Purana Bulletin
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The “Purana Bulletin” is an academic journal published by the Indira Gandhi National Centre for the Arts (IGNCA) in India. The journal focuses on the study of Puranas, which are a genre of ancient Indian literature encompassing mythological stories, traditions, and philosophical teachings. The Puranas are an important part of Hindu scriptures in Sa...
Skanda in the Puranas and Classical Literature
Skanda in the Puranas and Classical Literature [puranesu kavyesu ca skandah] / By Sri Prithvi Kumar Agrawala, M. A.; College of Indology, B.H.U., Varanasi. / 135-158
[ asmin nibandhe skandavisayako vimarsah prastutah | guptasamrajyayuge skandavrttam caramavikasam lebhe | skandakhyanam puranesu vibhinnarupenopa- labhyate | kesucit kavyesu silalekhesu capi skandakathaya nirdesah prapyate | skandasya vahano mayurastasya pratidvandvi tarakasurasca guptakalat pragvinirmite sahitye guptakalapragvatisu muttisu silalekhesu canirdistau | skandapratidvandvirupena mahisasurasyaiva varnanam guptakalat pragupalabhyate | daksinatyatamilasahitye'pi skandakathaya varnanam prapyate | daksina- tyastam subrahmanyeti namna pujayanti devasena valli ca tasya dve bhayem iti ca manyante | vastutastu sa purva parvatyajatiyanameva deva asit | valli capi kacid parvatiya kanya'bhut | mayurasca parvatadesiyah paksi varttate | puranasahitye skandasya vahano mayurastasya patni valli ca daksinatya tamilasahityadeva grhitau astam, puranasahityacca tamila- sahitye subrahmanyasya sivaputratvam sanmukhatvam ca grhite | evametayoh samayoh sahityayoh parasparam adanapradane babhuvatuh | skandasya tasya gananam ca balapidakaragraharupena varnanamayurvede'nyatrapi copalabhyate | atra nibamdhe'yam paksah savistaram vicaryate | skanda- visayika silalekhadipuratattvasamagri capyatra prastuta | ] The position of Skanda in Hindu pantheon reached its climax in the classical period of Indian culture and literature which came into existence during the reigns of the Gupta monarchs. With the beginning of this epoch we enter into the most glorious phase of Skanda study. By the period of Kushanas Skanda had already achieved an exalted position in the religious hierarchy, and influence of his cult were spreading in different quarters. His Saiva affinities as well as the persistent efforts of his devout followers like the Yaudheyas had made him the warrior god. He was accepted now as the son of Siva, one of the two great gods. The epic testimony of an overall recognition given to him from
136 puranam - PURANA [Vol. VIII., No. 1 every quarter and the numerous respects and attributes bestowed on him well anticipates the future of this deity', as the National War-God. From the rank of a folk deity, now he was raised to the status of a national war-god and attained a supreme position almost similar to that enjoyed by Vishnu and Siva, as seen in the Kumarasambhava of Kalidasa and the Puranic Literature. Various aspects of the deity and his cult which had their origin earlier are seen in this period further elaborated and emphasised; for this period the evidence from the Puranas and Kavyas on the one hand and art and archaeology on the other is of vast dimensions in which several strands were mingled in the exaltation of this god. As we could gather also from the early history of Skanda, it is obvious that he, as the son of Siva, enjoyed only an ancillary position in the Siva family. But that also helped, no doubt, in so many ways in elevating his position. THE LEGEND OF HIS BIRTH Details of the Birth-legend of Skanda-Karttikeya developed considerably in Puranic mythology; and that was done, on the one hand, by applying the ingenious methods of Puranic elaboration, and a restatement in the light of philosophical and yogic disciplines explaining esoterically the so many cult congruties, on the other. So far as the legendary myths and motifs are concerned Puranic writers have faithfully represented the earlier versions of the birth-story of Kumara-Skanda though enhanced with some new motifs, e. g. the demon Taraka and the peacock as his vehicle. But under the influence of various religious and expositional approaches, we have in several of the Puranic accounts, no doubt, dissimilar forms of the story. The legend of Karttikeya is found sung at length in a major number of the Puranas. For example, Linga Purana 1.104.105, Vayu Purana (ch. 72.24 ff), Matsya Purana (5.26 ff; chs. 146-160), Siva Purana (chs. 9-19), Brahmanda Purana (II. 65; III. 11), Vamana Purana (chs. 57, 58), Siva Mahapurana (2.4, 1-12), Padma Purana (6.28), Skanda Purana (1 (i), 20-30, 1 (ii) 20-32). Kalidasa glorified it in the Kumarasambhava "The Birth of 1. Mbh. Vanaparva, ch. 218,
Jan., 1966] SKANDA IN THB PURANS 137 Kumara", which represents the common and standardised version of the story. The birth of Skanda and his exploits formed part of the mythical motif of the Devasura conflict going on ceaselessly. In this scheme of the perennial clash between the two opposite principles of good and evil, the demons are portrayed acquiring invincible power and irresistible violence 'by accumulating psychic energy through a severe regimen of ascetic exercises' and then manacing their opponents, the Devas. This happens from time to time and the same myth of the rise of the devil and of his being vanquished by the gods is repeated again and again, certainly in a new version, forged afresh in a different mould. The motif of the demon Taraka evolved in the Puranas in relation to Skanda and his exploits, as it appears, was an invention of the Gupta period, for we have no piece of evidence from the vast epic literature, art and inscriptions of the pre-Gupta times which refers to Tarakasura and his harassing of gods. In the great epics Skanda had as his rival demon, the Mahishasura, but perhaps only due to his association Siva and the Goddess. serve the purpose, for the killing of the Mahisha was attributed fully to Great Goddess as her exploit. Therefore, for Skanda, it appears, a separate demon became necessary that was formulated as the hostile Tarakasura against whom he justified his divine strength. But it did not But it did not The short account compiled in about the birth of Skanda is similar to with the the Vayu P. (ch. 72) that of the epic, both in contents and details, and also appears to be nearer to that of the epic in time. But the myth of Taraka is present in the Vayu which is not to be found in the Mahabharata. It is clear from the Purana that it was a later development and was yet in a formative stage since it has here only a nominal reference. The Krauncha mount, the first victim of Skanda's valour in the epic, is narrated here as his play-hill, where he killed the demon 1. Mbh. 3.231. 1; see also Sorensen, Mbh, Conc., p. 458, 18
138 puranam - PURANA [Vol. VIII., No. 1 Taraka. It was on this hillock that the lions were yoked to Skanda's chariot and he was consecrated to the generalship of the gods.2 According to Matsya Purana (Chs. 146-60) Skanda is a member of Siva's family and the legend of his birth is closely associated with Siva and his consort Parvati as he is invariably considered their son, though all the legendary details of his birth and rearing are there, of which roots are far-reaching in earlier The story tradition as analysed above in the epic account. is to be found first related synthetically in seven slokas and then at great length in 1569 verses. In the colophon of chapters 154-58 the story is given the title Kumara-sambhava which is known best from the epic poem of the same name by Kalidasa, though the whole "Kavya" in the Purana is styled as Skandacharita. The whole saga of the marriage of Siva and Parvati has been brought into the picture of the birth of Skanda and both in the Puranas and by Kalidasa in a sublime style. sung The principal motif of the story according to the Matsya Purana itself is as follows: The Devas being worsted by the demon Taraka, son of Vajranga Daitya, repaired to Brahma who assured them and said, "Give up your fear. The son of Siva born from the Daughter of the Mountain Himalaya will slay the demon." Then after the lapse of some time Siva became infatuated with the beauty of Parvati and he allowed his semen to fall in the mouth of Agni, who became the second mother in the birth of Kumara. The seed of Siva thus ejaculated in the mouth of Agni pleased the Devas abiding in his body. But they could not digest it and so the seed ripped open their bellies and fell in the river Ganga and then in a grove of the Sara weeds. From there he was born as Guha, appearing resplendent like Surya. When the boy was only seven days old he killed the Asura Taraka.4 1. Cp. Vamana Purana, ch. 58; Agrawala, V. S., Vamana Purana-a study, p. 117. 2. Patil, Cultural History from the Vayu Purana, p. 63. 3. Agrawala, V. S., Matsya Purana- A study, p. 237. 4. Ibid.
Jan., 1966] SKANDA IN THE PURANS 139 In the elaborate version of the story the agency of the six Krittikas is also recognised who drank the fecund water ejected by the gods and again offered that to Parvati who conceived and gave birth to the Babe from her right side. Skanda was born as a boy with six heads and he held a Sakti. He was named Kumara, for he was destined to kill (mara) the evil Asura (ku). As the son of the six Pleiades he was Karttikeya and since the Krittikas were united in a single On the day of branch (Sakha) he got another name Visakha. shashthi when only six days old he was anointed as Lord Guha by all the gods headed by Brahma, Indra and Vishnu. Indra gave him his daughter Devasena in marriage. Tvashta presented him a toy as Kukkuta. Thus appointed in the office the generalissims the divine army he was praised by all the gods with a stotra. And, on the seventh, day in a long and trying battle the Asura was slain by Guha Mahasena. As in the Epic, so in the Puranas, with usual inconsistencies of detail, Skanda is described as the son of Uma or Parvati, though he was not born from the womb of her. At the same time he is the offspring of the Krittikas, who either bore him as their child and delivered him separately into six forms or came later on the scene breastfed the uncared babe who by his intrinsic power divided himself into six forms and suck them as his mothers satisfying each one of them at the same time. His mother is Ganga into which the dissipeted retas of Rudra was thrown by Agni, and it was only due to Uma's curse that she had to bear the Agni's garbha1. Now, Siva-Rudra is his recognised father with whose cult Besides, the early motif of his his worship got associated. sonship attributed the Agni is not altogether forgotten. In several passages he is a son of Agni through Svaha." Pasupati and Svaha, but clearly it is said by the the god Pasupati has Fire as his self (vahnyatma). 1. Matsya P. 135.79. 2. Vayu 27.53; Matsya 135.79; Bhaga. VI. 6.14. 3. Linga P. II. 13. 7-8. He is son of learned that According
140 puranam - PURANA [Vol. VIII., No. 1 to Vamana-Purana' as the story explains, it was originally the semen of Rudra-Siva which Agni had to take within himself and roamed about for five thousand years suffering with its intense heat. And, this happened by way of a curse which Agni had got in punishment from Parvati for his act of peering while she was with her husband." The Matsya Purana in a humourous tone says that the energy of Siva received by fire really entered the belly of all the gods because Agni is the mouth of the gods, and from their being undigested exploded out in the form of a pool of water. The "Story of Agni" is described in several of the early Puranas perhaps following the lines of the Mahabharata chapter entitled Agnivamsa," but it does not include the legend of the birth of Agni's son Skanda as we see it in the great epic. No doubt, in the Vishnu Purana, he is described as son of Agni being born in the reed forest. However, the birth of Skanda is felicitated by the gods with joyous hearts for he is born for their It was welfare and as their saviour from the demon harassment. heralded by divine musicians, Siddhas, Charanas, Yakshas, Kinnaras and others. All the gods praised him with a hymn and he was appointed as the commander-in-chief of the divine forces by Indra, Brahma and Vishnu, or by Brahma and Rudra, or allegorically Indra married to him his daughter Devasena. Vishnu presented to him a fowl and a peacock, Sarasvati the lute, Brahma a goat and Siva a ram. However, the origin of Kumara has been described in a mystic language at several places in the Puranas. It is stated in the Matsya Purana (154. 52-3) that from the union of Siva and Parvati Skanda was born like Fire from the two churning sticks (arani). As observed by one scholar: "An allegorical interpretation of the birth of Karttikeya is given in another Purana (Varaha P. 25. 1. Ch. 57; Agrawala, loc. cit., p. 108. 2. Brahma P. II. 10.27. 3. Brahmanda II. ch. 12; Matsya ch. 51. 4. I. 15, 115-6.
Jan., 1966] SKANDA IN THE PURANS 141 1-43) Vishnu who is identified with Siva is Purusha. Uma, who is no other than Sri is Avyakta or Parvati. From their union was produced Ahamkara, and this was Karttikeya...The Puranas also mention that Brahma and Vishnu were born respectively as Heramba and Shadanana, thereby suggesting the identity of Karttikeya with Vishnu". In fact, he is reckoned as an avatara of Hari or Vishnu in the Bhagavata Purana (XI. 4. 17). Kumaro navamah sargah (Kumara is the ninth creation). In the Sarga-pratisarga shceme of the Puranas, Kumara is described as the Ninth (navam) Sarga (creation), which is both natural (prakrta) and created (vaikrita). This doctrine, as connected quite often in the Puranas with the crying of the hungry Kumara Nilalohita or Rudra for a name, appears to be a purposive development, retaining the ancient terminology, of the "Kumara-vidya" which is original to the Satapatha Brahmana (6. 2. 1. 1-20). Though at several places references to Karttikeya are made, but the legend of this god has hardly been given importance in the earlier Puranas like the Vishnu, Linga and Markandeya. Perhaps the earliest Puranic version of the story is to be found in the Vishnu Dharmottara Purana, which is almost the same as preserved in the epic. It nowhere does refer to the Tarakavadha, a motif which is a later evolution, dating not earlier than 300 A. D., and which is sung in such a sublime way by Kalidasa (about 400 A. D.). In this Purana similar to the epic, the god is accredited with the disrupting of Krauncha hill, still are caused 1. Kurukal, K. K. "A study of the Karttikeya cult as reflected in the Epic and the Puranas, "University of Ceylon Review, October 1961, p. 132. 2. Vayu. 6. 65; Vishnu 1. 5. 25; Garuda 1. 4. 18; for other references see Kirfel, Das Purana Panchalakshana, p. 23. 3. Linga 11. 18. 18 (also 1. 1.); Vayu 27. 1-53; Vishnu 1. 8. 1-12; Brahmanda II. ch. 10. 4. As has been dated by Hazra, Vishnu P. between A. D. 100 and 550, Linga P. in its present 600 A. D., but was an early Purana, Markandeya P., major portion about 200 A. D. See his Puranic records on the Hindu rites and customs, pp. 19-26, 93-6, 8-13.
142 puranam - PURANA [Vol. VIII., No. 1 horrors in the heart of Mahisha-demon by the birth of Skanda (I. 95. 26) who was, as has been pointed out earlier, the archenemy demon of Siva family. We find in the Linga Purana (I. 170. 120-123) a description of Karttikeya's dance and childish sports and activities as a sourse for the filial joy of the divine couple. As a sporting boy, resplendent like the Sun, the six-headed son is described by the goddess Parvati as shining with various ornaments. Mahadeva himself, asks Skanda to show them his dance and then they became pleased with the boyish pranks (llas) of his son. Kalidasa has also given a narration of some typical childish activities of Skanda enjoyed by the divine parents. Here we may point out that this aspect of the boy god got much elaboration in the Tamil land where worshippers of Subrahmanya have a living faith in this aspect and are fond of his bala lilas even now. The worship of Skanda as Murugan in south India is traced back by some scholars to very olden times. How ever, in the present state of our knowledge, it can not be taken much earlier than the beginning of the christian era. Seyon (red complexioned) perhaps the oldest name of the god Murugan is sung in the old Tamil hymns as the deity of the hilly region. His spouse Valli herself is a hill girl from the hill tribe or the kuravas. He bears vel or spear and so is named velan. His worship, it is believed, consisted of simple folk offering of flowers etc. and votaries danced and sang to propitiate him." One specimen of the beautiful songs sung by the hill women in honour of Murugan is preserved in the old Sangam epic, silappadikaram (c. 200 A. D.). He is lord of the hills and is prayed to the accompaniment of singing and dancing by girls so that they might be married. "This is indeed the spear wielded by the deity who naver deserts the mighty renowned chendil, chengodu, the white hill and 1. Sastri, K. A. N. Development of Religion in south India, p. 21 2. venkataraman, "Skand Cult in South India," the cultral Heritage of India, Vol. IV, p. 309
Jan., 1966] SKANDA IN THE PURANS 143 Eakam-the white, shining, leaf shaped spear, which put an end to (the asura) Sura (in the form of a) mango-tree, in olden days, by chasing him in to the sea surrounding the earth. "O! This is indeed the spear held aloft by the matchless deity with six faces and twelve arms, this is the shining spear wherewith (the god) riding the peacock (or elephant) and celebrated by the kings of the celestials, vanquished the Asura enemees and destroyed their greatness. "O! This is indeed the spear decorating the lovely hands of him who was suckled by six mothers in the lotus bed of the Saravanai pool, this is the long spear that destroyed the Krauncha mountain, after cleaving the breast of the Asura who had that hill for his residence." He is The god is described riding on a peacock with him consort valli the beautiful daughter of the mountain folk who has a crescent like forehead of the peacock's hue. 2 the son of the god of the kailasa hill and Parvati. His long lance is red like fire.3 or fiery in itself, as he himself is of red complexion. The temple dedicated is distinguished by the cock flung on its top." In the epic are attributed to him the dances tuddikkuttu and kudaikuttu the drum dance and the umbrella dance respectively. He danced "the tudi dance in the midst of the sea, which itself served as the dancing hall, following the destruction of the demon Sura who hid himself there", and "the kudai lowering the umbrella before the Asuras who gave up their arm is great distress"." The Tolkoppiyam (Ahananiru, sutra 5) portrays him as the tutelary deity of the hillmen. In praise of his glory are sung the late Sangam works like the Tirumurugarruppadai and onefourth of the Paripadal. Nakkinar, the poet who sang the Tirumurugarruppadai tells us how Kuruva girl on the hill side planted a cock banner smeared with ghee and mustard oil, offered to the god garlands of red oleander and green leaves, burnt incense, made 1. Dikshitar, Silappadikaram, English trans. pp. 272-8. 2, Ibid. p. 280. 3. Ibid. 4. Ibid. p. 94. 5. Ibid. 270 Ibid. 7. Ibid. p. 199. 117. 7. 6. Ibid. p. 117. 8. Ibid. pp. 124-5. 9. Ibid. p. 89 fn. 3.
144 puranam - PURANA [Vol. VIII., No. 1 oblations of balls of cooked rice mixed with goat's blood and danced to the tune of sweet melodies. Elsewhere, the poet tells that Brahmanas who strictly followed the six duties and the codes of dharma and tended the sacred fires, worshipped Skanda with flowers chanting holy mantras". It appears, Murugan was a popular hill god, perhaps supreme among the deities of the Kurava and Vedda people of the nonAryan section of the Tamila land. His cult became identified with that of Skanda of similar nature and associations. It is not far from the truth, that this blending was, if not complete, partly understood by the time of the author of the Silappadikaram, i.e. c. 2nd century A.D. The certain features inherited from the cult of the hill tract deity were new to the already prevailing worship of Skanda in the Pallava and Ikshvaku areas. Some important new features may be pointed out as follows: (1) the Kumara or bachelor god whose marriage was allegorically conceived with Devasena has as Murugan the beautiful wife Valli, a hill girl herself; (2) his flag or banner got no doubt the figure of a cock, and as we now, the god in iconography of the early period is shown both in the north and in Andhra holding a fowl in his hand. But he got as his vehicle a peacock and also the "gem-like" peacock flag. In old Tamil works of the Sangam age he is portrayed with the peacock (or elephant) as his mount. As we have seen, the association of the peacock with the god is traceable as early as the Silppadikaram3 The goddess Kottavi the Tamil Mother Goddess is described in the Pattu paddu as dancing in the battle field with her son Murugan; who is given such other names in the Silappadikaram as Kumari, Gauri etc., and who is portrayed as "the maid of the aborigines" to whom oblations of balls, dolls, peacocks and wild fowls were considered sacred." 1. Venkataraman,op. cit. p. 309. 2. Ibid. p. 110. 3. Supra, p. 4. Karamarkrr, Religions of India, p. 105. 5. Dikshitar, op. cit. p. 183. 6. Jnana Prakasar, The Siddhanta Saivism, p. 99-100.
Jan., 1966] SKANDA IN THE PURANS 145 The mountain region is dear to the red complexioned Murugan (Tolkappiyam, Ah. 5) which is known as Kurunji. The commentator of the Tolkappiyam Naccinar Kinijar refers to the worship of Murugan. He observes, in the Kurunji region and Kuravas (or the dwellers of the forest region) and others are found to offer several oblations in the sacrifice to the Red god". He rides now on an elephant, now on a goat, or again on a peacock (Pattu paddu IV. 75). His banner has a wild fowl for its device (Pattu paddu, VI. 31). A vivid description of the orgies in honour of the god Murugan is found in the Pattupaddu (1.220-49). "A shed is put up and is adorned with garlands and flowers. High above it is hoisted Murugan's flag bearing the wild fowl's device, to scare away, as the commentator suggests, blood-thirsty goblins from the feast. His priest who bears his favourite weapon Vel or javeline and who is therefore known as Velan (the name of god also) has a red thread round his wrist probably as a sign of consecration to the deity. He worships at the altar and uttering spells and inchantations scatters flowers, and fried paddy on all sides. He then slaughters a fat bull, and in its warm blood mixes boiled rice and offers it to the god amidst blare of horns, bells and drums, while the perfumes of incense and flowers fill the place. Today, of course, it forms an integral part of the service whose characteristic name is veri-addu, drunken revelry. The Velan as well as the women present begin to dance to the frantic songs of the assistance. And some one in the company-it is usually the Velan becomes possessed by the deity and jumps and snorts giving out at the same time oracles as regards the fortunes of the by-stander. These sacrifices to Murugan seem to have been very prevalent in the South of India in ancient times; so much so that all sacrifices have come to be known by the name Murugu. (Pattupaddu VI.38). The modern devil dance of the villager is but a repetition of the veri-addu of the ancient days." One more feature of the Puranic Skandism should be emphasised here. As we have often is the vehicle as well as 1. Karamarkar, op. cit. p. 134. 2. Jnana Prakasar, op. cit. p. 118 19
146 puranam - PURANA [Vol. VIII., No 1 the ensign of the god. In the sculptures of the Kushana period Skanda is portrayed with his favourite bird invariabbl a cock, and the same is to be found on coins connected with the deity. This fact, corroborated both from literature and art is no doubt of utmost value. It helps not only together with the other myth of Taraka in dating the epic 'Skandopakhyana' in early Kushana period but points to one more thing that the myth of peacock in place of cock was a Puranic development already well established in the time of Kalidasa who wrote Mayuraprishthasrayina guhena and Kumaragupta issuing his peacock type coins, and also the several 4-5th century Gupta images of Karttikeya. While this feature was a new but well accepted phenomenon in the Gupta period it is conspicuous by its absence in the Kushana age. It was assimilated presumably somewhere in between these two periods, to wit, during about the 2nd and third century A. D. late Fortunately on some sculptural evidence offered by an Kushana image of Agni from Sarnath and the Lal Bhagat Pillar, it is possible to study this evolution more clearly from the view point of chronology. However, it appears that this additional myth of peacock was one of the results of the complete identification SkandaKumara Karttikeya of the Aryans and Seyon-Murugan of the Tamils. No doubt, in south also the position of cock was no less established as the sacred bird to and the banner device of the deity but Murugan had adopted the pea fowl as his mounts, it appears through his spouse Valli, the hill girl fond of peacock's feathure. From the evidence available in the Sangam texts and also the Puranas it is, however apparent that the cults Kumara-Skanda of the North and Seyon-Murugan of the Tamil country had already mingled and the different mytes and legends of them both were accepted, by each other in some form or the other. While in the Tamil country on one hand the entire legendary mythology of Northern Skanda was fully accepted, in the north in Puranic Skandism several trait of Tamilian origin and tradition were
Jan., 1966] SKANDA IN THE PURANS 1 147 absorbed. For example, in the Silappadhikaram, Murugan is son of Siva and Parvati, six faced, twelve-armed etc. In the same way, we have in the Puranas associated with Skanda, Valli as his consort and peacock as his mount. ETYMOLOGY OF HIS NAMES In the Puranas, at several place we find attempts to offer etymological explanations of Skanda's various names of which apparently some are obscure ones and the derivations given appear to be rather forced. They say, "since he was destined to kill (mara) the evil (ku), he became Kumara". The ascetics enshrined him or his dhyana in their heart, so he got the name Guha ((Vamana P. 58. 1-121). As he vanquished the demons, he was named Skanda. Or, since the six bodies born separately from the six Krittikas were ultimately joined together as one god (Skanda), he became Skanda (Brahmanda (I) III. 10.40-51). He was born from the dissipated (skanna) energy of Siva, so also the name Skanda was appropriately given to him (Vamana 57.3). The six Krittikas united in a single sakha, and therefore he as their son was known by the two names Karttikeya and Visakha (Matsya 159.2-3). At the time of his very birth, it was pointed out, according to the Vamana Purana, by Siva that he will be known by several names of Karttikeya, Kumara, Skanda, Guha Mahasena and Sarasvata as the offspring of the Kritikas, Kutila, Gauri, Siva, Hutasana and Saravana respectively (57. 43-45). Among his other epithets which evidently reflect the various features of his character and Puranic personality, are Sarajanma or Saravanabhava, Gangeya, Shanmatura, Bahubhya, Shanmukha or Shadanana, Agnibhu or Pavaki, Devasenapati, Mahasena, Saktidhara, Sikhivahana, Tarakari, etc. These names and epithets are repeated often in the Puranas and Kavyas. 1. Dikshitar, op. cit. pp. 94, 117, 278-80. 2. For example Siva Purana, Kailasa Sam. 7. 40, 64. 3. Agrawala, Matsya-Purana a study, p. 246. 4. skandito danavagaranah tasmat skandah pratapavan, Brahmanda (I) III. 10. 43 ; devariskandana| skanda ), Brahmanda (I) III. 10. 51.
148 puranam - PURANA [Vol. VIII., No. 1 A list of usual and curious names we get in the stotra of the god. Such a prayer marked with pleasing words is to be found twice in the Skanda Purana, once uttered by the mountains (I (2) 31.80ff.) and on other occasion by the sage Agastya (IV. 25). For other short prayers see Vishnu dharmottara Purana, (I. 95. 25-6; I. 233.4-12; 156.7-9; III. 218.30-32). The important conception about the personality of the god was, as stated by Kalidasa, that he represented the energy (tejah) of Rudra as deposited in the mouth of Fire, more resplendent than sun (atyadityam hutavahamukhe sambhritam taddhi tejah, Megh. I. 43). It has been emphasised repeatedly in the Puranas, and they describe the form of the either equal in glory to the Sun (Vayu, ch. 72), or not comparable even to the brilliance of the Suu (Padma 1. 460). There developed a "vyuha" of the four Skanda gods. In the Linga Purana Siva is described surrounded by his four divine sons, Naigameyadi (I. 82. 16). The Vishnu Purana (I. 15. 115-16), has enumerated the myth of the origin of Sakha, Visakha and Naigameya. His fourfold forms, among which he himself is counted as one, are known as his brothers (Vayu 66. 24) or sons (Bhaga. 6. 14). But in the Vishnu dharmottara Purana they are mentioned as Chaturmurti or Chaturatma of Kumara or Skanda which are Kumara, Skanda, Visakha and Guha. Their form (rupa) is described as follows: "Kumara should be made with four faces, and adorned with a tuft of hair (sikhandaka). He should wear red garment and ride his peacock. In his right hands should be shown a cock and a bell, and in the left ones the Vaijayanti banner and a spear (sakti). "Skanda, Visakha and Guha should be made like Kumara but with a difference that they do not possess six faces and do not ride pecocks.
Jan., 1966] SKANDA IN THE PURANS 149 "It is the God Vasudeva who has become Kumara in order to lead the army of gods." 1 As such, Skanda with his four transformations was the lord or presiding deity of the Graha, i. e. asterisms causing suffering to children. All these four, as already seen, were originally low-ranking deities, considered in popular belief as harassing the new born babe and its mother, and when propitiated as acting their protector. It is believed that they exercise their influence for evil with demonic practices upto certain stage in the life of a child and thereafter being pleased for good. They are known as Skandagrahas with their four leaders (V. D. P. II. 22. 88), and the only way to get rid of their ill effects was the bali-offering to them, and their archana (i.e. worship) on the Shashthi day. As stated in the Vishnudharmottara Purana (II. chs. 231-34), Indra with an intension to kill the new born matchless hero, produced a host of mahagrahas, many thousand in number and provided with different weapons. They at the order of their originator went to the Sveta mountain to kill Skanda, but were subdued by other similar imps and demons created by Skanda. The latter group is described as greatly powerful, vigorous, moving at free will and assuming any form. Their leaders are Skanda, Visakha and Naigameya, with others of which a long list of names is given in the Purana. Both of the hordes, earlier created by Indra and the latter by Skanda himself, became subservient to god Skanda and were allowed by him to take shelter in the bodies of impure and wrong doing persons. Further in the same Purana signs of a seized person (grahagrihita) and also the eradicatory measures to be followed for remedy are enumerated at length in four chapters. 1. kumarah shanmukhah karyo sihandakavibhushanah | raktambaradharah karyo mayuravaravahanah ||4|| kukkutascha tatha ghanta tasya dakhinahastayoh | pataka vaijayanti cha saktih karya cha vamayoh ||5|| skando visakhascha guhah kartavyascha kumaravat | shanmukhaste na kartavya na mayuragatastatha ||6|| chatu, atma hi bhagavan vasudevah sanatanah [ pradurbhutah kumarastu devasenaninishaya ||7|| VD. P. III. 71. 3-4.
150 puranam - PURANA [Vol. VIII, No. 1 The subject of the grahas and remedy against their infliction was no doubt of practical importance and as such included in the Ayurveda Samhitas. As an aspect of Skanda cult this evidence is invaluable for our study and throws ample light on the popular worship and beliefs associated with the god. Originally a goblin deity (graha) Skanda was elevated to the rank of a major god in the pantheon. Bhutavidya, also differently called Grahavidya is a necessary chapter to be found in the Samhitas of Ayurveda. This Chapter is available in the Charaka Samhita' and various aspects of the beliefs and practices have found their mentions already in the Sutras and the epic. The evidence of the Susruta Samhita in which the subject gets some greater attention, is similar in contents to that of the Mahabharata material." The Susruta S. gives a list of male and female grahas with the names of Revati, Putana, Sakuni and Naigamesha which also occur in the epic. According to the Ashtanga Sangraha Siva produced twelve grahas for the help of Skanda among whom the five were male and the seven were females.4 The worship of Skanda and his grahas and 'mothers' was no doubt an important cult affecting domestic life in the various periods and even survive today in the form of Shashthi-pujana etc. after the birth of a child. Curiously enough the Bhutavidya is mentioned in the Chhandogya Upanishad in a list of lores already known to Narada when he asked Sanatkumara for spiritual instructions. Tradition is continuously found in the literature recording Skanda-Sanatkumara as a teacher of Ayurveda. The fifth division of the Ashtanga Ayurveda is named Kuamarabhritya, also called Bala. It deals with the medical treatment of children and causes of their diseases including evil planetory or graha influences. Under this Tantra were included all the diseases and cures, offerings and charms 1. Agrawala, V. S.: Prachin bhartiya lokadharma, pp. 51-2. 2. Ibid. pp. 52 ff. 3. Ibid. 4. Ibid. p. 51. 5. Chh. Up. 7. 26. 2.
Jan., 1966] SKANDA IN THE PURANS 151 covering the entire field from the conception to birth and upbringing of human progeny. In ancient texts on medicine where this subject is dealt with we get a long list of male and female demonic spirites who tortured the mother and the base, and also an elaborate discussion about the remedial measures (upacharas) which in this connection are given a special name of abhichara. etc. The Kasyapa Samhita is the most important text in this connection, dated about fifth century A. D. Its detailed evidence is fully corroborated by that of the Puranas. In the Mahabharata, Devasena is identified with eight goddesses as Shashthi, Lakshmi The Kasyapa Samhita takes that myth further and records that the god Guha himself said to Revati that she will be known by many names. Varuni, Revati, Brahmi, Kumari, Bahuputrika, Sushka, Shashthi, Yamika, Dharani, Mukhamandika, Sitavati, Mata, Kandu, Putana, Nirunchika, Rodani, Bhutamata, Lokamata, Mahi, Saranyu and Punyakirti were her twenty famous names (namani tava vimsatih).3 It appears that these goddess name whose worship was in vogue at some time became identified with one Revati which comes before us the most prominent goddess in the Revati-kalpa of the Kasyapa Samhita, but as none else than Shashthi herself. The name Shashthi appears to be the personification of the 'sixth' day after the child birth, and whatever goddesses whose favour was sought on this particular day for the new born one were firstly associated and then identified as the Shashthi goddess. Their association with Skanda from earliest times was quite in fitness of things as he represented the host of such wicked male siezers and afflictions. A flood of light is offered in this question by this particular text (Revati kalpa chapter). It shows that Revati had become the most powerful goddess in this age and attained the status of the Great mother with whom all the tutelary female divinities came to be identified as her different forms. She combined in her 1. Suram Chandra, Ayurveda ka itihasa, Vol. 3. p. 107. 2. 3. 218. 49; Hopkins, Epic Mythology, p. 229. 3. Pt. Hemaraja's ed., p. 67.
152 puranam - PURANA [Vol. VIII, No. 1 all the qualities and activities of the great mother, those of bestowing, fostering and destroying life of the humyn kind. As can be gathered from the Kalpa in her name, we get the culmination of the idea. She is here the highest goddess, Goddess in Essence, with whom other little goddesses get submerged and become identical. But they all are of evil character and notably concerned with infant diseases. Revati is of numerous forms (bahu-rupa). The author of the Revati kalpa, "Scripture of Revati" attacking foetus of the mankind. When the battle between the Devas and Asuras was going on a certain demon Dirghajihvi, of a long tongue, began to destroy the divine army. The Gods prayed to Skanda for help who sent Revati The latter assuming the form of a she-wolf (salavrki) not only devoured Dirghajihvi but also as a Sakuni caused destruction of the demon army. The Asuras took shelter in the garbhas of human and other kinds. But they did not remain unknown to Revati and she in order to destroy them became Jataharini. And thus, she attacks in search of the demons the human progeny in its successive stages right from conception to birth. Particularly she attacks children of those who do not follow dharma. She has many forms (bahurupa) and is known under such name, Jataharini, Revati, Pilipichchhika, Aindri, and Varuni. At the command of Skanda she stupifies all the impious persons of different castes and kills the wicked ones. The text describes in detail the impurities and wrong practices when does Jataharini get opportunity to seize (sajjate) and attack. Obviously, Jataharini is a general term. All the goddesses who carry away the born one (jata) are to be named Jataharini. Such Jataharini devis are classified under three categories on the basis of their sadhya, (curable) yapya (lingering) and asadhya (incurable) nature. In the first group are Sushka Revati, Katambhara, Pushpaghna, Vikuta, Parisruta, Andaghni, Durdhara, Kalaratri, Mohini, Stambhani, Krosana, under whose possession mothers do not die. Nakini, Pisachi, Yakshi, Asuri, Kali, Varuni,
Jan., 1966] SKANDA IN THE PURANS 153 Shashthi, Bhiruka, Yamya, Matangi, Bhadrakali, Rudra, Vardhika, Chandika, Kapalamalini and Pilapichchhika are of the yapya kind. Vasya Kulakshayakari, Pushyajani, Paurushadini, Sandamsi, Karkotaki, Indrabadava and Badavamukhi are of the third asadhya category. But all are Revatis. They are also grouped according to the three stages of a child, in the womb, after birth and under upbringing. On the basis of popular differences (lokabheda), again, Revati was of three types, Divine, Human and Tiraschina (i.e. of birds). No doubt, these were the numerous goddesses actually worshipped in some way or the other by the people. The Jataharini devis were further divided in view of the castes and classes. Each social class had its own deity, named after that. No less than twentynine such are listed in the Kalpa. Various professional groups also had their own goddess. For example, the Jataharini of the carpenters was called Takshini Ten such names are given :-(1) Ayaskari, of ironsmiths, (2) Takshini, (3) Kulali, of patters (4) Padakari, of coblers etc. Jataharini or Shashthi assimilated in herself all the folk goddesses concerning the diseases of mother and child on the one hand, Skanda became the chief of evil grahas of infants, on the other. An elevation in his status made it due that all the goddesses and deities of similar nature were subordinated under him and his pantheon. Bana also makes important mention about Shashthi and Karttikeya in the Kadambari. "Describing the birth ceremonies of Chandrapida he refers to the making of a figure of Shashthidevi wearing yellow clothes dyed with tumeric; he also describes side by side the installation of a figure of Karttikeya holding a spear and riding on a peacock"". She is called Jatamatridevi in the Harshacharita and Bahu putrika in the Kadambari, who is 1. See. 64. 2. Agrawala, "Goddess Shashthi on the Yaudheya coins," J.N.S.I., Vol. V, pt. II, p. 4. 3. ch. 4, p. 129 (Nirnayasagar ed.). 4. Sec. 64. 20
154 puranam - PURANA [Vol. VIII, No. 1 none else than Shashthi herself is made clear by the Tilakamanjari where Shashthi is described as painted on a jatamatripatala (tablet of Jatamatri). In the latter text she is also named Aryavrddha whose worship was invariably performed in the sutikagriha after the birth of a child. Amongst the sixtyfour Yoginis, Vidali, Revati and Putana etc. are enumerated (Agni P. 52. 8). According to the Agni Purana (50. 27) by the side of Skanda image Sumukhi and Vidalakshi are to be placed. We have the full-fledged Shashthidevi Upakhyana in the Devibhagavata Purana (IX. 46), wherein her various forms and aspects of worship are described. It says that since she is the sixth part of Prakriti, she is known as Shashthi. She is the presiding deity of children and famous among the mothers as Devasena. She is spouse to Skanda and grants progeny to childless persons. On the sixth day after child birth her worship should be performed in the sutikagriha itself.3 The latter According to the KasyapaSamhita, the gods during their battle with the demons had to seek Skand's help. aquiring their boons became dominant over all the Vasus, Rudras and Adityas. As the text says originally the Vasus were seven, but became eight including Skanda in the form of Dhruva the eighth. Similarly, the number of the Rudras, formerly only ten, became eleven with the eleventh one as Guha Samkara. In the list of the twelve Aditya gods one more was added. That was Skanda himself as Ahaspati. The "vyuha" or parivara of the four Skanda deities developed, according to the Kasyapa Samhita, through a simple process. Of the four brothers, Nandikesvara became the fifth, and Shashthi the sixth as their sister. Sometimes Rudra also joined this group as the seventh. In their figures invariably a crescent should be shown on the head. But no where else this point is repeated and we find also no support of this iconographic trait from sculptures or coins. According to the Vishnudharmottara Purana 1. Nirnayasagar ed. p. 77. 2. Cp. Mbh. III. 220. 16, where Arya and Vriddhika occur. 3. See also Bhavishya P. I. chs. 39-44; II. ch. 42. 4. Kasyapa S., Hemaraja ed., p. 5. Ibid. 67. p.
Jan., 1966] SKANDA IN THE PURANS 155 where the Chaturmurti conception is explained, the figures of Kumara gods are described to bear different attributes and poses. SOME OTHER ASPECTS: On the Akshaya Shashthi day i; e. the sixth day of Bhadrapada the vow of Skanda-Shashthi is observed (Agni 181.2). A similar injunction is made about the Chaitra Shashthi when Skanda should be worshipped with particular attention.' The month of Karttika is also considered specially sacred to god Karttikeya. The Vishnudharmottara Purana prescribes a certain worship called Kumararocha following which the person obtains children.3 Temples dedicated to Skanda are described not fit for night stay by a treveller. A Kumara tirtha is known from the Brahma Purana. Sacred to him are also Kumaradhara and Svamipushkarini. After the Pradakshina of Srigiri, Agastya with his wife visited Skanda-vana. There he saw Skanda himself, and paid his homage to him with a prayer. Kalidasa in the Meghaduta, describes the Devagiri hill as the permanent abode of Skanda." A Skanda tirtha is at the Narmada." A certain jewel (mani), pose (mudra),10 pillar1 and part of the chariot' are also said to be named after Skanda. He is said to be the father of Visakhals and others, and the presiding deity of the Angaraka graha.14 He is lord of Nirritis, 15 who are in the habit of kidnapping children. Skandin is a pisacha gana, naked and with hanging hair, eating the leavings of others.16 Similar are the names Skandika, Kumaras, etc. who all were considered subordinate to Skanda.17 1. VD P. III. 221. 54. 2. Ibid. II. ch. 96. 3. Ibid. III. 223. 18. 4. Ibid. II. 94. 2. 5. Brahma P. 6. Skanda P. 2 (101; 2 (I) 12. 7. Kumara. 1. 42. 8. Matsya P. 191. 50-51. 9. VD. P. II. 109. 63 10. Ibid. III. 33. 19-20. 11. Manasara 15. 19-23. 12. VD. P. III. 22. 7. 13. Bhaga. 6. 14; Vishnu P. I. 8. 11. 14. Matsya P. 93. 13; Brahma P. Il. 74. 48, 26. 33. 15. Bhaga 6. 14; Vishnu P. I. 8. 11. 16. Br. P. III. 41. 17, and 52; 59. 14; Patil, ap. cit. p. 63. 17. Br. P. III. 7. 380
156 puranam -- PURANA [Vol. VIII, No. 1 A temple of Karttikeya at Paundravardhana in the Gauda country finds mention in the Rajatarangini. It is stated that when the Kashmiriking Jayapida reached there in the temple a performance of music and dance was being performed attraced by which he stopped there. The Agni Purana enjoins that a shrine of Guha should be erected in the northern sector of a town." the story records, it was in his own temple that the god Karttikeya appeared and revealed to his devotee the Katantra Grammar.3 Apparently these references show that in this period temples dedicated to Skanda formed a cultural centre for learning and various sasric arts. As It is stated that Skanda followed Pasupata Dharma.* He is portrayed as the best of the Brahma-knowers and adored by the Brahmanas. This ideology seems to be the result of Skanda and Sanatkumara identificatiou which is traced as early as the Chhandogya Upanishad and repeated with evolved emplications in the epic and Puranas. It was given a curious turn in later period and in sculpture Skanda figures even as the teacher of Siva. He is depicted as imparting the Brahma-knowledge to his father of which the earliest plastic representation is at Ellora. The Kathasaritsagara mentions a Brahmana named Vyadi as worshipping Svami Kumara for obtaining knowledge (vidya). Similarly the Brahmana named Varsha, who was a dullard in the beginning, obtained all branches of knowledge from Skanda after propitiating the god with his penance. According to a story related in this text, Katantra system of Sanskrit grammar was traditionally known as originating from the six mouths of Karttikeya. The story says that Skanda himself appeared before Sarvavarman, minister of a Satavahana king, and revealed to him the knowledge of a new grammar characteristic for its easy method and simplicity. 1. IV. 423. 2. Agni p. 39. 12 see Banerjea op. cit. p. 338. 3. Kathasaritsagara I. 2- 44-61. 4. Skanda P. I (1). 7. 43, dharmah pasupatah sreshthah skandena pari palitah. 5. Matsya Purana 185, 2-4. 6. Rao, Hindu Iconography, Vol. II, part 1, pl. c, 3.50. 7. Kathasarit, I. 2. 44. 8. Ibid. I. 2. 60-61 & 79.
Jan., 1966] SKANDA IN THE PURANS 157 As the god himself indicated because of its brevity (svalpatantra) it became famous as Katantra. Its second name was Kalapaka or Kalapa after the plumage of Skanda's peacock.' During the Gupta times the Kalapa system was a big rival to that of Panini as indicated in the drama Padma prabhritakam of the Chaturbhani, and also in the Sarvavarma legend itself. This was a system having preserved much of the material and terminology of the older Aindra School. SKANDA AS SURYA'S ATTENDANT According to the Bhavishya Purana, on the left side Surya there stands Skanda who is lord of the all worlds and popularly known as Dandanayaka.3 On the corresponding right there is Pingala who is another form of Agni. Skanda also figures in the other set of attendants of the Sun-god, viz. of Rajna and Srausha. It is clearly pointed out in the Purana that Rajna is identical to Karttikeya. Because he shines on the office of divine generalassimo, Karttikeya is famous as Rajna which word is composed of the root raj "to shine" added with the suffix na.4 This fact is also supported by a late medieval work the Tika sarvasva (c. 1150) by Sarvananda, where the author offers in a verse the equation haraguhau=rajasrausau. The Bhavishya P. has also given the identification of Srausha with Guha (I. 124. 21). Apparently, the above myth was a part of the reorientated worship of the Indian Sun-god in which a number of motifs and forms were accepted from the east Iranian mode Sun-worship. It appeared as an easy crollary while adopting the Iranian iconography of Surya to identify the Iranian attendants of the god with some deities of similar nature out of the vast Hindu pantheon. In such a scheme to make the blending complete, Srausha and Raja were accepted as identical to Skanda and Siva SKANDA AS THE DEITY OF THIEVES AND ROGUES Another popular aspect of Skanda worship is known from a passage in the Mrichchhakatika where thieves and burglars are 1. Ibid. I. 6. 13. 3. Bhavishya P., I. 124. 13. 5. Sen, "Iranian Srausha and (July 1950), p. 27. 2. Chaturbhani, I. 23.6. 4. Ibid. I. 124. 21-3, 34. Indian Skanda", Indo-Iranica, Vol. IV, I 6. See supra, p.
158 puाranam -- PURANA [Vol. VIII, No. 1 called skanda putra. Karttikeya figures here as the patron-deity of such persons who lived on theft and like professions. Sarvalika, a house-breaker, before entering the house of Charudatta through a breach in the wall bows to the god Kumara-Kart tikeya for granting success in his work. The different epithets of the god with which the fellow pays his homage to him include Kanakasakti Brahmanyadeva and, Devavrata. A few lines earlie, Kanaka- sakti (whose weapon is the golden sakti") figures as an acharya of the Chaurya-sastra whose injunction about breach are quoted by the thief. Prithividhara, the commentator of the drama, takes the phrase skanda putra as meaning "skandopajivi chauracharya, i. e. teachers of burglary making a living by invocating Skanda. As pointed by Dr. Sandesra. skanda also means "to attack", and in this context perhaps signify in general the low practices followed by rogues and bandits, looters and marauders and similar sections of society. They regarded Skanda their patron-deity. It is clear from the Mrichchhakatika and appears to have had its footing in the earlier tradition which regarded Skanda as the god of Dhurtas and the patron deity of warring tribes. This aspect of Skanda seems to have continued in later periods also.* 1. Act III. 2. namo varadaya kumarakartikeyaya namah kanakasaktaye brahmanyadevaya devavrataya | 3. Sandesra, "Prachin sahitya men chaurasastra" (The Science of theft in ancient Literature), Bharatiya Sahitya (Munshi Abhinandan Volume, year 3, Jan. 1958), p. 293-4. 4. A verse from the Gujrati folklore reflects the connection of Skanda with thieves who regarded him their lord. As it says, O Gauri! Your son is remembered by sweet peacocks. In day time he is remembered by merchants and at night thieves." gavari ! tara putra ne samare mathura mora | di ' e samare vaniya ne rate samare cora || Ibid, p. 294. In northern India and specially in Bengal the god Skanda is regarded as the deity of ganikas, also. Gopinath Rao, loc. cit Vol, II, pt. II, p. 415.