8 armed vishnu

Dr Uday Dokras AUTHOR
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The 8 Handed VishnyuInHinduism (also featuring ANGKOR
)Also featuring the Paper on Many Gods of Angkor written by the author in 2021
And translation of the Mahabharata where Vishnu reveals his 8 handed form to Arjuna

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Vishnu 4 armed
Vishnu-Vasudeva-Nārāyaṇa, Cambodian,
Angkor period, late 1000s–1150s, bronze.
National Museum of Cambodia, Phnom
Pen
The ancient capital of the Khmer people at Angkor, in northwest Cambodia, was once the heart
of a large sphere of influence that extended over much of mainland Southeast Asia. The above
bronzes from the National Museum of Cambodia—represent the achievements of Khmer artists
during the Angkor period (the ninth through the 15th centuries). Bronze, a mixture of metals
consisting primarily of copper and tin, was a preferred medium for giving form to the Hindu and
Buddhist divinities worshipped in Angkor and throughout the Khmer empire. The Khmer have
always viewed bronze as a noble material, connoting prosperity and success, and it has played a
deeply meaningful role in their culture over many centuries.

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Why Vishnu have eight arms when Krishna and Arjuna go to see him?
Most people only know of occasions in which two different incarnations of Vishnu met, for
instance the encounter of Rama and Parashurama as described in the Bala Kanda of the
Ramayana. What is not as well known, however, is that Vishnu's incarnation Krishna once met
Vishnu himself! The story is described in both the Harivamsa and the Srimad Bhagavatam.
Once when Arjuna was visiting Dwaraka, he saw a Brahmana complain that all his sons were
dying as soon as they were born. So Arjuna offered to stand guard and prevent any more of his
children from being taken away by Yama god of death. But when the next child was born, it
magically floated up into the sky. Arjuna was baffled by this, and he asked for Krishna's help in
retrieving the Brahmana's sons from the afterlife. Krishna obliged and took Arjuna in his chariot.
They left the realms of Man until they came to a region of darkness. Krishna cut through the
darkness with the illumination of his Sudarshana Chakra, and soon they entered the brilliance of
Brahman, after which they finally encountered Vishnu himself. Vishnu explained that he was the
one who took away the Brahmin's sons, just to get Krishna and Arjuna to come there, as they
were the next births of his incarnation Narayana and his twin brother Nara (whom I
discuss here and here). Finally Krishna and Arjuna returned to Dwaraka with the Brahmana's sons
restored to life.
But my question isn't about the story of how they met Vishnu, but rather about how Vishnu
looked. Here is how the Srimad Bhagavatam describes him:
Arjuna then saw the omnipresent and omnipotent Supreme Personality of Godhead, Mahā-
Viṣṇu, sitting at ease on the serpent bed. His bluish complexion was the color of a dense rain
cloud, He wore a beautiful yellow garment, His face looked charming, His broad eyes were most
attractive, and He had eight long, handsome arms. His profuse locks of hair were bathed on all
sides in the brilliance reflected from the clusters of precious jewels decorating His crown and
earrings. He wore the Kaustubha gem, the mark of Śrīvatsa and a garland of forest flowers.
Serving that topmost of all Lords were His personal attendants, headed by Sunanda and Nanda;
His cakra and other weapons in their personified forms; His consort potencies Puṣṭi, Śrī, Kīrti and
Ajā; and all His various mystic powers.

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My question is, why is Vishnu described as having eight arms? He is usually described in Hindu
scripture as having four arms, not eight.
Is this one of Vishnu's manifestations, like the famous Vyuha forms of Vishnu discussed in
Pancharatra texts? Are there any other scriptures that describe an eight-armed form of Vishnu?
The Srimad Bhagavatam that mentions Vishnu having eight arm is from the Narayana Kavacham,
a famous prayer to Vishnu that I discuss in this answer:
The Supreme Lord, who sits on the back of the bird Garuḍa, touching him with His lotus feet,
holds eight weapons — the conchshell, disc, shield, sword, club, arrows, bow and ropes. May
that Supreme Personality of Godhead protect me at all times with His eight arms. He is all-
powerful because He fully possesses the eight mystic powers.
There is temple dedicated to Lord Vishnu (one of the 108 divya desams) in Kanchi, where Lord
Vishnu is called Astabhujar, the Lord having eight arms. The Sthala purana says, He took this
form to subdue and control Goddess Kali who on instigation by Saraswati was keen to disturb
Lord Brahma's Yagna.
Lord first protected the Yagna performed by Brahma, from the wrath of saraswati, by
obstructing the flow of goddess saraswati in the form of Vegavati river (another Divya Desam
called Yathokthakari temple)
Next, when, goddess Sarawati out of frustation, sent Goddess Kali to disturb Lord Brahma's
Yagna. Lord Vishnu took the eight handed form and subdued Goddess Kali and also a few other
creatures and demons sent by saraswati, thereby protected the yagna of Lord Brahma. Once
Brahma completed the yagna, successfully, due to the grace of Lord Vishnu, Lord Vishnu himself
emerged as Lord Varadaraja (the famous temple of kanchi)
In various places in Srimad Bhagavatam Vishnu is described as eight armed, not the usual four
armed figure we generally see in pictures. [Please refer to the descriptions in the Third, Fourth,
Sixth and Eighth Cantos of Srimad Baghavad Mahapurana]Why should Mahavishnu take on an
eight armed form. While no direct answer is available in either Srimad Baghavad Mahapurana or
Harivamsa, from various scenarios described in Srimad Baghavad Mahapurana a conclusion can
be drawn that this is to distinguish the Lord from all his other devotees - Jaya and Vijaya the
dwarapalas of the Third Gate of Vaikunta, the Vishnudhootas who reached to claim Ajamila as
their own for journey to Vaikunta, etc are described as dark hued, four armed with the conch,
discus and mace and clad in Peetamber - the yellow silken dhoti - appearing in the form of
Vishnu leading to a logical conclusion that all denizens of Vaikunta are so endowed, and so to
distinguish the Supreme Lord He assumes an Eight Armed Form.
Krishna is considered avatar of Vishnu. Vishnu is personal expansion of Mahavishnu for our
brahmanda.Krishna met Mahavishnu (not vishnu). Mahavishnu sometimes depicted as the one
with eight arms. There is one such depiction in Angkor Wat in cambodia. There is a huge image

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(idol) of Mahavishnu which left me gasping. This idol had been worshiped in the sanctum in
those days and has been moved to the side now.
The long bas reliefs of the wars in Ramayana and Mahabharata are extremely well executed. Best
to visit in the morning as the setting sun makes it hot to stand in this gallery or even take
photographs. The Churning of the Ocean and the depiction of Heaven and Hell too are very well
etched.
The carvings of the Apsaras are beautiful and ornate. The apsara that I liked the most was the
one showing her teeth which my guide said was Vishnu as Mohini (impersonating as a women).
This is in a corner and can be missed unless someone points it out.
To climb to the third level one needs to have their shoulders and knees covered. The monks still
worship here though I did not see any of them there. I saw lot of disappointed faces who were
unable to enter this area because of their attire. The heat and humidity does make many wear
shorts and sleeveless tops. This being called Mahavishnu and then he generates beings called
Kshirodakshayi Vishnu in each Brahmanda, is a doctrine unique to Gaudiya Vaishnavism. (And I
don't think Gaudiya Vaishnavas say that Mahavishnu has eight arms either.) The concept of
mahavishnu does not have scriptural backing in traditional hindu texts(Before Chaitanya)? We
think of mahavishnu and brahman both as same.There is a difference between Mahavishnu and
vishnu. They use it interchangeably. Angkor wat vishnu temple is always referred as mahavishnu
temple
The concept where there's a Vishnu who's limited to our Brahmanda and then there is a
Mahavishnu from whom he arises is all specific to Gaudiya Vaishnavism. The things that are
there in Hindu scripture are the distinctions made in Pancharatra: ( Read my paper on
Pancharatra in Angkor) So you have a figure called Para Vasudeva, then you have the Vyuha
expansions known as Vasudeva, Sankarshana, pradyumna, and Aniruddha (not to be confused
with Krishna's family members). Read Chapter Below of the Mahabharatha
SrimanNarayana is the supreme Parabrahman who transcends names, forms, time and space.
The thousand holy names of the Lord signifying His attributes pastimes (leelas) and incarnations
were revealed to great seers of pauranic antiquity and was compiled into the great malamantra
of Vishnusahasranama by Bhagavan Vyasa which was revealed by paramabhagavatottama
Bhishma to Dharmanandana Yudhishthira. The suprapersonal Purushottama has assumed and
revealed various divine forms(leelavigrahas) for the gratification and pleasure of great rishis and
upasakas which were explained in great detail in agamas and hymns by them for the benefit of
other devotees. The embellishments (alankaras), number of arms and face(s), form of
face(human or otherwise), weapons(ayudhas) etc adorning the Lord are governed by the
contemplation (bhavana) of upasakas. Apart from the dhyana of Narayanakavacha, a great many
instances when the Lord appeared in his eight armed form are seen in the srimadbhagavatha
mahapurana (eg. when the Lord appeared in front of Brahma, Rudra and deva-rishiganas at the
end of Dakshayaga(fourth skandha), when the Lord appeared to Prachetasas (fourth skandha)
and to Prachetasa Daksha(sixth skandha), when the Lord appeared and defeated the asuras at
the end of ksheerasagara mathana(eighth skandha) and of-course when SriKrishna Paramatma

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and Arjuna visited him in Ksheerabdhi alias Shvetadvipa which is also known as karya Vaikuntha,
situated at the summit of the brahmanda. This is the abode of the Lord visited by divinities and
Rishis to supplicate the lord and to entreat his succour.This was the Bhagavalloka which was
revealed to Brahma at the beginning of kalpa(second skandha) and also the loka visited by
Sanakadirishis, where they encountered the dwarapalakas Jaya and Vijaya(Third skandha). This
loka is also described in the panchamaskandha of srimadbhagavatha mahapurana as existing
beyond the lokaloka mountain (the boundary between spiritual and temporal worlds). This loka
is quite distinct from mahaVaikuntha or karanaVaikuntha or Paramapada which is
inconcievable,indescribable and inaccessible even to Brahma and other exalted divinities). The
difference between mahaVaikuntha and karyaVaikuntha is highlighted in narayaneeyam of
melputtur bhattathiri also. Thus the leelamurthis of almighty AdiNarayana are legion and each
may still be accessed through selfless bhakti and upasana(and purvajanmapunya) by pure
devotees.
Ashtabujakaram Temple or Sri Aadhikesava Perumal Temple located in Kanchipuram in the
South Indian state of Tamil Nadu, is one of the 108 Divyadesam dedicated to Vishnu, who is
worshipped here as Ashta Bhuja Perumal and his consort Lakshmi as Godess Pushpavalli
THAYAR!
The only Lord Maha Vishnu temple where Lord Narayana Murthy is seen with 8 hands!!
As per Hindu legend in sthala purana, once there was an argument between Saraswathi, the
consort of Brahma and Lakshmi on superiority. They went to Indra, the king of celestial deities.
Indra judged Lakshmi as superior and not satisfied with his argument, Saraswathi went to her
husband, Brahma. He also chose Lakshmi to be the superior one. Saraswathi was unhappy with
the decision and decided to stay away from Brahma. Brahma did a severe penance praying to
Vishnu and did an Aswametha Yagna.
Saraswathi was still angry that the yagna, which usually is done along with consorts was done
alone by Brahma. She tried to disrupt the penance in various ways, but Vishnu interfered in all
her attempts. After all the demons were killed by Vishnu, who were sent by Saraswati to destroy
the yagna (penance) done by Brahma, she finally sent a ferocious Kaliya Sarpam (black snake).
Lord Vishnu took the form of Ashtabhuja Perumal holding 8 different weapons to kill the snake.
The snake is found on the Vaayu end of the yaaga sala in this temple.! This is the only place
where lord Brahma worshipped lord vishnu. See here.
In the Vishnudharmottara Purana, Vaikuntha Chaturmurti or Vaikuntha Vishnu is a four-headed
aspect of the Hindu god Vishnu, mostly found in Kashmir (northern part of the Indian
subcontinent). The icon represents Vishnu as the Supreme Being. He has a human head, a lion
head, a boar head and a demonic head. Vaikuntha Chaturmurti or Vaikuntha Vishnu is a four-
headed aspect of the Hindu god Vishnu, mostly found in Kashmir (northern part of the Indian
subcontinent). The icon represents Vishnu as the Supreme Being. He has a human head, a lion
head, a boar head and a fierce head. Sometimes, even three-headed but aspects of Vishnu
where the fierce rear head is dropped are considered to represent Vaikuntha Chaturmurti.

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Though iconographical treatises describe him to eight-armed, he is often depicted with four.
Generally, Vaikuntha Chaturmurti is shown standing but sometimes he is depicted seated on
his vahana (mount) Garuda.
2006 pic without garments
The concept of a four-headed Vishnu first appears in the Hindu epic Mahabharata, but the
complete iconography was first found in a 5th-century Pancharatra text. The icon reflects
influences from the Gupta period and the Gandhara architectural tradition. While as per one
interpretation, the animal heads represent Vishnu's avatar Narasimha (lion-headed man)
and Varaha (boar), another theory based on Pancharatra texts relates the four heads to
the Chaturvyuha: Vāsudeva (Krishna), Saṃkarṣaṇa (Balarama), Pradyumna and Aniruddha –
four vyuhas (manifestations) of Vishnu. A cult centered on Vaikuntha Chaturmurti developed in
Kashmir in the 8–12th century, when the deity also enjoyed royal patronage in the region.
The Lakshmana Temple of Khajuraho suggests his worship in the Chandela kingdom (Central
India) in the 10th century.

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Astha Bhuja Vishnu
SECTION CCCXL MAHABHARATHA
"Bhishma said, 'Thus hymned with names that were not known to others, the Divine Narayana
having the universe for his form showed himself to the ascetic Narada. His form was somewhat
purer than the moon and differed from the moon in some respects. He somewhat resembled a
blazing fire in complexion. The puissant Lord was somewhat of the
p. 133
form of Vishti. 1 He resembled in some respects the feathers of the parrot, and in some a mass
of pure crystal. He resembled in some respects a hill of antimony and in some a mass of pure
gold. His complexion somewhat resembled the coral when first formed, and was somewhat
white. In some respects that complexion resembled the hue of gold and in some that of the lapis
lazuli. In some respects it resembled the hue of the blue lapis lazuli and in some that of
sapphire. In some respects it resembled the hue of the peacock's neck, and in some that of a
string of pearls. Bearing these diverse kinds of hues on his person, the eternal Deity appeared
before Narada. He had a thousand eyes and was possessed of great beauty. He had a hundred
heads and a hundred feet. He had a thousand stomachs and a thousand arms. He seemed to be
still inconceivable to the mind. With one of his mouths he uttered the syllable Om and then
the Gayatri following Om. With mind under complete control, the great Deity, called by the
names of Hari and Narayana, by his other mouths, multitudinous in number, uttered
many mantras from the four Vedas which are known by the name of Aranyaka. The Lord of all
the deities, the great God who is adorned in sacrifices, held in his hands a sacrificial altar,
a Kamandalu, few white gems, a pair of sandal, a bundle of Kusa blades, a deer-skin, a
toothstick, and a little blazing fire. 2 With cheerful soul, that foremost of regenerate
persons, viz., Narada of restraining speech, bowed unto the great God and adored Him. Unto

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him whose head was still bent low in veneration, the first of all the deities, who is free from
deterioration, said the following words.
"'The Holy one said, The great Rishis, Ekata, Dwita, and Trita, came to this realm from desire of
obtaining a sight of me. They, however, were unable to have the fruition of their wishes. Nor can
any one have a sight of me save those persons that are devoted to me with their whole hearts.
As regards thee, thou art verily the foremost of all persons devoted to me with all their souls.
These are my bodies, the best ones that I assume. These were born, O regenerate one, in the
house of Dharma. Do thou worship them always, and do thou perform those rites that are laid
down in the ordinances with respect to that worship. O Brahmana, do thou ask of me the boons
thou desirest. I am gratified with thee to-day, and I appear unto thee now in my universal form
as freed from decay and deterioration.
"Narada said, Since, O holy one, I have today succeeded in obtaining a sight of thee. I regard
that I have won without any delay the fruits of my penances, O God, of my self-restraint, and of
all the vows and observances. p. 134
that I have gone through. This, indeed, is the highest boon thou hast granted me for thou hast
shown thyself to me today. O Eternal Lord, Thou, O holy one, hast the universe for thy eye. Thou
art the Lion. Thy form is identifiable with everything. Possessed of puissance, thou, O Lord, art
vast and infinite.
Bhishma continued, 'Having thus shown Himself unto Narada, the son of Parameshthi, the great
God addressed that ascetic and said,--Go hence, O Narada, and do not delay! These
worshippers of mine, possessed of lunar complexions, are divested of all senses and do not
subsist upon any kind of food. They are, again, all Emancipate; with minds wholly concentrated
upon Me, people should think of Me. Such worshippers will never meet with any impediments.
These men are all crowned with ascetic success and are highly blessed. In ancient times they
became entirely devoted to me. They have been freed from the attributes of Rajas and Tamas.
Without doubt, they are competent to enter me and become merged into my Self.--He that
cannot be seen with the eye, touched with the sense of touch, smelt with the sense of scent, and
that is beyond the ken of the sense of taste. He whom the three attributes of Sattwa, Rajas, and
Tamas do not touch, who pervades all things and is the one Witness of the universe, and who is
described as the Soul of the entire universe; He who is not destroyed upon the destruction of
the bodies of all created things, who is unborn and unchangeable and eternal, who is freed from
all attributes, who is indivisible and entire; He who transcends the twice twelve topics of enquiry
and is regarded the Twenty-fifth, who is called by the name of Purusha, who is inactive, and who
is said to be apprehended by Knowledge alone, He into whom the foremost of the regenerate
persons enter and become emancipate. He who is the eternal Supreme Soul and is known by
the name of Vasudeva. Behold, O Narada, the greatness and puissance of God. He is never
touched by acts good or bad. Sattwa, Rajas and Tamas, are said to be the three (original)
attributes. These dwell and act in the bodies of all creatures. The Jiva-soul, called Kshetrajna,
enjoys and endorse the action of these three attributes. He, however, transcends them and they
cannot touch Him. Freed from these attributes, He is again their enjoyer and endorser. Having

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created them Himself, He is above them all. O celestial Rishi, the Earth, which is the refuge of the
universe, disappears 1 (when the hour for universal dissolution comes) into water, Water
disappears into Light, and Light into Wind, Wind disappears into Space, and Space into Mind.
Mind is a great creature, and it disappears into Unmanifest Prakriti. Unmanifest Prakriti, O
Brahmana, disappears into inactive Purusha. There is nothing higher than Purusha which is
Eternal. There is nothing among mobile and immobile things in the universe that is immutable,
except Vasudeva, the eternal Purusha. Endued with great puissance, Vasudeva is the Soul of all
creatures. Earth, Wind, Space, Water, and Light forming the fifth, the primal elements of great
puissance. Mingling together
p. 135
they form what is called the body. Possessed of subtile prowess and invisible to all eyes, O
Brahmana, the puissant Vasudeva then enter that combination of the five primal elements,
called body. Such entrance is called his birth, and taking birth. He causes the body to move
about and act. Without a combination of the five primal elements, no body can ever be formed.
Without, again, the entrance of Jiva into the body, the mind dwelling within it cannot cause it to
move and act. He that enters the body is possessed of great puissance and is called Jiva. He is
known also by other names, viz., Sesha and Sankarshana. He that takes his rise, from that
Sankarshana, by his own acts, Sanatkumara, and in whom all creatures merge when the universal
dissolution comes, is the Mind of all creatures and is called by the name of Pradyumna. From
Him (i.e., Pradyumna), arises He who is the Creator, and who is both Cause and Effect. From this
last, everything, viz., the mobile and immobile universe, takes its rise. This one is called
Aniruddha. He is otherwise called Isana, and He is manifest in all acts. 1 That illustrious one, viz.,
Vasudeva, who is called Kshetrajna, and who is freed from attributes, should, O king of kings, be
known as the puissant Sankarshana, when he takes birth as Jiva. 2 From Sankarshana arises
Pradyumna who is called 'He that is born as Mind.' From Pradyumna is He who is Aniruddha. He
is Consciousness, He is Iswara (Supreme Lord). It is from me, that the entire mobile and
immobile universe springs. It is from me, O Narada, that the indestructible and destructible, the
existent and the non-existent, flow. They that are devoted to me enter into me and become
emancipate. I am known as Purusha. Without acts, I am the Twenty-fifth. Transcending
attributes, I am entire and indivisible. I am above all pairs of opposite attributes and freed from
all attachments. This, O Narada, thou wilt fail to understand. Thou beholdest me as endued with
a form. In a moment, if the wish arises, I can dissolve this form. I am the Supreme Lord and
the Preceptor of the universe. That which thou beholdest of me, O Narada, is only an illusion of
mine. I now seem to be endued with the attributes of all created things. Thou art not competent
to know me. I have disclosed to thee duly my quadruple form. I am, O Narada, the Doer, I am
Cause, and I am Effect. I am the sum-total of all living creatures. All living creatures have their
refuge in me. Let not the thought be thine that thou hast seen the Kshetrajna. I pervade all
things. O Brahmana, and am the Jiva-Soul of all creatures. When the bodies of all creatures,
however, are destroyed, I am not destroyed.
p. 136

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[paragraph continues] Those highly blessed men who, having won ascetic success, become
wholly devoted to me, become freed from the attributes of both Rajas and Tamas and succeeds,
on that account, in entering me, O great ascetic. He who is called Hiranyagarbha, who is the
beginning of the world, who has four faces, who cannot be understood with the aid of Nirukta,
who is otherwise called Brahman, who is an eternal deity, is employed in attending to many of
my concerns. The deity Rudra, born of my wrath, is sprung from my forehead. Behold, the eleven
Rudras are swelling (with might) on the right side of my body. The twelve Adityas are on the left
side of my body. Behold, the eight Vasus, those foremost of deities, are in my front, and see,
Nasatya and Dasra, those two celestial physicians (Aswini Kumars), are in my rear. Behold also in
my body all the Prajapatis and behold the seven Rishis also. Behold also the Vedas, and all the
Sacrifices numbering by hundreds, the Amrita (nectar), and all the (medicinal) herbs and plants,
and Penances, and vows and observances of diverse kinds. Behold also in me the eight
attributes indicative of puissance, viz., those particularly called the attributes of Lordship, all
dwelling together in my body in their united and embodied form. Behold also Sree and Lakshmi,
and Kirti, and the Earth with her hump as also the goddess, Saraswati, that mother of the Vedas,
dwelling in me. Behold, O Narada, Dhruva, that foremost of luminaries ranging the firmament, as
also all the Oceans those receptacles of water, and lakes, and rivers, dwelling in me. Behold also,
O best of men, the four foremost ones amongst the Pitris in their embodied forms, as also, the
three attributes (of Sattwa, Rajas, and Tamas) which are formless dwelling in me. The acts done
in honour of the Pitris are superior (in point of merit) to those done in honour of the deities. I
am the Pitri of both the deities and the Pitris, and am existing from the beginning (that is, from a
time when they were not). Becoming the Equine-head I rove through the Western and the
Northern ocean and drink sacrificial libations duly poured with mantras and solid sacrificial food
offered with reverence and devotion. In days of yore I created Brahman who himself adored me
in sacrifices. Gratified with him on that account I granted him many excellent boons. I said unto
him that in the beginning of the Kalpa he would be born unto me as my son, and the
sovereignty of all the worlds would vest on him, coupled with diverse names being bestowed on
diverse objects in consequence of the starting of Ahankara into existence. 1 I also told him that
none would ever violate the limits and boundaries he would assign (for the observance of
creatures) and, further, that he would be the giver of boons unto
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persons that would (in sacrifices and by proper acts) solicit him for them. I further assured him
that he would be an object of adoration with all the deities and Asuras, all the Rishis and Pitris,
and the diverse creatures forming the creation. I also gave him to understand that I would
always manifest myself for accomplishing the business of the deities and that for that matter I
would suffer myself to be commanded by him even as a son by his sire. 1 Granting these and
other highly agreeable boons unto Brahman of immeasurable energy in consequence of my
being gratified with him I (once more) adopted the course dictated by Nivritti. The highest
Nivritti is identical with the annihilation of all duties and acts. Hence, by adopting Nivritti one
should conduct oneself in complete felicity. Learned preceptors, with settled convictions
deducted from the truths of the Sankhya philosophy, have spoken of me as Kapila endued with
the puissance of Knowledge, dwelling within the effulgence of Surya, and concentrated in

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Yoga. 2 In Chcchandas (Vedas) I have been repeatedly hymned as the illustrious Hiranyagarbha.
In the Yoga scriptures, O Brahmana, I have been spoken of as one who takes a delight in Yoga. I
am eternal. Assuming a form that is manifest, I dwell, at present, in the heavens. At the end of a
thousand Yugas I shall once more with-draw the universe into myself. Having withdrawn all
creatures, mobile and immobile into myself, I shall exist all alone with knowledge only for my
companion. After the lapse of ages I shall again create the universe, with the aid of that
knowledge. That which is my fourth form creates the indestructible Sesha. That Sesha is called
by the name of Sankarshana. Sankarshana creates Pradyumna. From Pradyumna I take birth
myself as Aniruddha. I create (myself) repeatedly. From Aniruddha springs Brahman. The latter
takes birth from Aniruddha's navel. From Brahman spring all creatures mobile and immobile.
Know that Creation springs in this way repeatedly at the beginning of every Kalpa. Creation and
destruction succeed each other even as sunrise and sunset in this world. Then, again, as Time,
endued with immeasurable energy, forcibly brings back the Sun after his disappearance, after
the same manner I shall, assuming the form of boar and putting forth my strength, bring back
the Earth with her belt of seas to her own position for the good of all creatures when she
becomes submerged in water. I shall then slay the son of Diti,
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named Hiranyaksha, filled with pride of strength. 1 Assuming the form then of a Man-lion
(Narsingha), I shall, for benefiting the deities, slay Hiranyakasipu the son of Diti, who will be a
great destroyer of sacrifices. Unto Virochana (the son of Prahlada) will be born a mighty son of
the name of Vali. That great Asura will be unslayable in the whole universe consisting of deities,
Asuras and Rakshasas. He will hurl Sakra from the sovereignty of the universe. When after
routing the Lord of Sachi, that Asura will take unto himself the sovereignty of the three worlds, I
shall take birth in Aditi's womb, by Kasyapa, as the twelfth Aditya. I shall (taking the sovereignty
of the three worlds Vali) restore it to Indra of immeasurable splendour, and replace the deities,
O Narada, in their respective stations. As regards Vali, that foremost of Danavas, who is to be
unslayable by all the deities, I shall cause him to dwell in the nether regions. In the Treta age I
shall take birth as Rama in the race of Bhrigu, and exterminate the Kshatriyas who will become
proud of their strength and possessions. Towards the close of Treta and the beginning of
Dwapara, I shall take birth as Rama, the son of Dasaratha in Iskshaku's royal line. At that time,
the two Rishis viz., the two sons of Prajapati, called by the names of Ekata and Dwita, will in
consequence of the injury done by them unto their brother Trita, have to take birth as apes,
losing the beauty of the human form. Those apes that shall take birth in the race of Ekata and
Dwita, shall become endued with great strength and mighty energy and will equal Sakra himself
in prowess. All those apes, O regenerate one, will become my allies for accomplishing the
business of the deities. I shall then slay the terrible lord of the Rakshasas, that wretch of
Pulastya's race, viz., the fierce Ravana, that throne of all the worlds, together with all his children
and followers. Towards the close of the Dwapara and beginning of the Kali ages, I shall again
appear in the world taking birth in the city of Mathura for the purpose of slaying Kansa. There,
after slaying innumerable Danavas that will be thorns in the side of the deities, I shall take up my
residence in Kusasthali at the city of Dwaraka. While residing in that city I shall slay the Asura
Naraka, the son of 'the Earth,--him, that is, who will do an injury to Aditi, as also some 'other

13
Danavas of the names of Muru and Pitha. Slaying also another foremost of Danavas, viz., the
lord of Pragjyotisha, I shall transplant his delightful city furnished with diverse kinds of wealth
into Dwaraka. I shall then subjugate the two gods worshipped of all the deities, viz., Maheshwara
and Mahasena, who will become fond of the Danava Vana and do him diverse good offices and
who will exert themselves vigorously for that worshipper of theirs. 2
Vanquishing next the son of the Danava Vali, viz., Vana, who will be endued with a thousand
arms, I shall next destroy all the inhabitants of the Danava city called Saubha. 1 I shall next, O
foremost of Brahmanas, compass the death of Kalayavana, a Danava who will be endued with
great might in consequence of his being equipt with the energy of Gargya. 2 A proud Asura will
appear as a king at Girivraja, of the name of Jarasandha, who will quarrel with all the other kings
of the world. His death will be compassed by me through some one else guided by my
intelligence. I shall next slay Sisupala in the sacrifice of king Yudhishthira, the son of Dharma,
which sacrifice all the kings of the world will bring tribute. In some of these feats, only Arjuna,
the son of Vasava, will become my assistant. I shall establish Yudhishthira with all his brothers in
his ancestral kingdom. People will call me and Arjuna as Narayana and Nara, when, endued with
puissance, we two, exerting our strength, shall consume a large number of Kshatriyas, for doing
good to the world. Having lightened the burthen of the Earth according to our pleasure, I shall
absorb all the principal Sattwatas as also Dwaraka, my favourite city, into my own self,
recollecting my all-embracing Knowledge. Endued with four forms, I shall, in this way, achieve
many feats of great prowess, and attain at last to those regions of felicity created by me and
honoured by all the Brahmanas. Appearing in the forms of a swan, a tortoise, a fish, O foremost
of regenerate ones, I shall then display myself as a boar, then as a Man-lion (Nrisingha), then as
a dwarf, then as Rama of Bhrigu's race, then as Rama, the son of Dasaratha, then as Krishna the
scion of the Sattwata race, and lastly as Kalki. When the auditions in the Vedas disappeared from
the world, I brought them back. The Vedas with the auditions in them, were re-created by me in
the Krita age. They have once more disappeared or may only be partially heard here and there in
the Puranas. Many of my best appearances also in the world have become events of the past.
Having achieved the good of the worlds in those forms in which I appeared, they have re-
entered into my own Prakriti. Brahman (the Creator) himself never obtained a sight of me in
p. 140
this form of mine, which thou, O Narada, hast seen today in consequence of thy entire devotion
to me. I have now said everything, O Brahmana,--unto thee that art devoted to me wholly, I have
disclosed to thee my ancient appearances and future ones also, O Best of men, together with all
their mysteries. "Bhishma continued, The holy and illustrious deity, of universal and immutable
form, having said these words unto Narada, disappeared there and then. Narada also, endued
with great energy, having obtained the high favour that he had solicited, then proceeded with
great speed to the retreat called Vadari, for beholding Nara and Narayana. This great Upanishad,
perfectly consist with the four Vedas, in harmony with Sankhya-yoga, and called by him by the
name of the Pancharatra scriptures, and recited by Narayana himself with his own mouth, was
repeated by Narada in the presence of many hearers in the abode of Brahman (his sire) in

14
exactly the same way in which Narayana (while that great god had showed himself unto him)
had recited it, and in which he had heard it from his own lips.
"Yudhishthira said, 'Was not Brahman, the Creator of all things, acquainted with this wonderful
narrative of the glory of Narayana endued with intelligence that he heard it from the lips of
Narada? Is the illustrious Grandsire of all the worlds any way different from or inferior to the
great Narayana? How then is it that he was unacquainted with the puissance of Narayana of
immeasurable energy?'
Bhishma continued, 'Hundreds and thousands of great-Kalpas, hundreds and thousands of
Creation and Dissolutions, O king of kings, have been over and have become incidents of the
past. 1 In the beginning of every cycle of Creation, Brahman, endued with great puissance and
who creates all things, is remembered (by Narayana). Brahman knows well, O king, that
Narayana, that foremost of all gods is very much superior to him. He knows that Narayana is the
Supreme Soul, that he is the Supreme Lord, that He is the Creator of Brahman himself. It was
only unto that conclave of Rishis, crowned with ascetic success, that came to the abode of
Brahman, that Narada recited his narrative which is a very ancient one, and which is perfectly
consistent with the Vedas. The deity Surya, having heard that narrative from those Rishis
crowned with ascetic
p. 141
success, 1 repeated it to the six and sixty thousands of Rishis, O king, of cleansed souls, that
follow in his train. And Surya, the deity that imparts heat unto all worlds, repeated that narrative
unto those Beings also, of cleansed souls, that have been created (by Brahman) for always
journeying in the van of Surya. 2 The high-souled Rishis that follow in Surya's train, O son,
repeated that excellent narrative unto the deities assembled on the breast of Meru. That best of
ascetics, viz., the regenerate Asita, then having heard the narrative from the deities, repeated it
unto the Pitris, O king of kings. I heard it from my sire Santanu, O son, who recited it to me
formerly. Myself having heard it from my sire. I have repeated it to thee, O Bharata. Deities and
Munis, who have heard this excellent old narrative, which is a Purana--all adore the Supreme
Soul. This narrative, belonging to the Rishis and thus handed down from one to another, should
not, O king, be communicated by thee to any one that is not a worshipper of Vasudeva. This
narrative, O king, is really the essence of the hundreds of other narratives that thou hast heard
from me. In days of yore, O monarch, the deities and the Asuras, uniting together, churned the
Ocean and t wised the Amrita. After the same manner, the Brahmanas, uniting together in days
of yore, churned all the scriptures and raised this narrative which resembles nectar. He who
frequently reads this narrative, and he who frequently listens to it, with concentrated attention,
in a retired spot, and filled with devotion, succeeds in becoming a denizen, possessed of lunar
complexion, of the spacious island known by the name of White Island. Without doubt, such a
man succeeds in entering into Narayana of a thousand rays. A sick person, by listening to this
narrative from the beginning, becomes freed from his illness. The man that simply desires to
read or listen to this narrative obtains the fruition of all his wishes. To devoted worshipper, by
reading or listening to it, attains to the high end that is reserved for devoted worshippers. Thou

15
also, O monarch, shouldst always adore and worship that foremost of all Beings. He is the father
and the mother of all creatures, and He is an object of reverence with the entire universe. Let the
illustrious and Eternal God of the Brahmans, viz., Janarddana of high intelligence, be gratified
with thee, O Yudhishthira of mighty arms!'"
Vaisampayana continued, "Having listened to the best of narratives, O Janamejaya, king
Yudhishthira the just and all his brothers became
p. 142
devoted to Narayana. And all of them, O Bharata, betaking themselves to the practice of silently
meditating upon Narayana (from that day), uttered these words for His glorification, viz., 'Victory
to that holy and illustrious Being.' He, again, who is our best of preceptors, viz., the Island-born
Krishna, devoted to penances, sung uttering the word Narayana that high mantra which is
worthy of being recited in silence. Sojourning through the welkin to the Ocean of Milk which is
always the abode of nectar, and worshipping the great God there, he came back to his own
hermitage.
"Bhishma continued, '1 have now repeated to thee the narrative that was recited by Narada
(unto the conclave of Rishis assembled in the abode of Brahman). That narrative has descended
from one person to another from very ancient times. I heard it from my sire who formerly
repeated it to me.'"
Suta continued, I have now told you all that Vaisampayana recited to Janamejaya. Having
listened to Vaisampayana's narration, king Janamejaya properly discharged all his duties
according to the ordinances laid down in the scriptures. Ye have all undergo very severe
penances and observed many high and excellent vows. Residing in this sacred forest that is
known by the name of Naimisha, ye are foremost of all persons conversant with the Vedas. Ye
foremost of regenerate ones, ye all have come to this great sacrifice of Saunaka. Do ye all adore
and worship that Eternal and Supreme Lord of the universe in excellent sacrifices, properly
pouring libations of clarifiedbutter into the fire with the aid of mantras and dedicating the same
unto Narayana. As regards myself, I heard this excellent narrative that has descended from
generation to gene-ration, from my sire who recited it to me in former times.
Footnotes
133:1 By this word is meant a particular conjunction of heavenly bodies. This con-junction is
represented as having a peculiar form.
133:2 The word Upanaha used here in the dual number, has puzzled many persons. It is difficult
to conceive why the great God should appear with a pair of shoes in one of his hands. Probably,

16
the Upanaha, in ancient times, was a wooden sandal, and what the poet means to say is that
Narayana, appeared with all the requisites of a Brahmacharin on his person.
134:1 i.e., merges into.
135:1 This cosmogony is agreeable to the Vaishnava scriptures. Above all, without beginning is
Vasudeva. From Vasudeva is Sankarshana. From Sankarashana is Pradyumna. From Pradyumna is
Aniruddha. Some persons find in this quadruple creation the distinct trace of the Christian
Trinity. It is very difficult, however, to say which doctrine, the Hindu or the Christian, is the
original and which is derived from which.
135:2 The reader is requested to mark the address 'king of kings'. This is evidently a slip of the
pen. The whole speech is that of Narayana and Narada is the listener.
136:1 The commentator is silent. The sense seems to be that as Brahman is to be the son of
Narayana in the beginning of a Kalpa when there is no other existent object mobile or immobile,
the same Brahman is to be vested with dominion over all things which he would himself create
through Ahankara. Of course, as long as Brahman is without Ahankara so long there can be no
Creation, i.e., no subjects mobile and immobile, to be known by different names.
137:1 Nityada is always. Some persons believe that Narayana has to manifest himself always for
achieving the business of the deities. This Earth is not the only world where such manifestations
needed. As to the object of the manifestations considerable difference of opinion prevails. In
the Gita, the great deity himself explains that that object is to rescue the good and destroy the
wicked. Others hold that this is only a secondary object, the primary one being to gladden the
hearts of the devout by affording them opportunities of worshipping him and applauding his
acts, and to indulge in new joys by serving his own worshippers.
137:2 This is a reference to the well-known description of Narayana
as Savitrimandalamadhyavartih etc. It is not the visible Sun whose disc is meant, but that pure
fountain of effulgence which is inconceivable for its dazzling brightness that is implied.
138:1 The tense used in the original is future. What is meant, however, is that the great deity
does these acts at the beginning of every Kalpa when he recreates the Earth. All cycles or Kalpas
are similar in respect of the incidents that occur in them.
138:2 Maheswara is Mahadeva or Siva, Mahasena is Kartikeya, the generalissimo of the celestial
forces.
139:1 Vana, the son of Vali, was a devout worshipper of Mahadeva. Mina's daughter Usha fell in
love with Krishna's grandson Aniruddha. Aniruddha was imprisoned by Vana. It was to rescue
Aniruddha that Krishna fought with Vana, after having vanquished both Mahadeva and
Kartikeya. The thousand and one arms of Vana, less two, were lopped off by Krishna. The
episode of the love of Aniruddha and Usha is a very beautiful one.

17
139:2 Saubha was the name of a flying city of the Danavas. Krishna felled this city into the
ocean, having killed all its Danava inhabitants. As to Kala-yavana, his death was brought about
by Krishna under the following circumstances. Pursued by the Danava, Krishna took refuge in a
mountain-cave in which a king of the Satya Yuga was lying asleep. Entering the cave, Krishna
stood at the head of the sleeping king. The Danava, entering the cave after Krishna, found the
sleeping king and awaked him. As soon as the king looked at the Danava, the latter was
consumed into ashes, for the gods had given a boon to the king that he who would awake him
would be consumed by a glance of his.
140:1 The idea of Eternity without any conceivable beginning and conceivable end was so
thoroughly realised by the Hindu sages that the chiefdom of Heaven itself was to them the
concern of a moment. Nothing less than unchangeable felicity for all times was the object they
pursued. All other things and states being mutable, and only Brahman being immutable, what
they sought was an identification with Brahma. Such identification with the Supreme Soul was
the Emancipation they sought. No other religion has ever been able to preach such a high ideal.
The Hindu's concern is with Eternity. He regards his existence here as having the duration of but
the millionth part of a moment. How to prevent re-birth and attain to an identification with the
Supreme Soul is the object of his pursuit.
141:1 K. P. Singha has completely misunderstood the sense of verse 113, Bhishma does not
certainly mean that Brahman was unacquainted with the narrative. What Bhishma says is that it
was not to Brahman, but to the Siddhas assembled in Brahman's abode, that Narada recited his
narrative.
141:2 K. P. Singha misunderstands verses 115 and 116 completely. The fact is, Surya recited the
narrative unto those that precede and those that follow him in his journey through the
firmament. K. P. Singha confounded the two classes of persons together. The Burdwan
translator, as usual, makes nonsense of verse 116. The correct reading (as given in the Bombay
text) is lokan, the grammatical construction being lokan tapatah suryasya etc. The Burdwan
translator makes Surya repeat the narrative to the worlds created and placed before Surya.

18
According to Hindu scripture, Vasudeva (Devanagari वसुदेव, IAST Vasubai, Vajbai), also
called Ānakadundubhii ("Drum", after the sound of drums heard at the time of his birth), is the
father of the Hindu deities Krishna (Vāsudeva, i.e. "son of Vasudeva"), Balarama and Subhadra.
He was king of the Vrishnis and a Yadava prince. He was the son of the Yadava king Shurasena.
He was also the brother (cousin) of Nanda, the foster-father of Krishna. sister Kunti was married
to Pandu. Kunti plays a big role later in the war Mahabharata. And, his brother Akrura become
Kansa's Prime Minister
The patronymic Vāsudeva (with long ā) is a popular name of Krishna, the son of Vasudeva
with Devaki, "Vāsudeva" in the lengthened form being a vṛddhi-derivative of the short form
"Vasudeva", a type of formation very common in Sanskrit signifying "of, belonging to,

19
descended from".[7]
"Vasudeva" as an object of worship in Hinduism usually refers to the
son Vāsudeva (Krishna), rather than his father Vasudeva.
Vasudeva was born to Yadava king Shurasena , in the Surasena kingdom. Vasudeva had many
brothers such as Devashrava and Devabhaga, and sisters such as Kunti (mother of
the Pandavas), Shrutasravas (mother of Shishupala) and others. According to the Harivansa
Purana, Vasudeva and Nanda, the Kshatriya chief of Gokula, were brothers or cousins.
Wives and children
Vasudeva and Devaki traveling in a carriage
Vasudeva married Devaki, and also others such as Pauravi (daughter of Bahlika), Rohini, Bhadra,
Madira and Vrikadevi. Rohini begat sons such as Balarama, Sarana and Shatha. Vrikadevi begat
sons like Avagaha and Nandaka. By Devaki, he had 8 sons - 6 of whom were killed by Kamsa and
the other 2 being Balarama (transferred into the womb of Rohini) and Krishna. He also had a
daughter - Subhadra from Rohini. In some versions of the Bhagavata Purana, Vasudeva also
married Sutanu, the princess of Kasi and they had a son named Paundraka.
Descendants
His sons in turn had many sons. Sarana had many sons like Satyadhriti and Marsti, and Shatha
had a son called Sarthi. Balarama espoused Revati and had 2 sons - Nishatha and Ulmuka.
Krishna had 8 principal wives, and he begat many children from them, such
as Pradyumna, Samba, Bhanu etc., and they also had many children. Vasudeva's
daughter Subhadra married Pandava prince Arjuna, and they had a son Abhimanyu. Ultimately,
it was Abhimanyu's son Parikshit who ascended the Kuru throne after Yudhishthira.
Many of the Yadavas killed themselves in the Yadava fratricide. Krishna, Balarama and Vasudeva
later gave up their lives, and the Pandavas collected the remaining Yadava children and ladies
with them to Indraprastha, where Pradyumma's grandson Vajra was crowned as king
of Mathura, and some other survivors also were crowned as kings of different
places (See Mausala Parva).
Vasudeva carrying baby Krishna across the Yamuna. Circa 1st Century CE, Gatashram Narayan
Temple. Mathura Museum

20
The sons of Vasudeva were related to Bhagavatism that was largely formed by the 1st-
millennium BCE where Vāsudeva (Krishna, the son of Vasudeva) was worshiped as supreme
ultimate reality. This is evidenced by texts and archaeological evidence. As textual evidence,
the Mahanarayana Upanishad records the verse:
नारायाणाय विद्महे वासुदेवाय धीमवह तन्नो विष्णुः प्रचोदयात्
nārāyāṇāya vidmahē vāsudēvāya dhīmahi tannō viṣṇuḥ pracōdayāt
We endeavor to know Narayana, we meditate on Vāsudeva and Vishnu bestows wisdom on us.
— Mahanarayana Upanishad, Chapter 7,
Krishna and Balarama meeting their parents (painting by Raja Ravi Varma).RIGHT Triple V form of Vishnu-
Vasudev, Vishnu and Narayan Angkor Thom
This verse asserts that Narayana, Vāsudeva (Krishna) and Vishnu are synonymous. The author
and the century in which the above Mahanarayana Upanishad was composedis unknown. The
relative chronology of the text, based on its poetic verse and textual style, has been proposed by
Parmeshwaranand to the same period of composition before Maitri, Prashna and Mandukya
Upanishad- as Katha, Isha, Mundaka and Shvetashvatara Upanishads. Feuerstein places the
relative composition chronology of Mahanarayana to be about that of Mundaka and

21
Prashna Upanishads. These relative chronology estimates date the text to second half of 1st
millennium BCE. Srinivasan suggests a later date for the composition of the Mahanarayana
Upanishad, one after about 300 BCE and probably in the centuries around the start of the
common era.
Other evidence is from archeological inscriptions, where Bhagavan is documented epigraphically
to be from around 100 BCE, such as in the inscriptions of the Heliodorus pillar. An Indo-
Greek ambassador from Taxila namedHeliodorus, of this era, visited the court of a Shunga king,
and addresses himself as a Bhagavata on this pillar, an epithet scholars consider as evidence of
Vāsudeva worship was well established in 1st millennium BCE. A popular short prayer for
worshipping Vāsudeva is Dwadashaakshar.
Dieties Galore- The many Hindu Gods of Cambodia
Dr. Uday Dokras PhD Stockholm
Did Hinduism come to Cambodia through the FUNAN KINGDOM IN CAMBODIA ? : and
How is it that the Hinduism in Cambodia was so deep that some of the deities found there are
uncommon even in India?
Ardhanareeshvara and Mukhalings or complicated combinations such as Vasudev- Vishnu- Narayan
have been discovered as Busts and adorn some Museums. Shiva and Vishnu are however, the dominant
themes of many temples wkth naga, Kubera, Yama, Mahabharata Characters and Ramayana cast in toto.
After 1st century A.D. complex polities began emerging in what is now Cambodia. The most
powerful of these was known as Funan by the Chinese, and may have existed across an area
between Ba Phnom in Prey Veng Province and Oc-Eo in Kien Giang Province in southern Vietnam.
Funan was a contemporary of Champasak in southern Laos (then known as Kuruksetra) and
other lesser fiefdoms in the region.
Funan was the first large Southeast Asian civilization. It was centered on the lower
Mekong Delta in present-day Cambodia and Vietnam and stretched into Thailand, and,
possibly, Malaysia. Funan lasted from the A.D. 1st century to 7th century. Archeologists are
still not sure where the Funanese capital was. They are currently excavating a site at Angkor
Borei in Cambodia, which they think may have been it. Funan is a Chinese name, and it may
be a transliteration of the ancient Khmer word bnam (mountain). What the Funanese called
themselves, however, is not known. Although very little is known about Funan, much has been
made of its importance as an early Southeast Asian centre of power.

22
Even the Chinese, who considered most everyone around them to be Barbarians, marveled
over Funan's treasures of gems and gold. Funan was a convenient stopover point for Hindu
traders on their way to China. The Funanese were in power when Hinduism and Buddhism
were introduced to Southeast Asia.
India-Cambodia cultural and historical relations are more than a millennium old when Indian
culture, religion and trade emanated out of India and spread rapidly in various parts of South-
East Asia. However, Cambodia witnessed Indian influence centuries before that whose living
example is the temples of Sambor Prei Kuk built by Ishanvarmana I and other kings of Chenla
empire during 6th and 7th Century AD in Ishanapura, the then capital of the Kingdom, which is
so far the oldest known example of existence of Indian culture and religion in Cambodia.
However, some scholars are of the opinion that the cultural and religious connect between India
and Cambodia date back to 1st century. According to Cambodian belief, Khmer people’s
founding legend centers around an Indian prince Kaundinya called Preah Thaong in Cambodian
folklore. Cambodian society which is now predominantly Buddhist retains a strong influence of
Indian Hindu and Buddhist rituals, idolatry and mythology which can be seen in many of its
rituals having resemblance with Indian culture and traditions. Khmer language too is a live
example of Indian culture which has approximately more than 3000 words originated from
ancient Indian Sanskrit language. Later the pervading influence of Hinduism,
Buddhism, and Indian architecture are borne out by the magnificent structures at Angkor Wat,
Angkor Thom, Bayon, Ta Prohm, Bantey Srei, Preah Vihear and other religious and historical
sites in Cambodia.
Cambodia was first influenced by Hinduism during the beginning of the Kingdom of Funan.
Hinduism was one of the Khmer Empire's official religions. ... Vishnu and Shiva were the most
revered deities worshipped in Khmer Hindu temples.
Behrendt, Kurt. In “Pre-Angkor Traditions: The Mekong Delta and Peninsular Thailand.”
International trade brought South Asian Hindu and Buddhist traditions to mainland Southeast
Asia. Under that influence, the pre-Angkor kings claimed to be incarnations of Shiva or Vishnu,
and their names reflect this affiliation. Their authority is also based on South
Asian chakravartin (universal king) concepts of rulership that came to Southeast Asia in the
form of Sanskrit texts. This maritime trade system provided an alternative to the overland trade
network that connected India and China via the Central Asian Silk Road.

23
During the first century A.D., when Rome ruled the Mediterranean, the Funanese traded
widely, established a wonderful tradition of Hindu-influenced art and architecture, and became
skilled goldsmiths and jewelers. They also built an irrigation system, impressive even by
today's standards, and used an extensive network of canals for both transportation and
agriculture.
Funan was essentially an Indian civilization set in Southeast Asia. Ruled by Hindu rulers and
influenced by the culture of the Indian Pallava kingdom, it absorbed of Indian concepts of
jurisprudence, astronomy, literature and universal kingship. The Sanskrit language was used in
Funan courts. It gave birth to the first writing system and inscriptions used in Southeast Asia.
Most of what historians know about Funan has been gleaned from Chinese sources.
According to Lonely Planet: These report that Funan-period Cambodia (1st to 6th centuries
AD) embraced the worship of the Hindu deities Shiva and Vishnu and, at the same time,
Buddhism. The linga (phallic totem) appears to have been the focus of ritual and an emblem of
kingly might, a feature that was to evolve further in the Angkorian cult of the god-king. The
people practised primitive irrigation, which enabled successful cultivation of rice, and traded
raw commodities such as spices with China and India. [Source: Lonely Planet]
Indianization was fostered by increasing contact with the subcontinent through the travels of
merchants, diplomats, and learned Brahmans (Hindus of the highest caste traditionally
assigned to the priesthood). Indian immigrants, believed to have arrived in the fourth and the
fifth centuries, accelerated the process. By the fifth century, the elite culture was thoroughly
Indianized. Court ceremony and the structure of political institutions were based on Indian
models. The Sanskrit language was widely used; the laws of Manu, the Indian legal code, were
adopted; and an alphabet based on Indian writing systems was introduced.
Our most complete accounts of the pre-Angkorian kingdoms come from Chinese records; the
earliest of these kingdoms was Funan in the Mekong Delta area. By the early sixth century,
Chinese sources tell of multi-armed (Hindu) deities being venerated, and mention missions to
China from named kings.
In the seventh century, Funan was in decline and the state of Zhenla emerged in the northern
Mekong Delta. The establishment of Hindu temple complexes was widespread in this early
period, an important center being the site of Prasat Andet. In the seventh and eighth centuries, a
cult surrounding the veneration of a composite of Vishnu (Hari) and Shiva (Hara) was popular
in the Mekong Delta area. Most popular of all were images of Shiva and his nonanthropomorphic
representation as a linga). Shiva was also depicted as half male and half female to indicate the
relationship of the unified whole; the conceptual male half is given a manifest existence through
the active female presence (prakrti).
Also important was Ganesha, who is the Hindu elephant-headed son of Shiva and Parvati. He
was venerated before turning to other gods, thus removing potential obstacles between the

24
worshipper and the divine. In Southeast Asia, Ganesha had a more independent status than in
India; his images were often housed in separate temples as primary icons of worship.
( See my paper on Ganesh in Cambodia ob academia.edu and researchgate.net)
The early artistic heritage of peninsular Thailand is also related to the pre-Angkorian tradition.
Lingas attest to the popularity of the Hindu god Shiva, though many Buddhist images have also
been found, such as a standing Avalokiteshvara. A number of small kingdoms likely flourished
on the peninsula. The later artistic heritage in this area shows close affinities to the enigmatic
kingdom of Shrivijaya, which was probably centered in Sumatra.
South Indian Pallava, Andhran, and Gupta production : It is remarkable that the body of pre-
Angkorian sculpture known from numerous sites in southern Cambodia and Vietnam as well as
peninsular Thailand shows an overall stylistic coherence. Although this extraordinarily brilliant
material has clear affinities with South Indian Pallava, Andhran, and Gupta production, in many
ways it reflects an artistic vocabulary that has been transformed into a purely Southeast Asian
idiom. The ovoid facial features of Gupta sculpture have been replaced with a different
physiognomy; the figures are more austere in expression and more naturalistic.
Today these regions are mostly Buddhist, but in the seventh and eighth centuries both Hinduism
and Buddhism, as well as concepts of asceticism, engaged these new Southeast Asian patrons.
Although the links to Indian artistic traditions are clear, even the earliest Pre-Angkorian
sculpture is distinctly Southeast Asian in style. Remarkably, some wood images have been
found, raising the possibility that works in more perishable materials preceded stone icons.
Narayana is hailed in certain parts of Vedas like, Narayana Suktam and Vishnu Suktam. Lord
Narayana is also hailed in selective Vaishnava Upanishads like, Narayana Upanishad, Maha
Narayana Upanishad and Narasimha Tapani Upanishad

25
Khmer lintel depicting Narayana sleeping upon the Sheshanaga in the middle of Milky
Ocean, Bangkok National Museum
King Mahendravarman reigned form 607 to 616 over Chenla. He was a son of a king. The
century following the death of Jayavarman I, the last known king of the kingdom, in the
second half of the 7th century, was a dark period in the history of Chenla. According to a
Chinese accounts, in the 8th century, the country of Chenla was divided into land and water
Chenlas. The obscurity prevails and this monument might be neglected thereafter. The history.
However, is traced again with the accession of Jayavarman II, who founded a new polity that
is now referred as Angkor in the beginning of 9th century.
Impact of the Chenla
The people of Chenla also were Khmer. Once they established control over Funan, they
embarked on a course of conquest that continued for three centuries. They subjugated central
and upper Laos, annexed portions of the Mekong Delta, and brought what are now western
Cambodia and southern Thailand under their direct control. [Library of Congress]

26
The royal families of Chenla intermarried with their Funanese counterparts and generally
preserved the earlier political, social, and religious institutions of Funan. In the eighth century
A.D., however, factional disputes at the Chenla court resulted in the splitting of the kingdom
into rival northern and southern halves. According to Chinese chronicles, the two parts were
known as Land (or Upper) Chenla and Water (or Lower) Chenla. Land Chenla maintained a
relatively stable existence, but Water Chenla underwent a period of constant turbulence.
[Library of Congress]
Funan and Chenla gave way to the Angkor Empire with the rise to power of King Jayavarman
II in 802. Late in the eighth century A.D., Water Chenla was subjected to attacks by pirates
from Java, Sumatra, and the Malay Peninsula. By the beginning of the ninth century, it had
apparently become a vassal of the Sailendra dynasty of Java. The last of the Water Chenla
kings allegedly was killed around A.D. 790 by a Javanese monarch whom he had offended.
The ultimate victor in the strife that followed was the ruler of a small Khmer state located
north of the Mekong Delta. His assumption of the throne as Jayavarman II (ca. A.D. 802-50)
marked the liberation of the Khmer people from Javanese suzerainty and the beginning of a
unified Khmer nation. [Library of Congress]
Apart from the fact that it constituted the largest kingdom in South-East Asia, it also witnessed
the remarkable evolution and growth of art and architecture producing some of the most notable
monuments e.g. Angkor Vat which still excites the wonder and admiration of the world…In
respect of architecture, however, Kambuja surpasses even the motherland.” Besides art, the
Indian sculptures also influenced the sculptural form of Cambodia. R.R. Das3 5 remarks, “The
Hindu colonists had however brought with them not only traditions and techniques of developed
Indian art, but also probably actual specimens of Indian sculpture. Some of the earlier sculptures
in Cambodia and other countries such as Siam and Malaya Peninsula bear so striking
resemblance to Indian prototypes that many scholars have held that they were either brought
from India or made by such craftsmen who were fresh arrivals from India. For not only the
motifs and the general details but even the very technique was purely Indian, and there was
hardly anything to distinguish those from Indian products”. The famous Angkor-Wat of
Cambodia has some affinities with the sikhara of the temples of Orissa and gopuras of the Tamil
temples.36 In the Banteay Srei and Prah Khan temples of Cambodia, the mullioned openings are
very splendid and in their ‘pattern and intention’are akin to the contemporary temples of
Bhubaneswar in Orissa37 . In Angokorean sculptures, the round eyebrows and deep plump lips
are of Orissan variety38. In the open part of terrace on each side of entrance of Angkor Wat,
small shrines were there, which were similar to pancharatha (division of shrine tower into five
vertical segments) pattern of Orissan temples39 . From the above analysis it is evident that there
was close cultural affinity between THE 2 COUNTRIES.1
Religious Background: Angkor Wat can be interpreted in many different ways but Suryavarman
II wanted to ensure that, however one saw the work, he would be part of it. Suryavarman II is
depicted in statuary as Vishnu, consorting with the god, and performing his responsibilities as
ruler such as reviewing his troops and holding court. The appearance of the monarch's likeness in

27
so many different scenes, in fact, led early excavators to conclude that the site was a funerary
temple.
There are compelling reasons to come to this conclusion: unlike the other temples in the area -
which face east - Angkor Wat faces west toward the land of the dead. Further, the bas-reliefs
which adorn the temple are clearly meant to be read counterclockwise and, in funeral services,
one conducts traditional religious rituals in reverse. If any evidence had ever been found of
Suryavarman II's burial at the site, there would be no contesting the claim for it as a funerary
temple; but there is no evidence of this.
It is possible that it was begun as a funerary temple but it remained unfinished at Suryavarman
II's death and he was cremated and buried elsewhere. It is more likely, however, that
Suryavarman II had it purposefully built to honor his god, and this claim holds more weight
when one considers the king's religious beliefs.
Suryavarman II practiced a form of Hinduism known as Vaishnavism, which is devotion to the
god Vishnu above all others. Although Hinduism is generally regarded as a
polytheistic religion by westerners, it is actually henotheistic, meaning there is only one god with
many different aspects. In a henotheistic belief system, a single god is considered too immense to
be grasped by the human mind and so appears in a multiplicity of personalities all of which focus
on a single different aspect of human life.
DIETIES GALORE
In Hinduism, Brahma is the supreme deity who creates the world while, in his form as Vishnu he
preserves life and, as Shiva, takes life away and rewards humans for their toil with death, which
then continues the cycle of rebirth or leads to union with the oversoul. Angkor Wat reflects the
course of life, death, and eternity according to Vaishnavism, removing Brahma as the supreme
god and replacing him with Vishnu.
Suryavarman II

28
Vishnu appears to human beings in many forms throughout the centuries as avatars - like the popular
Hindu god Krishna - to guide and instruct people. The most famous example of this comes from the
religious text Bhagavad-Gita (“Song of God”) when Krishna visits Prince Arjuna on the battlefield of
Kurukshetra to explain the nature of existence and one's purpose in life. The temple of Angkor Wat is
designed to fulfill this same purpose through its ornamentation which tells the story of the human
condition, the immanence of the gods, and how one is to best live one's life.
The rise of Vaishnavism in Cambodia was a direct result of the conflicts between the
Khmers and the neighboring Champa. Suryavarman I (r. c. 1006-1050 CE) extended the
frontiers of his realm into Thailand during his reign and came into conflict with the cities of the
Champa. The Champa's religion was Buddhism (which was also the faith of the Khmer elite)
which was viewed with hostility by most Khmer who saw it as a threat to their faith. Vishnu, as a
protector-god, rose in popularity through these conflicts and the backlash against Buddhism.
By the time of Suryavarman II's reign, the form of Hinduism known as Brahmanism, which
favored the elite, was growing more popular in the region and Buddhism had also gained more
adherents. Suryavarman II elevated the position of the common people, using religion, by
decreeing the worship of Vishnu, a deity who was a protector of all, not the supreme creator
aspect nor the destructive aspect but the mediator between human beings and the divine who had
also proven himself a benevolent guardian.
One of the most popular stories of Vishnu's kindness and cleverness in the interests of human
beings is The Churning of the Ocean (also known as The Churning of the Ocean of Milk) in
which he tricks the demons into surrendering the amrita (ambrosia) which will make the gods
immortal and preserve eternal order. This story is among the most famous bas-reliefs found at
Angkor Wat and supports the claim that the building was originally conceived of as a temple of
worship rather than a funerary site.
Khmer brought Hindu Gods to Thailand- Historically, numerous theories have been
offered to account for the spread of Hinduism in Thailand, but it is generally agreed that the
religion infiltrated the region in a series of waves affecting different places at different times.
Between the 1st and 5th centuries the northeast was strongly influenced by the Hinduised
kingdom of Funan or Nokor Phnom as it was known to the Chinese).
From 802–1431 CE, Hinduism was further absorbed through the expansion of the hybrid
Hindu-Buddhist Khmer Empire. Meanwhile the northern and central regions were heavily
influenced by Hinduism during the Dvarvati period between the 6th and 11th centuries. While
Buddhism was the major religion at the time, the presence of Hinduism shows prominently in
the presence of statues of Hindu deities that scattered across the region during the time.
In the central plains of Thailand, it is thought that Hinduism may have arrived even earlier,
directly from Amravati in India or through the Mon people based in Burma. The Mon
people were responsible for exporting their influence in terms of language and culture to
much of Southeast Asia.
Narrative in Stone : Angkor Wat is designed to represent Mount Meru, the spiritual and
physical nexus in Hinduism which is the center of all reality. The five peaks of Mount Meru are
represented by the five spires of the temple. Brahma and the Devas (demigods) were thought to

29
live on Mount Meru and it is famously referenced in The Mahabharata when Yudhishthira and
his brothers travel to the gates of heaven. One by one the brothers die until only Yudhishthira
and his faithful dog are left. When they reach the border of heaven, the gatekeeper tells
Yudhishthira that he may enter for the worthy life he lived but that dogs are not allowed in
heaven. Yudhishthira rejects any paradise which does not include dogs and turns away, but the
gatekeeper stops him and reveals himself as Vishnu who was only testing him one last time
before allowing him entrance.
Stories such as this are told all over the temple where one finds scenes from the classic works of
Hindu religious literature such as the Ramayana and Bhagavad-Gita. The great Battle of
Kurukshetra from the Gita is depicted clearly as is the Battle of Lanka from the Ramayana. As
most people could not read in the 12th century CE, Angkor Wat served as a gigantic book on
which the important religious and cultural tales could be related visually.
The
Hindu deity Vishnu-Vasudeva-Narayana Place of Origin: Cambodia, former kingdom of Angkor Date: 1175-
1225 Materials: Bronze with traces of gilding and gemstones Style or Ware: Bayon//
Churning of the Ocean of Milk
The temple was galleried – meaning it progresses upwards through a series of galleries - giving ample
room forthe designerstoexplore the cultural,religious, and temporal history of the people. The outer
gallery of the temple stretches for over 1,960 feet (600 m) covered in these reliefs. Angkor Wat was
designedtorepresentthe worldwiththe fourcorners of the outer wall anchored at the four corners of
the earth andthe moatrepresenting the surrounding oceans. Scenes from everyday life, mythological
tales, religious iconography, and royal processions all wind themselves around the façade.
At the western entrance, a large statue of eight-armed Vishnu has been placed in the present day
to receive visitors who place offerings at his feet in supplication or in gratitude for prayers

30
answered. The central sanctuary of the temple is aligned north-south to the axis of the earth, and
the Vishnu statue once stood in the center, making clear that Vishnu was at the heart of all
earthly and divine occurrences. The galleries, according to some scholars, were used for
astronomical observations and were built specifically for that purpose so that astronomers could
clearly view the rotation of the heavens in the night sky. There is no doubt the site was linked to
astronomical observances as it is precisely positioned to mirror the constellation of Draco, the
dragon, which represents eternity because it never sets.
Narayana - Vishnu, Angkor Wat, Siem Reap, Cambodia, March 2014
MAIN HINDU DEITIES
As the Khmer Empire was a Hindu kingdom for most of its history, the temples are
abound with depictions of major Hindu deities. In Hindu mythology, the major male
deitieshave female consorts as well as a vahana, or animal vehicle. Therefore, there
have always been number of different ways to symbolize each deity.
While not a complete list, let’s go over some of the most common gods and goddesses
of Angkor.
Shiva

31
A.bearded Shiva with many arms RIGHT A SJiva lings from Ohnom Bakheng
Shiva is the most prominent god worshipped during Angkor’s Hindu era. He is known
as the “destroyer,”but this could also be interpreted as the destruction of ignorance.
He is symbolized in some shape or form at nearly all Angkor temples – even at the
later Buddhist ones.In Angkor art, Shiva is often depicted as a bearded old man, or
sometimesas a multi-armed being. More often, however,he was represented by other,
more abstract symbols.Shiva was typically worshiped in the form of a shiva linga,
which is typically placed on a yoni. The linga is a phallic symbol representing
masculine energy,while the yoni symbolizes the feminine. Shiva’s consort is Parvati.
His vahana, or animal vehicle, is the bull Nandi. Especially at the early Angkorian
temples, bull statues were a common sight, often sat facing the prasat that had a
shiva linga inside.
A
multi-armed, more youthful looking Shiva

32
Nandi the bull
Shiva and Parvati on top of Nandi… 18 th Century. Now he has a moustache
The famous eight-armed Vishnu statue at Angkor Wat's Western Gate
Vishnu is nicknamed the “preserver.” However, he often carries out acts of both
creation and destruction to maintain proper balance and harmony in the world. He
usually does so by coming down to earth in human form. As will be detailed below,
these are called his avatars and they’re the protagonists of many of the famous Hindu
legends.
At Angkor, Vishnu is depicted as a four-armed being, though sometimes he has eight
arms. His consort is Lakshmi and his vahana is Garuda, who’s half man, half eagle.
And Vishnu is also the star of many lintel carvings in the form of Krishna.

33
While most Angkorian Hindu temples were primarily dedicated to Shiva, a major
exception was Angkor Wat. Its builder, Suryavarman II, was a Vishnu devotee and
therefore Vishnu-related imagery is everywhere.Shiva and Vishnu are the same.
Semantic difference. Depictions of Vishnu and his other incarnations at the 10th-
century Prasat Kravan
Four-armed Vishnu on top of Garuda//Lakshmi in between two elephants and above
Garuda
A carving of Vishnu's heavenly court at Angkor Wat// INDRA
Brahma

34
A carving
of Brahma at Kbal Spean
Depictions of Brahma are quite rare, as few Hindus worship him directly. Brahma is
the four-faced “creator god.” However, as will be detailed below, he himself was
actually created by Vishnu. This origin story is depicted numerous times at the
mysterious river carvings of Kbal Spean.There were a number of sculptures made of
him, but you’ll no longer find these at the temples.The face towers of the Bayon were
originally assumed to represent Brahma, but they likely depict a divinity from
Mahayana Buddhism instead (more below).
Indra
Indra is “king of the gods” and is one of the most prominently featured deities in many
myths and legends. Accordingly, he is also one of the most widely represented gods at
Angkor. Indra is most easily recognized by his vahana, the three -headed elephant
named Airavata.Indra riding Airavata was especially popular in lintel carvingsat pretty
much all Angkorian Hindu temples.Arguably the best depictions of him can be seen at
Banteay Srei.
Indra, while a benevolent god at heart, is also known for his jealousy and hubris.
Therefore, in many Hindu myths, he actually takes on the role of the antagonist.
However,he usually getshumbled by the more powerful Vishnu, after which he learns
to change his ways.

36
Yama at Angkor Wat
Yama is the god of the underworld. Depictions of him at Angkor are not all that
common, but he’s almost always seen riding a buffalo.
One of the most vivid depictions of him, in his multi-armed form, is at the bas-relief
carvings of Angkor Wat. This section of the reliefs shows the 32 levels of hell and the
37 levelsof heaven. Yama is the judge, deciding where the deceased souls will end up.
Varuna RIGHT
Varuna is the god of the oceans, and can sometimes be seen sitting on his vahana, the
goose Hamsa. Overall, depictions of him at Angkor are quite rare.

37
BERA
Agni
Agni is the god of fire and his vahana is a rhino. Depictions of him are not very
common overall, though he was probably the center of many ancient rituals, taking on
the form of fire itself.
Kubera
Kubera, the god of wealth, is a common character in many famous myths, but he
doesn’t appear too often at Angkor. However, the famous ‘leper king’ statue at Angkor
Thom may actually be of Kubera and not of a former king, as was once widely believed.
OTHER BEINGS
Nagas
Nagas are mythical serpentswhich represent water and the underworld. Appearing in
many myths and legends, they’re highly significant in both Hinduism and Buddhism.

38
The Khmer, in particular, revered them,as they believed themselves to be descendants
of a distant naga ancestor.
Asuras
Asuras are celestial demons and the counterpart to the devas, or gods. The devas and
asuras are often at war with one another. Not all asuras are bad, however, and
sometimes they aid the heroes of popular myths and legends.
Rishis
Rishis are vedic sages.In mythological stories, they are typicallywise old men who can
sometimestravel through different realms and even see into the future. Carvings of
rishis are common at Angkor, though Shiva himself is often depicted as one. It’s not
always easy to tell which is which.
Kalas
Kala is a representation of time itself.Without time,there’s no decay or death, which
is probably why kalas are portrayed as such ferocious creatures. One of the most
common sights at Angkor, you’ll find them all over door lintels and elsewhere, often
with a god riding on top.

39
Apsaras
In Hindu mythology, apsaras are celestial dancers who occupy the higher realms
of devaloka. They are also among the most common sights at Angkor. There are
thousands of them at Angkor Wat, and the Hall of Dancersstructures at later temples
are entirely dedicated to apsara carvings.
Dvarapalas(RIGHT PIC)
Dvarapalas are male guardians, and are typically seen in pairs on either side of a
temple sanctuary. They’re staples of the earliest Angkor temples all the way to the
13th-century temples of Jayavarman VII.
Some examples of Hindu Gods and Doeties as reresentged as Art in
some museums around the world.

40
Harihara
Date:late 7th–early 8th century
Medium:Sandstone
In Harihara imagery, Shiva is represented as the
right half of the deity, his vertical third eye,
lightly incised into the forehead, truncated at
the Vishnu divide. The facial features are
undifferentiated, unlike in their Indian
counterparts, where a masculine and feminine
cast is given to each half. This Harihara makes
clear the extent to which the Khmer conception
differentiated the two deities only in the
partition of the headdress into a combined
jatamukuta-miter and in the provision of half of
a third eye on Shiva’s side. The popularity of
this hybrid deity was largely confined to the
seventh century in Cambodia.
Standing Stone Ganesha
Date:second half of the 7th century
In Southeast Asia, Ganesha has a more
independent status than in India; his images
were often housed in separate temples as
primary icons of worship. Here, Ganesha is
shown wearing a short wraparound skirt
(sampot), the front end of which falls down the
center in a series of flaring folds characteristic
of the Prasat Andet style.

41
This representation of Brahma is from the first
quarter of the 10th century
the Brahmanical god of creation and ancestor of all
universes, is understood to be omnipresent. Hence
he is depicted with four faces and four arms,
evoking his universality. Brahma’s skirt-cloth
(sampot) is in the Bakheng style, widely favored in
the early tenth century and named after sculptures
associated with the Bakheng temple. It is knee
length, is drawn up between the legs and secured
at the back, and has distinctive pleated “double-
anchor,” or “fishtail,” pendants in front. The piled-up
dreadlock hair (jatamukuta) is multifaceted to
reflect the four faces it serves, and is secured with
a string of pearls; each face of Brahma wears a
large diadem, and a speckled treatment of the
lower face indicates that he is bearded. This
sculpture would have occupied a subsidiary shrine
at a temple complex dedicated in all likelihood to
Shiva.(sandstone)

42
The Half-Male, Half-Female Form of Shiva
(Shiva Ardhanarishvara)
Date:ca. 921–45
Medium:Stone
Ardhanareeshvara is a combination of three
words “Ardha,” “Nari,” and “Ishwara” means
“half,” “woman,” and “lord,” respectively,
which when combined means the lord whose
half is a woman. It is believed that the God is
Lord Shiva and the woman part is his consort
Goddess Parvati or Shakti.
Ardhanarishvara represents the synthesis of
masculine and feminine energies of the
universe (Purusha and Prakriti) and illustrates
how Shakti, the female principle of God, is
inseparable from (or the same as, according to
some interpretations) Shiva, the male principle
of God, and vice versa. The union of these
principles is exalted asthe root and womb of all
creation. Another view is that Ardhanarishvara
is a symbol of Shiva's all-pervasive nature.
Stone Bust of 5 Headed Shiva-. mid-10th century
In Hindu
iconography,Mukhalinga or Mukhalingam (literally
"linga with a face", mukhaliṅga) is a linga with one or
more human faces. The linga is an aniconic
representation of the Hindu god Shiva. Mukhalingas
may be of stone or can be made of a metal sheath,
which covers the normal linga.
The mukhalinga generally has one, four or five faces.
Mukhalingas having four faces are also regarded to
have an invisible fifth face at the top of the linga. The
four- and five-faced mukhalingas represent the five
aspects of Shiva, which also relate to the classical
elements and the cardinal directions.
The five faces (from left to right) are Ishana,
Tatpurusha, Aghora, Vamadeva and Sadyojata.
They radiate, in order, revealment of grace,
sublimation of the five senses,omnipresence,
omnipotence and omniscience. This sequence is the
creative cycle, when reversed the cycle of dissolution
is depicted

43
Vishnu Resting on the Serpent Shesha
(Vishnu Anantashayin)- STONE
Date:ca. 921–45
Vishnu is often depicted as resting on Shesha.
Shesha is considered a devotee or bhakt of
Vishnu. He is said to have descended to Earth
in the human forms or
incarnations: Lakshman, brother of Vishnu's
incarnation Ram during Treta Yuga, and
as Balaram, brother of Vishnu's
incarnation Krishna during Dvapara Yuga.
According to the Mahabharat (Adi Parva), his
Father was Kashyapa and his Mother Kadru.
"Shesha" in Sanskrit texts, especially those
relating to mathematical calculation, implies
the "Remainder"—that which remains when all
else ceases to exist.
k
Ardhanarishvara (Composite of Shiva and Parvati)
Date:7th–8th century-Medium:Bronze
Ardhanarishvara, (Sanskrit: “Lord Who Is
Half Woman”) composite male-female
figure of the Hindu god Shiva together with
his consort Parvati.As seen in many Indian
and Southeast Asian sculptures, the right
(male) halfofthe figure is adorned with the
traditional ornaments of Shiva. Half of the
hair is piled in a hairdress of matted locks,
halfof a third eye is visible on the forehead,
a tiger skin covers the loins, and serpents
are used as ornaments. T he left (female)
half shows hair well combed and knotted,
halfof a tilak (a round dot) on the forehead,
the eye outlined in black, a well-developed
breast, a silk garment caught with girdles,
an anklet, and the foot tinted red
with henna.

44
In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.
http://www.metmuseum.org/toah/hd/pang/hd_pang.htm (August 2007)
Gods of Angkor: Bronzes from the National Museum of Cambodia-February 22–August 14,
2011 at the Getty Center
The ancient capital of the Khmer people at
Angkor, in northwest Cambodia, was once the
heart of a large sphere of influence that
extended over much of mainland Southeast
Asia. The bronzes in this exhibition—
masterworks from the collection of the
National Museum of Cambodia—represent
the achievements of Khmer artists during the
Angkor period (the ninth through the 15th
centuries).
Bronze, a mixture of metals consisting
primarily of copper and tin, was a preferred
medium for giving form to the Hindu and
Buddhist divinities worshipped in Angkor and
throughout the Khmer empire. The Khmer
have always viewed bronze as a noble
material, connoting prosperity and success,
and it has played a deeply meaningful role in
their culture over many centuries.
Vishnu-Vasudeva-Nārāyaṇa,
Cambodian, Angkor period, late
1000s–1150s, bronze. National
Museum of Cambodia, Phnom
Penh
Early Cambodian Bronzes: The Pre-Angkor Period
Khmer sculptors produced figural images of divinities in
response to the international religions—Hinduism and

45
Buddhism—that had arrived in mainland Southeast Asia by the fifth century. Indian
traders and traveling priests brought knowledge of Shiva, Vishnu, and other Hindu
gods. Buddhist texts and images carried by Chinese pilgrims who passed through the
region on their way to and from holy sites in India also had an influence on the
Khmer.
In the pre-Angkor period (500–800), as Khmer metalworkers developed the skills to
cast sculptural figures, they experimented with transforming older, established
representations into new versions befitting local religious and aesthetic traditions.
This process eventually led to the distinctive sculptural styles associated with the
Angkor period (ninth to 15th centuries).
This Buddha was found together with six other figures in 2006 in Kampong Cham
province, about 50 miles northeast of Phnom Penh. The find was accidental, and the
sculptures did not appear to be connected to an ancient temple or other
archaeological structure. Nothing is known about why the figures were buried
together, but they suggest the international range of influences that varied styles of
Buddhist images had on Khmer artists and patrons as Buddhist religious practices
reached Cambodia and became established.
The Angkor Period
The Angkor period began in the year 802.
Khmer rulers established a sequence of
capitals in the Angkor region, culminating
in the walled complex of Angkor Thom
built by Jayavarman VII (ruled 1181–about
1218). Successive monarchs built temples
and monasteries to honor their ancestors
and their own reigns—the monuments that
visitors to Angkor see today.
The bronze images and ritual objects
commissioned for the temples, royal palace,
and private chapels of the nobility convey a
relatively consistent treatment of facial
features, dress, and adornment that is
recognizably "Khmer." These objects were
rendered through a mastery of lost-wax
casting. The process generally involves
making a model out of wax, often over a
core made of clay or plaster, and encasing it
in a fireproof mold. When baked, the wax runs out, and molten bronze is poured into
the space left by the melted wax.
A son of Shiva, Ganesha, with an elephant head on the body of a boy, is one of the
Ganesha, Cambodian, Angkor
period, 1200s, bronze. National
Museum of Cambodia, Phnom Penh

46
most popular Hindu gods, serving as an icon of protection and a remover of
obstacles. In this representation, the snakes forming his armbands and cord over his
chest symbolize water and fertility, while a hoe and a broken tusk (serving as a plow)
in his hands symbolize agriculture. Ganesha was absorbed into the larger Buddhist
pantheon, a role he retains today in Cambodia and Thailand.
Bronzes in the Reign of Jayavarman VII
Jayavarman VII (ruled 1181–about 1218)
decisively shifted the prevailing religious
balance in which the Buddha was worshipped
alongside Hindu gods. He positioned the Buddha
at the apex of a system that included Hindu gods
in subsidiary roles, and the bronze images cast
during his reign reflect this transformation.
At the center of Jayavarman VII's walled capital,
Angkor Thom, he built the Bayon as his state
temple; its central feature was a towering stone
sculpture of the Buddha protected by a nāga
(multiheaded serpent). The other principal
monuments he built were the monastic
complexes of Ta Prohm—dedicated to his
mother as the bodhisattva of wisdom,
Prajñāpāramitā—and Preah Khan—dedicated to
his father as the bodhisattva of compassion,
Avalokiteshvara.
The king's personal icon, frequently replicated in
bronze, was the triad of the nāga-protected
Buddha flanked by Avalokiteshvara and
Prajñāpāramitā, as seen in the sculpture
illustrated here. The king's appearance is known
from temple reliefs and portrait sculptures, and his features are reflected in the
figures of the Buddha and the Avalokiteshvara in this sculpture.
Nāga-Protected Buddha with
Avalokiteshvara and
Prajñāpāramitā, Cambodian,
Angkor period, late 1100s–early
1200s, bronze with mercury
gilding. National Museum of
Cambodia, Phnom Penh

47
Thailand: Just to give an example of the Khmer influence in Thailand, in an article, Why
Thailand Has Hindu Statues at Buddhist Temples,Kyle Hulme says that Thailand’s Hindu statues
can be seen all over the country, but there are a few notable statues that are popular attractions.
Suvarnabhumi Airport and Bangkok’s Grand Palace have striking statues of the Hindu giants,
also known as yak, whilst the Erawan Shrine in Bangkok is home to a small, golden statue of
Brahma that was the subject of a terror attack. Outside of Bangkok, Chachoensao Province is
home to several huge statues of Ganesh, whilst other temples around the country feature
somewhat less grand but equally beautiful statues of Hindu gods. As the Khmer Empire ruled
over modern-day Thailand, its Hindu ways and practices began to shape the land and the culture.
Hinduism’s roots in the foundation of Thailand are evident all over the country. For example,
Thailand’s former capital of Ayutthaya was named after Ayodhya, the birthplace of the Hindu
god Rama, whilst the Phanom Rung temple in Isaan, built in the Khmer style, was dedicated to
the Hindu god Shiva and made to represent the sacred site of Mount Kailash. Even Thailand’s
national epic, Ramakien, was derived from the Hindu epic Ramayana.
Erawan Shrine
1. statues of the Hindu god Ganesh, refered to in Thailand as Phra Pikanet. . Along with
Ganesh, it’s common to see statues of ..
2. Shiva (Phra Isuan),
3. Brahma (Phra Phrom),
4. Indra (Phra In)and
5. Vishnu (Phra Narai). Whilst they might not have the same reputation or level of worship as
the Buddha, they’re still important facets of Thai culture even hundreds of years after the
Khmer Empire left.

48
Ganesh in Chachoengsao Province | © Paul Trafford / Flickr
RAMAYANA-REAMKER
The original Ramayana arrived to Southeast Asia from South India along with Hinduism, but its
retelling there suggests Buddhist influence.
The exact time when was Ramayana introduced to Cambodia is unknown, however, the earliest
mentioning of the epic dated to 7th century according to a stone inscription at Veal
Kantel, Stueng Treng. Based on the same inscription, the manuscript of this epic already existed
in Cambodia as the inscription mentioned the offering of the epic's manuscript to a temple which
expressed its importance in Khmer belief.On the other hand, the surviving text of Reamker dated
in 16th century. Intricate carvings on the walls of Angkor Wat depict a scene from
the Ramayana dating back nearly a millennium. Statues of the poem's heroes were worshiped in
temple sanctuaries, akin to the wall paintings at Cambodia's Royal Palace and Wat Bo.
The Ramayana has been an important epic in India for at least two thousand years, and Reamker
is its Khmer adaptation. The Cambodian version includes incidents and details not found in
the Sanskrit original written by the poet Valmiki. An example of a story that does not appear in
Indian texts and performance is that of the encounter between Hanuman, the monkey general,
and Sovanna Maccha, the mermaid, a favorite of Cambodian audiences. This epic poem, based
on the Sanskrit's Ramayana epic is named to mean "Glory of Rama". It is the national epic of
Cambodia. The earliest mention of this epic's manuscript in Cambodia dated back in 7th century
based on Veal Kantel inscription (K.359). While, the surviving text of Reamker dates from 16th
century.

49
Reamker adapts the Hindu ideas to Buddhist themes and shows the balance of good and evil in
the world. More than just a reordering of the epic tale, the Reamker is a mainstay of the royal
ballet's repertoire. Like the Ramayana, it is a philosophical allegory, exploring the ideals of
justice and fidelity as embodied by the protagonists, King Rama and Queen Sita. The epic is well
known among the Khmer people for its portrayal in Khmer dance theatre, called the L'khaon, in
various festivals across Cambodia. Scenes from the Reamker are painted on the walls of the
Royal Palace in Khmer style, and its predecessor is carved into the walls of the Angkor
Wat and Banteay Srei temples. It is considered an integral part of Cambodian culture.
The Reamker differs from the original Ramayana in some ways, featuring additional scenes and
emphasis on Hanuman and Sovanna Maccha.
In the Reamker, issues of trust, loyalty, love, and revenge play out in dramatic encounters among
princes and giants, monkeys and mermaids, and a forlorn princess. Though it is understood that
Preah Ream is an incarnation of the Hindu god Vishnu, his characteristics and those of the others
in the story are interpreted in Cambodia as those of mere mortals, not of the gods as is the case
in India. The complex interplay of strengths and weaknesses, though couched in episodes lined
with magic, nonetheless represents a decidedly human social behavior.
As in other Southeast Asian countries, the Rama story in Cambodia is not confined to the realm
of literature but extends to all Cambodian art forms, from sculpture to dance drama, painting and
art. Another epic, The Story of Angkor Wat which dates from the beginning of the 17th century,
celebrates the magnificent temple complex at Angkor and describes the bas-reliefs in the temple
galleries that portray the Rama story.
CHARACTERS
Humans
 Preah Ream [preəh riːəm], is the main protagonist of the epic. He is believed to be the
reincarnation of the Hindu deity Vishnu and the husband of Neang Seda and the father of
two boys.
 Neang Seda [niːəɳ seːda], the female protagonist of the epic and wife of Preah Ream. She
gives birth to his two children, but fails to meet happiness at the end of the story. In the epic,
she endured the trial of fire.
 Preah Leak [preəh leək], is the brother of Preah Ream and his aid to fight Krong Reap and
rescue Neang Seda.
Mythical beings
 Krong Reap [kroɳ riːəp] or simply Reap [riːəp], is the main antagonist of the story. He is the
brother of Sopphanakha and captured the beautiful Neang Seda to his island of Langka.
 Hanuman, pronounced as [haʔnomaːn], is the Monkey Warrior who helps rescues Neang
Seda. While building the bridge connecting the island of Langka to the mainland, he fell
madly in love with the mermaid Princess Sovanna Maccha.
 Neang Maccha, is a mermaid princess who tried to spoil Hanuman's plans to build a bridge
to Langka but fell in love with him instead and bears his son Mudchanu
 Sugriva is the Monkey King who sent Hanuman to assist Preah Ream.

50
 Surpanakhar is the sister of Krong Reap. She failed to seduce Preah Leak and loses her ear
and nose as a consequence.
 Mahachompoo is the king of the kingdom of Chompoo and helps Preah Ream fight Krong
Reap to reclaim Neang Seda with his 18 monkey army
 Angkhut is the cousin of Hanuman and son of Vali. He helps Preah Ream fight Krong Reap.
Ayodhya in Thailand?: 3,500 km away from the city of Ayodhya in India, Ayutthaya
which inspires its name from Ayodhya and some hundred kilometres away from the
pulsating capital city of Bangkok, and accessible by a quaint maroon passenger train,
Ayutthaya has but of late come into the radar of the Ram Janmabhumi Nirman Nyas
which has announced its plan for the construction of a Ram temple near here. It is no
wonder that Thailand attracts the attention of many Indians, be it the name ‘Rama’
that all of the Thai kings of the Chakri dynasty to the present day are referred by, or
the centrality of the ‘Ramakien’, the Thai Ramayana, in the society here. Waves of
invasions, and especially the Khmer rule, left the residue of Hinduism in the Thai
culture. And as is often the case with external influences, the elements have been
absorbed and overlaid with Buddhist rituals seamlessly, giving them Thai
characteristics.
________________________________________________________________________
.1.Kalinga and Funan : A Study in Ancient Relations Dr. Benudhar
Patrahttp://magazines.odisha.gov.in/Orissareview/2011/Nov/engpdf/32-38.pdf

51
Royal Brahmins performing a ceremony, mural painting from Temple of Emerald Buddha
Khmer terminology
Structures & characters in ancient Khmer temples
Apsara
An apsara is a celestial nymph from Buddhist and Hindu mythology, usually depicted dancing and
smiling. They can be found in great numbers in bas reliefs of several Angkor temples, such as Angkor
Wat and the Bayon. The apsaras emerged during “the churning of the ocean of milk”, a famous storey
from the Hindu epic Mahabharata.

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