Adivaraha

Dr Uday Dokras

Vaishnavism (Vaishava dharma)

Ādivarāha is short for Ādivarāhakṣetra (or Tiruppati-Tirumala) refers to Vēṅkaṭam, one of the
108 Vaishnava Divya Desam (divyadeśas or divyasthalas), located in the topographical division
of Vaṭanāṭu (“North India”), according to the 9th century Nālāyirativviyappirapantam (shortly
Nālāyiram).—Tradition would record the Vaiṣṇava divyadeśas or divyasthalas are 108.
The divyadeśa is a base of the cult of Viṣṇu in Viṣṇuism [Vaiṣṇavism] tradition.
The list of 108 [viz., Ādivarāha-kṣetra] seems to have reached maturation by about the early 9th
century CE as all the deśas are extolled in the hymns of the twelve Āḻvārs.

Throughout the history of Champa, Shiva in his various forms remained the most popular theme
of the artistic endeavors of Cham people. This elaborate ~1200-1300 years old Murtis from Tra-
Kieu (ancient Simhapura) first capital of Champa bears ample testimony to it.

Fu-nan would eventually disappear around 6th-7th century but its legacy of Kaundinya would
survive and would be taken to the new heights by the Khmer kingdom which will rose into
Cambodia ultimately culminating into largest Hindu temple of ancient world!

CHAMPA - located in southern Vietnam its name is reminiscent of Champa - famed capital of
Anga desh & one of the largest city of ancient India. The original inhabitants of Champa were &

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are known as Cham people.But is it named after the flower CHAMPA as called in Sanskrit.
Sweet smelling and regale white in colour?

As Chinese sources are only available sources for early history of Champa, not much is known
about Indianized cultural penetration into early history of Champa. But Indian influence is
already apparent in early art of Champa such as this Murti of Buddha from Dong duong

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Throughout the history of Champa, Shiva in his various forms remained the most popular theme
of the artistic endeavors of Cham people. This elaborate ~1200-1300 years old Murtis from Tra-
Kieu (ancient Simhapura) first capital of Champa bears ample testimony to it.

Bhadavarman is earliest known king of Champa with Indianized name. C. 4th century he
established the first Shiva temple in My-Son & initiated worship of Shiva as Shiva
Bhadreshwara. From that point onward Shiva remained the most revered deity of Cham people.

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Nearby My-Son itself became a sacred tirtha for the Champa and many temples dedicated to
Shiva were established there. Area came to be known as Amaravati. Unfortunately temples of
My-Son were partially destructed in American bombing during Vietnam war.

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 Although it wasn't only Shiva that they embraced with Indianization. Other gods of Hindu
pantheon received equal devotion of the people of Champa. Strong Indian influence would help
Champa to withstood Sinicization for a very long period of time.

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DVARAVATI - Loated in the area comprised by modern day Thailand its name is reminiscent of
the Famed Dwarika of India. Located in the valley of Menam river it was established by the Mon
people

This elaborately carved Dhamrachakras (symbolizing Buddha's first sermon at Sarnath) were
one of the popular motif of the art of Dvaravati. . And Indeed wheel of dharma set in motion by
mon people of Dvarvati is still moving in modern day Thailand!

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This elaborately carved Dhamrachakras (symbolizing Buddha's first sermon at Sarnath) were one
of the popular motif of the art of Dvaravati. . And Indeed wheel of dharma set in motion by mon
people of Dvarvati is still moving in modern day Thailand!

Vaishnava (वैष्णव, vaiṣṇava) or vaishnavism (vaiṣṇavism) represents a tradition of Hinduism

worshipping Vishnu as the supreme Lord. Similar to the Shaktism and Shaivism traditions,
Vaishnavism also developed as an individual movement, famous for its exposition of the
dashavatara (‘ten avatars of Vishnu’).
Ādivarāha (आदिवराह).—'the first boar', an epithet of Visṇu, alluding to his third or boar-
incarnation.Derivable forms: ādivarāhaḥ (आदिवराहः).Ādivarāha is a Sanskrit compound
consisting of the terms ādi and varāha (वराह).Ādivarāha (आदिवराह (-haḥ) A name of Vishnu.
E. ādi and varāha a boar; the first boar, alluding to Vishnu'S avatara or incarnation in that form;
also similar compounds, as ādiśūkaraḥ, ādyakolaḥ, &c.
Ādivarāha (आदिवराह):—[=ādi-varāha] [from ādi] m. ‘the first boar’, Name of Viṣṇu,
[Kādambarī; Harivaṃśa].Ādivārāha (आदिवाराह):—[=ādi-vārāha] [from ādi] mfn. relating to
the first boarĀdivarāha (आदिवराह):—[ādi-varāha] (haḥ) 1. m. Vishnu.
Search found 9 books and stories containing Adivaraha, Ādivarāha, Adi-varaha, Ādi-varāha,
Ādivārāha, Ādi-vārāha; (plurals include: Adivarahas, Ādivarāhas, varahas, varāhas, Ādivārāhas,
vārāhas). You can also click to the full overview containing English textual excerpts. Below are
direct links for the most relevant articles:
Later Chola Temples (by S. R. Balasubrahmanyam)
Temples in Srimushnam < [Chapter II - Temples of Kulottunga I’s Time]
Temples in Laddigam < [Chapter II - Temples of Kulottunga I’s Time]

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Chaitanya Bhagavata (by Bhumipati Dāsa)
Verse 3.2.288 < [Chapter 2 - Description of the Lord’s Travel Through Bhuvaneśvara and Other
Placesto Jagannātha Purī]
Verse 3.2.281 < [Chapter 2 - Description of the Lord’s Travel Through Bhuvaneśvara and Other
Placesto Jagannātha Purī]
Verse 3.2.280 < [Chapter 2 - Description of the Lord’s Travel Through Bhuvaneśvara and Other
Placesto Jagannātha Purī]
Early Chola Temples (by S. R. Balasubrahmanyam)
Torana < [Chapter XIII - Prasada: Component Parts]
Part I, Stone < [Chapter XI - Sculpture]
Temples in Tiruvidavendai (Tiruvidavendai) < [Chapter VIII - Temples of Uttama Chola’s Time]
The Skanda Purana (by G. V. Tagare)
Chapter 132 - The Greatness of Ādivārāha Tīrtha < [Section 3 - Revā-khaṇḍa]
Chapter 189 - The Greatness of Udīrṇa Vārāha Tīrtha < [Section 3 - Revā-khaṇḍa]
Chapter 230 - The Series of Tīrthas Enumerated < [Section 3 - Revā-khaṇḍa]
Triveni Journal
The Devi Bhagavata Purana (by Swami Vijñanananda)
Chapter 10 - On the description of Bhuvanakoṣa < [Book 8]

Varaha Cave Temple (i.e., Varaha Mandapa or the Adivaraha Cave) is a rock-cut cave
temple located at Mamallapuram, on the Coromandel Coast of the Bay of Bengal
in Kancheepuram District in Tamil Nadu, India. It is part of the hill top village, which is 4
kilometres (2.5 mi) to the north of the main Mahabalipurm sites of rathas and the Shore
Temple. It is an example of Indian rock-cut architecture dating from the late 7th century. The
temple is one of the finest testimonial to the ancient Hindu rock-cut cave architecture, out of
many such caves also called mandapas. Part of the Group of Monuments at Mahabalipuram, the
temple is a UNESCO World Heritage Site as inscribed in 1984 under criteria i, ii, iii and iv.The
most prominent sculpture in the cave is that of the Hindu god Vishnu in the incarnated form of
a Varaha or boar lifting Bhudevi, the mother earth goddess from the sea. Also carved are many
mythical figures.

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The relief of Vishnu as Varaha lifting Bhudevi, the earth
Varaha Cave Temple is located on the hills of Mahabalipuram town, 4 kilometres (2.5 mi) to the
north of the main Mahabalipurm sites of rathas and Shore Temple, on the Coromandel Coast of
the Bay of Bengal of the Indian Ocean. Now in the Kanchipuram district, it is approximately 58
kilometres (36 mi) from Chennai city (previously Madras) and about 20 miles (32 km)
from Chingelpet

History
The cave reflects a transitional style of architecture in its columns mounted on seated lions and
frescoes carved on the walls inside the cave which evolved during the rule of Pallava kings
Mahendra Varman I and Rajasimha or Narasimhavarman I known as Mamalla. This style was
continued by Mamalla's son Parameshvaravarman I. Historical research has also confirmed that
Mahabalipuram town came to be established only after it was named after Mamalla and the
caves and rathas are all attributed to his reign during the year 650 AD. It is the earliest known
monument in Mahabalipuram though not the most visited due its hidden location The distinctive
feature of the Pallava style is that the frontage of the cave has, without exception, finely carved
columns mounted on lions in a sitting posture. The structure is part of the Group of Monuments
at Mahabalipuram, a UNESCO World Heritage Site inscribed in 1984.

Architecture

Layout
The temple is a small monolithic rock-cut temple with a mandapa carved into the rock face of
pink granite formations, dating from the 7th century. The cave is of smaller dimension and has a
simple plan. The fluted columns separating the openings have cushion-shaped capitals and seated
lions at the base. Certain Greco-Roman architectural styles could also be discerned and the
sitting statues are said to have likeness to the sitting styles seen in European architecture, as
against the Indian cross legged style. The style thus created at Mahabalipuram became a
forerunner for South Indian style of architecture. [1] The walls inside the cave have several
striking mythological scenes carved in relief. Vishnu rescuing the earth, Vishnu taking three
strides, Gaja Laksmi and Durga are all impressive panels carved in the Adivaraha Cave.

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Vishnu as Trivikrama taking the three strides/Gajalakshmi panel.=Durga Panel.

Features
At the centre of the rear wall of the mandapa, opposite to the entrance, guardian figures are
carved on either side of a shrine. Inside the mandapa, the walls have four large sculptured panels,
good examples of naturalistic Pallava art. The side walls have carved sculpture panels of Vishnu
as Trivikrama (Vamana) and northern panel, which is very large, depicts Vishnu in the form
of Varaha, the boar, lifting Bhudevi, the earth goddess symbolically representing removal of
ignorance of human beings. In this panel, Varaha has four hands, two arms
carrying shankha and chakra, which are shown towards the back and in one of the arms in the
front he is carrying Bhudevi. There are no attendants fawning on him. However, the original
panel has been plastered and painted.

The Gajalakshmi panel is on the rear wall which represents Gajalakshmi, an aspect of Lakshmi -
the goddess of prosperity. The religious significance of Gajalakshmi is well brought out in the
panel. She is shown with her hand holding lotus flowers, fawned by four attendants, and carved
in "perfect beauty and gracious countenance". Two royal elephants are filling the water vessels
held by the attendants and one elephant is pouring water from the vessel on Lakshmi and the
other is about to take the vessel from the maiden's hand to pour water over Lakshmi. The Durga
panel, also on the rear wall, is indicative of victory over ignorance. The Trivikrama panel depicts
Vishnu as the Lord of the three worlds. Another strikingly impressive panel is of Durga slaying
the demon Mahishasura who is in an anthropomorphic form of a human with a buffalo head; the
scene is reminiscent of a battle between good and evil forces, with the side of Durga represented
by the confident looking ganas advancing and the other side of Mahishasura with his army
of asuras (demons) retreating. This scene is a new architectural depiction which is appreciated as
to "enhance the drama and realism of the subject." The Brahma panel is carved with Brahma
having three heads in sambhaga or standing posture.

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