Вишну құдайының аралыон аватары: Нарасимха туралы аңыз

Man lion avatar of Hindu god Vishnu

Narasimha (, ), sometimes rendered Narasingha, is the fourth avatar of the Hindu god Vishnu. He is believed to have incarnated in the form of a part lion, part man being to kill Hiranyakashipu, to end religious persecution and calamity on earth, thereby restoring dharma. Narasimha is often depicted with three eyes, and is described in Vaishnavism to be the God of Destruction; he who destroys the entire universe at the time of the great dissolution (Mahapralaya). Hence, he is known as Kala (time) or Mahakala (great time), or Parakala (beyond time) in his epithets. There exists a matha (monastery) dedicated to him by the name of Parakala Matha at Mysuru in the Sri Vaishnava tradition. Narasimha is also described as the God of Yoga, in the form of Yoga Narasimha. Narasimha iconography shows him with a human torso and lower body, with a leonine face and claws, typically with the asura Hiranyakashipu being disemboweled and killed by him in his lap. The asura king was the powerful elder brother of the evil Hiranyaksha, who had been previously killed by Vishnu as Varaha, and thus hated the latter. Hiranyakashipu gained a boon from Brahma due to which he could not be killed during the day or night, inside or outside the house; neither in the sky nor on land nor in Svarga nor in Patala, by any weapon, nor by humans, deities, demons, or animals. Endowed with this boon, he began to wreak chaos and havoc, persecuting all the devotees of Vishnu, including his own son Prahlada. Vishnu, cognisant of the asura's boon, creatively assumed a hybrid form that was neither human nor animal as a lion in the name of Narasimha, and Narashima disemboweled and killed Hiranyakashipu and at the junction of day and night, at the threshold of his palace, which was neither inside nor the outside, upon his lap, and with his claws. The most popular Narasimha myth is the legend of his protection of his devotee Prahlada, and the killing of Prahlada's wicked father and demon Hiranyakashipu. Narasimha is one of the major deities in Vaishnavism, and his legends are revered in Vaikhanasas, Sri Vaishnavism, Sadha Vaishnavism, and various other Vaishnava traditions of Hinduism. He is celebrated in many regional Hindu temples, texts, performance arts, and festivals such as the Hindu festival of colours of the spring, called Holi. Other older known artworks of Narasimha have been found at several sites across Uttar Pradesh and Andhra Pradesh, such as at the Mathura archaeological site. These have been variously dated between the 2nd and the 4th century CE.

In Sanskrit, the word Narasimha consists of two words "nara" which means man, and "simha" which means lion, referring to a man lion avatar of Vishnu.

The Vishnu hymn 1.154 of the Rigveda (1700 1200 BCE) contains a verse with allusions to a "wild beast, dread, prowling, mountain roaming", which has been interpreted by some to be the Narasiṃha legend. Another hymn 8.14 alludes to the Namuci legend with "waters' foam you tore off, Indra, the head of Namuci, subduing all contending hosts", but the hymns does not present details. A more complete version of the Namuci legend is found in Shatapatha Brahmana (7th 6th century BCE) of the Yajurveda in chapter 12.7.3. v Other references to Narasimha are found in the Vedic texts Vajaseneyi Samhita 10.34, Pancavimsa Brahmana 12.6.8 and Taittiriya Brahmana 1.7.1.6.

Narasimha likely has roots in the metaphor filled Indra Namuci legend in the Vedas. Indra is the dharmic leader of the Devas who commands lightning, thunder, rain and rivers, while Namuci is a deceptive demigod Asura in competition for power. Namuci suggests peace to Indra, which the latter accepts. He demands Indra to promise that he will neither try to slay him with his "palm of the hand nor with the fist", neither in day nor in night, neither with "anything that is dry" nor with "anything that is moist". Indra agrees. After the deal is done, Namuci carries away all that nourishes the Devas: the Soma drink, the essence of food and the strength of Indra. The leader of the gods finds himself conflicted and feels bound by his promise. Indra then meets Saraswati (goddess of knowledge) and the Ashvins. They reply they will deal with Namuci, get it all back, if Indra agrees to share his powers, the essence of food and the Soma drink with them. Indra agrees. The gods and the goddess then come up with a creative plan. They pour out "foam of water" as a thunderbolt, which is neither dry nor moist, and the evil Asura Namuci is attacked and killed when it is neither day nor night. After Namuci is killed, the gods get all the powers back, but discover that Namuci had drunk the Soma already. The good was thus now mixed with his badness of his blood, which they did not want to drink. So, they extract the good out from the bad. Thus, good returns to the Devas, the bad is discarded. According to Deborah Soifer, the Vedic legend has many parallels with the Narasimha legend, it has the same plot, the same "neither nor" constraints, and the same creative spirit that allows the good to vanquish the evil. Further, the Sanskrit words and phrasing such as "neither palm nor fist" and "neither day nor night" in the later Hindu texts is the same as in the Vedic texts. This suggests a link and continuity between the Vedic Namuci legend and the later Narasimha legend in the Puranas. According to Walter Ruben, both versions along with several other legends in ancient and medieval texts reflect the Indian tradition against despots and tyrants who abuse power.

There are references to Narasiṃha in a variety of Purāṇas, with 17 different versions of the main narrative. The Valmiki Ramayana (7.24), Harivaṃśa (41 & 3.41 47), Viṣṇu Purāṇa (1.16 20), Bhagavata Purāṇa (Canto 7), Agni Purāṇa (4.2 3), Brahmāṇḍa Purāṇa(2.5.3 29), Vayu Purāṇa (67.61 66), Brahma Purāṇa (213.44 79), Viṣṇudharmottara Purāṇa(1.54), Kūrma Purāṇa (1.15.18 72), Matsya Purāṇa(161 163), Padma Purāṇa(Uttara khaṇḍa 5.42), Śiva Purāṇa (2.5.43 & 3.10 12), Linga Purana (1.95 96) and Skanda Purāṇa 7 (2.18.60 130) all contain depictions of the Narasiṃha Avatāra. In all these Puranas, Narasimha is described as the God of Destruction, who does destruction at the time of Pralaya or Yuganta and described as Kala. Narasimha is also described as having three eyes just like Shiva and does destruction with fire coming from his third eye.

Narasimha is also found in and is the focus of Nrisimha Tapaniya Upanishad.

The Bhagavata Puraṇa describes that Vishnu, in his previous avatar as Varaha, killed the evil asura Hiranyaksha. The elder brother of Hiranyaksha, demon king Hiranyakashipu, hated Vishnu and wanted revenge. In an alternate version of the story, Prahlada answered,He is in pillars, and he is in the smallest twig. Hiraṇyakashipu, unable to control his anger, smashed the pillar with his mace, and following a tumultuous sound, Vishṇu in the form of Narasimha appeared from it and moved to attack Hiraṇyakashipu in defense of Prahlāda. In order to kill Hiraṇyakashipu and not upset the boon given by Brahma, the form of Narasimha was chosen. Hiraṇyakashipu could not be killed by human, deva or animal. Narasimha was none of these, as he is a form of Vishnu incarnate as a part human, part animal. He came upon Hiraṇyakashipu at twilight (when it is neither day nor night) on the threshold of a courtyard (neither indoors nor out), and put the demon on his thighs (neither earth nor space). Using his sharp fingernails (neither animate nor inanimate) as weapons, he disemboweled and killed the demon king. The Kurma Puraṇa describes the preceding battle between the Purusha and demonic forces in which he escapes a powerful weapon called Pashupatastra. According to Soifer, it describes how Prahlada's brothers headed by Anuhrāda and thousands of other demons "were led to the valley of death (yamalayam) by the lion produced from the body of man lion". The same episode occurs in the Matsya Purāṇa 179, several chapters after its version of the Narasimha advent.

In a story of this incident, the Vaishnava and Shaiva scriptures say that gods Vishnu and Shiva assumed the avataras of Gandaberunda as Narasimha and Sharabha to destroy the chaos that happened in the universe. After disemboweling and killing Hiranyakashipu, Narasimha's power was wrongly thought to threaten the world by the deities. At the behest of the gods and goddesses, Shiva sent his form of Virabhadra to defeat Narasimha. When Narasimha defeated and drove Virabhadra away, Vishnu and Shiva manifested as Gandaberunda as Narasimha and Sharabha. Narasimha as Gandabherunda and Sharabha fought for 18 days. Narasimha as Gandaberunda disemboweled and killed Sharabha on the 18th day, after which Gandaberunda as Narasimha and Sharabha took their true forms of Vishnu and Shiva and went to their respective heavens of Vaikuntha and Kailasha respectively.

Narasimha is always shown with a lion face with clawed fingers fused with a human body. Sometimes he is coming out of a pillar signifying that he is everywhere, in everything, in everyone. Some temples such as at Ahobilam, Andhra Pradesh, the iconography is more extensive, and includes nine other icons of Narasimha: while single face versions are found in Garhwa and Mathura (Uttar Pradesh) and in Ellora Caves (Maharashtra). In South Indian art – sculptures, bronzes and paintings – Viṣṇu's incarnation as Narasiṃha is one of the most chosen themes and amongst Avatāras perhaps next only to Rāma and Kṛṣṇa in popularity. Narasimha is worshipped across Telangana and Andhra Pradesh States in numerous forms. Although, it is common that each of the temples contain depictions of Narasimha in more than one form, Ahobilam contains nine temples of Narasimha dedicated to the nine forms of Narasimha. It is also notable that the central aspect of Narasimha incarnation is killing the demon Hiranyakasipu, but that image of Narasimha is not commonly worshipped in temples, although it is depicted.

The Narasimha legend was influential by the 5th century, when various Gupta Empire kings minted coins with his images or sponsored inscriptions that associated the ethos of Narasimha with their own. The kings thus legitimized their rule as someone like Narasimha who fights evil and persecution. Some of the coins of the Kushan era show Narasimha like images, suggesting possible influence. Some of the oldest Narasimha terracotta artworks have been dated to about the 2nd century CE, such as those discovered in Kausambi. A nearly complete, exquisitely carved standing Narasimha statue, wearing a pancha, with personified attributes near him has been found at the Mathura archeological site and is dated to the 6th century.

The Narasimha legends have been a part of various Indian classical dance repertoire. For example, Kathakali theatre has included the Narasimha Hiranyakasipu battle storyline, and adaptations of Prahlada Caritam with Narasimha has been one of the popular performances in Kerala. Similarly, the Bhagavata Mela dance drama performance arts of Tamil Nadu traditionally celebrate the annual Narasimha jayanti festival by performing the story within regional Narasimha temples.

In Andhra Pradesh, a panel dating to third fourth century CE shows a full theriomorphic squatting lion with two extra human arms behind his shoulders holding Vaiṣṇava emblems. This lion, flanked by five heroes (vīra), often has been identified as an early depiction of Narasiṃha. Standing cult images of Narasiṃha from the early Gupta period, survive from temples at Tigowa and Eran. These sculptures are two armed, long maned, frontal, wearing only a lower garment, and with no demon figure of Hiraṇyakaśipu. Images representing the narrative of Narasiṃha slaying the demon Hiraṇyakaśipu survive from slightly later Gupta period temples: one at Madhia and one from a temple doorway now set into the Kūrma maṭha at Nachna, both dated to the late fifth or early sixth century CE

An image of Narasiṃha supposedly dating to second third century CE sculpted at Mathura was acquired by the Philadelphia Museum of Art in 1987. It was described by Stella Kramrisch, the former Philadelphia Museum of Art's Indian curator, as "perhaps the earliest image of Narasiṃha as yet known". Images of Trivikrama and Varāha avatāras were also found at Prambanan, Indonesia. Viṣṇu and His avatāra images follow iconographic peculiarities characteristic of the art of central Java. This includes physiognomy of central Java, an exaggerated volume of garment, and some elaboration of the jewelry. This decorative scheme once formulated became, with very little modification, an accepted norm for sculptures throughout the Central Javanese period (circa 730–930 CE). Despite the iconographic peculiarities, the stylistic antecedents of the Java sculptures can be traced back to Indian carvings as the Chalukya and Pallava images of the 6th–7th centuries CE.