en Tripurantaka

Tripurari
Tripurari
	Depiction of Tripurantaka
Affiliation	Shaivism
Abode	Tripura, Bhuloka or Mount Kailash
Weapon	Pashupatastra Arrow, Pinaka Bow
Symbol	Bow, Trishula, Vasuki, Damaru
Day	Monday
Mount	Prithvi as a chariot
Festivals	Kartik Purnima
Consort	Tripura Sundari

Tripurantaka (Sanskrit: त्रिपुरांतक, romanized: Tripurāntaka) or Tripurari is a manifestation of the Hindu god Shiva. This form of the deity is featured in a Puranic legend in which he destroys the three cities of the asuras, called Tripura, with a single arrow.^[1]

Legend

According to the Padma Purana, the asura Taraka had three sons named Tarakaksha, Kamalaksha (or Virayavana), and Vidyunmali. These asura princes performed severe penance towards the creator-god Brahma and obtained the boon of immense power. Brahma, on being pleased with them, presented each of them with an aerial fortress revolving in the sky, one each of gold, silver, and iron built by Mayasura.^[2] The boon granted the provision that they would reign for a millennium and could be destroyed only by an arrow that could merge the three forts into one, and set them ablaze. The asuras, armed with this boon, wreaked havoc on the universe. The asuras well-entrenched in their aerial cities would mount attacks on the devas (gods) and the rishis (sages), and harass them. Ultimately, the gods and the sages approached Shiva, pleading for his assistance in removing this menace. Shiva refused as they were not engaging in undue harm. Vishnu caused the brothers to convert to Jainism, abandoning the worship of the lingam.^[3]

Seeing that the asuras had engaged in sin, Shiva created a bow and an arrow and a chariot with the various gods and goddesses and components of the universe. His chariot was the earth itself, his wheels were the sun and the moon, his bow was Mount Meru with Vasuki was its string. With Brahma as the charioteer, he sped across, and shot a single arrow of fire, representing Vishnu. The cosmic arrow destroyed the three cities.^[4]

Shiva immediately regretted his decision to release the arrow, since he had forgotten to protect Maya, a great devotee of his. Realising this, Nandi raced ahead of the arrow and informed Maya of the impending doom. Instantly, Maya fled Tripura, leaving behind the great city he had constructed, which was immediately reduced to ashes, along with its inhabitants, the asuras, by the great arrow of Shiva. This destruction of Tripura, led to the appellation Tripurantaka, for Shiva.

The legend is also featured in theYajurveda:^[5]

The Asuras had three citadels; the lowest was of iron, then there was one of silver, then one of gold. The gods could not conquer them; they sought to conquer them by siege; therefore they say--both those who know thus and those who do not--'By siege they conquer great citadels.' They made ready an arrow, Agni as the point, Soma as the socket, Visnu as the shaft. They said, 'Who shall shoot it?' 'Rudra', they said, 'Rudra is cruel, let him shoot it.' He said, 'Let me choose a boon; let me be overlord of animals.' Therefore is Rudra overlord of animals. Rudra let it go; it cleft the three citadels and drove the Asuras away from these worlds. The observance of the Upasads is for the driving away of foes. One should not offer another libation in front; if be were to offer another libation in front, he would make something else the beginning. He sprinkles clarified butter with the dipping-ladle to proclaim the sacrifice. He makes the offering after crossing over without coming back; verily he drives away his foes from these worlds so that they come not back. Then returning he offers the Upasad libation; verily having driven away his foes from these worlds and having conquered he mounts upon the world of his foes.
— Yajurveda, Tattiriya Samhita, vi.2.3

Significance

Stella Kramrisch's full analysis of the Tripurasamhara episode appears in Chapter XI.3 of her book, The Presence of Siva [Princeton University Press, 1981], in the section on "Cosmic Demons."^[6] In one part, Kramrisch speaks of the story as having "the body of man for its scene":

"the Asuras entered the bodies of men. Then pride, which destroys man's dharma, arose. From pride arose anger, then shameful behavior, then delusion." [in IX.3.iii of Kramrisch's book, "Tripura in the Microcosm," p. 411]

Iconography

Tripurantaka is usually portrayed as an archer with four arms,^[7] his third (right arm) carrying the trishula, while the fourth (left) holding the damaru, in the other two he holds the pinaka bow releasing the pashupatastra missile on Tripura.

The earliest form of this can be seen in Pattadakal (belonging to Badami Chalukya period, 6-7 AD). Rashtrakutas also followed the same features as can be seen in Ellora, Kailasanatha Temple. Tripuranthakeshwara temple at Balligave is built by Kalyana Chalukyas. During Hoysala period, this story was presented in more detail and with beautiful ornamentation as can be seen in Hoysala temples at Javagal and Hosa Holalu. During this period, representing Tripurasura in 3 circular patterns began. This style is carried on by Vijayanagara sculptures and painters. One can see this depiction in murals at Virupaksha temple at Hampi.

In Hindu art, Tripurantaka is seen as a giant person of light showering light at the darkness which is known as "the destroyer of evil and darkness".

Festivals

Tripurantaka had various festivals, mainly he is celebrated on Kartik Purnima, which falls under the month of Kartika. He is also worshiped on Maha Shivaratri as an important manifestation of Shiva.

Devotees offer prasad which are Hindu sacred offerings to the deity, Tripurantaka prayers are usually done on the day of Rudra yajna which he is seen as the protector of the universe.

An image of Tripurantaka is enshrined at Tiruvatikai near Chidambaram. The Veeratteswarar temple here is one of the eight Veerata sthalas celebrating Shiva as the destroyer of evil forces. Tripurantaka is also enshrined at Tiruvirkolam (Koovum) near Chennai.

References

^ A History of Ancient and Early Medieval India. p. 560.
^ Chandra, Suresh (1998). Encyclopaedia of Hindu Gods and Goddesses. Sarup & Sons. p. 342. ISBN 978-81-7625-039-9.
^ Krishna, Nanditha (2007-10-16). The Book of Demons. Penguin UK. p. 152. ISBN 978-93-5118-144-6.
^ Chugh, Lalit (2017-05-23). Karnataka's Rich Heritage – Temple Sculptures & Dancing Apsaras: An Amalgam of Hindu Mythology, Natyasastra and Silpasastra. Notion Press. p. 85. ISBN 978-1-947137-36-3.
^ Keith, Arthur Berriedale (2020-09-28). The Yajur Veda (Taittiriya Sanhita). Library of Alexandria. p. 378. ISBN 978-1-4655-7839-6.
^ Kramrisch, S. (2021-02-09). The Presence of Siva (in Latin). Princeton University Press. p. 415. ISBN 978-0-691-22422-0.
^ Stutley, Margaret (2019-04-09). The Illustrated Dictionary of Hindu Iconography. Routledge. p. 340. ISBN 978-0-429-62425-4.

Sources

Dictionary of Hindu Lore and Legend (ISBN 0-500-51088-1) by Anna Dallapiccola
Encyclopedia of Hinduism – Volumes on Shiva Ed. by Dr. Nagendra Kr. Singh (ASIN B09JWTPLCM)

[1] A History of Ancient and Early Medieval India. p. 560.

[2] Chandra, Suresh (1998). Encyclopaedia of Hindu Gods and Goddesses. Sarup & Sons. p. 342. ISBN 978-81-7625-039-9.

[3] Krishna, Nanditha (2007-10-16). The Book of Demons. Penguin UK. p. 152. ISBN 978-93-5118-144-6.

[4] Chugh, Lalit (2017-05-23). Karnataka's Rich Heritage – Temple Sculptures & Dancing Apsaras: An Amalgam of Hindu Mythology, Natyasastra and Silpasastra. Notion Press. p. 85. ISBN 978-1-947137-36-3.

[5] Keith, Arthur Berriedale (2020-09-28). The Yajur Veda (Taittiriya Sanhita). Library of Alexandria. p. 378. ISBN 978-1-4655-7839-6.

[6] Kramrisch, S. (2021-02-09). The Presence of Siva (in Latin). Princeton University Press. p. 415. ISBN 978-0-691-22422-0.

[7] Stutley, Margaret (2019-04-09). The Illustrated Dictionary of Hindu Iconography. Routledge. p. 340. ISBN 978-0-429-62425-4.

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Tripurantaka