Vamana

 

Essence Of
Vamana Purana

 

13    Kedara Kshetra, Muraasura Vadha, Shivabhisheka, Oneness of Shiva-Vishnu

(Upadesha of Dwadasha Narayana Mantra included)



As Maha Deva decided to perform deep and extensive Tapasya on the top of Himalayas not only to refresh himself but to promote Loka Kalyaana or ensure Propitiousness to the entire Universe, there were fiery sparks from his skull emerging through his Jataajuta or thick layers of his hairs and fell as heavy boulders on Earth: Tato veetaa vidaaryaiva Kapaalam Parameshthinah, Saarchismatin Jataa madhyaannishannaa Dharanitaley/ Veetioyaatu patatyadrirdaaritah Kshmaasamo bhavat, Jaatasteertha varah Punyah Kedaara iti vishrutah/ Tato Hartam Varam pradaat Kedaaraaya Vrishadhwajah, Punya vriddhi karam Brahman Paapaghnam Moksha Saadhanam/ Ye Jalam taavakey Tirthey peetwaa samyaminmo Naraah, Madhu maamsa nivrutta ye Brahmachari Vratey sthitaah/ Shanmaasaad dhaarayishyanti nivruttaah Parapaakatah, Teshaam Hrutpankajeshyava Mallingam bhavitaa dhruvam/ Nachaasya paapaabhiratir –bhavishyati kadaachana, Pitrunaamakshayam Shraaddham bhavishyatyi na samshayah/ Snaana daana Tapaamseeha homajapyaadi kriyaah bhavishyantya kshayaa Nrunaam Mrutaanaama punarbhavah/


(From the boulders that fell on Earth Kedara Tirtha got materialised and those who commenced residing there had been virtuous seeking Salvation without food practising celibacy and intense meditation for six months a year as the Tirtha was not worthy of residence due to snow and cold; by the grace of Parama Shiva a big and memorable Shiva Linga got materialised and all the Sevas or Services performed by devotees like fastings, Snaanas, Daanaas, Tapasyas, Homas, Japaas, and Pitru Shraaddhaas would all result in multiplier effects.) As per the instructions of Mahadeva, Devas came to worship the Shiva Linga after taking holy baths in the Kalindi River (Yamuna), the daughter of Surya. After the formation of Kedarnath Tirtha, Maha Deva proceeded to the neighbour-hood of Kedara to visit a few more Kshetras and reached the Holy River of Saraswati and deep inside the River to perform Tapasya for over a Year. Since he did not emerge from the depths of the River for long time, there was panic as to his whereabouts the Lokas and Samudras got disturbed and even Nakshathras started dropping from the Sky. As Devas approached Brahma the latter along with Indra and Devas desired to visit Murari Vishnu.

Daitya Murari : Pulastya described to Sage Narada as to the background of Murari as follows: A Danava named Mura was the son of Kashyapa Muni and Danu the daughter of Daksha and the Danava having secured a boon from Brahma that as and when Mura would touch with his hands any being, be it a human, Yaksha, Kinnara or Devas would face death. Powered by this boon, Mura challenged Indra for a fight but the latter did not agree. As a King named Raghu of Surya Vamsha was stopped to perform one Yagna by the Danavaas as Murasura gave an offer of fight otherwise. Vasishta Muni the Raja Guru of the King said that Human Beings were too insignifcant for him and he might really fight Yamaraja the God of Death. When Mura encountered Yama the latter sought refuge from Vishnu and Jagannatha asked Yama to send the Asura to him. Mura wanted to know from Yama as to who this Jagannatha was! Yama directed Mura to reach Kshira Sagara to see Chatur MurtiVishnu relaxing on the bed of Ananta the Mammoth Serpent. Mura resolved to see and touch whosoever that Jagannatha Chatur Murti was and tried to reach the Kshira Sagara. As the discussion of Yama and Murasura was narrated by Pulastya to Narada, the latter enquired at this juncture as to how a devotee could realise that Chatur Murti Vaasudeva who was stated to be Avyatam (Unknown), Ajeyam (Invincible), Shuklam (Spotless), Shanti Yuktam (Ever Tranquil) and ‘Dwadashapatrakam’ or Dwadasha- akshara Mantra Swarupam viz. Om Namo Bhagavatey Vaasudevaaya/ Pulastya further informed Narada that Brahma Deva gave this Mantra to Sanat Kumara Brothers, the four sons of Dharma Deva viz Sanaka, Sanandana, Sanaatana and Sanat Kumaraas; the Kumaras requested Brahma to teach (Upadesha) the Mantra as they were his Sishyas and more importantly his Putras as the latter were responsible for redeeming any parent from Punnama Naraka. While describing the kinds of Putras who could save their parents from such dispensations, Pulastya told Narada as follows: A Putra has the distinction of being a six-type of relatives viz. Óaurasa, Kshetraja, Datta, Krutrima, Goodhotpanna, and Apaviddha who were stated to be Daayaadas; these would have the rights or duties of Runa or indetedness, Pinda, Dhana Kriya or property and money transactions, Gotra Samya or coordination of similar clan, Kulavriddhi or additionality of the same family group and Sthira Pratishtha or Stability of the Family Prestige; in addition, there might be six other kinds of ‘Daayaada bandhavaas’or relationships of Putras viz. Kaaneena, Sahodhja, Kreeta, Pounarbhava, Swayamdatta, and Paarahava and in their cases, they could redeem all other duties excepting Pinda pradaana and Runa Vimochana; such Putras might also not be eligible for Gotra / Kula Vriddhi but mighty carry the Surname. Auosaras are those directly born to a father and mother and they are the Prati Swarupas of the parents; Kshetragnaas are those born to a mother whose husband was a napumsakn(impotent) or mentally disturbed, or permits his wife to give birth to a child through another male; Dattak is a Putra by adoption; Putra given by a friend is a Kritrima; Goodha Putra is one whose origin of birth is uncertain; Apaviddha putra is one who is brought by outside unknown. Additional types of Putras are Kaaneen or born out of unwed mothers, Sahoddhas are those born by kanyas after marriage, Kreeta Putras are those who were bought by monetary transactions, Punarbhava Putras are those transferred from one father to given away by force to another father; or Swayamdutta Putras are those who declare separate parenthood for whatever reason.



Brahmopadesha of Dwadasha Narayana Mantra : Sanat Kumara brothers pleaded Brahma to give the Upadesha to them to realise the Chatur Murthi Janardana and Brahma Deva obliged as follows: The first word of Omkara is situated on Bhagavan Vaasudeva’s Shikha or Tuft as in Mesha Raasi and Vaishakha Maasa; the second word ‘ Na’ is situated in the face of Janardana in Vrishabha Raasi and Jyeshtha Maasa; the third Akshara is Mo as settled in both the Bhujaas or Hands as in Mithuna Raasi and Ashadha Maasa; the fourth Akshara Bha is Narayana’s two eyes as in Karka Raasi and Shraavana Maasa; Ga is the fifth word representing Vishnu’s Hridaya as in Simha Raasi in Bhadrapada Maasa; the sixth Akshara Va stands for Keshava’s Kavacha as in Kanya Raasi in Ashwin Maasa; the seventh word tey stands for Tula Raasi and Kartika Maasa representing the Astra Samuha of Madhusudana; the next eight letter Vaa symbolises Trivikrama’s naabhi or navel signifying Vrishika raasi and Margasirsha Maasa; the Sacred letter Su being the ninth Akshara is smybolic of Vaamana Deva’s jaghana pradesha and stands for Tula Raasi and Kartika Maasa; the tenth Akshara De represents the thighs of Govinda as the Makara Raasi and Magha Maasa; the penultimate word Vaa stands for both the ghutanaas of Achyuta Deva as representing Kumbha Raasi and Phalguna Maasa; Madhusudana’s feet stand for the last and the Twelfth Akshara Ya as in Meenma Raasi and Chatra Maasa: thus the Dwadasha Mantra states Om Namo Bhagavatey Vasudevaaya. This Parameswara is of one Unique Rupa with twelve chakras or circles and twelve ‘Aaraas’or spokes and by reciting this Sacred name there would not be another birth. The Mantra’s second Rupa is Satvamaya, Srivatsa dhaari, Avinashi Swarupa with Chatur Varna, Chatur Mukha, Chaturbahu, and Udara.The third Rupa is of thousand feet and thousand visages with Tamoguna Sesha Murti who causes Pralaya. The fourth Swarupa is of Raajasa guna having Rakta Varna ( blood red colour) , Chaturmukhas, two hands wearing garlands who is the Adi Purusha. Thus the Trimuthis of Satwa-Tamo- Raajasaka Rupas are the personified Murtis!


As the Daitya Muraari confronted the Chaturmurti Rupa, he got utterly confounded and as Vaasudeva asked Mura whether he would like to wage a battle with him, the Asura muttered the words ‘ how, where and who’ and as the stupified Mura was lost in introspective thoughts Srihari’s Sudarshana Chakra sliced the head of Murari most uncerimoniously.Devas heaved a sigh of great relief at Murari’s end as he dislodged from Swarga pursuant to Brahma Deva’s gift of destruction by his mere touch and finally got killed by Vishnu by his Sudarshana Chakra.


Shivaabhisheka: Having destroyed Murari, Vasudeva along with Devas decided to visit Maha Deva but could not vision him at Shiva’s Abode, since neither Parvati, Vrisha, nor Nandi knew about it. As directed by Narayana, Devas performed Tapta Kruucha Vrata to ascertian Parama Shiva’s where- abouts by Abhishekas to Shiva Linga with sixty five pichers full of curd, thirty two pitchers of Ghee, sixteen full of pitchers of Panchagavya, eight ghadaas of honey, two hundred pitchers of Sacred water, one hundred and eight pitchers of Gorochana, Kumkuma and Chandana, followed by Malaya chandana or milk cream as also worship by lotus flowers, bilwa patra, dhattura and Harichandaana, besides puja by fully opened Mandara, Harashringara, Agaru, Keshara, Chandana dhupa etc. Recitation of Rigvedaantargata pada and krama of Shata Rudreeya Japa must be performed too. For three days, one might consume only hot water, three days hot milk only, three days hot ghee and another three days only consume only Vayu.


Oneness of Shiva and Vishnu : Devas and Indra performed the Tapta Kruccha Vrata on the above lines and Devas found in their minds the Shiva Vishnu Swarupa as described:

Suraanaam chintitam jnaatwaa Vishva- murtirbhudvibhuh, Sarvalakshana samyuktah Sarvaayudha dharovyayah/ Saardham Trinetram Kamalaahikundalam Jataagudaakesha khagarshabha dhwajam, Sa Maadhavam haara bhujanga vakshasam peetaajinaachha kati pradesham/ Chakkraasi hastam hala shaaranga paanim pinaaka shulaajagavaanvitam, Kaparda khatwaangakapaalaghantaa Sashankha tankaara ravam Maharshey/ Drushtaiva Devaa Harishankareytam Namostutey Sarvagataavyayeti, Proktaa pramaanam Kamalaasana -adyaachakrurmatim chaikataraam niyujjya/( As Devas wondered that Vishnu was essentially of Satva Guna and Shiva of Tamoguna but how was it that one could see a common Swarupa; was it not strange that the Avinasha and Sarva Vyapaka was visioned with the typical arms of both Keshava and Hara displayed simultaneously in the same ‘Shareera’: with Sarpa kundalaas, jatujuta, Pinaka, Serpents, Ajagava dhanush, Kahatnvaanga, Shiva Ghanta, Sarpa haara, Shula, Trinetra and Vrisabha dhwaja Mahadeva as also Kamalakundala, Garudhadwaja, Pushp Haara, Pitambhara, Chakra, Asi, Hala, Sharanga Dhanush, Shankha, Gudaakesha Vishnu! Then Devas and Brahma greeted Sarva Vyapi Avinasha and realised that Shankara and Vishnu were one and the same!).Having realised their folly that Shiva and Vishnu were different entities, Brahma and Devas moved back to Kurukshetra and discovered Parama Shiva inside the water at the Tirtha and hailed the Sthanudeva and requested him to withdraw from the Tapasya and Maha Deva accepted their request and blessed them all.


There after he gave the boon of Sanjivini Vidya to Shukracharya who was engaged in severe Tapasya for hundreds of years; the Danava Guru aimed at reviving the lives of Daityas who would die in battles. Further, Maha Deva proceeded to Sapta Saarasvata and realised that there were disturbances in Nature as Samudras, Mountains, Rivers and big trees were in tremors as Maharshi Manduka was in a furious dance as Maha Shiva too in the form of a Dwija started dancing. Then the Brahmna asked the Maharshi as to why he was dancing in such frenzy and further said that he also had been practising Maha Natya for long time now and from his fingers white ash was oozing out always. Manduka Muni realised that Parama Shiva was himself standing before him and prostrated before him.Bhagavan directed the Maharshi to set up Sarasvata Kshetra with a Shiva Linga there which would be worthy of worship by Suraasura-Gandharva-Vidyaadhara Kinnara –Manavaas, and that Kshetra would be the Sangama of Rivers viz.Suprabha, Kaanchanaashri, Suvenu, Vimalodaka Manohara, Adhovati, Vishaala and Saraswati.


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