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Kurma

Kurma (कूर्म), is the second avatar of the Hindu preserver deity, Vishnu. Originating in Vedic literature such as the Yajurveda as being synonymous with the Saptarishi called Kashyapa, Kurma is most commonly associated in post-Vedic literature such as the Puranas. He prominently appears in the legend of the churning of the Ocean of Milk, referred to as the Samudra Manthana. Along with being synonymous with Akupara, the World-Turtle supporting the Earth, Kurma is listed as the second of the Dashavatara, which are the ten principal incarnations of Vishnu.

Nomenclature and etymology
The Sanskrit word 'Kurma' (Devanagari: कूर्म) means 'Tortoise' and 'Turtle'. The tortoise incarnation of Vishnu is also referred to in post-Vedic literature such as the Bhagavata Purana as 'Kacchapam' (कच्छप), 'Kamaṭha' (कमठ), 'Akupara' (अकूपार), and 'Ambucara-Atmana' (अम्बुचर-आत्मना), all of which mean 'tortoise' or 'form of a tortoise'.

The Nirukta
Written by the grammarian Yaska, the Nirukta is one of the six Vedangas or 'limbs of the Vedas', concerned with correct etymology and interpretation of the Vedas. The entry for the Tortoise states (square brackets '[ ]' are as per the original author):"May we obtain that illimitable gift of thine. The sun is called akupara also, i. e. unlimited, because it is immeasurable. The ocean, too, is called akupara, i. e. unlimited, because it is boundless. A tortoise is also called a-kupa-ara, because it does not move in a well [On account of its shallowness]. Kacchapa (tortoise) is (so called because) it protects (pati) its mouth (kaccham), or it protects itself by means of its shell (kacchena), or it drinks (√pa) by the mouth. Kaccha (mouth or shell of a tortoise) = kha-ccha, i. e. something which covers (chddayatl) space (kham). This other (meaning of) kaccha, 'a bank of a river', is derived from the same (root) also, i.e. water (kam) is covered (chadyate) by it."

Kashyapa
As illustrated below, Vedic literature such as the Samaveda and Yajurveda explicitly state Akupara/Kurma and the sage Kashyapa are Synonymous. Kashyapa - also meaning 'Tortoise' - is considered the Progenitor of all living beings with his thirteen wives, including vegetation, as related by H.R. Zimmer:

"Ira [meaning 'fluid']... is known as the queen-consort of still another old creator-god and father of creatures, Kashyapa, the Old Tortoise Man, and as such she is the mother of all vegetable life."

The legend of the churning of the Ocean of Milk (Samudra Manthana) developed in post-Vedic literature is itself inextricably linked with Kurma (as the base of the churning rod) and involves other sons of Kashyapa: the devas/adityas (born from Aditi) and the asuras/Danavas/Daityas (born from Danu and Diti) use one of the Naga (born from Kadru) as a churning rope to obtain Amrita. Garuda, the king of birds and mount of Vishnu, is another son of Kashyapa (born from Vinata) often mentioned in this legend. In another, Garuda seeks the Amrita produced (eating a warring Elephant And Tortoise in the process) to free his mother and himself from enslavement from Kadru.

Yoga
Kurmasana (Tortoise Posture) is a Yoga posture. 'Panikacchapika' (Sanskrit पाणिकच्छपिका), meaning 'Hand Tortoise',  is a special positioning of the fingers during worship rituals to symbolise Kurma. The Kurmacakra is a Yantra, a mystical diagram for worship, in the shape of a tortoise. These are all mentioned in the Upanishads and Puranas (see below).

Symbolism

The Dashavataras are compared to evolution; Kurma - the amphibian - is regarded the next stage after Matysa, the fish.

Firmness / Steadiness: W. Caland notes that in relation to 'Akupara Kashyapa' in the Pancavimsa Brahmana and Jaiminiya Brahmana, the tortoise is equal to 'a firm standing... and Kashyapa (The Tortoise) is able to convey (them) across the sea [of material existence]'. P.N. Sinha seems to support this view, adding 'Kurma was a great Avatara as He prepared the way for the spiritual regeneration of the universe, by the Churning of the Ocean Of Milk'.

Deity Yajna-Purusha: N. Aiyangar states that as the tortoise was 'used as the very basis of the fire Altar, the hidden invisible tortoise, taken together with the altar and the sacred fire, seems to have been regarded as symbolizing the Deity Yajna-Purusha who is an invisible spiritual god extending from the fire altar up to heaven and everywhere... this seems to be the reason why the tortoise is identified with the sun'.

Meditation / Churning the Mind: Aiyangar also surmises that the legend of the Samudra Manthana symbolises churning the mind through Meditation to achieve liberation (Moksha). Based on the mention of Vatarasanaḥ ('Girdled By The Wind') Munis in the Taittirtya Aranyaka - also referred to as urdhvamanthin, meaning 'those who churn upwards' - and the explanation provided in the Shvetashvatara Upanishad, Aiyangar believes this would 'appear to be the hidden pivot on which the gist of the riddle of the Puranic legend about the Churning For Nectar turns'. R. Jarow seems to agree, stating the churning of the Ocean of Milk represents the 'Churning Of The Dualistic Mind'.

Ascetic Penance: H.H. Wilson notes that 'the account [of the Samudra Manthana] in the Hari Vamsa... is explained, by the commentator, as an Allegory, in which the churning of the ocean typifies ascetic penance, and the Ambrosia is final Liberation' (Linking With The Idea Of 'Steadiness' And 'Firmness'), but personally dismisses this interpretation as 'Mere Mystification' (Note 1, pp. 146).

Astronomy: B.G. Sidharth states that the legend of the Samudra Manthana symbolises astronomic phenomena, for example that 'Mandara represents the polar regions of Earth [and the] Churning Rope, Vasuki, symbolizes the slow annual motion of Earth... Vishnu, or the Sun himself rests upon a coiled snake... which represents the rotation of the Sun on its own axis'. In regards to the tortoise supporting the Earth, Sidharth adds that the 'Twelve Pillars... are evidently the twelve months of the year, and... The four elephants on which Earth rests are the Dikarin, the sentinels of the four directions.. [Kurma] symbolizes the fact that Earth is supported in space in its annual orbit around the Sun'.

Vedas
A.A. Macdonell, A.B. Keith, J. Roy,  J. Dowson, and W.J. Wilkins all state that the origin of Kurma is in the Vedas, specifically the Shatapatha Brahmana (related to the YajurVeda), where the name is also synonymous with Kashyapa, one of the Saptarishi (seven sages).

The Shatapatha Brahmana is the earliest extant text to mention Kurma, the tortoise. The Shatapatha Brahmana equates the tortoise - Kurma to the creator of all creatures. The god Prajapati assumes the form of Kurma to create all creatures (praja). Since he "made" (kar) all, Prajapati's form was called Kurma. Kurma is equated with Kashyapa (literally "tortoise"), thus all creatures are called "children of Kashyapa". Kurma is also called Surya (the sun).

The Shatapatha Brahmana also has the origins of Matsya, the Fish. Like Kurma, Matsya is also associated as the avatar of Vishnu later in the Puranas.

The Taittiriya Samhita suggests a ritual of burying a live tortoise at the base of the sacrificial fire altar (uttar-vedi). By this act, the sacrificer earns the merit of reaching heaven. Aiyangar suggests that the tortoise symbolizes Yajna-Purusha, the all-pervading god of Sacrifice. In another instance in the Taittiriya Samhita where Prajapati assigns sacrifices for the gods and places the oblation within himself, "the Sacrificial Cake" (Purodasa) is said to become a tortoise.

The Taittiriya Aranyaka describes a similar practice in a ritual called Arunaketuka-kayana where the tortoise is buried under the altar. Here, Prajapati or his "juice" (rasa) the tortoise is called Arunaketu ("one who has red rays"). Prajapati performs austerities (tapas). From his rasa springs a tortoise swimming in the water. Prajapati declares to the tortoise to be his creation; in response the tortoise says that he has existed from "before" and manifests as Purusha - the primordial being and creates various deities including the sun, Agni (the fire), Indra, Vayu (the wind) and various beings. The tortoise is again treated as the divine Creator of the universe.

R.T.H. Griffith states that tortoises were buried in construction of the Ahavaniya Fire-Altar. In this context, the Vajasaneyi Samhita of the white Yajurveda describes the tortoise as the "lord of the waters". The selection of the tortoise may stream from the belief that it supports the world.

Though Kurma is not found in the oldest Hindu scripture Rigveda, the seer Kashyapa (who is equated with Kurma) appears in hymns in the scripture. The Atharvaveda regards Kashyapa, who is mentioned along with or identified with Prajapati, as svayambhu ("self-manifested"). In later Hindu scriptures like the epics and the Puranas, Kashyapa is described as the grandfather of Manu, the progenitor of mankind. Apart from described as one of Saptarishi (seven great sages), he is described as one of the Prajapatis ("agents of creation") and marries 13 daughters of Daksha, fathering gods, demons, animals, birds and various living beings. The seer Kashyapa, tortoise, being referred in various later Vedic literature as the progenitor of beings, is inferred by A.A. Macdonell along with other animal-based tribal names in the Rigveda to suggest totemism; however E.W. Hopkins disagrees.

The Rigveda also refers in a hymn that Vayu churned for the sages (munis) and Rudra drinks from a cup of visha, which can be mean water or poison. John Muir suggests that visha in the Rigveda refers to Rudra drinking water, however it may have led to, in the Puranas, the legend of Shiva (who is closely linked to the Vedic Rudra) drinking poison in the Samudra Manthana (churning of the ocean) episode.

Samaveda
"29. There is the Akupara(Saman). ('The Chant of Akupara'). 30. By means of this (Saman), Akupara Kasyapa attained power and greatness. Power and Greatness attains he who in lauding has practised the Akupara(Saman)."

The sage Kashyapa - stated in the Vedas, Itihāsa (Epics), and Puranas to be the progenitor of all living beings (see relevant sections, below) - is also stated to be synonymous with Akupara, the name of the 'World-Turtle' in the Mahabharata. Caland explains in his footnote to verse 30 the significance of this name by quoting from the Jaiminiya Brahmana:

"Akupara Kasyapa descended together with the Kalis, into the sea. He sought it in firm standing. He saw this atman and lauded with it. Thereupon, he found a firm standing in the sea, viz., this earth. Since that time, the Kalis sit on his back. This Saman is (Equal To) a firm standing. A firm standing gets he who knows thus. The Chandoma(-Day)s are a sea... and Kasyapa (The Tortoise) is able to convey (Them) across the sea. That there is here this Akupara, is for crossing over the sea."

The Jaiminiya Brahmana explicitly links Akupara, Kashyapa, and the tortoise in regards to providing a 'Firm Standing' to cross over the sea of material existence. As illustrated below, in the Yajurveda, Kashyapa is also stated to be Synonymous with Prajapati (i.e. the Creator-God Brahma) and with Kurma. In the Puranas, Kashyapa is frequently referred to as 'Prajapati' as well.

Epics
Swami Achuthananda states that although varied like other legends, Vishnu's role is "limited" as Kurma, compared his other avatars.

The epics present the earliest known versions of the popular Samudra Manthana narrative. In the Adi Parva Book of the epic Mahabharata, the god Narayana (identified with Vishnu) suggests the gods (devas) and the demons (asuras) churn the ocean to obtain amrita (ambrosia) as both of them seek immortality. The gods select Mount Mandara as the churning rod and the serpent Vasuki-Ananta as the rope. Then they approach Kurma-raja, the king of tortoises to support the mount on its back, which it consented. The gods churn from the tail side of the serpent, while asuras on the head side. Various trees and herbs are cast into the ocean. The churned water takes into milk. Ultimately, various precious items like Soma (the moon), the goddess Sri (Lakshmi), Sura (liquor), the white horse Uchchaihshravas, the white elephant Airavata, the gem Kaustubha and finally the god Dhanvantari with the vessel of amrita emerge from the ocean. The poison kalakuta springs from the ocean and is drunk by Shiva, whose throat becomes blue earning him the epithet Nila-kantha  (The blue necked). The devas and asuras battle for the amrita. Narayana becomes an enchanting woman (called Mohini in later scriptures) and snatch the pot of amrita from the asuras. Narayana along with Nara battle the asuras, while the enchantress distributes the amrita only to the gods. Rahu, an asura, disguises himself as a god and tries to drink some Amrita himself. Surya (the sun-god) and Chandra (the moon-god) quickly inform Vishnu, and he uses the Chakra (the divine discus) to decapitate Rahu, leaving the head immortal. Eventually, the gods defeat the asuras with Indra retaining the amrita and appointing Nara as its guardian.

In this narrative, Kurma is not related with Vishnu. Though the critical edition of the epic does not refer to Kurma as an avatar of Vishnu, some latter insertions in manuscripts of the epic associate Kurma as a pradurbhava (manifestation) of Vishnu.

The Ramayana briefly mentions the Samudra Manthana episode, however does not mention Kurma in it. The epic mentions the ocean churned being the ocean of milk, the Kshirasagara. An passage, generally believed to be interpolated and not part of the critical edition, refers to Kurma as well as the drinking of the poison by Shiva. The mount Mandara sinks to Patala (the underworld) during the churning. On the beseeching of the gods, Vishnu takes the form of the tortoise and raises the mount on his back. Vishnu also supports the mount as holding its peak in a form and another form joins the gods in churning the ocean. Later versions of the Ramayana like the Adhyatma Ramayana associate Kurma with Rama, the male protagonist of the Ramayana who is also regarded as an avatar of Vishnu.

Puranas
J.W. Wilkins states that the 'probable' origin of Kurma is as an incarnation of Prajapati (i.e. Brahma) in the Shatapatha Brahmana (7:5:1:5-7), but as 'the worship of Brahma became less popular, whilst that of Vishnu increased in its attraction, the names, attributes, and works of one deity seem to have been transferred to the other'.

Kurma as well as Varaha, the boar avatar of Vishnu, was both associated with the Creator Prajapati. Hermann Jacobi suggests that Prajapati may have worshipped in these animal forms. With Vishnu gaining the status of the Supreme God, the actions of Prajapati were transferred to Vishnu.

In post-Vedic literature, including the Puranas, Kurma is inextricably linked with the legend of the churning of the Ocean Of Milk, known as the Samudra Manthana. Kurma is also directly linked with Akupara, the so-called 'world-turtle' that supports the Earth, usually with Sesa.

The tale of Vishnu appearing as Kurma to support the sinking Mandara mountain is narrated in a chapter in the Agni Purana dedicated to Samudra Manthana. The narrative starts with the curse of sage Durvasa to the gods (devas), who lose to the asuras in battle and seek refuge in Vishnu. The asuras and the devas unite to churn the milk ocean, with Mount Mandara as the churning rod and Vasuki as the rope. Kurma appears to support the mountain. The poison Halahala appears from the ocean, which is drunk by Shiva to save the world. After which, various divine objects emerge from the churning of the ocean, ending with the god Dhanavantri carrying the vessel of Amrita. When the asuras steal the pot, Vishnu assumes the form of the seductress Mohini and grabs it from the asuras and distributes it to the gods. Rahu assumes a form of a deva and drinks the amrita and is decapitated by Vishnu.

A similar narrative is also given in the Vishnu Purana; Vishnu is described to participate in the churning in many forms - Kurma as the base of the mount, in one form he sits on top of Mandara and in other forms, helps the gods and the demons pull the serpentine rope. The Brahmanda Purana states that Vishnu in the form of Brahma supports the mount; while as Narayana invigorated the gods. The Vayu Purana, the Padma Purana have similar narratives; the Bhagavata Purana also narrates the tale.

The Bhagavata Purana describes the form of Vishnu as Ajita, the son of Vairaja and Sambhuti, who assumed the form of the tortoise to rescue Mandara from drowning. He is further called the first tortoise. In another instance, it states that the ocean tides are a result of the breathing of Kurma, who had become drowsy due to the scratching of Mandara on his back.

Samudra Manthana is alluded briefly in the Kurma Purana, the Linga Purana, the Brahma Vaivarta Purana and the Shiva Purana.

Variations in these narratives alter the number and order of the divine articles appearing from the churning of the ocean. The number ranges from 9 to the popular list of 14. The common list includes the poison Halahala (Kalakuta), Varuni (Sura) - goddess of liquor, the divine horse Uchhaishravas, the gem Kaustubha, the goddess Lakshmi (Sri), the Apsaras, the cow of plenty Surabhi, the white elephant Airavata and Dhanavantri with the pot of amrita (sometimes enumerated as two objects). Other objects include the umbrella of Varuna, earrings taken by Indra for his mother Aditi, the bow of Vishnu Sharanga, the conch of Vishnu (Shankha), Nidra - the goddess of sloth, Alakshmi or Jyestha - the goddess of misfortune and the Tulasi plant.

In the Matsya Purana, Vishnu states that his form the world turtle Kurma, which supports all the worlds on his back, be requested by the gods to aid in the Samudra Manthana. Kurma is placed in Patala as the base of Mount Mandara. The Shiva Purana explicitly praises Vishnu as the world turtle who supports the Earth. The Brahma Vaivarta Purana states the serpent Shesha who supports the universe over his hoods, sits on Kurma, who lies in the wind or the waters.

The Vishnu Purana narrative of Vishnu's boar avatar Varaha alludes to the Matysa and Kurma avatars, saying that Brahma (identified with Narayana, an epithet transferred to Vishnu) took these forms in previous kalpas.

In the tale of the battle of the demon Bhandasura and the goddess Lalita in the Brahmanda Purana, Lalita creates Kurma to shelter her goddess army who was drowning in the ocean, created by a weapon used by the demon.

In the Agni Purana, the Shaligram stone for Kurma is described as black in colour with circular lines and an elevated hinder part.

Kurma is invoked in worship of Vishnu in various scriptures. The Brahma Purana salutes Kurma in a hymn as the "great tortoise", who "lifted the Earth and kept the mountain aloft". The Linga Purana, the Garuda Purana and the Shiva Purana similarly praises Vishnu as the one who kept the Mandara mountain aloft or the one who supported Mandara during the churning of the ocean as a tortoise.

The Agni Purana, the Markendeya Purana, the Vishnu Purana and the Brahma Purana state that Vishnu resides in Bharata (the Indian subcontinent) in the form of Kurma. TheMarkendeya Purana gives a detailed description of various lands of the region and constellations and zodiac stars corresponding to nine parts of the tortoise - mouth, four feet, tail, centre and two sides of its belly. The Bhagavata Purana states Vishnu stays as Kurma in the Himalayan continent (Hiraṇmaya-varsa).

The Kurma Purana is one of four Puranas that bear the names of Vishnu's avatars. The Purana is narrated by Kurma to the king Indradyumna and later to the sages and the gods at the time of Samudra Manthana. The detailed tale of the Samudra Manthana is absent from the Purana and alludes to Kurma as the one who supported Mount Mandara. The Kurma Purana is stated to be narrated by Kurma and is prescribed to be gifted with a golden statue of a tortoise in the Agni Purana.

The Agni Purana prescribes that Kurma be depicted in zoomorphic form as a tortoise.

In the narrative of the battle between Shiva's manifestation Virabhadra and Vishnu's avatar Narasimha of the Linga Purana and the Shiva Purana, Virabhadra mocks Narasimha-Vishnu stating that Kurma's skull adorns the necklace of Shiva.

In a passing reference in the Vishnu Purana and the Markendeya Purana narrative of Varaha, Brahma - identified with Narayana - decides to take the form of the boar Varaha, similar to the forms of the fish (Matsya) and tortoise (Kurma), he took in previous kalpas.

The Linga Purana, the Varaha Purana and the Shiva Purana mention Kurma as second in its Dashavatara listing.

The Varaha Purana recommends a vrata (vow) with fasting and worshipping Kurma-Vishnu in a three lunar-day festival culminating on the twelfth lunar day in the bright half of the Pausha month. The first day of the vrata is said to be the day when Vishnu assumed the Kurma form in Samundra manthan.

The Bhagavata Purana lists Kurma the eleventh avatar of Vishnu in the list of 22 avatars. The Garuda Purana lists him as the eleventh of 20 avatars, elsewhere he is mentioned as the second of the Dashavatara.

The Vishnu Sahasranama version from the Garuda Purana mentions Kurma as an epithet of Vishnu. The Garuda Purana addresses Kurma in hymns to Vishnu. He is associated with the south-western direction.

Narada Purana
"It was this [Mandara] mountain that was formerly lifted up by Hari (in the form of [the] Divine Tortoise) and used for churning (the milk ocean) by the Devas and Danavas. Sindhu (the ocean) which extends to six hundred thousand Yojanas is the deep pit made by this mountain. This great mountain was not broken even when it rubbed against the physical body of the Divine Tortoise. O leading king, when it fell into the ocean all the hidden parts of the ocean were exposed by the mountain. O Brahmanas, water gushed out from this mountain [and] went up through the path of the Brahmanda (Cosmic Egg). Great fire was generated by this mountain due to attrition when it came into contact with the bony shell of the (Divine) Tortoise... It was for a great period of time viz. ten thousand years than this mountain ground and rubbed the armlets of the discus-bearing Lord." In the Narada Purana, a brief synopsis of the Samudra Manthana is given by Brahma to Mohini, as quoted above (Part 4: 8.7-11). There are two other notable mentions of this legend. The first is by Saunaka who said 'When there was an impediment at the time of churning the ocean for the sake of nectar, he [Kurma] held the mount Mandara on his back, for the welfare of the gods. I seek refuge in that Tortoise' (Part 1: 2.37). In the second, it is stated 'it was when the milk-ocean was churning that Kamoda was born among the four jewels of Virgins' (Part 5: Uttara Bhaga: 68.4). Other details include:

 * Several allegories of the tortoise drawing in its limbs are given, including in relation to the creation and withdrawal of living beings (Part 2: 44.26b-28a) and withdrawing the sense organs (Part 2: 50.89-91, and 59.36)
 * The division of the Earth - Kurma-vibhaga - is in relation to the Jyotisa, an auxiliary text of the Vedas (Part 2: 54.11 and 56.739b-745)
 * Kurma is one of the ten primary avatars (Dashavatara) of Vishnu (Part 4: 119.14-19)

Padma Purana
"Visnu himself, remaining in the ocean in the form of a tortoise, nourished the gods with unusual lustre... the goddess Varuni became (manifest), Her eyes were rolling about due to intoxication... [she said:] 'I am a goddess giving strength. The demons may take me'. Regarding Varuni as impure, the gods let her go. Then the demons took her. She became wine after being taken (by them)... Then the deadly poison (came up). By it all gods and demons with (other) deities were afflicted. Mahadeva [ Shiva] took and drank that poison at his will. Due to drinking it Mahadeva had his throat turned dark blue. The Nagas drank the remaining poison that had come up from the White [Milky] Ocean." In the Padma Purana three accounts of the Samudra Manthana are given, all beginning with Indra being cursed by Durvasas for arrogance. In the first, narrated by Pulastya, as a result of the curse the 'three worlds, along with Indra, were void of affluence... [and] the Daityas (sons of Diti) and Danavas (sons of Danu) started military operations against [the] gods', forcing them to seek refuge with Vishnu. Vasuki is used as a rope to churn the ocean. Notably, during the churning, Varuni (Goddess of Wine) is upon emerging rejected by the gods and accepted by the asuras, the opposite of the account given in the Brahmanda Purana (to explain the meaning of 'Asura'). Unnamed poison also emerges which is drunk by Shiva, before the emergence of Dhanvantari with the nectar of immortality (Amrita) as well as Lakshmi. Although the asuras take the nectar, Vishnu assumes the form of Mohini to trick them and give it to the gods. The asuras are destroyed, with the Danavas since then becoming 'eager for (the company of) ladies' (Part 1: 4).

"O gods, Indira (i.e. Laksmi), due to whose mere glance the world is endowed with glory, has vanished due to the curse of the Brahmana (viz. Durvasas). Then, O gods, all of you, along with the demons, having uprooted the golden mountain Mandara and making it, with the king of serpents going round it, the churning-rod, churn the milky ocean. O gods, from it Laksmi, the mother of the world will spring up. O glorious ones, there is no doubt that because of her you will be delighted. I myself, in the form of a tortoise, shall fully hold the (Mandara) mountain (on my back)." In the second account, narrated by Suta, as a result of the curse the 'mother of the worlds' (Lakshmi) disappears, and the world is ruined by drought and famine, forcing the gods - oppressed by hunger and thirst - to seek refuge with Vishnu at the shore of the Milky Ocean (Part 5: 8). Ananta (Vasuki in the first account) is used as a churning rope. On Ekadashi day, the poison Kalakuta emerges, which is swallowed by Shiva 'meditating upon Vishnu in his heart'. An evil being called Alaksmi (i.e. a-Laksmi or 'not Laksmi') them emerges and is told to reside in places such as where there is quarrel, gambling, adultery, theft, and so forth (Part 5: 9). The churning continues and auspicious beings and items emerge, including 'the brother of Laksmi, [who] sprang up with nectar. (So also) Tulasi [i.e. Lakshmi], Visnu's wife'. On this occasion, Vishnu assumes the form of Mohini merely to distribute the nectar amongst the gods, without mention of tricking the asuras (Part 5: 10).

The third account, narrated by Shiva, is very similar to the others except with a far greater emphasis on Lakshmi, and although the poison Kalakuta emerges and is swallowed by Shiva, there is no mention of Alaksmi or the Mohini avatar (Part 9: 231–232). The Naga used as a rope for churning is referred to as 'the Lord of the Serpents' (likely Ananta). Other details include:

 * Kurma is mentioned as an avatar of Vishnu (Part 1: 3.25b-29), as a giver of boons (Part 1: 5.81-87), and is stated to have appeared during the fourth war between the devas and asuras (Part 1: 13.180); during the churning, Indra is stated to have vanquished Prahlada (Part 1: 13.186)
 * Relating to Kurma as the world-turtle, it is stated 'Due to truth (alone), the sun rises; also the wind blows; the ocean would (i.e. does) not cross its boundary nor would (i.e. does) the Tortoise avert (sustaining) the earth' (Part 2: 53.3); Kurma is also mentioned as the 'first tortoise', the prop of everything, cause of production of ambrosia, and the support of the Earth (Part 7: 71.169-188); finally, after raising the earth from the waters in the form of a boar (Varaha), it is stated that Vishnu placed it on the head of Sesa before taking the form of Kurma (Part 9: 237.15-19)
 * Kurma is named as one of the 10 primary avatars (Dashavatara) of Vishnu by Yama (Part 7: 66.44-54), Brahma (Part 7: 71.23-29b), and Shiva (Part 9: 229.40-44)
 * The salagrama of Kurma is described as 'raised, round on the surface, and is filled with a disc (like figure). Marked with Kaustubha, it has a green colour' (Part 8: 20.51b-73)
 * Kurma is stated to reside in Vaikuntha (Part 9: 228.19-24); and is one of the 108 names of Vishnu (Part 10: 17.103-117)
 * Shiva gives salutations to Kurma, who 'extracted the Earth along with mountains, forests and groves, from inside the water of the deep ocean' (Part 10: 6.175-190)

Skanda Purana
"As the Ocean of Milk was being churned, the mountain sank deep into Rasatala. At that very instant, the Lord of Rama, Visnu, became a tortoise and lifted it up. That was something really marvellous... The excellent mountain had adamantine strength. It rolled on the back, neck, thighs, and space between the knees of the noble-souled tortoise. Due to the friction of these two, submarine [i.e. underwater] fire was generated." In the Skanda Purana four accounts of the Samudra Manthana are given. In the first, the churning of the ocean of Milk takes place after Indra is cursed by the sage Brhaspati, resulting in the disappearance of Lakshmi, misery to all, and ruin of the devas, defeated in battle by the asuras who take their precious items such as gems to Patala. On the advice of Brahma, Indra and the devas make a pact with Bali, leader of asuras, to recover the gems from the Ocean of Milk. Unable to move the Mandara mountain to use as a churning rod, Vishnu is asked for help, who arrives on Garuda, takes the mountain to the ocean, and incarnates as Kurma. Vasuki is used as the churning rope. The Kalakuta poison generated envelopes the devas and Daityas - causing ignorance and lust - before enveloping all existence (including Vaikuntha) and reducing the cosmic egg to ash (Part 1: 9). Shiva is approached for refuge, and the origin and need to worship Ganesha to 'achieve success in undertaking' is explained before Shiva drinks the poison (Part 1: 10). More information on Ganesha-worship is given before the churning resumes, producing many auspicious items and beings, including Lakshmi (Part 1: 11). Dhanvantari emerges with the nectar of immortality (Amrita), which is taken by the asuras. Vishnu incarnates as Mohini, and despite warning Bali that 'Women should never be trusted by a wise man' is still given the nectar which She gives to the devas (Part 1: 12).

In the second account, Indra is again cursed by the sage Brhaspati (Part 7: 8), resulting in the disappearance of Laksmi, and with her, an absence of 'Penance, Purity, Mercy, Truth... True Dharma, Prosperity... Strength [and] Sattva (quality of goodness)'. Hunger, poverty, anger, lust, flesh-eating, and perverse-thinking abound, including belief that adharma is dharma, and perverse interpretations of the Vedas to justify killing animals (Part 7: 9). Vishnu is approached for refuge by the devas and instructs them to churn the Ocean of Milk (Part 7: 10). Indra forms a pact with the asuras, Sesa is used as a churning rope with the Mandara Mountain, and Vishnu incarnates as Kurma as the base. After a thousand years of churning the poison Halahala is generated and swallowed by Shiva; the drops that fell are taken by serpents, scorpions, and some medicinal plants (Part 7: 11). The churning continues for another thousand years, producing auspicious items and beings, including Laksmi (Part 7: 12). Dhanvantari emerges with the pitcher of Amrita which is taken by the asuras, and Vishnu assumes 'a marvellously beautiful feminine form that enchanted all the world' (Mohini). Despite warning the asuras not to trust her, Mohini is given the Amrita which is handed to the devas before the asuras are destroyed in battle (Part 7: 13). In the third brief account, the churning takes place after 'a great loss of gems due to wicked souls' and the loss of righteousness. Vasuki is used as the churning cord as the devas and asuras 'placed the main plant of activity on the back of the (divine) tortoise and churned out the precious gems'. Many auspicious items and beings are generated, including Sura (alcohol; in other accounts Varuni) and Dhanvantari. Quarreling ensues between the devas and asuras, and Vishnu incarnates as 'the fascinating form of a woman' (Mohini) to beguile the demons as Indra gives them the Sura and via 'sleight of hand' takes the Amrita. Halahala poison is also generated which is consumed by Shiva (Part 12: 44).

In the fourth account, the legend is briefly retold by Visvamitra. The details are much the same as the previous accounts, with Vasuki as the cord as the 'Kacchapa (Tortoise incarnation of Visnu) held up (the mountain)', including the Kalakuta poison drunk by Shiva and the incarnation of Mohini to trick the asuras. The notable exception is that the churning first produces a 'hideous' family of three of Ratnas (jewels); rejected by both the devas and Danavas, they are accepted by Ka (i.e. Brahma; Part 18: 210).

Notably, reminiscent the account of Prajapati and the Tortoise in the Taittiriya Aranyaka (see above), there is also an account, during the time of the universal dissolution, when Brahma 'assumed the form of a Khadyota (Firefly, Glow-worm)' and moved about for a thousand divine years before finding 'the Lord [ Vishnu] asleep in the form of a tortoise'. Woken by Brahma, Vishnu 'got up ejecting the three worlds that had been swallowed at the time of the close of the [previous] Kalpa' with all creation - including the devas, Danavas, moon, sun, and planets - being generated from and by Him. Vishnu also sees the Earth 'was in the great ocean perched on the back of the tortoise' (Part 14: Reva Khanda: 7). Other details include:

 * Kurma is mentioned to have held the Mandara Mountain (Part 1: 8.89);
 * After being resorted to by Tara and 'Permeated by her, Kurma, the sire of the universe, lifted up the Vedas' (Part 2: 47.12-15)
 * Exploring the Linga of Shiva, 'The primordial Tortoise that was stationed as the bulbous root of the Golden Mountain as well as its support was seen by Acyuta [Vishnu]'; It is also by Shiva's blessing that Sesa, Kurma, and others are capable of bearing the burden of that Linga (Part 3: Uttarardha: 11.8-11)
 * After Varaha lifted the earth out of the waters, Vishnu 'placed the Elephants of the Quarters, the King of Serpents and the Tortoise for giving her extra support. That receptacle of Mercy (Hari) willingly applied his own Sakti (power) in an unmanifest form as a support for them all' (Part 4: Venkatacala Mahatmya: 36.20-26); Bhrgu also states Kurma supports the earth (Part 15: Reva-Khanda: 182.1-22); and Sesa and Kurma are also later stated to stabilise the Earth (Part 17: Nagara Khanda: 144.117)
 * Kurma is mentioned where Vishnu is stated to be the annihilator in the form of Rudra (Part 5: Purusottama-Ksetra Mahatmya: 22.32-43)
 * Kurma is named as one of 12 incarnations of Vishnu, who states to Brahma:

"When the sons of Kasyapa (i.e. Devas and Asuras) will churn the ocean for (obtaining) nectar, I [ Vishnu], assuming the form of a tortoise, will bear on my back Mount Mandara used as the churning rod."

 * In the procedure for Puja Mandala construction, Matsya and Kurma should be installed in the South-West and depicted as animals below the waist but in human form above (Part 7: Vasudeva-Mamatmya: 27.32-33)
 * It is stated that the Linga of Shiva evolved from 'the back of a tortoise (shell)' (Part 9: Dharmaranya Khanda: 19.16) and that 'The Bija [origin] of Vahni (Fire) is accompanied by (the seed of) Vata (Wind) and the Bija of Kurma (tortoise)' (Part 9: Dharmaranya Khanda: 20.20-23)
 * It is stated that 'Like a tortoise that withdraws all its limbs, he who withdraws the sense-organs though the proper procedure of Pratyahara shall become free from sins' (Part 10: Purvardha: 41.102)
 * Kumari - the Shakti of Kurma - has a noose in her hand and is located to the south of Mahalaksmi (Part 11: Uttarardha: 70.69)
 * 'Kurma' is one of the thousand names (Vishnu Sahasranama) of Vishnu (Part 12: Avantiksetra Mahatmya: 63.83)
 * Kurma is listed in the Dashavatara, or ten primary incarnations of Vishnu (Part 15: Reva-Khanda, 151.1-7)
 * Bhrgu refers to a Ksetra (temple) that stands on Kaccapa (i.e. a tortoise) and states there will be a city named after Him, Bhrgukaccha (Part 15: Reva-Khanda: 182.1-22)
 * The star constellations in the form of Kurma (i.e. the tortoise) are discussed, where it is also stated Kurma is stationed in Bharata and faces the east (Part 19: Prabhasa-Ksetra Mahatmya: 7.17-37 and 11.18)
 * A Holy spot called Prabhasa in Bharata is located to the south-west of the shrine of Kurma (Part 20: Prabhasa Khanda: 167.33)

Iconography
The Samudra Manthana is popular in iconography and even found in South East Asia. Notable depictions include the relief at Angkor Wat with Vishnu and Kurma in the centre and the gods and demons on either side churning the ocean. The earth below the temple represents Kurma in Khymer iconography, the earth goddess being Vishnu's consort. The Vishnu on the top of Mandara symbolizes him as the shining midday Sun.

Kurma is depicted either zoomorphically as a tortoise.

In the anthropomorphic form, the upper half is that of the four-armed man and the lower half is a fish. The upper half resembles Vishnu and wears the traditional ornaments and the kirita-mukuta (tall conical crown) as worn by Vishnu. He holds in two of his hands the Sudarshana chakra (discus) and a shankha (conch), the usual weapons of Vishnu. The other two hands make the gestures of varadamudra, which grants boons to the devotee, and abhayamudra, which reassures the devotee of protection. The depiction is similar to Matsya, where the lower half is a fish.

Locations
Srikurmam was initially a Shiva temple, which was converted into a Vaishnava one by the Vaishnava saint Ramanuja. The sanctum has an icon of Vishnu, as well as of Kurma with the tail and back to the devotee and face to the west. This is in contradiction to scriptural mandate that the central icon should face the east. According to a legend, the Kurma icon turned to the west back wall in honour of a tribal Bhil king who worshipped him from the back of the temple. Nanditha Krishna suggests that a tribal tortoise god could have been assimilated in the Hindu fold by identifying him with Kurma.

There are five temples dedicated to this incarnation of Vishnu in India:

 * Kurmai (Chittoor District of Andhra Pradesh)
 * Sri Kurmam (Srikakulam District of Andhra Pradesh)
 * Gavirangapur (Chitradurga District of Karnataka)
 * Swarupnarayan (Goghat village in Hooghly district of West Bengal).

The name of the village mentioned above originates from the historical temple of Kurma called Varadarajaswamy (Kurma avatara of Vishnu), regarding the deity of this village.

 * Amamangalam Maha Vishnu Temple (Kakkur, Calicut District, Kerala) - The presiding deity is called Kurmavataram. Local legends consider to be one of the major temples dedicated to the Dashavatara consecrated by Parashurama himself.
 * Subsidiary shrine at Garuda Temple, Triprangode, Malappuram, Kerala

Other uses
M. Vettam notes that there are ten Vayus (Winds) in the body, one of which is called 'Kurma' in regards to opening and closing the eyes.

The ' kurma-Nadi'  (or Kūrmanāḍī, Sanskrit कूर्मनाडी), meaning 'Tortoise-Nerve' or 'Canal Of The Tortoise', is in relation to steadying the mind (slowing down thoughts) in Yogic practice.  'Nadi' itself means 'Vein', 'Artery', 'River', or 'Any Tubular Organ Of The Body' (as well as 'Flute'). Although the Kurmanaḍi is generally stated to be located in the upper chest below the throat, S. Lele believes this refers to the Muladhara Chakra, located near the Tailbone, based on the root-word 'Nal' (Sanskrit नल्), meaning 'to Bind'.

These are all mentioned in the Upanishads and Puranas.

title: Kurma


text:
Paul Barbarin

Adolphe Paul Barbarin (May 5, 1899 – February 17, 1969) was an American jazz drummer from New Orleans.

Career
Barbarin grew up in New Orleans in a family of musicians, including his father Isidore, three of his brothers (including Louis), and his nephew (Danny Barker). He was a member of the Silver Leaf Orchestra and the Young Olympia Band. He moved to Chicago in 1917 and worked with Freddie Keppard and Jimmie Noone. From 1925–1927, he was a member of King Oliver's band.

During the following year, he moved to New York City and played in Luis Russell's band for about four years. He left Russell and worked as a freelance musician, but he returned to Russell's band when it supported Louis Armstrong. For a brief time beginning in 1942, he worked for Red Allen's sextet, with Sidney Bechet in 1944 and Art Hodes in 1953. In 1955, he founded the Onward Brass Band in New Orleans. He spent the rest of his life as the leader of that band.

Barbarin died on February 17, 1969, while playing snare drums during a Mardi Gras parade. Record producer Al Rose said that his funeral "attracted one of the great mobs in New Orleans funeral history."

Personal life
Barbarin was Catholic.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Paul Barbarin


text:
Varaha

Varaha (वराह, ) is an avatar of the Hindu god Vishnu, in the form of an Indian boar. Varaha is listed as third in the Dashavatara, the ten principal avatars of Vishnu.

Varaha is associated with the legend of lifting the earth (as the goddess Bhumi) out of the cosmic ocean. When the asura Hiranyaksha stole the earth and hid her in the primordial waters, Vishnu appeared as Varaha to rescue her. Varaha killed Hiranyaksha, and retrieved the earth from the ocean, lifting it on his tusks, restoring Bhumi to her place in the universe.

Varaha is depicted as a boar or in an anthropomorphic form, with a boar's head and a human body. His consort, Bhumi is generally depicted as a goddess, lifted by Varaha.

Etymology and other names
The deity Varaha derives its name from the Sanskrit word varāha (Devanagari: वराह, ) meaning "boar" or "wild boar".

The word varāha is from Proto-Indo-Iranian term *warāȷ́ʰá, meaning boar. It is thus related to Avestan varāza, Kurdish beraz, Middle Persian warāz, and New Persian gorāz (گراز), all meaning "wild boar".

The Sanskrit grammarian and etymologist Yaska (circa 300 BCE) states that the word varaha originates from the root √hr. The Monier-Williams dictionary states that the root √hr means "'to offer/present', 'to outdo, eclipse, surpass', 'to enrapture, charm, [and] fascinate', and 'to take away or remove evil or sin'" and also "to take away, carry off, seize, deprive of, steal, [or] rob".

As per Yaska, the boar is a beast that "tears up the roots, or he tears up all the good roots" is thus called varaha. The word varaha is found in the Rigveda, for example, in its verses such as 1.88.5, 8.77.10 and 10.28.4 where it means "wild boar".

The word also means "rain cloud" and is symbolic in some Rigvedic hymns, such as Vedic demon Vritra being called a varaha in Rigvedic verses 1.61.7 and 10.99.6, and Soma's epithet being a varaha in 10.97.7. Later the rain-relationship led the connotation of the term evolve into vara-aharta, which means "bringer of good things" (rain), which also mentioned by Yaska.

Yaska mentions a third meaning of the word varaha. The Vedic group of Angirases are called varahas or collectively a varahavah.

The god Varaha is also called referred by the epithet sukara (Sanskrit सूकर, ), meaning 'wild boar', which also used in the Rigveda (e.g. 7.55.4) and Atharva Veda (e.g. 2.27.2). The word literally means "the animal that makes a peculiar nasal sound in respiration"; in the Bhagavata Purana, Varaha is referred to Sukara, when he is born from the god Brahma's nostril.

Vedic origins

The origin of Varaha is found in the Vedas, the oldest Hindu scriptures. Varaha, originally described as a form of Prajapati (equated with Brahma), evolved into the avatar of Vishnu in later Hindu scriptures. Two other avatars of Vishnu – Matsya (the fish) and Kurma (the tortoise) were also equated with Prajapati, before being described as forms of Vishnu in later traditions.

Arthur Anthony Macdonell traces the origins of the Varaha legend to two verses (1.61.7 and 8.66.10) of the Rigveda, the oldest Veda. Vishnu, aided by the god Indra, steals hundred buffaloes from a boar (identified Vritra by Macdonell based on verse 1.121.11); Indra – shooting across a mountain slays the emusha ("fierce") beast. Arthur Berriedale Keith also agrees with Macdonell; interpreting the mountain as a cloud and the slaying as an alternate version of the annihilation of the asura Vritra by Indra. The 14th-century Vedic commentator Sayana states the Taittiriya Samhita (6.2.4) elaborates the Rigveda version. However, the Rigveda does not hint at the classical legend of the rescue of the earth by the boar. In the scripture, the god Rudra is called the "boar of the sky". Even Vishnu is described to have slain a boar. The hunt of a boar using dogs is also referred to.

The Taittiriya Samhita (6.2.4) mentions that the boar, "the plunderer of wealth", hides the riches of the asuras, beyond the seven hills. Indra destroys the beast by striking it a blade of sacred kusha grass, piercing the mounts. Vishnu, "the sacrifice" (yajna), brings the slain boar as a sacrificial offering to the gods, thereby the gods acquiring the treasure of the asuras. Vishnu is both the sacrifice as well as the "bringer of sacrifice"; the boar being the sacrifice. The tale is also recalled in Charaka Brahmana and Kathaka Brahmana; the latter calls the boar Emusha.

According to J. L. Brockington, there are two distinct boar mythologies in Vedic literature. In one, he is depicted as a form of Prajapati, in other an asura named Emusha is a boar that fights Indra and Vishnu. The section 14.1.2 of the Shatapatha Brahmana harmonizes the two myths and Emusha is conflated into Prajapati.

The earliest versions of the classical Varaha legend are found in the Taittiriya Samhita and the Shatapatha Brahmana; scholars differ on which one is the core version. The Shatapatha Brahmana narrates that the universe was primordial waters. The earth which was the size of a hand, was trapped in it. The god Prajapati (equated with Brahma) in the form of a boar (varaha) plunges into the waters and brings the earth out. He also marries the earth thereafter. The Shatapatha Brahmana calls the boar as Emusha, which Keith relates to the boar's epithet emusha in the Rigveda. In the Taittiriya Samhita (7.1.5), Prajapati – who was roaming as the wind – acquires the form of a "cosmogonic" boar lifting the earth goddess from the primeval waters. As Vishwakarma (the creator of the world), he flattened her, thus she – the earth – was called Prithvi, "the extended one". They produce various deities.

The Taittiriya Aranyaka (10.1.8) states the earth is lifted by a "black boar with hundred arms". The Taittiriya Brahmana (1.1.3.6) expands the Taittiriya Samhita narrative. The "Lord of creation" was pondering on how the universe should be. He saw a lotus leaf and took the form of a boar to explore under it. He found mud and outstretched it on the leaf, rising above the waters. It was called the earth – Bhumi, literally "that which became (spread)".

Creation legend
The Ayodhya Kanda book of the epic Ramayana refers to Varaha retaining his connection to Prajapati-Brahma. In a cosmogonic myth, Brahma appears in the primal universe full of water and takes the form of a boar to lift the earth from the waters; creation begins with Brahma and his progeny. The Yuddha Kanda book of the epic praises Rama (the hero of the epic, who is identified with Vishnu) as "the single-tusked boar", which is interpreted as an allusion to Varaha and links Varaha with Vishnu. In the epic Mahabharata, Narayana ("one who lies in the waters", an appellation of Brahma which was later transferred to Vishnu) is praised as the one who rescues the earth as a boar.

The Puranas complete the full transition of Varaha from the form of Prajapati-Brahma to the avatar of Narayana-Vishnu. The Brahmanda Purana, the Vayu Purana, the Vishnu Purana, the Linga Purana, the Markendeya Purana, the Kurma Purana, the Garuda Purana, the Padma Purana and the Shiva Purana have similar narratives of the cosmogonic myth, wherein Brahma, identified with Narayana-Vishnu, takes the Varaha form to raise the earth from the primeval waters.

The Brahmanda Purana, one of the oldest Puranas, narrates that in the present kalpa ("aeon") called Varaha kalpa, Brahma wakes from his slumber. Brahma is called Narayana ("he who lies in the waters"). The Vayu Purana says that Brahma roams as the wind in the waters, which is interpreted as allusion to the Vedic Taittiriya Brahmana version. Similarly alluding to the Vedic version, the detailed Brahmanda Purana version says that Brahma is "invisible" and a shorter summary says that he becomes the wind. In the Brahmanda Purana, realizing that the earth was in the waters, he decides to take the form of Varaha as the beast likes to sport in the water. Similar reasons for taking the boar form particularly are also given in the Linga Purana, the Matsya Purana and the Vayu Purana. The Vishnu Purana and the Markendeya Purana add that Brahma-Narayana decides to take the form of Varaha, similar to the forms of the fish (Matsya) and tortoise (Kurma), he took in previous kalpas.

The Brahma Purana, the Venkatacala Mahatmya in the Vaishnava Khanda Book of the Skanda Purana and the Vishnu Smriti narrate the tale with slight variation, however Brahma is missing; it is Vishnu-Narayana who unambiguously becomes Varaha to lift the sunken earth from the waters. In late addition in the Mahabharata, the single-tusked (Eka-shringa) Varaha (identified with Narayana-Vishnu) lifts the earth, which sinks under the burden of overpopulation when Vishnu assumes the duties of Yama (the god of Death) and death seizes on earth. In the Matsya Purana and the Harivamsa, at the beginning of a kalpa, Vishnu creates various worlds from the cosmic golden egg. The earth, unable to bear the weight of the new mountains and losing her energy, sinks in the waters to the subterranean realm of Rasatala – the abode of the demons. In the first account in the Bhagavata Purana states that in early stages of creation, Brahma creates various beings, however finds the earth under the waters. Varaha (identified with Vishnu, the Lord of sacrifice) emerges as a tiny beast (a size of a thumb) from the nostrils of Brahma, but soon starts to grow. Varaha's size increases to that of an elephant and then to that of an enormous mountain.

The scriptures emphasize Varaha's gigantic size. The Brahmanda Purana, the Vayu Purana, the Matsya Purana, the Harivamsa and the Linga Purana describes Varaha as 10 yojanas (The range of a yojana is disputed and ranges between 6 - 15 km) in width and a 1000 yojanas in height. He is large as a mountain and blazing like the sun. Dark like a rain cloud in complexion, his tusks are white, sharp and fearsome. His body is the size of the space between the earth and the sky. His thunderous roar is frightening. In one instance, his mane is so fiery and fearsome that Varuna, the god of the waters, requests Varaha to save him from it. Varaha complies and folds his mane.

Early texts like the Brahmanda Purana and the Vayu Purana build up on the Taittiriya Brahmana Vedic cosmogonic concept of Yajna-varaha (Varaha as sacrifice). The Brahmanda Purana describes that acquiring the boar form composed of Vedic sacrifices, he plunges in waters, finding the earth in the subterranean realm. Varaha's various body parts are compared with various implements or participants of a yajna (sacrifice). This description of Yajna-varaha was adopted in various other Puranas (like the Brahma Purana, the Bhagavata Purana, the Matsya Purana, the Padma Purana, the Venkatacala Mahatmya of the Skanda Purana, the Vishnudharmottara Purana), the Harivamsa, Smriti texts (including the Vishnu Smriti, ), Tantras and Adi Shankara's commentary on the Vishnu Sahasranama explaining the epithet Yajnanga ("whose body is yajna"). The Vishnu Purana, the Bhagavata Purana and the Padma Purana embeds the sacrificial description within a paean to Varaha by the sages of Janaloka after he saves the earth. Roshen Dalal describes the symbolism of his iconography based on the Vishnu Purana as follows: "His [four] feet represent the Vedas (scriptures). His tusks represent sacrificial stakes. His teeth are offerings. His mouth is the altar, the tongue is the sacrificial fire. The hair on his head denotes the sacrificial grass. The eyes represent the day and night. The head represents the seat of all. The mane represents the hymns of the Vedas. His nostrils are the oblation. His joints represent the various ceremonies. The ears are said to indicate rites (voluntary and obligatory)."

Some texts like the Vishnu Purana, the Matsya Purana, the Harivamsa and the Padma Purana contain a panegyric – dedicated to Varaha – and a plea of rescue by the earth. They clearly identify Varaha with Vishnu at this stage. Further in the Brahmanda Purana and other texts, Varaha rose from the waters carrying the earth on his tusks and restored her on the waters, where she floated like a boat. Varaha flattened the earth and divided it into seven great portions by creating mountains. Further, Brahma, identified with Vishnu, creates natural features like mountains, rivers, oceans, various worlds as well as various beings. The Venkatacala Mahatmya and the first account in the Bhagavata Purana mentions only the rescue of the earth by Varaha, omitting the creation activities attributed to him in other texts. The Venkatacala Mahatmya states that Varaha placed beneath the earth the world elephants, the serpent Shesha and the world turtle as support. At his behest, Brahma creates various beings. The Bhagavata Purana alludes to the slaying of a demon – identified with Hiranyaksha in other narratives in the Purana.

The Linga Purana and the Markendeya Purana clearly identifies Varaha, as the rescuer of the earth, with Vishnu, barring the cosmogonic myth.

Slayer of demons

While early references in the Mahabharata to the demon Hiranyaksha do not relate him to Varaha, Vishnu is said to be taken the boar form to slay a demon named Naraka. Another late insertion describes Vishnu lifting the earth as well as defeating all the danavas (demons). Late passages start the association of Hiranyaksha with Varaha. Vishnu is praised as Varaha, the vanquisher of Hiranyaksha in three instances.

The Agni Purana mentions the obliteration of the demon Hiranyaksha as Varaha's main purpose. The Linga Purana and the Kurma Purana narrate that the daitya (demon; lit. "son of Diti") Hiranyaksa defeats the gods and entraps the earth in the subterranean realm. Taking the Varaha form, Vishnu slays the demon by piercing him by his tusks. Later, he uplifts the earth from the netherworld and restores her to her original position. The Linga Purana continues further: Later, Vishnu discards his boar body and returns to his heavenly abode; the earth cannot bear the weight of his tusk. Shiva relieves the earth by using the same as an ornament.

The Brahmanda Purana, the Vayu Purana, the Matsya Purana and the Padma Purana mentions that Varaha's battle with the asuras (demons) is one of twelve in this kalpa between the gods and the demons. The Brahmanda Purana states that Hiranyaksha is pierced by Varaha's tusk, while Vayu Purana comments that Hiranyaksha is killed in this battle before Varaha rescued the earth. The Harivamsa narrates that the demons led by Hiranyaksha overpower and imprison the gods, Vishnu assumes the boar form and slays the demon-king with his Sudarshana chakra (discus) after a fierce war.

The Shrishti Khanda book of the Padma Purana provides an elaborate description of the war between the gods and the demons led by Hiranyaksha. The demon army is routed by the gods, who in turn by overpowered by the demon-king. Vishnu combats with Hiranyaksha for a hundred divine years; finally the demon expands his size and seizing the earth escapes to the netherworld. Vishnu follows him, taking up the Varaha form and rescues the earth. After engaging in a fierce mace-battle, Varaha finally beheads the demon with his discus.

In the Shiva Purana, the annihilation of Hiranyaksha appears as a cursory tale in the story of subduing of his adopted son Andhaka by Shiva. The demon king Hiranyaksha confines the earth to Patala. Vishnu becomes Varaha (identified with Sacrifice) and slaughters the demon army by trashing them by his snout, piercing by tusks and kicking by his legs. Finally, Varaha decapitates the demon king with his discus and crowns Andhaka as his successor. He picks the earth on his tusks and places it in her original place. A detailed second account in the Bhagavata Purana narrates that Jaya and Vijaya, the doorkeepers of Vishnu's abode Vaikuntha, were cursed by the four Kumaras to be born as demons. In their first birth, they are born as the daityas Hiranyakashipu (who is slain by another Vishnu avatar Narasimha) and Hiranyaksha as the twin sons of Diti and the sage Kashyapa. Blessed by Brahma, the king of daityas Hiranyaksha became powerful and conquered the universe. He challenges the sea god Varuna to combat, who redirects him the more powerful Vishnu. The demon confronts Vishnu as Varaha, who is rescuing the earth at the time. The demon mocks Varaha as the beast and warns him not to touch earth. Ignoring the demon's threats, Varaha lifts the earth on his tusks. Varaha engages in a mace-duel with the demon. Varaha destroys the demon with the discus, the demon horde created by the demon's magic; finally slaying Hiranyaksha hitting him with his foreleg after the thousand-year battle.

The Garuda Purana, that refers to the Bhagavata Purana, alludes to the curse in the Hiranyaksha tale. The cursed Vijaya is born as the demon Hiranyaksha, begins a boon from Brahma. He takes the earth to Patala. Vishnu, as Varaha, enters Patala via the ocean. He lifts the earth with the tusks and annihilates the demon; then places the four world elephants to support the earth and settles in Srimushnam. The Uttarakhanda book of the Padma Purana also narrates about the curse of the Kumaras. Jaya and Vijaya choose three births on the earth as foes of Vishnu, rather than seven existences as his devotees to lessen the period of the curse. Hiranyaksha carries the earth away to the underworld. Varaha pierces the demon fatally by his tusk and then places the earth over the hood of the serpent and becomes the world turtle to support it. The Avantikshetra Mahatmya section of the Avantya Khanda Book of the Skanda Purana also refers to the curse. The earth sinks in the waters tormented by the daityas; Varaha vanquishes Hiranyaksha.

In a passing reference in the Brahmanda Purana, the Vayu Purana and Matsya Purana, Varaha is said to have slain Hiranyaksha on Mount Sumana (also called Ambikeya or Rishabha) on/ near the legendary island Jambudvipa. Besides to alluding to the raising of the earth from the waters by Varaha, the Brahmavaivarta Purana also mentions that Hiranyaksha was slain by Varaha. The Garuda Purana and the Narada Purana also refers to Varaha as the slayer of Hiranyaksha.

The Brahma Purana narrates another tale where a rakshasa (demon) named Sindhusena defeated the gods and took the sacrifice to the netherworld Rasatala. Implored by the gods, Vishnu takes the form of Varaha and enters Rasatala. He slew the demons and recovered the sacrifice holding it in his mouth (mukha), thus sacrifice known as makha. Near Brahmagiri hill in Trimbak, Varaha washed his blood-stained hands in the river Ganga (identified with the Godavari alias Gautami river); the water collected forms the sacred pond called Varaha-tirtha or Varaha-kunda.

Saviour of the ancestors

In an instance in the Mahabharata after raising the earth, Vishnu as Varaha, shakes his tusk and three balls of mud fall in the South, which he declares as the three pindas (riceballs) to be given to the Pitrs (ancestors). Varaha's association with the three pindas is reiterated in later texts like the epic's appendix Harivamsa, the Vishnudharmottara Purana and the Brahma Purana. This tale constitutes the mythology of Pitr-yajna or Shraddha, sacrifice to the ancestors.

The Brahma Purana narrates about Varaha's deliverance of the Pitrs (manes). Once, the Pitrs lust for Urja (also known as Svadha and Koka), the daughter of the moon-god Chandra. Cursed by Chandra, the Pitrs fall as humans on the Himalayan mountains from their elevated positions, while Koka transforms into a river in the mountains. The demons attack the Pitrs, who hides under a slab in the Koka river. Eulogized by the Pitrs, Varaha uplifted the drowning Pitrs from the river by his tusks. Then, he performs the rites of Shraddha by performing libations and pindas to the Pitrs with the Earth acting as Chaya – his consort in the rituals. Varaha liberated the Pitrs from the curse and blessed Koka to be reborn as Svadha (the food or oblations offered to Pitrs) and become the wife of the Pitrs. Further, Narakasura (also called Bhauma) was born to the earth due to her contact with Varaha. Also, Varaha's temple was established at Kokamukha, where Varaha freed the Pitrs.

Child
The Vishnu Purana, the Brahma Purana and the Bhagavata Purana, in the episode of the killing of the demon Narakasura by Krishna avatar of Vishnu, mentions that the demon was the son of Varaha and the earth goddess Bhudevi. In some versions of the tale, Vishnu-Varaha promises the earth that he will not kill their son, without her consent. In the Krishna form, Vishnu slays the demon with the support of Satyabhama, Krishna's consort and an avatar of Bhudevi.

The Brahmavaivarta Purana narrates that Varaha slew Hiranyaksha and rescued the earth from the waters. Varaha and the earth goddess were attracted to each other and made love. After they regained consciousness, Varaha worshipped the earth and decreed that the earth be worshipped at specific occasions, such as the construction of a house, lakes, wells, dams, etc. From their union, Mangala, the god of the planet Mars, was born.

The Avantikshetra Mahatmya of the Skanda Purana states that after slaying Hiranyaksha, the Shipra River springs from the heart of Varaha. Thus, the sacred river is described as the daughter of Varaha.

In avatar listings
The Mahabharata lays the foundation for the avatar concept in Vishnu theology; the term pradurbhava ("manifestation") appears in the early lists, instead the term avatar. Varaha is listed as one of the four incarnations of Narayana-Vishnu who "relieve the burden of the earth" in an early list; in another list which may be a later addition to the epic, Varaha is one among eight pradurbhavas. Some manuscripts of the epic expand the list to the classical ten Dashavatar list; with Varaha listed as third or fourth pradurbhava. Varaha is referred to yajna-varaha ("sacrifice boar") in some instances.

The Agni Purana while narrating tales of the Dashavatara in sequence briefly mentions that the Hiranyaksa, a chief of asuras (demons) defeated the gods and captured Svarga (heaven). Vishnu, in his third avatar as Varaha, slew the demons.

The Linga Purana mentions that Vishnu takes the avatars due to a curse by the sage Bhrigu. It mentions Varaha as the third of the Dashavatara. The Narada Purana, the Shiva Purana and the Padma Purana concurs placing Varaha as third of ten avatars.

The Bhagavata Purana and Garuda Purana mention Varaha as second of 22 avatars. They say that Varaha, "the lord of sacrifices", rescued the earth from the netherworld or the waters. In two other instances in the Garuda Purana, Varaha is mentioned as third of the classical Dashavatara.

The Narada Purana has a variant of Caturvyuha with Narayana, Varaha, Vamana and Balarama (Haladhara) as the four emanations.

Other legends and textual references
The Linga Purana, the Shiva Purana and the Maheshvara Khanda Book of the Skanda Purana mention Vishnu taking the Varaha form in the tale of the origin of the linga (the aniconic symbol of Shiva). Once, Brahma and Vishnu contest for superiority. An infinite, fiery pillar signifying the linga appears. Brahma as a hamsa (swan) flies up to find its top; while Varaha as large boar went lower to search its base. However, both fail the ends of the linga. Shiva appears in the place of linga and enlightens them that he is the Supreme Being. The Shiva Purana says that Vishnu chose the boar form due to the beast's inborn ability to burrow. It also notes that the current kalpa is known as Varaha-kalpa due to Vishnu's form as Varaha in the beginning of the kalpa. This tale is iconographically depicted in the Lingodbhava icon of Shiva as emerging from a cosmic pillar, while Vishnu as Varaha is seen at the base going down and Brahma as a swan flying at the top. The Lingodbhava icon of the Shiva-worshipping Shaiva sect was aimed to counter the avatar theory of Vishnu that presented him as the Supreme Being. The icon elevated Shiva to the Supreme Being position and demoted Vishnu as inferior to Shiva by belittling the Varaha avatar. Similarly, the Sharabha form of Shiva offset Narasimha, the lion-man avatar of Vishnu.

Another legend in the minor Purana named Kalika Purana also depicts the sectarian conflicts between the Vaishnava followers of Vishnu and the Shaiva sect of Shiva. Varaha lifts the sunken earth by piercing his tusk through her. He then assumes the form of the seven-hooded serpent Shesha (Ananta) and supports the earth on one of his hoods. Thereafter, Varaha and Bhudevi enjoy as Varaha and Varahi. They have three boar sons named Suvrtta, Kanaka, and Ghora. Varaha and his progeny create mayhem in the world. The gods go to Varaha to abandon his boar form. Vishnu requests Shiva to take the form of Sharabha (also called Varaha Shiva), to kill the body of Varaha and the three sources of havoc. The retinues of Sharabha and Varaha, aided by Narasimha, fight. In the war, Narasimha is killed by Sarabha. Thereafter, Varaha requests Sarabha to dismember him and create implements of sacrifice from his body parts; Sharabha complies by slaying Varaha.

Varaha also appears in the Shakta (Goddess-oriented) narrative in the final episode of the Devi Mahatmya text embedded in the Markendeya Purana. Vishnu as Varaha creates his shakti Varahi (along with other deities, together called the eight matrika goddesses) to aid the Great Goddess to fight the demon Raktabija.

The scripture Varaha Purana is believed to be narrated by Vishnu to Bhudevi, as Varaha. The Purana is devoted more to the "myths and genealogies" connected to the worship of Vishnu. Though Varaha is praised numerous times as the saviour of the earth from the waters, the detailed legend is not given in the Purana. The earth praises Varaha-Vishnu who rescued her numerous times in various avatars and sees the complete universe in his mouth, when Varaha laughs. The Varaha Upanishad, a minor Upanishad, is narrated as a sermon from Varaha to the sage Ribhu.

The Agni Purana, Brahma Purana, the Markendeya Purana and the Vishnu Purana say that Vishnu resides as Varaha in Ketumala-varsha, one of the regions outside the mountains surrounding Mount Meru. The Bhagavata Purana says that Vishnu dwells as Varaha with the earth goddess in the Northern Kuru varsha. The Vayu Purana describes an island called Varaha-dvipa near Jambudvipa, where only Vishnu as Varaha is worshipped.

Iconography
Like Vishnu's first two avatars – Matsya (fish) and Kurma (turtle) – the third avatar Varaha is depicted either in zoomorphic form as an animal (a wild boar), or anthropomorphically. The main difference in the anthropomorphic form portrayal is that the first two avatars are depicted with a torso of a man and the bottom half as animal, while Varaha has an animal (boar) head and a human body. The portrayal of the anthropomorphic Varaha is similar to the fourth avatar Narasimha (portrayed as a lion-headed man), who is the first avatar of Vishnu that is not completely animal.

Textual descriptions
The Agni Purana describes that Varaha is depicted with the human body and boar head. In one configuration, he carries a gada (mace), shankha (conch), padma (lotus) with Lakshmi on his left. In another form, he is depicted with the earth goddess on his left elbow and the serpent Shesha at his feet.

The Vishnudharmottara Purana describes the iconography of Nri-varaha ("human-boar"), with a human body and boar head. Varaha be depicted standing in the combative alidha pose (With a leg held straight and the other leg bent a little) on the four-armed serpent Shesha with folded arms. He holds a conch in his left hand; on this elbow he supports the earth goddess who depicted with folded hands. He also holds mace, lotus and chakra (discus). He may also be depicted hurling the chakra at Hiranyaksha or raising a spear at the demon. Varaha can be also depicted in meditative posture like the sage Kapila or offering pindas. He can depicted in battle surrounded by demons or zoomorphically as boar supporting the earth. The text prescribes Varaha worship for prosperity; the demon personifies adversity and ignorance while Varaha is wisdom, wealth and power.

The Matsya Purana describes that Varaha standing with the left foot on a turtle and the right foot on the hood of Shesha. The raised earth should be on his left elbow. His left hand is placed on his Shakti (consort) on his left; while he holds a lotus and mace. The lokapala deities should surround him, worshipping him.

The Narada Purana recommends Varaha be pictured as golden in complexion, having the earth on his white tusks and holding an iron-club, a conch, a discus, a sword, a javelin in his hands and making the abhayamudra (hand gesture of assurance).

The Venkatacala Mahatmya of the Skanda Purana mentions that the boar-faced, four-armed Varaha holds the discus and the conch and makes the gestures of blessing (varadamudra) and assurance. He wears various ornaments including the Kaustubha jewel and yellow garments. The srivatsa symbol is on his chest. The earth goddess is seated on his left lap.

Depictions
In the zoomorphic form, Varaha is often depicted as a free-standing boar colossus, for example, the monolithic sculpture of Varaha in Khajuraho (c. 900–925) made in sandstone, is 2.6 m long and 1.7 m high. The sculpture may not resemble a boar realistically, and may have his features altered for stylistic purposes. The earth, personified as the goddess Bhudevi, clings to one of Varaha's tusks. Often the colossus is decorated by miniature figurines of deities, other celestial beings, sages, anthropomorphic planets, stars and other world creatures appearing all over his body, which signify the whole of creation. The goddess of speech and knowledge, Saraswati is often depicted on his tongue, while Brahma is often depicted on his head. Besides Khajuraho, such sculptures are found in Eran, Muradpur, Badoh, Gwalior, Jhansi and Apasadh.

In the anthropomorphic form, Varaha often has a stylized boar face, like the zoomorphic models. The snout may be shorter. The position and size of the tusks may also be altered. The ears, cheeks, and eyes are generally based on human ones. Early sculptors in Udayagiri and Eran faced the issue of how to attach the boar head to the human body and did not show a human neck. However, in Badami, the problem was resolved by including a human neck. While some sculptures show a mane, it is dropped and replaced by a high conical crown – typical of Vishnu iconography – in others. Varaha sculptures generally look up to the right; there are very rare instances of left-facing Varaha depictions.

Varaha has four arms, two of which hold the Sudarshana chakra (discus) and shankha (conch), while the other two hold a gada (mace), a sword, or a lotus or one of them makes the varadamudra (gesture of blessing). Varaha may be depicted with all of Vishnu'a attributes in his four hands: the Sudarshana chakra, the shankha, the gada and the lotus. Sometimes, Varaha may carry only two of Vishnu's attributes: a shankha and the gada personified as a female called Gadadevi. Varaha may also wear a vanamala - a garland of forest flowers, which is a regular characteristic in Vishnu icons. Varaha is often shown with a muscular physique and in a heroic pose. He is often depicted triumphantly emerging from the ocean as he rescues the earth.

The earth may be personified as the goddess Bhudevi in Indian sculpture. Bhudevi is often shown as a small figure in the icon. She may be seated on or dangling from one of Varaha's tusks, or is seated on the corner of his folded elbow or his shoulder and supports herself against the tusk or the snout, as being lifted from the waters. In later Indian paintings, the whole earth or a part of it is depicted lifted up by Varaha's tusks. In Mahabalipuram, a rare portrayal shows an affectionate Varaha looking down to Bhudevi, who he carries in his arms. The earth may be portrayed as a globe, a flat stretch of mountainous land or an elaborate forest landscape with buildings, temples, humans, birds, and animals. The defeated demon may be depicted trampled under Varaha's feet or being killed in combat by Varaha. Nagas (snake gods) and their consorts Naginis (snake goddesses), residents of the underworld, may be depicted as swimming in the ocean with hands folded as a mark of devotion. Varaha may be also depicted standing on a snake or other minor creatures, denoting the cosmic waters. Sometimes, Lakshmi - Vishnu's primary consort - is depicted in the scene near the right foot of Varaha.

The Udayagiri Varaha panel is an example of an elaborate depiction of Varaha legend. It presents the goddess earth as the dangling woman, the hero as the colossal giant. His success is cheered by a galaxy of the divine as well as human characters valued and revered in the 4th-century. Their iconography of individual characters is found in Hindu texts.

Two iconographical forms of Varaha are popular. Yajna Varaha – denoting yajna (sacrifice) – is seated on a lion-throne and flanked by Bhudevi and Lakshmi. As Pralaya Varaha – indicative of lifting the earth from the stage of the pralaya (the dissolution of the universe) – he is depicted only with Bhudevi. Varaha may be depicted with Lakshmi alone too. In such sculptures, he may be depicted identically to Vishnu in terms of iconography with Vishnu's attributes; the boar head identifying the icon as Varaha. Lakshmi may be seated on his thigh in such portrayals.

Varaha often features in the Dashavatara stele – where the ten major avatars of Vishnu are portrayed – sometimes surrounding Vishnu. In the Vaikuntha Vishnu (four-headed Vishnu) images, the boar is shown as the left head. Varaha's shakti (energy or consort) is the Matrika (mother goddess) Varahi, who is depicted with a boar head like the god. The Vishnudharmottara Purana prescribes Varaha be depicted as a boar in the Lingodbhava icon of Shiva.

Evolution

The earliest Varaha images are found in Mathura, dating to the 1st and 2nd century CE. The Gupta era (4th–6th century) in Central India temples and archaeological sites have yielded a large number of Varaha sculptures and inscriptions; signifying cult worship of the deity in this period. These include the anthropomorphic version in Udayagiri Caves and the zoomorphic version in Eran. Other early sculptures exist in the cave temples in Badami in Karnataka (6th century) and Varaha Cave Temple in Mahabalipuram (7th century); both in South India and Ellora Caves (7th century) in Western India. By the 7th century, images of Varaha were found in all regions of India, including Kashmir in the north. By the 10th century, temples dedicated to Varaha were established in Khajuraho (existent, but worship has ceased), Udaipur, Jhansi (now in ruins) etc. The boar was celebrated in the first millennium as a "symbol of potency".

The Chalukya dynasty (543–753) was the first dynasty to adopt Varaha in their crest and minted coins with Varaha on it. The Gurjara-Pratihara king Mihira Bhoja (836–885 CE) assumed the title of Adi-varaha and also minted coins depicting the Varaha image. Varaha was also adopted as a part of royal insignia by the Chola (4th century BCE–1279 CE) and Vijayanagara Empires (1336–1646 CE) of South India. In Karnataka, a zoomorphic image of Varaha is found in a carving on a pillar in Aihole, which is interpreted as the Vijayanagara emblem, as it is seen along with signs of a cross marked Sun, a disc and a conch.

However, the boar and its relative the pig started being seen as polluting since the 12th century, due to Muslim influence on India. Muslims consider the pig unclean. This led to a "change of attitude" towards Varaha. While Varaha once enjoyed cult following particularly in Central India, his worship has declined significantly today.

According to historian Dr. Suniti Kumar Chatterjee, Boro people trace their mythological origins to Varaha.

Some academics believe the Varaha avatar is a single-horned rhino, rather than a boar.

Symbolism

Varaha represents yajna (sacrifice), as the eternal upholder of the earth. Varaha is the embodiment of the Supreme Being who brings order amidst chaos in the world by ritual sacrifice. Various scriptures reiterate Varaha's identification with sacrifice, comparing his various body parts to implements and participants of a sacrifice. According to H.H. Wilson, the legend of Varaha symbolizes the resurrection of the earth from sin by sacred rituals. Vishnu is identified with sacrifice; Bhatta Bhaskara identifies Varaha with the sutya day in soma sacrifices, when the ritual drink of soma was consumed. A theory suggests that Varaha's identification with Sacrifice streams from the early use of a boar as sacrificial animal.

In royal depictions of Varaha, the icon is interpreted to allude to the Rajasuya sacrifice for royal consecration or Ashvamedha sacrifice to establish to establish sovereignty. The Varaha icon describes the role of a warrior king, rescuing goddess earth (kingdom) from a demon who kidnaps her, torments her and the inhabitants. It is a symbolism for the battle between right versus wrong, good versus evil, and of someone willing to go to the depths and do what is necessary to rescue the good, the right, the dharma. He is the protector of the innocent goddess and the weak who have been imprisoned by the demonic forces. The sculpture typically show the symbolic scene of the return of Varaha after he had successfully killed the oppressive demon Hiranyaksha, found and rescued goddess earth (Prithivi, Bhudevi), and the goddess is back safely. Whether in the zoomorphic form or the anthropomorphic form, the victorious hero Varaha is accompanied by sages and saints of Hinduism, all gods including Shiva and Brahma. This symbolizes that just warriors must protect the weak and the bearers of all forms of knowledge and that the gods approve of and cheer on the rescue.

Various holy books state that the boar form was taken to rescue the earth from the primordial waters, as the animal likes to play in the water. Wilson speculates that the legend may be an allusion to a deluge or evolution of "lacustrine" mammals in the earth's early history.

Another theory associates Varaha with tilling of the land for agriculture. When the boar tills the land with its tusk in nature, plants sprouts in the spot quickly. In the context of agriculture, Roy associates Varaha with the cloud, referring the Vedic etymology of varaha and similar to the Germanic association of the pig with "cloud, thunder and storm". The boar, as the cloud, ends the demon of summer or drought.

Various theories associate the Orion constellation with Varaha; though the constellation is also associated with other deities. In autumn, Vishnu or Prajapati (the Sun) enters the southern hemisphere (equated with the netherworld or the ocean), while returns as Orion, the boar, on the spring equinox.

In the Vaikuntha Chaturmurti icon when associated with the Chaturvyuha concept, Varaha is associated with the hero Aniruddha and energy.

Worship
The Agni Purana prescribes that Varaha be in the north-east direction in Vishnu temples or worship. Installation of the icon of Varaha is said to bestow one with sovereignty, prosperity and moksha (emancipation).

The Narada Purana mentions Varaha's mantra "Om namo Bhagavate Varaharupaya Bhurbhuvassvah pataye Bhupatitvam me dehi dadapaya svaha" and recommends Varaha to be worshipped for kingship. A shorter mantra "Om bhu varahay namah" is also given for gaining prosperity. Varaha is prescribed to be worshipped for ucchatana (eradication) of foes, ghosts, poison, disease and "evil planets". The one-syllabed mantra hum for Varaha is also noted. The Bhagavata Purana invokes Varaha for protection while travelling. The Venkatacala Mahatmya of the Skanda Purana mentions the mantra of Varaha as Om Namah Srivarahaya Dharanyuddharanaya Ca Svaha ("Saluation to Varaha who lifted the Earth"). The Agni Purana and the Garuda Purana associate the mantra Bhuh with Varaha.

The Garuda Purana recommends the worship of Varaha for sovereignty. A vrata involving the worship of a gold Varaha image on ekadashi (eleventh lunar day) in bright half of Magha month (i.e. Bhaimi Ekadakshi), is told in the Garuda Purana and the Narada Purana. Varaha Jayanti, the birthday of Varaha, is celebrated on the third lunar day in the bright fortnight of the Bhadrapada month. The worship of Varaha and overnight vigil (jagran) with Vishnu tales being told are prescribed on this day.

The Vishnu Sahasranama embedded in the thirteenth Book Anushasana Parva of the epic is a hymn listing the thousand names of Vishnu. The Varaha legend is alluded to in the following epithets: Mahibharta ("husband of the earth"), Dharanidara ("one who upholds the earth", may also refer to other Vishnu forms - Kurma, Shesha or Vishnu in general), Maha-varaha ("the great boar"), Kundara ("One who pierced the earth"), Brihadrupa ("who takes form of a boar"), Yajnanga ("whose body is yajna or sacrifice) and Vaikhana ("one who dug the earth"). The epithet Kapindra ("Kapi-Lord") may refer to Varaha or Rama avatar, depending the interpretation of the word kapi as boar or monkey respectively. The title Shringi ("horned") generally interpreted as Matsya, may also refer to Varaha. The Vishnu Sahasranama version from the Garuda Purana mentions Shukura (Boar) as an epithet of Vishnu. The Padma Purana includes Varaha in a hundred-name hymn of Vishnu. The thousand-name hymn version in the Padma Purana mentions that Vishnu is Varaha, the protector of sacrifices and destroyer of those who obstruct them.

Temples
The most prominent temple of Varaha is the Sri Varahaswami Temple in Tirumala, Andhra Pradesh. It is located on the shores of a temple pond, called the Swami Pushkarini, in Tirumala, near Tirupati; to the north of the Tirumala Venkateswara Temple (another temple of Vishnu in the form of Venkateswara). The region is called Adi-Varaha Kshestra, the abode of Varaha. The legend of the place is as follows: at the end of Satya Yuga (the first in the cycle of four aeons; the present one is the fourth aeon), devotees of Varaha requested him to stay on earth, so Varaha ordered his mount Garuda to bring his divine garden Kridachala from his abode Vaikuntha to Venkata hills, Tirumala. Venkateswara is described as having taken the permission of Varaha to reside in these hills, where his chief temple, Tirumala Venkateswara Temple, stands. Hence, pilgrims are prescribed to worship Varaha first and then Venkateswara. In the Atri Samhita (Samurtarchanadhikara), Varaha is described to be worshipped in three forms here: Adi Varaha, Pralaya Varaha and Yajna Varaha. The image in the sanctum is of Adi Varaha.

The Venkatacala Mahatmya of the Skanda Purana says that Varaha resides with Bhudevi on the banks of the Swami Pushkarini lake, Tirupati. Varaha is said to rest there in the jungle after rescuing the earth. Varaha roams in the forest near the lake as a lustrous boar. A tribal chief called Vasu follows the boar, who enters an anthill. Vasu digs the anthill but cannot trace the boar, finally swoons due to fatigue. His son finds him. Varaha possesses Vasu and instructs him to inform the king Tondaman to build his temple at the place. Varaha is also presented as the narrator of the tale of Venkateswara, whose chief temple is in Tirupati, to the Earth in a part of Venkatacala Mahatmya.

Another important temple is the Bhuvarahaswami Temple in Srimushnam, Tamil Nadu. It was built in the late 16th century by Krishnappa II, a Thanjavur Nayak ruler. The image of Varaha is considered a svayambhu (self-manifested) image, one of the eight self-manifested Svayamvyakta kshetras. An inscription in the prakaram (circumambulating passage around the main shrine) quoting from the legend of the Srimushna Mahatmaya (a local legend) mentions the piety one derives in observing festivals during the 12 months of the year when the sun enters a particular zodiacal sign. This temple is venerated by Hindus and Muslims alike. Both communities take the utsava murti (festival image) in procession in the annual temple festival in the Tamil month of Masi (February–March). The deity is credited with many miracles and called Varaha saheb by Muslims.

The Varaha temple in Pushkar is also included in the Swayamvyakta kshetra list. The Garuda Purana says Varaha performs a sacrifice near Pushkar lake in every Kartik month. The Padma Purana narrates that Brahma organizes a great sacrifice in Pushkar for the benefit of the universe. Varaha, appears there as the embodiment of Sacrifice (his sacrificial attributes are reiterated), to protect the sacrifice against any obstruction or evil. Brahma requests Varaha to always reside in and protect the sacred place of Pushkar. Varaha shrines are also included in Divya Desams (a list of 108 abodes of Vishnu). They include Adi Varaha Perumal shrine Tirukkalvanoor, located in the Kamakshi Amman Temple complex, Kanchipuram and Thiruvidandai, 15 km from Mahabalipuram.

Another pilgrimage place where Varaha resides is mentioned in the Brahma Purana near Vaitarana river and Viraja temple, Utkala (modern-day Odisha) (See Varahanatha Temple).

In Muradpur in West Bengal, worship is offered to an in-situ 2.5 m zoomorphic image of Varaha (8th century), one of the earliest known images of Varaha. A 7th century anthropomorphic Varaha image of Apasadh is still worshipped in a relatively modern temple.

Other temples dedicated to Varaha are located across India. Some of them are:

 * Andhra Pradesh - Varaha Lakshmi Narasimha temple, Simhachalam, dedicated to a combined form of Varaha and Narasimha.

 * Madhya Pradesh - Varaha is worshiped at Baraha Kalan, and at Vishnu-Varaha Temple, Majholi. The Varaha Temple at Khajuraho enshrines a colossal monolithic image of Varaha, purely in animal form.

 * Karnataka - Lakshmi Varaha Temple, at Maravanthe and at Bhoo Varaha Swamy Temple, Kallahalli.

 * Kerala - Panniyur Sri Varahamurthy Temple, Sreevaraham Lakshmi Varaha temple, Thiruvananthapuram, Sree Varaha Swamy Temple, Varapuzha(in Ernakulam), and Azheekal Sree Varaha Temple in Ernakulam. There are also many other Varaha temples scattered across Kerala.

 * Odisha - Lakshmi Varaha Temple, Aul.

A Varaha temple is also located in Mysore Palace premises at Mysore, Karnataka. The Varahashyam temple in Bhinmal, Rajasthan also has a 8 ft Varaha icon.

The Barahkshetra Temple in Nepal is mentioned in the Varaha Purana.

The Shri Barah Temple of Soron is mentioned as Shukra Kshetra in the Narasimha Purana.

title: Varaha


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Hiranyaksha

Hiranyaksha (हिरण्याक्ष, ), also known as Hiranyanetra (हिरण्यनेत्र) was an asura as per Hindu mythology. He is described to have submerged the earth and terrorised the three worlds. He was slain by the Varaha (wild boar) avatar of Vishnu, who rescued the earth goddess Bhumi and restored order to the earth.

Legend
Some of the Puranas present Hiranyaksha as the son of Diti and Kashyapa. Having performed austerities to propitiate Brahma, Hiranyaksha received the boon of invulnerability of meeting his death by neither any god, man, nor beast.

Having received this boon, Hiranyaksha assaulted the defenceless Bhumi and pulled her deep beneath the cosmic ocean. The other deities appealed to Vishnu to save the earth goddess and creation. Answering their plea, Vishnu assumed the avatar of a wild boar (Varaha) to rescue the goddess. Hiranyaksha attempted to obstruct him, after which he was slain by Vishnu.

Hiranyaksha had an elder brother named Hiranyakashipu, who similarly achieved a boon of invulnerability and conquered the three worlds, seeking vengeance for his brother's death. He tried to persecute and abuse his son Prahlada for being a faithful devotee of Vishnu. While Hiranyaksha was slain by Varaha (the boar avatar of Vishnu), Hiranyakashipu was killed by Narasimha (the man-lion avatar of Vishnu). Their younger sister was Holika, who tried to kill her nephew by attempting to immolate him but got burnt herself and killed.

In some texts including the Bhagavata Purana, Hiranyaksha is an incarnation of one of the dvarapalas (gatekeepers) of Vishnu named Vijaya. Vishnu's guardians Jaya-Vijaya, were cursed by the Four Kumaras (Brahma's sons) to incarnate on earth either three times as enemies of Vishnu, or seven times as his devotees. They chose to take birth on earth thrice. During their first births (during the Satya Yuga), they were born as Hiranyakashipu and Hiranyaksha. During their second births, (during the Treta Yuga), they were born as Ravana and Kumbhakarna. During their third births (during the Dvapara Yuga), they were born as Shishupala and Dantavakra.

Origins and significance
This Hindu legend has roots in the Vedic literature such as Taittariya Samhita and Shatapatha Brahmana, and is found in many post-Vedic texts. These legends depict the earth goddess (Bhumi or Prithvi) in an existential crisis, where neither she nor the life she supports can survive. She is drowning and overwhelmed in the cosmic ocean. Vishnu emerges in the form of a man-boar avatar. He, as the protagonist of the legend, descends into the ocean and finds her. She hangs onto his tusk, and he lifts her out to safety. Good wins, the crisis ends, and Vishnu once again fulfills his cosmic duty. The Varaha legend has been one of many archetypal legends in the Hindu text embedded with the theme of right versus wrong, good versus evil symbolism, and of someone willing to go to the depths and do what is necessary to rescue the righteous and uphold dharma.

title: Hiranyaksha


text:
Louis Barbarin

Louis Barbarin (nickname Lil Barb; October 24, 1902 – May 12, 1997) was a New Orleans jazz drummer.

Early life
Barbarin was born in New Orleans on October 24, 1902. His father was Isidore Barbarin, and his brothers Paul, Lucien, and William all became musicians. He studied under the drummer Louis Cottrell, Sr.

Later life and career
Barbarin "joined the first Onward Brass Band around 1918, when Manuel Perez was the leader. He played at dances with Kid Rena, the trombonist Jack Carey, and Punch Miller, and on excursion boats with Sidney Desvigne." He joined Papa Celestin's band in 1937 and stayed until Celestin's death. The band was then taken over by banjoist Albert French, and Barbarin remained as the drummer. He often recorded with each of the bands.

Barbarin sang in a quartet, the Four Tones, after World War II, then worked with Miller in the 1950s and 1960s. He played in several bands in the mid-to-late 1960s, and toured extensively in the 1970s, including in Europe. He stopped playing in 1982, and died in New Orleans on May 12, 1997. He was interred at Mount Olivet Cemetery in New Orleans.

Personal life
Barbarin was Catholic.

title: Louis Barbarin