It is well known that Varāha is the third incarnation of Viṣṇu and is portrayed in art and literature of India throughout, both in space and time. He is called Jñānappiran, the embodiment of knowledge. The famous Pallava site of Mamallapuram has two cave temples named after Varāha; one is called Ādi Varāha and the other is Varāha maṇḍapa. The first is dedicated to Varāha and has an image of Varāha in the sanctum. This is the only cave that is under worship from the time of its creation. Inscriptions of the age of Pallavas, Choḻas and Vijayanagara rulers are found in the temple. The other receives the name Varāha maṇḍapa from the portrayal of one of the most beautiful sculpture of Varāha in the wall. This is situated behind the famous Arjuna’s penance while the other Adi Varāha cave is at the south west end of the village. Both were excavated by Rājasimha Pallava around 700 CE. I have shown elsewhere that this cave temple follows the Vaikhānasa Āgama in its distribution of Deities. However it has a an inscription inscribed in Pallava grantha characters engraved on the floor of the sanctum in front of the main deity and there is no doubt that it belongs to the Pallava period. The letters are big and bold and clearly visible. Curiously the inscription records the greatness of Rudra and extols the followers of Rudra. Art historians are puzzled by this inscription. Why praise of Rudra in a Viṣṇu temple? It is known the creator Rājasimha Pallava was a great devotee of Śiva who had the title Śivacūḍāmaṇi. So some scholars even went to the extend of saying he suffered from an over dose of Śaivism. This paper tries to answer this question and trace the very origin of Varāha. As Varāha is found all over India. The answer will have all India application especially Madhya Pradesh where large number of Varāha sculptures are found.The identity of Varāha with Rudra is sung in the Ṛig veda by Ṛṣi Kutsa Āṅgiras in eleven verses all addressed to Rudra [Ṛg Veda, Maṇḍala 1]. Some of these verses are direct appeals to Rudra and are part of well known Satarudriya hymns [anuvāka-10]. Out of the eleven verses the following are directly addressed to Rudra.इमांरुद्रायतवसेकपर्दिनेक्षयद्वीरायप्रभरामहेमतिम्।यथानःसमसद्विपदेचतुष्पदेविश्वंपुष्ठिंग्रामेअस्मिन्अनातुरं।मृडानोरुद्रोतनोमयस्कृधिक्षयद्वीरायनमसाविधेमते।यच्छंचयोश्चमनुरायजेपितातदस्यामतवरुद्रप्रणीतौ।मानोमहान्तंउतमानोअर्भकम्मानउक्षान्तंउतमानउक्षितम्मानोवधीःपितरंमोतमातरंप्रियामानस्तनुवोरुद्ररीरिषः।imāṃ rudrāya tavase kapardine kṣayadvīrāyaprabharāmahe matim . yathā naḥ samasadvipade catuṣpadeviśvaṃ puṣṭhiṃ grāme asmin anāturaṃ .mṛḍā no rudrotano mayaskṛdhi kṣayadvīrāyanamasā vidhema te . yacchaṃ ca yośca manurāyajepitā tadasyāma tava rudra praṇītau .mā no mahāntaṃ uta mā no arbhakammā na ukṣāntaṃ uta mā na ukṣitammāno vadhīḥ pitaraṃ mota mātaraṃ priyāmā nastanuvo rudra rīriṣaḥ .In the midst of these verses the fifth verses calls Rudra as Varāha of heaven.दिवोवराहंअरूषंकपर्दिनंत्वेषंरूपंनमसानिह्वयामहे।हस्तेबिभ्रत्भेषजावार्याणिशर्मवर्मछर्दिःअस्मभ्यंयंसत्।divo varāhaṃ arūṣaṃ kapardinaṃ tveṣaṃ rūpaṃ namasā nihvayāmahe .haste bibhrat bheṣajā vāryāṇiśarma varma chardiḥ asmabhyaṃ yaṃsat .In these verses Rudra is also called the father of Maruts.इदंपित्रेमरुतांउच्यतेवचःidaṃ pitre marutāṃ ucyate vacaḥFurther Rudra is also held identical with Agni. Another interesting point is Varāha is said to wear braided hairs. The Varāha sculpture at Mamallapuram, is portrayed with braided hair Viṣṇu is generally portrayed with kirīṭa and it is Rudra who is figured with braided hairs, the braided hairs for Varāha is a Vedic tradition.अरुषंकपर्दिनम्aruṣaṃ kapardinamThe preceding and succeeding hymns of the Varāha hymn of the Ṛg veda are addressed to Sūrya and Uṣas as well. We know that Rudra is Agni and Sūrya, the later is often described in the Veda as the blazing fire of the sky. It is appropriate that the Sūrya is called the Varāha the boar (Rudra) divo varāha of the sky. The hymns praising Sūrya and Uṣas are also interesting. Āditya Sūrya is said to follow Uṣas who is attractive.सूर्योदेवीःउषसंरोचमानांमर्योयोषांअभ्येतिपश्चात्।sūryo devīḥ uṣasaṃ rocamānāṃmaryo yoṣāṃ abhyeti paścāt .This suggestion is also reflected in the Varāha episode in which it is said that the goddess Pṛthvī emerges from waters and is attractive as Uṣā.एषादिवोदुहिताप्रत्यदर्शीव्युच्छन्तीयुवतीशुक्रवासाः।विश्वस्यईशानापार्थिवस्यवस्वःउषोअध्येहसुभगेव्युच्छ 1-16-7eṣā divo duhitā pratyadarśī vyucchantīyuvatī śukravāsāḥ .viśvasya īśānā pārthivasya vasvaḥuṣo adhyeha subhage vyuccha 1-16-7The Vedic hymns often address multiplicity of gods separately and not infrequently also hold them as identical. for example Agni is called Āditya, Vāyu, Candrama, Śukra, Brahma, Āpaḥ, and Prajāpati. He is also called Hiraṇyagarbha who remains engulfing all the space and was the first bom. He remains in every part of beings and so calledतदेवअग्निःतत्आदित्यः।तत्वायुःतत्चन्द्रमाःतदेवशुक्रंतद्ब्रह्मताआपःसप्रजापतिः।हिरण्यगर्भइत्येषःएषोहदेवःप्रदिशोऽनुपूर्वीसजातःसउगर्भेअन्तः। 1.68.2tadeva agniḥ tat ādityaḥ . tat vāyuḥtat candramāḥ tadeva śukraṃ tad brahmatā āpaḥ sa prajāpatiḥ. hiraṇyagarbha ityeṣaḥeṣo ha devaḥ pradiśo'nupūrvīsajātaḥ sa u garbhe antaḥ. 1.68.2Sarvatomukha who has face in every directions, He emerges as three effulgent light trīṇi jyotīmṣi. He steadies the earth, the sky and also the intermediate space Antarikṣa, The Sculptures of Varāha portray Viṣṇu as steadying the Earth Goddess.सएवजातःसजनिष्यमानःप्रत्यङ्जनाःतिष्ठतिसर्वतोमुंख: । S.Y. 168.3sa eva jātaḥ sa janiṣyamānaḥpratyaṅjanāḥ tiṣṭhati sarvato muṃkha: . S.Y. 168.3The Vedantins say Agni resides in the cave of the heart and creates, sustains and dissolves. Those who know this become Paramatman. We find here that the same Agni is identified with multiple gods also resides in the heart. As these concepts are found in the Samhita part of the Vedas they are as old as the Vedas and not later. The Vedantin is called Vidvān in the Veda. The three effulgent lights/fire namely Sūrya, Chandra and Agni flower into Śiva, Viṣṇu and Brahma fully later.यस्मात्जातंनपुराकिंचनैवचआबभूवभुवनानिविश्वाप्रजापतिःप्रजयासंरराणःत्रीणिज्योतींषुसजतेसषोसियेनद्यौःउग्रापृथ्वीनदृढायेवस्वस्तायिनंयेननाकःयेअन्तरिक्षेरजसोविमानःकस्मैदेवायहविषाविधेम॥प्रतंवोचेत्अमृतेनुविद्वान्गन्धर्वोधामविभृतंगुहासत्त्रीणिपदानिनिहितागुहायांयोतानिवेदसपितुःपितासत्yasmāt jātaṃ na purā kiṃ ca naiva ca ābabhūva bhuvanāni viśvāprajāpatiḥ prajayā saṃrarāṇaḥ trīṇi jyotīṃṣu sajate saṣosiyena dyauḥ ugrā pṛthvī na dṛḍhā yevasvastāyinaṃ yena nākaḥ ye antarikṣe rajaso vimānaḥkasmai devāya haviṣā vidhema ..prataṃ vo cet amṛte nuvidvāngandharvo dhāma vibhṛtaṃ guhā sattrīṇi padāni nihitā guhāyāṃyo tāni veda sa pituḥ pitāsatIt is therefore clear that Sūrya, the celestial Agni is called Varāha/Rudra and the occurrence of the inscription inscribed on the floor of the Ādivarāha cave at Māmallapuram though found in a Viṣṇu temple need not surprise us.However it must be mentioned here that this verse in praise of Rudra is also found in another cave also at Māmallapuram. It is found in the cave temple now called Rāmānuja maṇḍapa situated behind the main temple of Viṣṇu the centre of the village. The cave temple was originally dedicated to Śiva whose sculptures were carved on the walls. The Sculptures so carved were Durgā, Lakṣmi, Somāskanda and Dvārāpalas. Sometime in the 16th cent when there emerged a sectarian Vaiṣṇava wave in which all the sculptures in the cave were chiselled off and the cave converted into a hall for the processional image of Rāmānuja was taken there and it was called after Rāmānuja. Hence the importance of this inscription is lost. The concerned inscription is found at the threshold of the cave on the floor of the central bay and is identical with the one in the Ādivarāha cave. It shows the praise of Rudra at Māmallapuram is found also in a Śiva Temple as other inscriptions in the village. (For further studies on Varāha and the inscription see the following chapter as well).
The worship of Varāha Viṣṇu, begins from the time of the Vedas.The earliest reference to Varāha as deity appears in the Ṛk Veda Maṇḍala 1, hymn 114, Anuvaka 1, Adhyāya 8. The translation of the verse by Max muller appears as follows. “We call down with worship the red boar of the sky, the god with braided hair the blazing form; may he who carries in his hand the best medicines grant us protection, shield and shelter.” (The Sacred books of the East : The Vedic hymns-Part I Hymns to the Maruts, Rudra, and Vāyu , by F.Max Muller, Oxford, 1891. p 422)This shows that the God first appears as Rudra Agni also in a way identical with Sun in the sky. The description is with blazing form and braided hair, and red in colour carrying medicine etc., show the verse extols Rudra Paśupati as the Varāha of the sky. That he is Divine is indicated by the word Divo Varāha. Varāha the Divine. This verse should not be cited in isolation but should be studied in its totality of the hymn. It begins with the prayer “We offer these prayers to Rudra the strong, whose hair is braided , who rules over heroes, that he may be a blessing to man and beast that everything in this village may be prosperous and free from disease.” The whole hymn is addressed to Rudra by sage. It should be remembered that Rudra is none but Agni and so this Varāha is Agni. This may also be viewed against the late development of th Concept of Yajña Varāha the Varāha of the Sacrifice. I have shown earlier that Rudra and Viṣṇu are inseparable as Agnā-Viṣṇu in the Vedic times and the identity of Varāha with Viṣṇu is logical. It is the same Rudra who is Viṣṇu and their inseparable form is Hari-Hara.Gonda held that this reference to Rudra as the Varāha of the sky is casual he has clearly missed the point to identity of Rudra with Viṣṇu in Vedas. Gonda Aspects of Early Viṣṇuism, Motilal Banarsi das, Delhi, 1993, p.136) So all the other references he makes to Varāha are later than this Ṛk vedic passage addressed to Rudra. All the attributes of tremendous power and protector and uplifter of the earth etc., are applicable to Rudra Varāha. Gonda refers to the fact in the Mahabharata Kṛṣṇa is called the Great Boar, Fire and Sun. (p140). Also Gonda gives another interesting reference to a Prayer addressed by a king performing festivals to Indra in the indra dhvaja that reads as The king himself without breaking his fast, recite some auspicious stanzas. One of them runs as follows. “Thou art the Unborn one, Thou art Viṣṇu, the Boar, the primeval Puruṣa; thou art Death, the all destroying fire.” (p.141). These references clearly establish that the vedic idea of Rudra – fire as Varāha is extended to Viṣṇu another manifestation of the same Agni.Gonda has drawn our attention admirably to various ideas that associated with Varāha Avatara (pp 129-145) There is no need to go into all those already well dealt with by Gonda. But it is important that he shows from the Taittriya Samhitā 7-1.5.1 that this Universe was in the beginning water; on it Prajāpati becoming Wind moved; he saw the earth; becoming Varāha he took it up; becoming Viśvakarma he wiped the water from it or rubbed it; it extended and became Pṛthvī the extended one. (p.139)The Mahābhārata in all probability informs us of a religious veneration accorded to any boar easing out of water with some earth he tore up on its head; Seeing such animals, Viṣṇu himself held to declare 13.206. 4) shall never meet any evil and become freed from sin P140). It is clear that Agni Rudra is visualized as Varāha a powerful boar and Agni in his usual aspect of protecting the earth is considered the uplifter of the Earth a function is also that of Agni as Viṣṇu. The Dual aspect of Agni the Rudra and Agni the Viṣṇu is not lost sight of in the Mahābhārata when it describes Kṛṣṇa as the Fire and Death. It has been shown that also in the indra dhvaja festival Viṣṇu the Puruṣa is called the Death and all destroying fire.It is a tradition going back to the beginning of the common era, if not earlier in Tamilnad,. The group of Saṅgam poems, known as Paripāḍal, describes beautifully the form of Varāha-murti. In two poems of the collection, Varāha is described as the embodiment of knowledge, enshrined in the Upaniṣads. The poems also state rhat Varāha is praised in the Vedas of the Brahmins. Evidently the worship of Varāha is based on Vedic concepts.Several Varāha temples are found in Tamilnad from early period of the Pallavas in Māmallapuram and one in continuous worship for the past 1300 years is called the Adi-Varāha cave. The cave faces west with a central sanctum that carries a rock cut image of Varāha as the main image shown lifting the mother earth. The Varāha's leg is placed on the head of Adhiśeṣa. The main image of Varāha and Bhūdevi are covered with stucco and painted probably in the Vijayanagara period. A Vijayanagara inscription in the temple attest to the festival conducted in the temple, when the processional image was taken out to the nearly village of Punjeri.(describe the inscription).Much earlier to the Vijayanagara age, the temple received donation under the Cholas in the reign of Rajendra Chola II, 11th cent. The inscription on the outer wall of the rock cut cave refers to the temple of Parameśvara Maha-Varāha Viṣṇu graham. From this record it is seen the Varāha was called Maha-Varāha, the name Adi-Varāha being a later connotation. There are two inscriptions of the Pallavas of 8th cent, the inscriptions in grantha characters, and of vital interest to the study of the concept of Varāha in Tamilnad.One of the inscriptions is on the lintel of the south facade of sanctum, and refers to ten avatars of Viṣṇu that are enumerated as Matsya, Kurma, Varāha, Narasimha, Vamana, (the three Ramas) Balarama, Paraśurama, and Kodaṇḍarama, Buddha and Kalki. As early as 700 C.E., Buddha as an incarnation of Viṣṇu was an accepted phenomenon in the extreme south of India. The tradition is clearly the purāṇic concepts as reflected in all the major purāṇas. The omission of Kṛṣṇa in the list of Ten Avatars, and the inclusion of Buddha in his place, is not to show a secondary position to Kṛṣṇa for we can not forget the enchanting rock cut panel of Krishna Govardhandhari in the same Pallava monuments of Māmallapuram. Also the walls of the Sea-shore temple of Māmallapuram portrays the sports of Kṛṣṇa. Nor can we say Buddhism has gained great influence in Māmallapuram. No rock cut Buddha image is noticed in Māmallapuram. Buddha’s inclusion in the list of ten avatars, is clearly a purāṇic tradition, where Kṛṣṇa is given as the Supreme being Parabrahmam.The second inscription is found on the floor of the same Adi-Varāha cave temple recorded also in Pallava grantha characters, and Sanskrit language. Interestingly it extols the greatness of Rudra in the temple of Varāha.Rudra is the lord who leads devotees to righteous path from misleading ones those who do not have such lord in their heart. This verse would also suggest that Kṛṣṇa as Māyā Moha same as Buddha in the case of Tripurāśuras by his teaching and finally confer liberation on them. The mention of Buddha could also be ascribed to this aspect. Varāha as a giver of knowledge, both right and misleading type of knowledge (kupatha gati). Here kupathagati is Buddhist knowledge, Rudra is Varāha (of the Vedas). This interesting verse found in the Varāha-Viṣṇu temple should be viewed from the then precedent faith.The five hooded snake beneath the leg of Varāha represents the five primordial senses in the human beings. The senses when controlled are the best friends of humans but when they are free themselves will cause havoc. That subduing the senses when knowledge dawns is repeated concept in the purāṇas.धिक्तेषांधिक्तेषांधिक्धिक्धिकसतुधिक्तेषाम्येषांनवसतिहृदयेकुपथगतिविमोक्षकोरुद्रःdik teṣām dik teṣām dik dik dik dikastu dik teṣāmyeṣām na vasati hṛdaye kupatha gati vimokṣako rudraḥIn the same temple on the left is image of Śiva and right is Śiva as Gaṅgādhara.(Gives a accurate description of the temple)The temple evidently emphasizes the unity of Trimūrty - Brahma, Viṣṇu and Śiva with Viṣṇu as Varāha given the main importance. All the three are their aspects of one and the same power, which is the Vedic concept (Vaikānasa school).Varāha lifts mother earth from the cosmic ocean and is praised by the four vedas. The presented of them have would show the unity.There is another cave at Māmallapuram, behind, the well known Arjunas, which is called Varāha cave. A beautiful figure of Varāha planting one of this leg on Adiśeṣa and the other firmly planted raises the earth goddess to his shoulder level while the goddess, with folded hands, is looking affectionately. There are other figures like Brahma, Śiva, Sun, and moon. This extraordinary sculpture has given the temple its name Varāha maṇḍapa. Facing this sculpture on the side wall is a remarkable sculpture of Trivikrama. The central sanctum is now empty. We do not know which God this temple was intended. In all probably, it was dedicated to Viṣṇu. On either side of the sanctum are seen Gajalakṣmi on the north and Durgā on the south.The position of Lakṣmi and Durgā are in identical places in both the Varāha temples. It is in acordance with Marīchi Samhitā, a Vaikhānasa Vaiṣṇava text. It is not unlikely that the cave was dedicated to Viṣṇu. The presence of Viṣṇu temple in the group of monuments of which majority are dedicated to Śiva, should not come as a surprise for the sharp division as Śaiva and Vaiṣṇava was not in vague then.Nāmakkal VarāhaA cave temple contemporary with Māllapuram, at Nāmakkal, in Salem district excavated by Atiyendra, a chieftain under Pallavas circa 700 C.E.A perfect image of Varāha lifting the earth, with four sages representing the four Vedas, shown on top of the panel, in adoration. This extrodinary panel of Varāha, shows emeging from the ocean, the legs of this figure are visible only upto the ankle, the rest are suggestive of being deep in waters. The hooded Ādiśeṣa, is shown in adoration (checkup).Chola VarāhaThe temple of Thiruviḍantai near Māmallapuram, is an important Viṣṇu kṣetra that was built of stone in the time of Cholas, which call the god, “Alvar Varāha devar”. A seven days annual festival was celebrated in the reign of Rājarāja chola, in the month of Āvani, during the natal star sadayam of the emperor. Śrī-Muṣṇam is a historic temple, dedicated to Adi-Varāha. The main deity inside the sanctum is a very small one, but has attracted great building activity during the Tanjore Nayak period.Varāha in UpaniṣadThe concept of Upaniṣad is found in the Vedas.अपोवाइदंअग्रेसलिलेआसीत्।तस्मिन्प्रजापतिःवायुःभूत्वाअचरत्।सइमांअपश्यत्तांवराहोभूत्वाहरत्।तांविश्वकर्माभूत्वाव्यरमत्।साप्रथत।सापृथ्वीव्यभवत्।तत्पृथ्व्यैपृथ्वीत्वम्।तस्यंअश्रमयत्।प्रजापतिःसदेवान्असृजत्वसून्रुद्रान्आदित्यान्।apo vā idaṃ agre salile āsīt . tasmin prajāpatiḥ vāyuḥ bhūtvā acarat . sa imāṃ apaśyat tāṃ varāho bhūtvā harat . tāṃ viśvakarmā bhūtvā vyaramat . sā prathata . sā pṛthvī vyabhavat . tat pṛthvyai pṛthvītvam . tasyaṃ aśramayat . prajāpatiḥ sa devān asṛjat vasūn rudrān ādityān . p.433This passage is interesting. According to this “There existed only water at first. The lord of living being entered into the waters and moved inside there he saw her. He became the wild boar Varāha and brought her. He became Viśvakarma and brought her together she became pṛthvī. That constitutes the earthliness of Earth. Prajāpati created in her the Divine beings like Vasus, Rudras and Ādityas.”This passage is an allegory which points out the origin of earth and the living beings. It also shows that the vedic people called each manifesting by a different name as Prajāpati, Varāha, Viśvakarma etc., Prajāpti is the Lord of living beings. He represents life principle the vital breadth called Prāṇa or Prāṇa Vāyu. When there was only waters the vital life force as air entered into the waters and made living particles alive inside. In the process it coalesced a huge mass together and the this mass surfaced above the waters due to drying up of the waters. The waters dries up by heat energy that is fire. Fire is Agni who is identified with sacrificial fire Yajña. Fire is also identified with Varāha the most intelligent animal for it could go insearch, search the roots buried deep in the earth and dig them and bring them out. The earth that emerges from waters constitute the basic substratum for the appearance of living beings. The living beings that come into life are the creations of that viatal Prāṇa Vāyu, Prajāpati. In this process of appearance of earth the legend of Varāha is rooted.Into the primordial waters entered the life giving air that bought together the mass of earth under the waters. As heat giving fire it brought the earth out which is spoken figuratively as Varāha plunging into waters and bringing the earth out. Once when it surfaced it was again that life giving Prāṇa that made living being to appear on earth. According to the understanding of the Vedic people the appearance of Earth from waters is as result of Agni which is mentioned in different ways as,“वायुः, वायोरग्निः, अग्नेरापः, अद्भ्यःपृथ्वी, पृथ्व्याम्ओषधयः, ओषधीभ्योअन्नम्अन्नात्पुरुषः” ।“vāyuḥ, vāyor agniḥ, agner āpah, adbhyaḥ pṛthvī, pṛthvyām oṣadhayaḥ, oṣadhībhyo annam annāt puruṣaḥ”.The earth emanates from waters as a result of heat. This allegorical presentation clearly and firmly is the cause of Varāha a beautiful poetic creation. Since it is the same Prajāpati the life vital fore that causes living beings on earth he is again said to have created them and so as creator he is called Brahma who is identical with Prajāpati. Prajapati, Brahma and Agni are identical. So Varāha is also called the Yajña Varāha. By this process as Prajāpati he sustains the living beings and is identical with Viṣṇu the protector and finally when the vital breadth is withdrawn causing the dissolution he becomes Rudra. The concept of Agni as life generating principle, life sustaining force and life withdrawing force gave the identity of Brahma, Viṣṇu, and Śiva. Varāha is later spoken of as Brahma, Viṣṇu, and Śiva, which are absolutely the basic tenets of the Vedic people.Varāha UpaniṣadIt is known that Upaniṣads are the very essence of vedic thoughts and are often called Veda-śiras or Vedānta. There are several Upaniṣads that came to teach, Ātma-vidya the “knowledge of self”. Some of them are considered early while many that are included in collection of Upaniṣads during subsequent centuries. All together there are 108 Upaniṣads that are undoubtedly earlier than tenth century of the common era. Included among then is an Upaniṣad, that is known as Varāha-Upaniṣad. Consisting of five chapters, the Upaniṣad gives rare concepts, that were prevalent at that time about the Varāha form of Viṣṇu.A certain sage “Ribhu” underlook penance for twelve years, as per the system known as Devayāna. At the end of the twelth year, Viṣṇu appeared before him as Varāha, and asked the sage to chose any boon he cherished. The sage said, “Lord, I do not propose to seek boon from you propelled by desires as sought by other mortals. I seek knowledge from you, about your form of Varāha, that is the source of liberation. The Vedas, Śāstras, Purāṇas, Itihāsas, Brahma and other celestials attained liberation by realizing your nature of Varāha. Bestow on me that true knowledge of your self”.The Varāha Upaniṣad begins with this preamble and expounds the philosophy and hence is known as Varāha-Upaniṣad.The Varāha Upaniṣad declares that those, who worship Varāha with devotion, are liberated from ignorance and live as liberated living souls.varāha rupena mām ye bhajante mayi bhaktitaḥ“I remain in the mind of all men as self luminent Supreme knowledge, and as their self and the source of happiness. I am the essence of self in all men, which experiences waves of Joy and emotional ecstasy, It is virtually the dance of emotional consciousness. The one, who medicates on me even for a moment, is redeemed from all bondages. I adore my own self.”paramārthaika vijñāna, śukhātmānam svayam prabhumsva svarūpatayā sarvam veda svānubhavena yaḥsa tu dhīraḥ, sa tu vijñeyaḥ soham tvam ribho bhavasva svarūpa – anusandhānāt nṛttam sarva sākṣiṇammuhūrtam cintayet mām yaḥ sarva bandhai pramucyatesarva bhūtāntarastāya nitya mukta cidātmanepratyak caitanya rūpāya mahyameva namo namaḥ
1.paramārtha vijñānam — the Supreme consciousness
2.śukhātmānam — the Embodiment of happiness
3.svayam prabhum — unequalled lord singular
4.svarūpatayā — by his own form
5.[viśrūpatayā — by his universal form]
6.veda-svānubhavena — in the form of vedic experience
1.sa tu — he indeal
2.dhīraḥ — Valourons
3.sa tu — he indeed
4.vijñeyaḥ — should be comprehended
5.soham — I am he
6.tattvam — the inner essence
7.ribho — Oh Ribhu
8.bhava — You become.
9.sva svarūpa anusandhāt - by meditating on the form of one own self
10.nṛttyantam — dancing
11.sarva sākṣiṇam — on who is witness to all
12.muhūrtam api - even for a minute
13.cintayet mām yaḥ — one who thinks of me.
14.sarva bandhaiḥ — from all bondage
15.pramucyate — is (released) liberaled.
16.sarva bhūta antarasthāya — one who resides in inner self all.
17.nitya mukta — ever liberated
18.cidātmane — in the form of consciousness
19.pratyak caitanya — the conscious entity that remain as self consciousness
20.mahyam eva namo namaḥ — adoration to my own self.
Evidently the message of this Upaniṣad is to encourage one to realise ones own consciousness of the “self”.Sensing that men tend to stick on to external rituals, this Upaniṣad, in the true Upaniṣad tradition clarifies that the true import of rituals are the acts of self realization, as in the case of fasting denoted by the Sanskrit word upa-vāsa What is the meaning of upa-vasa? It does not mean fasting without any of kind of food, but the sojourn of Individual self (jīvātma) with the universal self (paramātma) in close proximity. The term upavāsa does not denote suffering the human body by fasting but should be known as the living of individual soul with the supreme.upa samīpe yo vāsaḥ, jīvātma paramātmanoḥupavāsa sa vai jñeyaḥ na tu kāyasya soṣaṇamThe Upaniṣad goes on to say, only the ignorant will resort to suffer the human body. Will a great serpent be killed by beating the ant hill?kāya soṣana mātreṇa kim ca tatra avivekināmvālmīka taḍanād eva mṛtaḥ kiṁ tu mahoragaḥThe Upaniṣad imports that the word realization means, (sākṣātkāra) the knowledge, that the self is Brahman - aham brahmāsmi. One who seeks liberation need not keep arguing what is “soul” and what is lord, the nature of brahma tattva. Mind is the foremost of all senses faculties. Breadth is that which controls the mind. Controlling breadth is to remain in union with mind. That is the nature of Yogins. Though steeped in the midst of worldly activities, the Yogins will not move away form the experience of Brahman. (brahmānubhava). As an adept dancing girl will not allow the water pot on her head, to fall even while dancing to the rhythm of instrumental play and music, so will the great Yogin be ever conscious of the experience of brahman like Śuka who was a parrot and Vāmadeva, an ant so the realization of Brahman, self through the practice of yoga is realization that is Śiva.śivo guruḥ śivo vedaḥ śiva devaḥ śivaḥ prabhuḥ .śivo'smyahaṃ śivaḥ sarvaṃ śivadanyanna kiñcana .. 32..शिवोगुरुःशिवोवेदःशिवदेवःशिवःप्रभुः।शिवोऽस्म्यहंशिवःसर्वंशिवदन्यन्नकिञ्चन॥३२॥So Śiva is the seed, Śiva is Vedas, Śiva is divine, Śiva is the lord, Śiva is you and Śiva is me. Śiva is everything. There is nothing other than Śiva.From this Upaniṣad expounded by lord Viṣṇu as Varāha, it is clear that Viṣṇu and Śiva are identical and not separate. Śiva and Viṣṇu are nothing but the conscious soul in all so the Upaniṣad says, Śiva is the preceptor, Śiva is Veda, Śiva is divine, Śiva is Lord, I am Śiva, everything is Śiva and there is nothing other than Śiva.Varāha stands for this ātma-tattva. Varāha represents jñāna knowledge.Evidently this Upaniṣad is advaitic in its import certainly this concept is earlier than 700 C.E, as we notice that Lord Rudra is extolled in the Varāha cave at Māmallapuram which makes sense.The Tamil works assignable to the beginning of the Common era, refers to the Varāha form Viṣṇu (write about paripadal). The Vaiṣṇava texts of Vaikhānasa school, distinguishes Varāha into three catagories as Adi-Varāha, Pralaya-Varāha, and Yajña Varāha.The iconographic description of these three Varāhas is described as under. Adi-Varāha this form with have four arms, holding śaṅkha and cakra in the rear arms, planting his right leg on the head of a five hooded snake Adiśeṣa, and the other leg planted forcefully on the ground lifts the goddess earth, with the left embracing her and with the right arm holding her feet, the lord will by looking at her with great affection this snout near her breasts. The goddess with shake folded hands on his face and will be look into the face of her lord with full of live.Pralaya-Varāha - Seated on a lion the simhāsana, the left leg folded on the leg and the right hanging down, this lord will have four hands. He will hold śaṅkha and cakra in the rear arms, the left main arm will rise on the thigh the right leg will be hanging down. The goddess earth will be seated to his right she will be two armed, rising her hand on the seat and holding a lilly in the right arm. The Goddess will be smiling in countenance this form is also called Bhū-Varāha in common parlance.Yajña-Varāha - This is akin to the Pralaya-Varāha, that he will be accompanied by two of his consorts. Śrīdevi and Bhūdevi. Śrīdevi with lotus in her hand and Bhūdevi, on the left with lilly.The colours of these types of Varāhas vary; the Adi-Varāha is green like vegetation, the Pralay-Varāha blue in colour, and Yajña-Varāha white.Besides these there are other forms of Varāha also mentioned in Āgamic and Śilpa texts. Varāhas are endowed in some texts from four to sixteen arms. There are some texts, which give three consorts Śrīdevi, Bhūdevi and Nīlādevi.The most romantic, portrayal of Varāha has now been brought to light, by the side of the sea shore temple at Māmallapuram. The image which was found lying buried, with the upper part broken into pieces, now restored, shows a Varāha in round facing the sea. Judging from the architectural remains of shore temple, the Varāha precedes in date the construction of the enclosure wall of the Sea shore temple. In the rock adjoining the Varāha, a well known inscription of the Pallava, Rājasimha proclaiming his greatness is found inscribed in Pallava grantha characters. It readsrājasimho raṇajayaḥ śrībharaḥ citra karmukhaḥ,ekavīraḥ ciram pātu, śiva cūḍāmaṇir mahīmThis inscription is found in Kanchi Kailasanātha temple, Panamalai, Salvankuppam, and the inscriptions in Ganeśa ratha, and Dharmarāja maṇḍapa at Māmallapuram, pointing out that the Varāha is a creation of the Pallava Rājasimha. It is on the rocky bed, in which the Anantasāyi Viṣṇu, and the lion with Mahiṣa-mardini, are carved.The Varāha is found dramatically right on the sea shore, suggesting that the Animal is ready to dive deep into the ocean to rescue the Earth goddess otherwise the figure is simple without any of other figure carved on it.This is the first time that such a Varāha figure in round, carved on rock has been found in Tamilnad. It recalls the famous Varāha of Khajuraho in Madhyapradesh. There is an excellent article on the cosmogenic symbols of the Varāha of Kajuraho by Haripriya Rangarajan in Foundations of Indian Art (Also see her dissertation on Varāha). The Māmallapuram sculpture is the earliest Varāha sculpture in India so far known. Though the figure is smaller than other known figures its location on the shores of the sea and its head lower, the body and the legs tense, suggesting that it is going to plunge into the deep ocean, it is a master piece of art and aesthetically an innovative figure that arrests the imagination of all. It brings alive the legend of Varāha diving into the ocean to rescue the earth.ConclusionIt has been noted that Varāha and Śiva are held identical in the Upaniṣad, the origin of the Varāha myth which is traced to the Vedas, shows that it was Prajāpati, the creator, who is described as creating the universe, when he brought the earth from the ocean. The later purāṇas and the Vaiṣṇava Āgamas, tell us that it was Prajāpati as Brahma who brought the earth from ocean. The Vaiṣṇava text tell us that it was the Supreme Nārāyaṇa who as Brahma, brought the Earth. This tradition clearly idenity Varāha with Brahma. We have noted that Varāha is identified with Śiva as well in the Varāha Upaniṣad. It thus turns out that the Varāha form represent, Brahma, Viṣṇu and Śiva which is the reflection of the Purāṇic tradition. In Varāha a sharp thinking intelegent animal the Whole concept of Godhood is visualized in Indian system.
