Vedic Roots of Hindu Iconography R. Nagaswamy chap29 chapter28.html chapter29.html chapter30.html CHAPTER-29 Balarāma in Tamilnadu
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Balarāma, the brother of Kṛṣṇa, was an influential god in early centuries of the current era, His sculptural representations are found in many places of India as at Nagarajunakonda in early period. He is shown generally with a drinking cup and standing by the side of his sister and brother Kṛṣṇa. He is also said to be given to drink and pleasures (Bhōga) images/baladevakrishna.jpg Balarāma in a Bactrian coin Obverse: Balarāma, with Greek legends on either side : Reverse: Kriṣhṇa with Brāhmi legend; the conch is held vertically: courtesy Wikipedia Balarāma is shown in a square silver coin (a standard drachma) issued by the Bactrian King Agathocles (c.180 BC) portrayed Kriṣhṇa and Balarāma that was excavated Ai-Khamun, an important archaeological site on the Oxus (ref. Arts Asiatique XXXVI ( 1973), 52-57 and Journal of the Numismatic Society of India XXXV (1973) , 1873-77. I am thankful to Prof Ḍevendra Handa for this reference). On this coin, square in shape the obverse of this coin, shows Balarāma standing with two hands holding a (hala) plough and (musala) pestle (mace). The pestle may be identified with the dhyānaśloka of Balarāma who is interestingly called Kāmapāla i.e., protector of love or desires. sphurad-amala-kirīṭam kiṇkiṇī-kaṅkaṇārham calad-alaka-kapōlam kuṇḍala-śrī-mukhābjam tuhina-giri-manōjñam nīla-meghāmbarāḍhyam hala-musala-viśālam kāma-pālam samīḍhe By the side is written the name of the king “Basiles Agatokleus” in greek characters while on the reverse is shown Kṛṣṇa also standing with two arms holding a wheel and a conch. The wheel is so big it seems to do justice to the name Rathāngapāṇi. The Wikipedia, which illustrates this coin, identifed the object in the right hand of Kṛṣṇa as kamaṇḍalu (Vase) but in fact it represents a conch held vertically in hand (śankha). images/krishna_script.jpg By the side of Kṛṣṇa on both the sides is the name of the king written in perfect Brāhmi script in Prākṛt reading “Rajñe Agathuklayeṣa”. The first letter “ra” is in serpentine form. Whether there is a second letter is not very clear for it merges with the big cakra held in the hand of Kṛṣṇa. The next letter is “ne”. so the actual reading is “rane”. These letters are seen to the left of Kṛṣṇa while on to his right is the name of the king “agathuklayeṣha”. This type of bilingual coins were also issued by Sātavāhana kings of Andradesa, where on one side we have the title for example rajno vaciṭṭiputaso siri satakanisa. (In Sātavāhana coins the word King is mentioned as rajno obviously the Prākṛt form) Both the images of Kṛṣṇa and Balarāma are in greek attire. Kṛṣṇa wearing a long sword and Balarāma an unidentified handled weapon (probably a ring with twisted rope), tucked in their waist band. They also wear a crown which is not the conical Indian crown, but the Bactrian crown, with two horn like projections on either side and a jeweled umbrella over his head resembling a horizontal cap. Both are also seen wearing shoes. But what is important is that the figure of Balarāma is shown on the obverse where the Greek name occurs and the figure of Kṛṣṇa occurs on the reverse. It seems to emphasize the importance of Balarāma as the elder as it appears on the side of the issuer and depicts his prowess while Kṛṣṇa with his conch signifies “spreading fame”. The conch is that which blows the fame of Kṛṣṇa through out the world. The choice of the two figures also seem to show the Bactrian kings made this choice of Balarāma and Kṛiṣhṇa to exhibit their strength (by Balarāma) and fame (by Kṛṣṇa) on their coins. Evidently the legends of Kṛṣṇa and Balarāma and also their special characteristics have become so popular before 2nd cent BCE even in Bactria to be use there in their coins. Garudadhvaja The famous inscription of the Greek Ambassador of Heliodorus (F. 145) refers to the erection of a Garuḍadhvaja at (Besnagar) Vidisa was erected in the year 113 BCE. The place is near the famous Buddhist site Sanchi in Madhyapradesh. It consists of a tall stone pillar on top of which is a Garuḍa. The stone pillar resembles Aśokan pillars with very high polish and has an inscription in Aśokan Brāhmi in Sanskrit language mentioning the fact that it is Garuḍa staff that was erected for Lord Vāsudeva by Heliodorus, the son of Diya, a Bhāgavata, from Takṣhaśilā (Taxila). The Greek Ambassador from Maharaja Antalikhita with a prosperous king Bhāgabhadra a Kāsiputra in his 14th Regnal year. Three well steps taken in this world namely self control, (dhama), sacrifice (tyāga), vigilance, are the three eternal steps that lead to heaven. The Sanskrit rendering of the record follows: देवदेवस्य वासुदेवस्य गरुडध्वजः अयं कारितः होलियोदोरेण भागवतेन दियस्य पुत्रेण तक्षशिलाकेन यवनदूतेन आगतेन महाराजस्य अन्तलिकितस्य उपान्तात् सकाशं राज्ञः काशीपुत्रस्य भागभद्रस्य त्रातुः वर्षेण चतुर्दशेन राज्येन वर्धमानस्य devadevasya vāsudevasya garuḍadhvajaḥ ayaṃ kāritaḥ holiyodoreṇa bhāgavatena diyasya putreṇa takṣaśilākena yavanadūtena āgatena mahārājasya antalikitasya upāntāt sakāśaṃ rājñaḥ kāśīputrasya bhāgabhadrasya trātuḥ varṣeṇa caturdaśena rājyena vardhamānasya There are many points of interest in this record. This was erected by a Greek ambassador who is called a Bhāgavata, a devotee of Bhagavān Vasudeva. The Greek who was ruling at that time and who sent this Ambassador was Antalikhita of Taxila. He came to the king of Kāsi named Bāgabhadra. The Ambassador came from a region where the cult of Bhagavān Vasudeva Kṛṣṇa was already well established in the 2nd cent BCE. Other point of this record is it says that the three steps will take the devotee to heaven (Svarga) like the three steps of Trivikrama. The three steps are mentioned as Dhama Tyāga, and Apamada. The one who observe these three steps will reach heaven. The pillar is so tall that if one looks its top from beneath, it really infuses a feeling of reaching heaven by its soaring height. It is like Garuḍa which flies very high and suggests reaching the sky. There is no doubt that Heliodorus had all these ideas in his mind when as Bhāgavata erected this tall pillar. The most importan point of this pillar is that the Lord to whom this is dedicated, obviously in his temple here is called, Devadeva Vāsudeva taken by all scholars to mean Viṣṇu but it evidently a reference to Vāsudeva Kṛṣṇa (the Son of Vāsudeva) So this would be the earliest known Temple of Kṛṣṇa in India so far known. A question of minor importance would arise whether Kṛṣṇa had Garuḍa as his Flag? Yes; early Saṅgam Tamil poetry, Puranānūru, mentions Kṛṣṇa as the wielder of the bird, Garuḍa as his flag. The early tradition always ascribed Garuḍa dhvaja to Kṛṣṇa. We have mentioned that the coin of Agathacleus issued in the Bactrian region, carried the figures of Kṛṣṇa and Balarāma in the 2nd cent BCE. The followers of Kṛṣṇa in the Taxila region had the title Bhāgavata also deserves to be noted. It may also be noted that wherever Aśoka mentioned Buddha in his edicts he always referred to him as Bhagavān Buddha. We know that Buddha was always considered by the Hindus as Bhagavān indicating that he was an incarnation of Kṛṣṇa is not ruled out. Nārāyaṇa Vāṭikā This must also be read with an inscription of first cent. BCE of king Sarvatrāta found from a well at Ghosundi, near Nagari, Chittorgarh, now at Victoria Hall, Udayapur, Rajasthan. The king Sarvatrāta is called Rāja, Bhāgavata, a Gajāyana, son of Pārāsari (putra), who performed an Aśvamedha sacrifice. He built a stone enclosure (prākāra), in the temple of Nārāyaṇa-Vāṭika, for Bhagavāns Samkarṣaṇa and Vāsudeva (Kṛṣṇa) who were the Supreme lords of all and who were unconquerable. Here Samkarṣaṇa stands for Balarāma and Vāsudeva stands for Kṛṣṇa. The record is in Brāhmi script, in Sanskrit language. The temple Nārāyaṇa-Vāṭika was already in existence to which the King Sarvatrāta built a stone enclosure - śilā prākāra (Sarcar D.C., Select inscriptions vol 1, No. 3, Page 90). That temples dedicated to Balarāma and Kṛṣṇa were prevalent from 2nd Cent. BCE is established by this record. This would be closer in point of time, to the coins of Agathacleus, discussed above. The inscription is as follows: कारितोयं रज्ञा भागवतेन गजायनेन पाराशरीपुत्रेण सर्वत्रातेन अश्वमेध याजिना भगवद्भ्यां संकर्षण वासुदेवाभ्यां अनिहताभ्या सर्वेश्वराभ्यां पूजा शिला प्रकारः नारायण वाटिकाः । kāritoyam rājñā bhāgavatena gajāyanena pārāsari putrena sarvatrātena aśvamedha yajina bhāgavadhyam samkarṣaṇa vāsudevābhyām anihatābhyām sarveśvarābhyām pūjā śilā prākāraḥ nārāyaṇa vāṭākāḥ This inscription indicates that Balarāma and Kṛṣṇa were considered as Sarveśvaras (Lord of all) and invincible (anihatābhyām). Another record of the same age, 1st Cent. BCE, but written in Karoshti script, in Prākṛt language is found engraved on a rock, with two images in a recess on the westenm phase of the hill of the Indus river over Karakoram highway in Kashmir. This is now in the region under occupied Kashmir. (A.H. Dhani “Chila the city of Nangaparvata” P.P. 121-22, No. 95). The record says that the figures were created by one Dharmaputra for Rāma and Kṛṣṇa. Here Rāma stands for Balarāma. The figures consists of two well drawn images with flowing dresses covering the body. The left figure has a crown on the head, holds a clubin the right hand and a plough topped banner in the left hand. The right figure has a crescent shaped head gear. The right hand holds a club and the left hand holds a discus (cakram) obviously the figures represent Balarāma and Kṛṣṇa. These two illustrations are also examples of worship of Balarāma and Kṛṣṇa in 2nd Cent BCE. Inscription of Nāganika Invocation to Samkarṣaṇa and Vāsudeva (Balarāma and Kṛṣṇa) is found along with other Hindu deities like Prajāpati, Dharma, Indra, Candra, Sūrya, Lokapāla, Yama, Varuṇa, Kubera and Vāsava (Indra) in the famous inscription of Nāganika from Nanaghat, ascribed to first Cent. BCE. Nāganika who was also known as the mother of Vedisri was the queen of Śrī Satakarni ruler of the Sātavāhana dynasty that ruled Maharashtra, Karnataka and Andhra and the foremost rulers from 2nd century BCE to (2nd century CE Sātavāhanas contributed greatly to Buddhism and yet were foremost followers Vedic yajñas and traditions. They performed many Vedic sacrifices, this inscription being the best record of Sātavāhanas. Nāganika, the queen is mentioned as a strict follower of the vratas (religious vows) connected with yajñas and a noble queen, who, as a patni joined her husband the King in all the Vedic yajñas he performed. She lists all the yajñas, she and her husband performed. The following is the list of yajñas so performed by her.
  • Agniyādheya
  • Anvārambaniya
  • Rājasuya
  • Sapta-daśa-atirātra
  • Bhagale dasārātra
  • Gārga-atirātra
  • Gavāmayana
  • Āptoryamā
  • Angirasāmayana
  • Sat atirātra
  • Āṅgirasa-atirātra
  • Chandoma-pavamāna-atirātra
  • Trayodasa atirātra
 She also lists the bdetails of gifts of money, cattle, horses, elephants, vehicles etc., on each occasion. These gifts lets us know how deeply she was involved in Vedic yajñas and it is not surprising that she begins her inscription invoking Prajāpati. The first part of the inscription which is important begins as follows: सिद्धं प्रजापतये धर्माय नमः इन्द्राय नमः सङ्कर्षण वासुदेवाभ्यां नमः चन्द्र सूर्याभ्यां महिमावद्भ्यां चतुर्भ्यश्च लोकपालेभ्यश्च यमवरुणकुबेरवासवेभ्यां नमः siddhaṃ prajāpataye dharmāya namaḥ indrāya namaḥ saṅkarṣaṇa vāsudevābhyāṃ namaḥ candra sūryābhyāṃ mahimāvadbhyāṃ caturbhyaśca lokapālebhyaśca yamavaruṇakuberavāsavebhyāṃ namaḥ Please note that the record begins with salutations to Prajāpati. She was influenced by Vedic “Prājāptya hymns” performed in all Agnikāryas. It is in this hymn not only Prajāpati is invoked, but Sun, Moon, Yama, Varuṇa, and Indra are invoked more or less in the same order. Reference to Prajāpati should be viewed in this context. What is important in this context is that in the midst of Vedic deities we find Balarāma and Kṛṣṇa invoked as dual deities in the name of Samkarṣana and Vāsudeva which are integrated into the Vedic pantheon and are totally part of Vedic iconography. (see the chapter on Vedic rituals- Punyāha and Prājāpatya hymn). This might perhaps be the earliest epigraphical reference to the integration of Mahābharata and Rāmāyana epics and assuming authority on par with the Vedas. bhāratam pañchamo vedaḥ is an ancient saying attesting to the integration. So the claim by a small group of writers that these are very much later trends is untenable. The tradition in Tamil land adores Samkarṣana (Balarāma) and Vāsudeva (F.144- 155) (Kṛṣṇa) as the deities praised by the Vedic mantras (see in the sequence of this article). The Paripāḍal section of the Saṅgam poems, reflect this tradition and are nearly contemporanious with this age. Let us not forget that there were very many Vedic yajñas performed in the Tamil country during the Saṅgam age (by Kings like Karikāla, Pāṇḍya Mudukuḍumi Peruazuti, Cheran Senguṭṭuvan and Rājasūyam-veṭṭa-Perunarkilli and others). In these yajñas the Prājāpatya hymns is an important component reflected in Nāgaṇika inscriptions. At that point of time the twin deities Balarāma and Kṛṣṇa have become Vedic deities. (The inscription is found in a cave at the top at Nanāghāt, a path leading from the Konkan to Junnar, Pune district. Maharashtra. DC Sarcar, Select Inscriptions, Vol I, 1465, No. 82, PP 192-197. Uttankita series No II In No. 66, in Brahmi script and Prākṛt language. Pañca Vīras Around 25CE, a group of images of “Five Viras” (Pañca vīras) of Vṛṣṇi clan who are called Bhagavāns Gods, were established by Sodāsa, a Mahākshatrapa. The record is found on a slab found at Morad near Mathura, now in Mathura museaum, UP published by, Luders, Mathura inscriptions, No. 113, P 154). The five Gods are Samkarṣaṇa (Balarāma), Vāsudeva (Kṛṣṇa), Pradyumna, Sambah and Aniruddha. Pradyumna and Sambha are Kṛṣṇa's sons and Aniruddha was the grand son of Kṛṣṇa. A stone image of these Pañca vīras, (five heroes) along with a stone temple and a reservoir were caused to be made by Sodāsa. This is perhaps another early temple of stone to Balarāma and Kṛṣṇa and their images were installed with others. As these were called Vīras, heroes in the beginning of Common era, it is evident that at that point of time they were also considered historic persons rather than super human beings. In the reign of the same King Mahakshatrapa Sodāsa, a temple to Vāsudeva (Kṛṣṇa) was built near Mathura with a toraṇa, and vedika (enclosure). It seems they were built by one Vāsu. Evidently this was built at Mathura in the great place of Vāsudeva and is called Devakula. The inscription suggests that the temple was built at the birth place of Kṛṣṇa. The inscription reads. वसुना भगवतः वासुदेवस्य महास्थानके देवकुलं तोरणं वेदिका च प्रतिष्ठापितं प्रोतो भगवान् वासुदेवः। vasunā bhagavataḥ vāsudevasya mahāsthānake devakulaṃ toraṇaṃ vedikā ca pratiṣṭhāpitaṃ proto bhagavān vāsudevaḥ. (Please note Mathura where the inscription has been found is called Mahasthāna (UT, INS-Vol. II, No 79). In the year 86 CE [Saka 8] in the reign of Mahārāja Shāhi Kanishka an image of Bhūmonāga (Balarama) was erected with a puṣkariṇi and a garden by one Neriya Vaddhaki (stone mason). The inscription is found on the sculpture, which is in two parts. The upper part shows the god standing beneath a five hooded snake. The right hand is raised (partly broken) in the pose of abhaya and the left holds a vessel. He is flanked by two females one on either side standing beneath the hoods. The bottom panel depicts five males accompanied by their consorts and two legs identified as devotees. The image of Nāga standing beneath the hoods with vessel in hand shows it is an image of Balarāma who was called Nāga (UTSI Vol. III, No 89) Veḷḷai Nāgar There are many sculptural representations of Balarāma and Kṛṣṇa in different parts of India. From early times, it is interesting to see that in most cases both are depicted together. Pratapadityapal has illustrated an important Balarāma sculpture in his book “The Sensuous Immortal”, (his fig 40) which shows the figure standing beneath a seven hooded snake, and holding a plough in his rear left hand, and a drinking cup in the front hand. The right hands are damaged. I have mentioned earlier that the early Tamil tradition, calls him “White Snake” (Veḷḷai Nāgar). Pal also mentions that many representation of Balarāma of the age of the Kushana have come to light with the same forms which has been followed in the subsequent periods. I have shown in this article that in the second cent. BCE the Bacterian king Agathāleus issued a bilingual coin with Prākṛt and Greek languages depicting on one side Kṛṣṇa and the other side Balarāma. We have also seen the Greek Ambassador Heliodorus from Taxila who called himself a Bhāgavata, erected a Garuḍa Dhvaja at Vaisāli. All these show that Kṛṣṇa and Balarāma cult was very popular then in that region. Another important point regarding Balarama cult comes from a magnificent three headed Viṣṇu Vaikuṇṭha in the Prince of Wales Museum, Dr. Kalpana Desai in her work on Master pieces of the Museum illustrates this three headed image in marble coming from Rajasthan. I have mentioned above that the Ancient Tamil poem Paripāḍal no 13, of the Saṅgam age, mentions Vāsudeva with three heads and suggests one head was peaceful, one was ferocious resembling a lion and the third one was a Varāha head. That would indicate there was an anicient tradition of representing Vāsudeva with three heads with the faces of Lion and Vāraha common then. Kalpana Desai identifies the image with four heads-Caturmūrti whose fourth head was not carved. She also says the right side face of lion represented Samkrṣaṇa and the left side face of Vāraha face represented Pradyumna while the central one was that beautiful Puruṣa Vāsudeva. And she says this identification is that of Vaikuṇṭha according to Śilpa Śāstras. But she does not give reference to the Śilpa text. However there seems to be some error in the next image of a similar sculpture with four heads she says that the right face with the lion's face represent Pradyumna and the left face of Varāha represents Samkarṣana. Probabaly there is a slip here. In all probability the right lion face represents Samkarṣana and the left Pradyumna. It is necessary to mention that the Samkarṣana is identical with Balarāma who is known for extraordinary strength like that of a lion among animals. I have mentioned in all these cases Vāsudeva should be taken as Kṛṣṇa and not as the supreme Viṣṇu as he appears with Balarāma and both appear as Dual deities. The worship of Balarāma in the form of snake continues to this day. Balarāma in Sangam Literature Balarāma is mentioned in the earliest strata of Tamil literature, namely the Sangam works, assignable to the beginning of the Current Era, He is mentioned as one with tremendous strength Vali (Bala in Skt) and named Vāliyōn. He is also said to be white in colour as opposed to his brother Kṛṣṇa who is black in colour. He is called Veḷḷai Nāgan, i.e. white Snake and often identified with Ādiśeṣha the primordial snake that supports the universe. In ancient times the worship of Kṛṣṇa and Balarāma went together. A sangam poem Puranānūṟu mentioning four great gods refers to Śiva and Subrahmaṇya (Muruga), Balarāma and Kṛṣṇa and refers to Balarāma as the embodiment of strength (vali ottīye vāliyōnai). Balarāma in Paripāḍal The worship of Balarāma with Kṛṣṇa was very popular in Tamilnad as mentioned in a group of Tamil poems called “Paripāḍal” assigned to 1-2nd cent CE. One of the verses in the collection describes a temple of Ādiśeṣa in a village near the Madurai city, in Tamilnad. The village named “Iruntaiyūr” was situated upstream on the banks of the river Vaikai that passes through Madurai. Iruntaiyūr was a famous village, from where hailed two great Tamil poets of the Saṅgam age. The verse under reference describes the situation of the village. On one side of it was a mountain, and another side was a tank full of flowers and on the third side were cultivated fields and the fourth side was the temple. Brahmins who were Vedic followers and upholders of justice lived there, while on another side lived merchants who were great meritorious people selling commodities like food grains, garments, jewelry, incense, and rare objects from hills and sea. On another side lived agriculturists and cultivators who ploughed both dry and wetlands. The village abounded in all pleasures. Muḍi Nāgarāyar temple In this village was the “Muḍi Nāgarāyar temple” who wore a crown with two serpent hoods. The temple was situated on the banks of the tank which had sporadic outcrop of rocky boulders here and there, The Lord was Ādiśeṣha, the primordial serpent, who served as a rope for churning the mountain, planted in the deep milky ocean, when the gods and demons churned the ocean for nectar. He was the embodiment of all strength carrying the whole universe on his hoods like jewels. When Śiva destroyed the three cities with the Meru mountain as a bow, this serpent god served as the bow string and established fame on earth. Balarāma was called Nāgar or White Nāga (veḷḷai nāgar) in early Tamil literature. Ādiśeṣha and Balarāma are held identical in the Saṅgam literature. Men and women, young and old carrying incense, flower baskets and food offerings congregated in large numbers in that temple of the serpent God and worshipped him. Nature itself played music and drum in the temple in the form of buzzing bees and dragon flies humming like stringed yāḻ (harp). The elephants’ sound resembled the drumming of clouds. Beautiful young maidens and men sang and performed erotic dance in the temple. Many men came to the temple with children and wives and prayed to the lord to eradicate their diseases and distress. The temple was always full of auspicious tidings. At the end of the poem the Poet says that these men and women who came there after worshipping in the temple of the Serpent god, went to the temple of Vāsudeva and worshipped him. In all the Saṅgam poems the word used is Thirumāl which is generally taken to be Viṣṇu. But I have taken this word to stand for Vāsudeva as it is used in association with Balarāma. Kṛṣṇa is already mentioned with śaṅkha and cakra, indicating that he was considered the Supreme Vāsudeva. It is also known the term Vāsudeva stands both for Viṣṇu and Kṛṣṇa. This description of the temple of Balarāma as Muḍi Nāgarāja (Ādiśeṣha) , shows that Vedic Brahmins, merchants, agriculturalists and cultivators lived around the temple. The young dancing girls and men danced erotic gestures under the influence of liquor they had consumed. Evidently the dancers made merry and danced erotic dances after getting drunk in the temple of Balarāma, who himself was fond of drinks. Balarāma is called Kāmapāla, protector of love. It also indicates that worship of Balarāma and Kṛṣṇa went together. The second point of interest is that the temple was in the midst of all sections of society including Vedic Brahmins which suggests that worship of Balarāma was prevalent among all people. Nāgā Stones It is known Kṛṣṇa is also installed with his image in the snakes even now by the Brahmins and all others that seems to suggest his portrayal on the snake was influenced by Balarāma cult. (In the portrayal of Kāliya Kṛṣṇa the dance of Kṛṣṇa is generally shown on the hoods of the snake Kaliya as told in the myth). The poem also shows that there was a strong cult of Balarāma around Madurai, (Southern Mathura) and further south. It is important to note that there is a town near Kanyākumari (extreme south) named Nāgarkōil meaning the temple of Nāgarāja. This Town derives its name from the temple dedicated to Nāgarāja, the Serpent god. In fact the garbha-graham (sanctum) inside this temple was covered only with a thatched hut till recent times and an anthill representing serpent hole was worshipped inside the sanctum. At the entrance to the temple are two large five hooded Serpent images, made of stone, stylistically assignable to 8th 9th cent CE. Sometime in the 16th cent. A Kṛṣṇa shrine has been built with preceding maṇḍapa and other structures inline with the Nāgarāja sanctum. Thus it is now a twin temple housing with in the enclosure the shrines of the Serpent and Kṛṣṇa. There could be no doubt that this temple is dedicated to Nāgarāja –identical with Balarāma and Kṛṣṇa. This turns out to be an ancient temple of Balarāma and Kṛṣṇa still continued to be worshipped in the Saṅgam tradition. All most all the poems in the Paripāḍal collection on Thirumāl directly or indirectly point to the identity of Vāsudeva with Balarāma, who is generally called “vāliyōn” or the personification of strength and wielder of sharp plough as a weapon. That the cult of Balarāma was always in association with Vāsudeva Kṛṣṇa in Madurai and further South is illustrated by this poem. The identity of Balarāma with Kṛṣṇa mentioned in some poems also indicate the fusion that has taken place and also his importance in early Vaiṣṇavism. Balarāma is also sung as Samkarṣaṇa, one of the four Vyūha forms, in one poem. Identity of Balarāma and Kṛṣṇa The poem Paripāḍal no 1 identifies Thirumal (Vāsudeva) with Balarāma. His colour is said to be white; plough was his weapon, while elephant was his symbol on his flag. (In some instances he is also said to have palm tree as his standard). Another interesting point mentioned in these poems is that Balarāma wore a ring only on one ear. He is also addressed as the father of Manmatha and Brahmā, the creator obviously as Vāsudeva. The Poem 2 of Paripāḍal says that though Kṛṣṇa was younger to Balarāma by birth, he was greater than him by fame. Balarāma was sparkling white in colour but wore black garment. This poem attributes a Palm tree as his flag. He is mentioned as Vāliyōn. The poem no 4 of the Paripāḍal collection refers to the four Vyūha forms Vāsudeva and also mentions four flags as Garuḍa, Plough, Palm tree, and elephant, sggesting these four vyūhas of Vāsudeva had these four symbols on their flags. The Tamil epic Silappadikāram mentions the existence of a number of temples in villages among which one is called Veḷḷai Nāgar tam kōṭṭam, evidently pointing to the independent temples of Balarāma continuing to be popular in post sangam Tamilnad. Three headed Vāsudeva- Kṛṣṇa A very important information is provided by the poem Paripadal 13. It refers to three manifestations of Vāsudeva viz Ananta Vāsudeva, Ādi-varāha and Balarāma in one body with three heads. There are some four headed images of Viṣṇu in which the fourth head at the back shows a grim face and such four headed images are called Kapila. There are some Viṣṇu images with three heads; the central one that of Viṣṇu, the right is that of Lion and the left is that of Varāha. Three headed images are called Vaikuṇṭas. Do they represent the combined form of Vāsudēva, Balarāma and Varāha? Lion is no doubt the symbol of strength. The reference to three faced Viṣṇu occurs in the poem Paripāḍal especially in line 13.37. “mū uruvākiya talai piri oruvanai” i.e., “You have one form with three heads”. (This line has also a variant readings which uses the word talai viri instead of talai piri. Though the meaning is the same in both, the later reading suggests that his head spread into three!) “mū uruvākiya talai viri oruvanai” (See Foot notes in UV Swaminathaiyer 1956 edition. P.150 for the variant reading). There is of course no ambiguity about the three heads. Does this three headed Vāsudeva of Paripāḍal refers to the Vaikuṇṭas form? [According to Wikipaedia “Vaikuṇṭa is also the Name of a three headed image of Lord Viṣṇu where one head is a Lion’s head (Narasimha - one (the central) is human and the third is the head of a boar (Varāha).”] A little discussion is needed here. The poem under discussion speaking about the three manifestation of Viṣṇu says:
  • Thou art Viṣṇu (Vāsudēva) wearing the garland of tulasi sleeping on the spread of thousand hooded Ādiśeṣa (Serpent) on the milky ocean.
  • Tou art the wielder of ‘sharp plough as a weapon’, with which Thou ploughs like a field with great shout and strength, the valour and might of thou enemies who oppose thee with a powerful army and thunderous yell,. (The plough is the weapon of Balarāma and so the poet uses the word ploughs to suggest the man-lion Narasimha incarnation in which he pierced with nails the heart of the demon Hiraṇyakaśipu and tore his body . So the face under reference does point to Balarāma) and
  • Thou art the one with the spout with which you rescued the earth from its troubles and wore a golden crown (Varāha).
 And finally it says that thou art the one supreme form – Paravāsudeva – that spreads your head into three (as above) The second reference in the poem is “Nāñjilon”, the wielder of plough undoubtedly points to Balarāma as a lion. The Poem certainly refers to a three headed form of Viṣṇu who had the face of Balarāma (lion), Varāha, and Vāsudeva Kṛṣṇa. Thus this rare reference in an early Tamil poem is interesting. Balarāma and Vāsudēva Kṛṣṇa in Aḻagarkōyil 01-Jan-2007 Balarāma and Vāsudēva Kṛṣṇa in Aḻagarkōyil / Solaimalai There is an important Vaiṣhṇava kṣhētra near Madurai called Aḻagar kōyil i.e., the temple of the beautiful God. There is a long and high hill here called Aḻagarmalai, “the hill of the Beautiful God”. A part of this hill has beautiful green gardens and a captivating but small water fall called Nūpura Gaṅgai (Cilambāṟṟu. In ancient times it was called “Solai malai” the hill with a pleasant garden. The history, rituals and festivals of this Viṣṇu temple are closely connected with the temple of Madurai. It is well known that the main deity now in this temple is Viṣṇu. And this situation has been there for several centuries so mch so if some one says this temple was originally dedicated to the dual deities Balarāma and Kṛṣṇa, the devotees might even frown. And Yet the Saṅgam poem Paripādal no 15 declares that this temple was dedicated to the dual deity Balarāma and Vāsudeva Kṛṣṇa. The following is the summary of the poem. “The hill Solaimalai in which Balarāma resides is the most outstanding among all hills. This mountain of Vāsudeva is famous through out the world as a “hill of amorous couples”. Obviously it was the most famous Tourist spot of ancient times where lovers frequented. It should not be forgotten that the halo of Kṛṣṇa with his circle of Gopis and pleasure loving Balarāma fond of drinks should have added attraction to the young lovers. Kṛṣṇa and Balarāma were in two different colours, Kṛṣṇa was deep blue in colour while Balarāma was sparkling white in colour. Balarāma wore a white “kaḍamba” flower as a garland on his chest. Kṛṣṇa who was black in colour wore yellow silk garment that resembled the light of the early rising Sun enveloping darkness. Kṛṣṇa remained seated with Baladeva on this hill. All the tanks in the hill were full of blue lilies while the trees like Veṅgai on their banks blossomed forth yellow and red flowers. They resembled Kṛṣṇa wearing yellow garments and thus the mountain itself appeared as Kṛṣṇa and deserved to be venerated as god. The devout men and women with their parents and children and relatives worshipped the hill itself as God. Vāsudeva had his eyes like the padma lotus sprouting from his navel. Kṛṣṇa, black and gem like in colour, manifested and removed the suffering of all people in all parts of the world.That God resided in this hill. “Oh Lord Vāsudeva Thou art wearing green tulasi garland Thou resemble the blue hill, Thou wears a ear-ring on one ear, Thou hast the eagle as thy flag, Thou carry a sharp curved plough as a weapon, The Vedas praise you both (Balarāma and Kṛṣṇa) in this manner, So we do praise you both in this manner, That thou grace us to live under that hill.” It may be seen that in this poem both Kṛṣṇa and Balarāma are held identical and are said to remain side by side on this hill. We have already seen another temple near Madurai dedicated to Balarāma and Kṛṣṇa mentioned in the saem collection of poems. This famous temple that is most venerated in this region was also dedicated to both to Balarāma and Kṛṣṇa would indicate that the worship of this two gods together was quite popular in Tamilnad in the Saṅgam period. The poem reads: .... kaḍalum kānalum polavum pulliya collum porulum polavam ellam vēru vēru uruvin oru thoḻil iruvarāi taṅgu nīnilai ōṅgkiruṁ kunṟam ... lines 15.11-15 … Though they were in two different colours like the ocean and the white sand and though were different like the word and its meaning they performed one and the same function in two bodies and remained on the hill. The ancient commentator Parimelaḻagar explaining the import of these lines says that the hill remained the abode of Kṛṣṇa (Māyōn) and Balarāma (his Munnōn-elder). The poem end with a prayer to both as iruṁgkunṟattu aṭiyuṛai iyaikenap perumpeyar iruvarai paravutum toḻute .... lines 15.65-66 i.e., we shall pray to these two famous gods to grant us sojourn at the foot of this great hill". The poem was composed by Iḷam Peruvaḻuti, and set to music by Nal-Accyutan. The name Accyutan, as the one who set to music, may be noted. The impact of the worship of these two gods in Saṅgam would show that the puranic ideology has become deeply rooted in the early Tamil society. There is an important tradition in Central India, mainly at Khajuraho, where the Three faced Image of Viṣṇu known as Vaikuṇṭa was popular. The famous Lakshmaṇa tample of Khajuraho enshrines one of the finest image of Vaikuṇṭa. Dr. Devangana Desai who has studied the Khajuraho monuments informed this writer that she has listed four numbers of three faced images altogether at Khajuraho, in addition to one four faced Image which may be called Kapila. The tradition of invoking three faced Viṣṇu –Vaikuṇṭa was thus a very popular cult in northern India. It was however not popular in South Indian Temples. But its worship was certainly known in early periods in Tamil country is thus attested by this reference to the three faced Viṣṇu in Paripāḍal. However as mentioned, one face is that of Viṣṇu, the other referred to as of Balarāma destroyer of enemies, and the third as that of Varāha who lifted the Earth. In the north Indian images one face is that of Lion and the other is of Varāha besides the central one of Viṣṇu. So one may wonder whether there was a tradition of portarying Balarāma with a lion’s face. There is an important text in Sanskrit called “Rudra Yāmala”, which seems to have been popular in Bengal in early times. The “Rudra Yāmala” is oriented towards worship of Bhairava and Bhairavi, and is in the form of a dialogue between Ānanda Bhairava and Ānanda Bhairavi, but it seems to answer some very intricate points about Hindu culture. There are a number of chapters in it dealing with the worship of Kṛṣṇa. This is a an esoteric text as it gives yantras, mantras, yogas, seed chants etc., in mystic language, but the meaning is clear. Early Kṛṣṇāism The text Yāmala tantra seems to give a clue to early Kṛṣṇāism. First of all it speaks of Kṛṣṇa and his worship from a different angle, namely pure Yoga. So it is called Kṛṣṇa Sādhana. Kṛṣṇa is considered the primordial power in man and with this are two allied Śaktis “Rākinī” ānd “Rādhā”. Rādhā and Rākinī are sometimes spoken of as one. Kṛṣṇa worship according to it is personal and not external. Among many bhāvas of mental identities about Kṛṣṇa mentioned in this text one is called Balarāma bhāva, that is Kṛṣṇa and Balrāma are considered identical. Balarāma worship in this process is integrated with Kṛṣṇa. So one reaches knowledge jñāna. One who is immersed in “Kṛṣṇa conciousness” becomes “Kṛṣṇa Caitanya”. The text also mentions Narasiṁha mantra with Kṛṣṇa mantra and speaks of “Balarāma bhāva”. The face of lion is associated with Balarāma as well. However what is surprising is that the worship of Balarāma is completely discarded. The modern Tamil Vaiṣṇavites thinks that Balarāma should not be worshipped. This is only ignorance of the tradition. It is known that Bengal and Tamilnadu had intimate contact in early times. I have shown that as early as 7th cent there were Bengali settlers in Tamilnadu on the banks of Kaveri in Tanjore district. The worship of Balarāma and Kṛṣṇa as reflected in Bengali “Rudra Yāmala” tradition, is also known in Tamilnad and that Balarāma wordhip was most popular in early period from Oxus in Central Asia to Bengal in the east and Tamilnad in the south which deserves to be appreciated Ten Avatars are that of Kṛṣṇa The discussion aboe clearly shows that there was a strong tradition in early times which held that ten avatars (daśāvatāra) were that of Vāsudeva Kṛṣṇa, that Kṛṣṇa was born as Matsya, Kūrma, Varāha, Narasimha, etc., There are several sculptures from several parts of India showing Viṣṇu as the main deity and the ten avatārs are shown around the prabhā. Which do not include Kṛṣṇa, instead includes Buddha, to complete the tens. So the central main image should be identified as Kṛṣṇa-Vāsudeva and not by the general form Viṣṇu. So even the Vyūha forms of Viṣṇu should be considered as incarnations of Kṛṣṇa.
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