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Vyūha

From Wikipedia, the free encyclopedia
To arrange troops in a battle formation
Part ofa series on
Hindu philosophy
For other uses, seeVyuham (disambiguation).

Vyūha (Sanskrit:व्यूह) means - 'to arrange troops in a battle array (formation)', 'to arrange, put or place in order, to dispose, separate, divide, alter, transpose, disarrange, resolve (vowels syllables etc.)'. Its root is व्यः which means - a 'cover' or 'veil'. This word also refers to emanation and to the manifest power of LordVishnu.[1] It has different meanings depending on the doctrine of the treatise and the context, such as revealing of the knowledge of Vedas, and the war formations of Mahabharata.

Vyūha in Hinduism

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Vyūha in the Upanishads

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In theUpanishads the wordvyūha occurs once, in śloka 16 of theIsha Upanishad:

पूषन्नेकर्षे यम सूर्य प्राजापत्यव्यूह रश्मिन्समूह |
तेजो यत्ते रूपं कल्याणतमं तत्ते पश्यामि योऽसावसौ पुरुषः सोऽहमस्मि ||

Pūṣann ekarṣe yama Sūrya Prājāpatya vyūha raśmin samūha, tejo yat te rūpaṁ kalyāṇatamaṁ tat te paśyāmi yo 'sāv asau puruṣaḥ so 'ham asmi.

"O Sun, sole traveler of the Heavens, controller of all,Sūrya, son ofPrajāpati;remove thy rays and gather up the burning light. I behold thy glorious form; I am he, thePurusha within thee."

In this passagevyūha means "remove" (to a distance).

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The sage declares that the Truth is concealed in theVedas, covered by a golden lid or vessel[2]Bādarāyaṇa, by declaring – utpatty-asambhavāt (उत्पत्त्यसम्भवात्) (Owing to the impossibility of origin) -Brahma-Sūtras (II.ii.42) refutes theBhāgavata view that theCatur-vyūha forms originate successively fromVasudeva, for any origin for the soul is impossible, an implement cannot originate from its agent who wields it.[3] Whereas in avyūha an army re-sets its different able warriors and weaponry into a specific arrangement as per battle demands, the Supreme Being re-sets the contents of consciousness through yogamaya with each formation concealing yet another formation. The five layers of matter (prakrti) that constitute the human body are the five sheaths (pañcakośa), one moves inwards from the visible layers through more refined invisible layers in search of own true self.[4]

Vyūha in the Pāñcarātra Āgama: the Vaiṣṇava doctrine of manifestation

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Caturvyūha
The "Four emanations"
Front:Vāsudeva and his kinsmen emanating from him.
Back:Kadamba tree and branches showing their relationship.
TheCaturvyūha, showing the four emanation ofNārāyaṇa,[5] or laterVishnu.[6]Vāsudeva is four-armed, and is fittingly in the center with his decorated heavy mace on the side and holding a conch, his elder brotherBalarama to his right under a serpent hood, his sonPradyumna to his left (lost), and his grandsonAniruddha on top.[6] The back of the statue shows the trunk of a tree with branches, thus highlighting the genealogical relationship between the divinities.[7] 2nd century CE,Art of Mathura,Mathura Museum.

ThePāñcarātra Āgama, which are based onEkāyana recension of theŚukla Yajurveda, is later than theVedas but earlier than theMahabharata. The maināgamas are theVaiṣṇava (worship ofVishnu), theŚaiva (worship ofShiva) and theŚākta (worship ofDevi orShakti)āgamas; allāgamas are elaborate systems ofVedic knowledge. According toVedanta Desika, thePāñcarātra āgama teaches the five-fold daily religious duty consisting of –abhigamana,upādāna,ijyā,svādhyāya andyoga, the name of thisāgama is derived on account of its description of the five-fold manifestation of the Supreme Being viz,para (supreme or the transcendental form),vyūha (formation or manifestation as the fourvyūha),vibhava (reincarnation or descent to earth as avtāra),arcā (visible image of God) andantaryāmi (cosmic form of God).Lakshmi accompanies Vishnu in HisChatur-vyūha (four-fold manifestation) asVāsudeva (creator),Saṅkarṣaṇa (sustainer),Pradyumna (destroyer), andAniruddha (spiritual knowledge promulgator). This is theVaiṣṇava doctrine ofVyūha orthe doctrine of formation.[8]

The Chatur-vyūha forms of Viṣṇu are related to four of the six causes of creation which six are God Himself as the final cause of creation and His five aspects – Narāyaṇa (thinking), Vāsudeva (feeling), Sankarśana (willing), Pradyumna (knowing), and Aniruddha (acting) successively. Each divinity controls its specific creative energy.[9] The six gunas –jnana (omniscience),aishvarya (lordship),shakti (potency),bala (force),virya (virtue) andtejas (self-sufficiency), acting in pairs and in totality, are the instruments and the subtle material of pure creation.Vyūhas are the first beings created, and they represent the effective parts of a coherent whole.[10] Here,vyūha means – projection; the projection of thesvarūpa ('own form') asbahurūpa ('manifest variously').[11]

Vyūha in the Mahabharata: battle formations

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TheMahabharata and theManu Samhita list by name and formation manyvyūhas ('battle formations'), some were small in size and others, gigantic, such as:[12]

Day NoVyūha of PandavaVyūha of KauravaRemarks
Day 1Vajra (Thunderbolt).Sarvato Mukhi (All Sided)-
Day 2Krauncha/Krauncharuna(Cranes)Garuda-
Day 3Ardha Chandra (Half Moon)Garuda-
Day 4Sringataka (Horn)Mandala-
Day 5Syena vyūha (Hawk)Makara-
Day 6MakaraKrauncha-
Day 7VajraMandala-
Day 8ThrishoolaKurma-
Day 9Nakshatra MandalaSarvatobhadra-
Day 10SuryaAsura-
Day 11KraunchaShakata-
Day 12Ardha ChandraGaruada-
Day 13No VyūhaChakra-
Day 14Khaddag SarpChakrashatak-
Day 15VajraPathma-
Day 16Ardha ChandraMakara-
Day 17MahishSoorya-
Day 18KraunchaSarvatobhadra-


  1. Ardha-chandra-vyūha ('crescent moon formation'),
  2. Chakra-vyūha ('circular formation') a large formation was devised by theKauravas in whichAbhimanyu, son ofArjuna, was trapped never to emerge alive.
  3. Garbha-vyūha ('womb-shaped formation'),
  4. Makara-vyuha ('crocodile formation'), adopted byBhishma in theKurukshetra War[13]
  5. Mandala vyuha ('galaxy formation'),
  6. Oormi vyuha ('ocean formation'),
  7. Shakata-vyūha ('cart-shaped formation'),
  8. Sarvatobhadra-vyūha ('grand formation'),
  9. Suchi-vyūha ('needle-shaped formation'),
  10. Shyena-vyuha (also calledGaruda Vyuh) ('eagle formation'). At the commencement of the Kurukshetra War which lasted for eighteen days, thePandavas, being aware that Bhishma stood protected by the "makara vyuha" and was ready for battle, they had adopted the invincible "sheyna vyuha" withBhima leading stationed at the mouth andArjuna stationed at the neck of the bird-shapedvyuha, andYudhishthira patrolling the rear.[13]
  11. Vajra-vyūha was large a three-fold formation of warriors.

Vyūha in Buddhism

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InMahāyāna Buddhism, the wordvyūha means "arrangement", the like of marvelous, supernatural, magical arrangements, or supernatural manifestations.[14] It is also extant in thePali language, where it means "an array" or "grouping of troops."[15]

The term is also found among the titles of someBuddhist texts. InPure Land Buddhism, the character ofAmitābha Buddha is elaborated upon in both theLonger Sukhāvatīvyūha Sūtra and theShorter Sukhāvatīvyūha Sūtra. The term "Sukhāvatīvyūha" may translated as "description ofSukhāvatī".[16] TheKāraṇḍavyūha Sūtra has been translated as "The Basket’s Display".[17]

See also

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VyūhasImageAttributesSymbol[21][22]DirectionFaceConcept
Narayana
Vishnu
VāsudevaChakra Wheel
Gadā Mace
Shankha Conch
Garuda EagleEastSaumya
(Placid/ benevolent)
Jṅāna Knowledge
SamkarsanaLāṅgalaPlough
MusalaPestle
Wine glass
Tala Fan palmSouthSimha LionBala Strength
PradyumnaCāpa Bow
Bāṇa Arrow
Makara CrocodileWestRaudra KapilaAiśvaryā Sovereignty
AniruddhaCarma Shield
Khaḍga Sword
Ṛṣya (ऋष्य) White-footed antelopeNorthVaraha BoarŚakti Power

References

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  1. ^V.S.Apte.the Practical Sanskrit-English Dictionary. Digital Dictionaries of South Asia. pp. 157, 1522.{{cite book}}: CS1 maint: url-status (link)
  2. ^Upanishads and Sri Sankara's Bhasya. V.C. Seshacharri. 1905. p. 24.
  3. ^Brahma Sūtra Bhaṣya of Śankarācārya. Advaita Ashrama. p. 439. Archived fromthe original on 2014-12-16. Retrieved2014-12-28.
  4. ^D.Dennis Hudson (25 September 2008).The Body of God. Oxford University Press. pp. 40, 42.ISBN 9780199709021.
  5. ^Srinivasan, Doris (1997).Many Heads, Arms, and Eyes: Origin, Meaning, and Form of Multiplicity in Indian Art. BRILL. pp. 209–210.ISBN 978-90-04-10758-8.
  6. ^abPaul, Pran Gopal; Paul, Debjani (1989). "Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations".East and West.39 (1/4):132–136, for the photograph p.138.ISSN 0012-8376.JSTOR 29756891.
  7. ^Paul, Pran Gopal; Paul, Debjani (1989). "Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations".East and West.39 (1/4): 136 [26].ISSN 0012-8376.JSTOR 29756891.
  8. ^S.M.Srinivasa Chari (1994).Vaisnavism: Its Philosophy, Theology and Religious Discipline. Motilal Banarsidass. pp. 15, 163, 213.ISBN 9788120810983.
  9. ^Ashish Dalela (December 2008).Vedic Creationism. iUniverse. p. 327.ISBN 9780595525737.
  10. ^A History of Indian Literature Vol.2 Part 1. Otto Harrassaowitz. 1977. p. 60.ISBN 9783447017435.
  11. ^Julius Lipner (2 October 2012).Hindus: Their Religious Beliefs and Practices. Routledge. pp. 349–350.ISBN 9781135240608.
  12. ^Science, Technology, Imperialism and War. Pearson publication. 2007. pp. 295–296.ISBN 9788131708514.
  13. ^abMahabharata Vol.5. Penguin U.K. June 2015. p. 288.ISBN 9788184756814.
  14. ^Julian F.Pas (January 1995).Visions of Sukhavati. SUNY Press. p. 369.ISBN 9780791425190.
  15. ^Buddhadatta Mahathera, A.P. (1949).Concise Pali English Dictionary. Motilal Banarsidass.ISBN 8120806042.{{cite book}}:ISBN / Date incompatibility (help)
  16. ^Bowker, John (2000).The Concise Oxford Dictionary of World Religions. Oxford University Press.ISBN 9780192800947.
  17. ^Roberts, Peter Alan; Tulku Yeshi (2013)."The Basket's Display".84000: Translating the Words of the Buddha. Retrieved2019-12-25.
  18. ^Atherton, Cynthia Packert (1997).The Sculpture of Early Medieval Rajasthan. Brill. p. 78.ISBN 978-90-04-10789-2.
  19. ^A Comprehensive History of India: pt. 1-2. A.D. 300-985. Orient Longmans. 1982. p. 866.
  20. ^Parlier-Renault, Edith (2007).Temples de l'Inde méridionale: VIe-VIIIe siècles. La mise en scène des mythes. Presses Paris Sorbonne. pp. 38–42.ISBN 978-2-84050-464-1.
  21. ^"A shrine of Aniruddha, the fourth of the 'vyuhas', which had within its precincts a 'rsyadhvaja', i. e. a column bearing on its top the figure of a 'rsya' or a white antelope which was his characteristic 'lanchana'." inJournal of the Indian Society of Oriental Art. Indian Society of Oriental Art. 1937. p. 16.
  22. ^Gupta, Vinay K."Vrishnis in Ancient Literature and Art".Indology's Pulse Arts in Context, Doris Meth Srinivasan Festschrift Volume, Eds. Corinna Wessels Mevissen and Gerd Mevissen with Assistance of Vinay Kumar Gupta:80–81.
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