his wrathful nature.
The consecrated image of Veerabhadra in the sanctum is huge in size, nearly six
feet in height, a rare occurrence in the art history especially of this form. He stands at
ease with a bend in his waist, having four arms carrying powerful weapons like shield,
wearing a garland skulls sewn, with a kapala at his feet. The severed human head at the
feet of Veerabhadra is evidently the cut-head of Daksa.
Page 10 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Page 11 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
The Vijayanagara capital, Hampi, has a temple for Veerabhadra called Uddana
Veerabhadra and in which Lingayats are the officiating priests. The sculpture has 3.6
meter high with arms carrying weapons like Lepaksi statue.
Veerabhadra is called Mudu Viranna in Kartanaka state. Some temples in Tamil
Nadu called Veeranar are rarely meant for the dedication .
The ferocious aspects of Veerabhadra was fostered after 15th – 16th centuries
A.D. obliviously to inculcate courage and pride in the minds of the then people of
Vijayanagara dynasty, who were desperately in need at that time when foreign invasions
and incursions were on the full swing. Most of the ugra aspects were off- shoots of the
time to answer to the growing invasions. Some of the sculptural and narrative
productions of arts have been utilized for the sake of propagating this cult.
Conclusion:
Originally in sculptured depiction he appeared in pacific attitude having no
explicit militant form especially when he takes place in the series of sapta matrkas,
usually seven in number, having a lotus bud, seated in utkutikasana bound by yogapatta,
around the hip and the legs. This depiction is akin to the yoga Dhaksinamurti variety.
Secondarily he is depicted in ferocious yanaka attitude as and when the puranas
were written with regard to the destruction of Daksa-yajna. The very world is suggestive
of his beautiful nature to core. Hence he takes two manifestations with reference to
sculptural depictions though his puranic exploitation remains the same since in both
occasions he appears as warrior God. Firstly, he accompanied Saptamatrkas as one of
the generals and secondly he went alone, sometimes accompanied by Bhadrakali in the
mission of the destruction of Daksayajna.
The cult and story of Veerabhadra was prevalent right from the earlier period
onwards for example from the Gupta period onwards. The simultaneous presence of the
Page 11 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Page 12 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
cult and sculptures are found in Tamil Nadu from the Pallava period (7th – 8th centuries
A.D) onwards though sculptures are found not frequently like Shiva’s ferocious
counterpart ie., Bhairava. Since it is also considered to some extent that Virabhadra got
imaged with the cult of Bhairava and no independent depiction had ever been felt
compulsory.
The cult has its rural roots only. From the destruction of Daksa Prajapati, son of Brahma,
the cult had not been favorably looked upon by the orthodox aristocrats of Hinduism. It
is also essential to compare it with the destruction of Nikumbalai-yaga by Hanuman,
the envoy of Rama. The destruction of Yajana of Indharajit by Hanuman was very much
welcomed by the aristocrats of Hinduism, because the person who conducted the Yajna
was a raksasa, the son of Ravana. But in this Veerabhadra episode the Yajna was
conducted by one of the sons of Brahma, none other than Daksa Prajapati, a Brahmana.
Destruction of one Yajna was welcomed and the other was aboured want only.
The cult was very much tenuous at the beginning, but come to the forefront
during the Vijayanagara-Nayaka period, become it was the period when the foreign
instruction was rampart. In order to answer to their boisterour entry, the episode of
Veerabhadra was very much useful to kindly and energies the dormant people for
belligerently attitude and hence the cult and iconography were patronized by the kings
and the militia alike.
Page 12 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Page 13 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
REFERENCES
1. Anne Marie Gaston, Siva in Dance , Myth and Iconography, P. 167.
2. Tiruppugal, V.390.
3. Gosta Liebert, Iconographic Dictionary of Indian Religions, P.339 (New Delhi,
1986), John Dowson, A Classical Dictionary of Hindu Mythology and Religion,
P.358.
4. B. Bhattacharya, Saivism and Phallic Workship in India, Vol.2.,P.787 (New
Delhi, 1975).
5. Ibid.p.873.
6. Kalithogai, 1.11 Thirukkovai 60,184, Thiruvasagam “Thiruppoovalli”4.
7. Siva’s eight divine exploits are held to be taken place at kandiyur near
Tiruvaiyaru (Brahma Siraschedakamurti), Tirukkovilur
(Andhakasuravadamurti), Tiruvadikai (Tripurantakesavar), Tirupaiyalur
(Dakshayajnakaramurti), Tiruvirkudi (Jalandha-Vadamuri), Valuvur
(Gajasamharamurti), Tirukkurukkai (Kamadahanamurti) and Tirukkadavur
(Kalasamharamurti).
8. M.Sivagurunatha Pillai, Siva Vativankal, P.137, The Tamil University
Thanjavur,1991.
9. Silparatna, VV.84-5(ed). Navalpakkam Devanathacharyar, TSML, 1989.
10. S.K.Ramachandra Roa, Encyclopaedie of India Iconography, p. 1565 (Sri
Satguru Pub. New Delhi. 2023).
11. T.A.Gopinatha Rao, Elements of Hindu Iconography, Vol.II, pt I., P. 182
(Varanasi, 1971).
12. Stella Kramrisch, The Presence of Siva, p.322-333, Princeton. 1984.
13. T.A. Gopinatha Roa, Elements of Hindu Iconography, Vol.II, pt I.,
p.186(Varanasi, 1971) Srimad Bhagavata Mahapurana, Book IV. Ch.3-7,(Gita
Press, Gorakhpur, 2001) H.Krishna Sastri, South Indian Images of Gods and
Goddesses, p. 155(Madaras. 1961).
14. Murti Dhayanam, v.121, S.Swaminatha Sastri, Saeasvati Mahal Library,
Thanjavur, 1985.
Page 13 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
Page 14 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
15. Ibid., v.122, S.Narayanaswami Deiva Triunerigal-Dhyanam-Rupam-Yantram-
Mantam, p.157, Triruvaduthurai Adhinam, 2002.
16. Mayamatam, ch.36 v.213-5 (Ed. Bruno Dagens, Vol.II, P.873. Indira National
Centre for Arts, New Delhi).
17. H.Krishna Sastri,South Indian Images of Gods and Goddesses, P.159 S.K
Ramachandran Rao.III, P.1565.
18. T.A.G. Rao, P.187
19. J.C Harle, Gupta Sculptures, Pl.137 (oxford, 1974)
20. S.R Balasubramanian, Middle Chola Temples, P.19 Amsterdam.1977.
21. C. Sivaramamurti, Chola Temples, P.32 (ASI, Delhi, 1984)
Page 14 of 14 - Integrity Submission Submission ID trn:oid:::3618:79087037
