Understanding the basic principles of Hindu iconography & iconometry (Part 1)

Shri Rama from the Vaikuntanathar Temple at Srivaikuntam, TN.

In order to fully be able to appreciate our ancient art & architecture, one must have a rudimentary knowledge of the various terminologies & methodologies employed by ancient Hindu artisans & builders. We'll dwell on that in this post.

Before we proceed any further, I'd like you to have a look at the below post on the ancient Hindu system of measurement. A lot of terminologies from there will be used here too. Get yourself acquainted with the different units of Hindu measurement that can be read HERE.

The ancient Temple builders i.e. the Sthapatis, have consulted various Shastras in order to execute all their wondrous workmanship. The Shastras are many, yet there is much commonality than differences in them. This vast ocean of knowledge revealed by the Devas to the ancient Rishis has resulted in the various different styles of Temple building, image making, rock sculpturing etc

Some of the important Shastras consulted by the Sthapatis: 

1) Vishnudharmotthara purana 

2) Agni Purana 

3) Matsya Purana 

4) Brihat Samhita 

Above texts contain a vast ocean of info on Temple building. Ancient Temples of Northern Bharat were built according to this tradition.

Apart from the above Puranic sources, Sthapathis also consulted the works of : 

1) Mandana's Vastushastra 

2) Bhuvanadeva's Aparajitaprccha 

3) Samarangana Sutradhara by Paramara Bhoja of Dhar. 

Their detailed & exhaustive works formed the basis of Northern iconography.

While in the Dakshina Bharat Sthapathis consulted the Agamas. The Agamas are many, but the ones chiefly dealing with iconography & Temple building are : 

1) Kamikagama 

2) Vaikhanasagama 

3) Ansumadbhedagama 

4) Karnagama 

5) Suprabhedhagama

Other important texts of Southern tradition are : 

1) Manasara Shilpashastra 

2) Mayamata 

3) Sakalaadhikara of Agastya muni 

4) Abhilashitartha Chintamani, also popularly known as Manasollasa, authored by Chalukyan king Someshwara.

Now that we are familiar with some of the traditional sources of iconometry, we'll proceed to the important part. Classification of different types of Murthis. The Agamas classify Murthis/Vigrahas into 3 types 

1) Chala & Ahcala 

2) Purna & Apurna 

3) Saminta & Asamnita

Chala murthis are portable & small.They are usually made out of metal or wood. Their purpose is to be carried on a chariots around the temple on festive occasions Achala murthis not portable. They are heavy & made out of stone. They are permanent fixtures in the Garbhagriha.

Chala murthis are again classified into 4 types. 

1) Kautuka bera (meant for puja) 

2) Utsava bera (Carried around in Chariot) 

3) Bali bera (meant for puja) 

4) Snapana bera (meant for performing panchamrita abhisheka) 

Below is an example of Utsava bera murthi of Subramanya from Tirchendur, TN.

Utsava murthi of Subramanya at Tiruchendur, TN.

Achala murthis (immovable) are classified into 2 types. 

1) Stahanaka i.e. Standing posture 

2) Aasaniya i.e. in a reclining posture. ( Usually Maha Vishnu) 

Below is an example of Aasaniya posture.

Reclining Vishnu

Purna & Apurna murthis. As the name suggests Purna murthis are the ones carved fully with all face, hands, torso, limbs, legs. Below is an example of Purna murthi of Lakshamana & Sugreeva.

Lakshmana & Sugreeva

Apurna forms are not full. Usually sculptured only up to the bust level. Below is an example of Apurna murthi of Sadashiva from Gharapuri (Elephanta caves)

Sadashiva

And finally the 3rd classification. Shanta & Ashanta. Shanta murhis are the ones at portray calmness, serenity & bliss. While Ashanta murthis depict anger & aggressive posture. Below is an example of Ashanta murthi of Kalasamhara, a fiery form of Shiva who manifests to save his bhakta Markendeya from Yama. 

Kalasamharamurthi

Now that we are familiar with the classification of images, next we'll see the measurement system employed by the Sthapathis to sculpt these murthis. Assuming by now well you are acquainted with the terminologies used below.

The measurement system employed by ancient Sthapathis is called the Uttama-dasha Tala measure. Unlike other bigger measurement units like Danda & rajju (which are used for town planning), Tala is a smaller unit used exclusively for the making of Murthis & Vigrahas.

The Tala is the basic unit of measurement here. 1 Tala is the equivalent of one palm length. It is that palm length that is measured from the tip of the thumb to the tip of the Ring finger. Tala is also called Vitasti.

So 12 Angulas make 1 Vitasti or 1 Tala. In the process of making a murthi, the murthi is divided into 124, 120, 116 equal parts. Each of these divisions is called a Deha-labda-angula or Dehangula.

Accounting for different finger length & breadth sizes, there are 27 possible Angula types mentioned in the Shastras.

In order to have a comprehensive understanding of Uttamadashatala measure,its important to know each of the 27 types of Angulas & the specific names given to them So we'll see what they are now 

1) A distance of 1 Angula is called Murthi, Indu, Vishvambara, Moksha & Ukta.

2) A distance of 2 Angulas is called Kalaa, Golaka, Ashvini, Yugma, Brahmana, Vihaga, Akshi & Paksha. 

3) A distance of 3 Angulas is called Rina, Agni, Rudraksha, Guna, Sula, Raama, Varga & Madhya.

4) A distance of 4 Angulas is called Veda, Prathistha, Jaati, Varna, Karana, Yuga, Turya & Turiya. 

5) A distance of 5 Angulas is caled Viskaya, Indriya, Bhutha, Ishu, Supratishtha & Prithvi.

6) A distance of 6 Angulas is called Karma, Anga, Rasa, Samaya, Gayathri, Kritthika, Kumara & Kaushika. 

7) A distance of 7 Angulas is called Paataala, Dhatus, Lokha, Ushnik, Rohini, Dvipa, Anga & Ambhonidi.

8) A distance of 8 Angulas is called Lokhapala, Naga, Uraga, Vasu, Anushtup & Gana. 

9) A distance of 9 Angulas is called Brihati, Hriha, Randhra, Nanda & Sutra. 

10) A distance of 10 Angulas is called Dik, Praaturbhaavaa & Naadi.

11) A distance of 11 Angulas is called Rudras & Trishthubh. 

12) A distance of 12 Angulas is called Vitasti, Taala, Yama, Arka, Raasi & Jagathi. 

13) A distance of 13 Angulas is called Atijagathi. 

14) A distance of 14 Angulas is called Manu & Sakvari

15) A distance of 15 Angulas is called Ati-Sakvari & Tithi. 

16) A distance of 16 Angulas is called Kriya & Indu kalaa. 

17) A distance of 17 Angulas is called Atyashi. 

18) A distance of 18 Angulas is called Smriti & Dhritri

19) A distance of 19 Angulas is called Ati-Dhriti. 

20) A distance of 20 Angulas is called Kriti.

21) A distance of 21 Angulas is called Prakriti. 

22) A distance of 22 Angulas is called Akriti. 

23) A distance of 23 Angulas is called Vikriti.

24) A distance of 24 Angulas is called Samskriti. 

25) A distance of 25 Angulas is called Atikrti. 

26) A distance of 26 Angulas is called Utkriti. 

27) A distance of 27 Angulas is called Nakshatra

Now that we have a brief understanding of the many units of measure, we'll see where & how the Sthapathis employ these units while sculpting murthis. Before that we need to understand the 6 different types of measures at are needed to sculpt any murthi.

The measurement prescribed in the Agamas are of 6 types. 

1) Maana, which is the length of the body 

2) Pramaana, is breadth 

3) Unmaana, is the thickness 

4) Parimaana, is the girth 

5) Upamaana, is the interspaces between body parts 

6) Lambamaana, is the total height

Once the Sthapati has the 6 measurements sorted, he can then go ahead with the sculpting of the murthi. The Shastras again prescribe different proportions to different images of Devas, Devis, Yakshas, Grahas etc. The unit of measurement for all these is the Tala.

Dasha Tala measurement

Trimurthis; Brahma, Vishnu & Shiva are required to be sculptured according to the Uttama dasha Tala measure. Here the image is divided into 124 dehangulas (124 equal parts). Below is an illustration of Vishnu depicted according to the Uttamadashatala measure.

Vishnu 

Madhyama Dash Tala measure, where the image is divided into 120 dehangulas is prescribed for Sridevi, Bhudevi, Uma, Saraswathi, Durga, Saptamatrikas & other female deities. Below is a Saptamatrika panel sculpted using the Madhyama dasha tala measure.

Saptamatrika Panel from Keladi Rameshwara Temple

The Adhama Dasha Tala measure, where the image is divided into 116 dehangulas is prescribed for the 8 Dikpalakas, 12 Adityas, 11 Rudras, 8 Vasus, 2 Ashvini devatas, 7 Rishis, Garuda, Subramanya, Kshetrapalakas. Below is a murthi of Agastya sculpted using Adhama Dasha tala measure.

Agastya from Darasuram Temple

The Nava-arddha tala measure, where the image is divided into 114 dehangulas is prescribed for Yakshas including Kubera & Navagrahas. Uttama nava Tala, where the image is divided into 108 dehangulas is prescribed from Rakshasas & Asuras. Below is an example of this measure from one of the pillars at Madurai Meenakshi Temple. It is of Ravana lifting Kailasa mountain.

Ravana lifting Kailasa

Ashta-tala (96 angulas) for Manushyas

Sapta-tala (84 angulas) for Vetalas

Shata-tala (72 angulas) for Pretas.

Pancha-tala (60 angulas) for Kubjas, Vigneshwara & hunchbacks.

Chatus-tala (48 angulas) for Vamana, dwarfs & children.

Tri-tala (36 Angulas) for Bhutas & Kinnaras

Eka-tala (12 Angulas) for Kabandhas.

Now that we are familiar with the terminologies & the many units of measure, in the next post we'll see what exact information is contained within Shastras on the how exactly the images of various Devatas must be depicted by the Sthapathis.

The Iconography of Shri Rama

The above photo of Shri Rama was clicked by me during a visit to the Vaikuntanathar Temple at Srivaikuntam in Tamil Nadu. I have written a post on this temple which can be read HERE

We'll have a look at the the various ornaments worn by Shri Rama. The ornaments are classified into different types depending on which body part they are worn on.

A)Karnabhushana (Ear ornaments)

B)Vakshabhushana (chest ornaments)

C)Katibhushana (hip ornaments)

D)Paadabhushana (leg ornaments)

1)Shikamani : Jewel on top of the crown.
2)Kirita : Crown.
3)Karna Pushpa : Ornamental flower of the ear.
4)Kundala : Ear rings.
5)Upagriva & Haara : Necklace
6)Bhujavalaya : Shoulder ornament.
7)Bhahuvalaya : Ornaments worn just above the elbow.
8)Kankana : Bracelets
9)Anguliyaka : Finger ring.
10)Nupura : Anklet
11)Paada Jaalaka : Foot ring
12)Kaustubha mani : It is a gem that appears during Samudra manthan. Worn by Vishnu.
13)Udharabhanda : Part of loincloth used as a belt. Worn just above the belly.
14)Upavita : Janeu.
15)Katisutra : Hip ornament.
16)Muktadhaama : Dress worn in the lower part of the body.
17)Vanamaala : Garland.

Apart from this Shri Rama also wields the Bana (arrow) & Dhanusha (bow) in each of his hands. Rama is flanked on either side by Hanuman & Angada.

I have written a detailed post on understanding the basics of Hindu Iconography which can be read HERE 

The Intricacies Of A Doorway Of A Nagara Style Temple

Nagara Temple Doorway

The doorway of a classical Nagara style temple is probably the highest expression of art achieved in Bharat. Each and every element of the doorway including the threshold is intricately decorated. The doorway is comprised of numerous elements. Lets have a look at each element.

Lalatabimba

This part of the doorway is called the Lalatabimba. A miniature form of the deity present inside the Garbagriha is depicted here.

Uttaranga

On top of the Lalatabimba is an element what is known as Uttaranga. It is where usually Brahma, Vishnu, Maheshwara & sometimes even Skanda along with their respective devis are depicted.

Dwara Shaka

Then comes Dwara Shakas. These are offsets surrounding the doorjamb . They are usually 1,3,5 or 7 in number. There are various types of Shakas depending on what is depicted. If it depicts lions, its called Simha shaka. Likewise there are Gandharva, Mituna & Patra(floral) shaka.

Dwarapala

Then we have the Dwarapalas guarding the Garbagriha on either side of the doorway. It could be Jaya - Vijaya, Ganga-Yamuna depending on the principal deity inside the Garbagriha.

Mandaraka

This element is called the Mandaraka. The name comes from the Mandara mountain which was used during the Samudra manthan to obtain Amrutha. Sometimes the event is depicted here.

Udumbara

Below the Mandaraka is the Udumbara, which is the lowest element among all. It is the threshold. It is unfortunately not visible in the original photo as it is buried beneath the mud. This is an equivalent example from the Suryanarayana temple at Osian.

Mithuna Shaka

An excellent example of Mithuna Shaka from Ashapuri Temple. Nagara architecture reached its peak crescendo in Madhya Pradesh area. The development of architecture came to an abrupt end following the invasions. Sadly we'll never know to what newer heights it would have reached.

Vishvanatha temple, Khajuraho. Under the patronage of the Chandelas of Jejakabhukti, Nagara architecture reached its very peak. Especially the gateway elements leading up to the Garbagriha. Just have a look at each element. So intricate, aesthetic, classy & so graceful.

Have written another post on "Structural elements of a Pallava monolithic rock cut Ratha type Temple" that can be read HERE

REFERENCE

Encyclopedia of Hindu Temple Architecture by MA Dhaky

The Origins And Iconography Of Grihapati; The Child Form Of Shiva.

A Pala era panel depicting Grihapati & his mother Sucishmati. Grihapati is the infant form of Shiva. He was born to Rishi Vishvanara & Sucishmati as a result of their severe austerities at Kashi. The story of Grihapati's life is explained in great detail in the Shiva Purana.

The panel depicts infant Grihapati laying next to his mother Sucishmati. There are 2 female attendants on either side, one waving a Chamara(fan) & other massaging Sucishmati's foot. On top of this depiction is a series of various figures. First among whom a is Gandharva.

The Gandharva is followed by a carving of Ganesha seated on a padma peetha. Then we see a Linga followed by the Navagrahas starting with Kethu. On the other end is Surya followed by another Gandharva.

Popular depiction of Grihapati who is an amsha of Shiva. His story is very similar to Markandeya. Shiva saves Grihapati from the Vajradanda of Indra like how he saved Markandeya from the paasa of Yama. The linga associated with this story is in Kashi. It is called Agnisvara.

It is said by Shiva that 

अग्नीश्वरस्य भक्तानां न भयं विद्युदग्निभिः । 

अग्निमांद्यभयं नैव नाकालमरणं क्वचित् ॥ 

A person who worships Agnisvara need not fear lightning and fire.They will never suffer a premature death. A Brahmin family still tends to this linga even today in Kashi.

Description of Bharatavarsha and its sacred mountain ranges, river systems & its people in the Brahma Purana

A post on the description of Bharatavarsha & its sacred mountain ranges, river systems & its people in the Brahma Purana Rishi Lomaharshana begins the description of Bharatavarsha with this verse: 

उत्तरेण समुद्रस्य हिमाद्रेश्चैव दक्षिणे। 

वर्ष तद्धारत नाम भारती यत्र सतति ॥ 

To the north of ocean and to the South of Himalayas is the sub-continent Bharata. The subjects are called "Bharatis". 

नवयोउ नसाहस्रो विस्तारश्च द्विजोत्तमा । 

कर्मभूमिरिय स्वर्गमपवाञ्च इच्छताम् ॥ 

Rishi Lomaharshana describes Bharat as the land of of karma where swarga can be attained.

महेंद्रो मलय सह्यः शुक्तिमानक्षपर्वत । 

विध्यश्च पारियात्रश्च सप्तात्र कुलपर्वता ॥ 

Then he describes the 7 Kulaparvatas i.e chief mountain ranges of a Bharat, namely : Mahendra, Malaya, Sahya, Suktiman, Rksa, Vindhya and Pariyatra.

In below verses it is reiterated that its only from Bharat that men attain swarga & mukthi. Nowhere else on earth are holy rites prescribed for men. It also talks about rebirth.

Below shlokas mention 9 divisions of Bharatavarsha, namely : Indradvipa, Kaserumat, Tamraparņa, Gabhastiman, Nagadvipa, Saumya, Gandharva and Varuna. Indradvipa is identified with the trans Brahmaputra region.

Kaserumat is the coastal plains between the deltas of Godavari & Mahanadi rivers. Tamaraparna is associated with the southernmost perennial river of Tamaparani which flows in southern TN. Gabhastiman is the hilly region between Narmada & Godavari rivers. 

Nagadvipa is the region extended all over the mountainous belt between Narmada ranges upto the Chota Nagpur plateau (northern Chhattisgarh & parts of Jharkhand)

There is a mention of a Sowmyadvipa in Brahma Purana. In other puranas this is replaced with Simhala(Lanka) or Gandharva. Varuna is the western coast of Bharat.

Here Lomaharshana demarcates the eastern & western borders by describing the people who dwell beyond the borders of Bharat. To the east are the Kiratas & the west the Yavanas.

Every Purana that dwells into this topic describes the Chaturvarna & assigns their role, so does Brahma Purana. Brahmins perform sacrifices, Kshatriya the battles, Vaishyas trade & Shudras are into service. Only the above can call Bharat their homeland.

The next few shlokas describe the rivers & their mountain ranges from where they originate. Here Satadru (Sutlej) & Chandrabhaga (Chenab) are mentioned to be originating from the foot of the Himavan mountain.

Narmada, Surasa & other rivers originate from the Vindhya mountains. Tapi, Payoshni, Nirvindhya have their origins from the foothills of the Ṛkṣa mountains. Taking a dip in them relieves one of paapa.

Godavari, Bhimarathi, Krishnaveni and other rivers originate from the foot of Sahyadhri. The Kritamala, Tamraparni start from Malaya. The Trisandhya, Rsikulya and other rivers have their source in Mahendra. The Rsikulya, Kumara flow from the foot of Suktiman mountains.

These Shlokas identify the various people dwelling along the banks of all the rivers mentioned in the above few tweets. It mentions the well known Kurus & Panchalas. Eastern people of Kamarupa (Assam). Paundras & Kalingas are mentioned as people south of Kamarupa (West Bengal & Odisha)

The Saurashtras, Abhiras (Gujarat & southern Rajasthan), Arbudas (mount Abu region), Malavas (Malwa), Sauviras (Sindh), Saindhavas (near Dwaraka), Salvas (Alwar), Madraramas (Madra kingdom), Ambashthas (Punjab), Parasikas, Sakala (Sialkot)

Reference

Brahma Purana by Maharshi Krishnadwaipayan & Motilal Banarsidass

Gowri-Ganesha Puja Vidhi and Syamantaka Upakhyana.

Ganesha at home

On Vinayaka Chaturthi day, thought I'd share a post on how we went about performing the rituals. Ganesha puja involves performing a 16 step ritual known as Shodashopachara puja.

Gowri Vratha

                                   Gowri Puja Vidhi 

Ganesha puja is preceded by Gowri vratha on the previous day or sometimes on the same day depending on the tithi. Each of our homes represent the maternal home of Goddess Gowri. So we invite her to her our homes. Usually she's invoked in the form of clay murthi or in Haldi. Alankaara (decoration) is performed for Gowri. 

It can be anything from a simple pushpa alankaara to decking her up with jewels & other grand ornaments. Then we prepare two deepams decorated with chandan & kumkum along with 2 flowers. Deepam is Lakshmi.

Gowri vratha is performed by womenfolk of the home & Ganesha by men. Now we prepare what is known as Ekarthi deepam which has two wicks, it has to be joined in at the ends before being lit. Only using this deepam should the other deepams be lit. Not directly by matches

First chant shuklam baradharam... Followed by the invocation of guru, mata, pita, acharaya by chanting guru brahma guru... This is followed by Deepa aahavanam by chanting bho deepa brahmaswarupena mantram...

Now we drive away the bhootas who reside on the left side of our bhujas (shoulders). This is done by putting some akshatam (rice mixed with haldi) over the left shoulder while chanting Aagamaartham tu devanaam gamanaarthantu raakshasaam.... While chanting this we ring the Ghanta.

Before proceeding with the Gowri puja itself we invoke Ganesha followed by Kula Devata, Griha devata, Grama devata, ilavelpu devata & istha devata. This is followed by taking Sankalpam by chanting Shube shobane muhurtee...

Sankalpam is followed by Kalasa puja. Decorate the water filled Kalasa with chandan, haldi & kumkum on 3 sides. Dip betel leaves or mango leaves which will be used for prokshana(purifying) other puja samagris. Kalasa water is a personification of Ganga herself.

Chant kalashasya mukhe Vishnuh mantra.. This will complete the avahaana of Ganga. Using this Kalasha water perform prokshana over all puja samagris & yourselves also. Using this Ganga jal & haldi, make a small Ganesha murthi. This is known as Haridra Bimbha Ganapathi.

Kalasa puja

Now aavaahana (invocation) of Ganesha is performed by chanting any Ganesha shloka. I usually chant sumukhascha ekadantascha.... Ganesha has to be invoked compulsorily before invoking any other deity including Gowri. Now we invoke Gowri by chanting om shree swarna gowri devi aavahayaami, ratna simhasana samarpayaami mantra.... This is followed up by chanting Swarna gowri ashtothram or Lakshmi ashtothram. Offer a pushpa for each of the 108 names of Devi.

Gowri

Follow the ashtothram by offering Dhoopam (agarbhatti) , deepam, Naivedhya, tambulam(coconuts, betel leaves, areca nut) I usually chant yam vayu atmane namaha dhoopam aagrapayami mantra for dhoopa, rm agni aatmane namaha for deepam, gayathri for naivedhya.

Mangalaarathi

This is followed up by Maha mangalarathi for Gowri. You can chant Hiranya patram madhooh purnam dadati mantra for this. This is followed by Pradakshana (parikrama). You can chant yaani kaani cha papani during this. This will conclude the Gowri puja.

Ganesha

Ganesha Puja Vidhi

Gowri puja is followed up by Ganesha the next day or next tithi. The procedure is almost similar to the above, yet a little different. Its a very exhaustive ritual, but I'll try to describe it in a condensed manner. The Shodashopachara puja (16 step ritual) is started with the Avahana & Pratishthapana of the Ganesha vigraham i.e.invoking the deity. This is to be done compulsorily if you are placing clay Vigraha of Ganesha in the puja.

This is followed by Asana samarpanam, meaning offering a variety of flowers to Ganesha. This is then followed up with Padya Samarpanam i.e. Washing of Ganesha's feet with water. This is followed by Pushpa samarpanam, meaning offering a variety of flowers to Ganesha. This is then followed up with Padya Samarpanam i.e. Washing of Ganesha's feet with water.

This is followed up by Panchamritha snanam where we bathe the murthi with milk, honey, ghee, sugar & curd. This can be performed while chanting dadhimadvajya samyuktam mantra... This Panchamritha mixture is later consumed as prasada after all the rituals are concluded.

Panchamritha snana is followed by Shuddhokha snana, where the murthi is washed with Ganga jal. You can chant Gange cha Yamune cheva mantra for this. Then we wrap Ganesha in new cloths. This called Vastra samarpanam. Panchamritha snana is followed by Shuddhokha snana, where the murthi is washed with Ganga jal. You can chant Gange cha Yamune cheva mantra for this. Then we wrap Ganesha in new clothes.

You can chant dashadravya samyuktam sugandham su manoharam... mantra while offering Dhoopam. For Deepam you can chant saajyam ca varti samyuktam vahninaa yojitam.... Mantra.

Post the Puja

Then we offer everything that has been cooked in form of Naivedhyam. We can chant om pranaya swaha apanaya swaha. This is followed up by Tambhula (betel leafes & nuts), Narikela (coconut) & Dakshina Samarpanam You can chant phugi phala samayuktam nagavalli mantra for Tambula.Then we perform a maha mangalaarathi for Ganesha followed by Pradakshina (parikrama) while chanting Yani kani cha paapani... This will conclude the Ganesha puja. This is a set of very elaborate rituals.

Puja Alankara for Ganesha

Syamantaka Upakhyana

The Ganesha puja is followed up in the evening by what is known as Syamantaka Upakhyana. It is a retelling of a story of the famous Syamantaka Mani. The one who recites it or just listens to this story is said to accumulate maha punya. It is a fascinating story.

The story connects Satrajitha, a devotee of Bhagavan Surya, Prasena his brother; Jambhavanta the bear & Bhagavan Krishna himself. The story goes something like this. Satrajitha who is a Yadava clansman receives the Syamantaka jewel from Lord Surya himself after intense tapasya. Wearing the Syamantaka Mani he then makes his way to Dwaraka where he is mistaken for Lord Surya himself, for such was the brilliance of the mani was radiating. Krishna asks Satrajitha to present the mani to Ugrasena, the Maharajadhiraja of the Yadavas.

Satrajitha refuses to part with the Syamantaka mani. Instead he gives it to his brother Prasena, who later when on a hunting expedition is killed by a lion. The lion in turn is killed by Jambhavanta the bear & he in turn takes possession of the Mani.

Back in Dwaraka, Satrajitha unfairly accuses Krishna of theft & murder shocking everyone. In order to put an end to such rumours, Krishna retraces the path of Prasena which leads him to Jambhavanta. There he engages in an epic battle for nearly a month. The exhausted Jambhavanta realises he is fighting none other than the next avatar of Lord Rama himself & surrenders. He gives away his daughter Jambavati in marriage to Krishna along with the mani. Krishna returns to Dwaraka & hands over the mani to an apologetic Satrajitha

In a gesture of making amends, Satrajitha gives away his daughter Sathyabhama in marriage to Krishna. The reason why Krishna had to undergo such an ordeal was because on one evening of Ganesha Chaturthi he accidentally has a darshana of just the reflection of Chandra (moon).

Chandra is previously cursed by Ganesha for being full of arrogance. It is said whoever accidentally has a darshana of Chandra on the evening of Chaturthi, if they recite this story or even listen to Syamantaka Upakhyana in its entirety, they will not undergo such ordeals.

Lord Krishna himself instructs Bhaktas to pray to Ganesha on Chaturthi day. This story has been told & retold in many different languages all across Bharat for thousands of years. We at home have been reciting the Syamantaka Upakhyana for generations.

Some pictures of Ganesha Chaturthi celebrations at home over the years..