Vāsudeva

Source: Wikipedia, the free encyclopedia.
This article is about the deity. For Vāsudeva's father, see Vasudeva. For other uses, see Vasudeva (disambiguation).

Vāsudeva
Vasudeva Anakadundubhi (father)
SiblingsSaṃkarṣaṇa (brother)
Subhadra (sister)
ChildrenPradyumna, Samba
Vrishni heroes
Kondamotu Vrishni heroes relief, 4th century CE, Hyderabad State Museum

Vāsudeva (

Vasudeva Anakadundubhi, king of the Vrishnis in the region of Mathura.[8] He was a leading member of the Vrishni heroes, and may well have been an historical ruler in the region of Mathura.[8][9][10][11]

Vedism in India, which occurred during the 8th to 6th century BCE.[12] Vāsudeva then became the object of one of the earliest forms of personal deity worship in India, and is attested from around the 4th century BCE.[13][14][15] At that time, Vāsudeva was already considered as a deity, as he appears in Pāṇini's writings in conjunction with Arjuna as an object of worship, since Pāṇini explains that a vāsudevaka is a devotee (bhakta) of Vāsudeva.[16][17]

By the end of the 2nd century BCE, Vāsudeva was considered as Devadeva, the "God of Gods", the Supreme Deity, whose emblem was the mythical bird

Indo-Greeks, who also represented him on the coinage of Agathocles of Bactria (190–180 BCE). The Heliodorus pillar, joining earth, space and heaven, is thought to symbolize the "cosmic axis" and express the cosmic totality of the Deity.[18] Next to the pillar, a large Temple of Vāsudeva was discovered, where he was celebrated together with his deified kinsmen, the Vrishni heroes.[18]

The cult of Vāsudeva was one of the major independent cults, together with the cults of

Yadavas, who had their own hero-god named Krishna.[7] The early Krishna is known from the Mahabharata, where he is described as the chief of the Yadavas kingdom of Dvārakā (modern Dwarka in Gujarat).[7] The fused cult of Vāsudeva-Krishna became one of the significant traditions of the early history of Krishnaism, becoming a major component of the amalgamated worship of Krishna, the 8th incarnation of Vishnu.[9] According to the Vaishnavite doctrine of the avatars, Vishnu takes various forms to rescue the world, and Vāsudeva-Krishna became understood as one of these forms, and one of the most popular ones.[20] This process lasted from the 4th century BCE when Vāsudeva was an independent deity, to the 4th century CE, when Vishnu became much more prominent as the central deity of an integrated Vaishnavite cult, with Vāsudeva-Krishna now only one of his manifestations.[20]

"Vāsudeva" is the first name to appear in the epigraphical record and in the earliest literary sources such as the writings of

Vasudeva", "Vāsudeva" in the lengthened form being a vṛddhi-derivative of the short form "Vasudeva" standing for Vasudeva Anakadundubhi, a type of formation very common in Sanskrit signifying "of, belonging to, descended from".[21]

Evolution

Samkarshana, Vāsudeva and the female Goddess Ekanamsha shown in a rock painting at Tikla, 3rd–2nd century BCE[22]
Samkarsana
on the obverse and Vāsudeva on the reverse

The object of the Vāsudeva worship was initially the warrior hero of the

bhakta is defined as Vāsudevaka.[24]

Evolution as a deity

Ghosundi inscription
, 1st century BCE

The cult of Vāsudeva may have evolved from the worship of a historical figure belonging to the Vrishni clan in the region of Mathura.[1] He is known as a member of the five "Vrishni heroes".[1]

It is thought that the hero deity Vāsudeva may have evolved into a Vaishnavite deity through a step-by-step process: 1) deification of the

Chatur-vyūha), consisting in the Vrishni heroes including Vāsudeva and minus Samba, starts to become visible in the art of Mathura at the end of the Kushan period.[29]

The

Vaishnava concept of primary quadrupled expansion, or chatur vyuha.[30]

Vāsudeva is also associated with the qualities of gentleness and strength.[31]

Fusion with other traditions

The tradition of Vāsudeva-Krishna is considered as separate from other ancient traditions such as that of

Bala-Krishna, to form the basis of the current tradition of monotheistic religion of Krishna
:

"Present day Krishna worship is an amalgam of various elements. According to historical testimonies Krishna-Vāsudeva worship already flourished in and around Mathura several centuries before Christ. A second important element is the cult of Krishna Govinda. Still later is the worship of Bala-Krishna, the Divine Child Krishna - a quite prominent feature of modern Krishnaism. The last element seems to have been Krishna Gopijanavallabha, Krishna the lover of the Gopis, among whom Radha occupies a special position. In some books Krishna is presented as the founder and first teacher of the Bhagavata religion."

— Klaus Klostermaier, A Survey of Hinduism[33][34]

An Indian Herakles

The Heliodorus pillar established in Vidisha in the name of Vāsudeva

Herakles, son of Zeus had come to India and was honoured by the locals as an 'indigenous' Indian deity. This reference is understood to be to Vāsudeva.[35]

But Heracles, whom tradition states to have arrived as far as India, was called by the Indians themselves 'Indigenous.' This Heracles was chiefly honoured by the Surasenians, an Indian tribe, among whom are two great cities, Methora and Cleisobora, and the navigable river Iobares flows through their territory.

— Para VIII, Arrian's Indica[36]

However Arrian himself does not consider the stories about Herakles credible, stating:

If anyone believes this, at least it must be some other Heracles, not he of Thebes, but either of Tyre or of Egypt, or some great king of the higher inhabited country near India.

— Para V, ibid[36]

It has been proposed that Megasthenes misheard the words "Hari-Krishna" as "Herakles".[35] According to Upinder Singh, "Vāsudeva-Krishna was the Indian God bearing the closest resemblance to the Greek God Herakles".[1]

Heliodorus pillar and Temple of Vāsudeva (circa 115 BCE)

Main article: Heliodorus pillar
Temple of Vāsudeva
Initial excavations
Elliptic plan of the Temple
Excavation of the huge Temple of Vāsudeva next to the Heliodorus pillar, dated to the 2nd century BCE, Vidisha.[18] The Temple measured 30x30 meters, and the walls were 2.4 meters thick.[37] A earlier and smaller elliptic temple structure underneath probably dates to the end of the 3rd century BCE.[38]

The cult of Vāsudeva soon extended well beyond the area of Mathura, as shown by the

Indo-Greek ambassador to the court of an Indian king in Vidisha, in the name of Vāsudeva.[1]

In the Heliodorus pillar, Vāsudeva is described as Deva deva, the "God of Gods", the Supreme Deity.[39] According to Harry Falk, making dedications to foreign gods was a logical practice for the Greeks, in order to appropriate their power: "Venerating Vāsudeva, as did Heliodor in the time of Antialkidas, should not be regarded as a "conversion" to Hinduism, but rather as the result of a search for the most helpful local powers, upholding own traditions in a foreign garb."[40]

A large temple, probably dedicated to Vāsudeva or the Vrishni heroes, was also discovered next to the Heliodorus pillar at Vidisha.[18][41] The Temple measured 30x30 meters, and the walls were 2.4 meters thick. Pottery finds confirmed that the Temple dated to the 2nd century BCE.[42] An earlier and smaller elliptic temple structure underneath probably dates to the end of the 3rd century BCE.[43]

Naneghat inscription (1st century BCE)

Main article: Naneghat

The Naneghat inscription, dated to the 1st century BCE, mentions both

Vaishnava tradition.[45][46][47] Given it is inscribed in stone and dated to 1st-century BCE, it also linked the religious thought in the post-Vedic centuries in late 1st millennium BCE with those found in the unreliable highly variant texts such as the Puranas dated to later half of the 1st millennium CE. The inscription is a reliable historical record, providing a name and floruit to the Satavahana dynasty.[44][46][48]

Samkasana
(𑀲𑀁𑀓𑀲𑀦) and Vāsudevā (𑀯𑀸𑀲𑀼𑀤𑁂𑀯𑀸) in the Naneghat cave inscription

The first dedicatory sentence in the inscription mentions:

Praise (Sidham) to Dharma, adoration to Indra, adoration to Samkarshana and Vāsudeva the descendants of the Moon ("Chandra") endowed with majesty, and to the four guardians of the world ("Lokapalas"), Yama, Varuna, Kubera and Vasava; praise to Vedisri, the best of royal princes ("kumara")!

— First line of the Naneghat inscription[49]

Gosundi inscription

Main article:
Hathibada Ghosundi Inscriptions

Vāsudeva and

Hathibada Ghosundi Inscriptions:[1]

Kharoshthi inscription nearby reads Rama [kri]ṣa. 1st century CE.[3]

(This) enclosing wall round the stone (object) of worship, called Narayana-vatika (Compound) for the divinities Samkarshana-Vāsudeva who are unconquered and are lords of all (has been caused to be made) by (the king) Sarvatata, a Gajayana and son of (a lady) of the Parasaragotra, who is a devotee of Bhagavat (Vishnu) and has performed an Asvamedha sacrifice.

– Ghosundi Hathibada Inscriptions, 1st-century BCE[50]

Chilas petroglyphs

At Chilas II archeological site dated to the first half of 1st-century CE in northwest Pakistan, near the Afghanistan border, are engraved two males along with many Buddhist images nearby. The larger of the two males holds a plough and club in his two hands. The artwork also has an inscription with it in Kharosthi script, which has been deciphered by scholars as Rama-Krsna, and interpreted as an ancient depiction of the two brothers Balarama and Krishna.[51][52]

Vāsudeva Temple in Mathura (circa 15 CE)

Main articles: Vasu Doorjamb Inscription and Art of Mathura
Mathura Museum, GMM 13.367[53]

The

Hathibada Ghosundi Inscriptions in Rajasthan, and the Naneghat inscriptions in Maharashtra suggest that the cult of Vāsudeva had spread over a wide region by the 1st-century BCE to the start of common era.[56][57]

According to Quintanilla, the Vasu Doorjamb and the inscription is "one of the most important and most beautiful objects" from the time of Sodasa, likely from a "temple to Vāsudeva".[58] The carvings on the doorjamb are three woven compositions. It has a leafy vine that runs along the length of the red sandstone jamb. Along the stem of the vine are curling leaves and blossoms, that wrap along as those found in nature, a rosette added in where the intertwining vines meet.[59][60] The wider band has lotus rhizome carved in, with subtle naturalistic variations, wherein the lotus flowers are shown in all their stages of bloom, states Quintanilla.[59]

Vāsudeva in 2nd century CE sculpture

Vāsudeva in the Caturvyūha
Mathura Museum
.
Main articles: Caturvyūha and Pancharatra

Some sculptures during this period suggest that the concept of the

Kadamba tree, symbolically showing the relationship being the different deities.[10] The depiction of Vishnu was stylistically derived from the type of the ornate Bodhisattvas, with rich jewelry and ornate headdress.[61]

Two Kushan Empire emperors were named after Vāsudeva: Vāsudeva I (191–232 CE) and Vāsudeva II (275–300 CE).[62]

Vāsudeva in the Kondamotu relief (4th century CE)

Vāsudeva appears prominently in a relief from Kondamotu, Guntur district in Andhra Pradesh, dating to the 4th century CE, which shows the Vrishni heroes standing in genealogical order around Narasimha.[63][64] Vāsudeva follows Saṃkarṣaṇa, being second from the left in the place of seniority, with a hand in abhaya mudra and the other hand on the hip holding a conch shell.[63] Vāsudeva also has a crown, which distinguishes him from the others.[65] Then follow Pradyumna, holding a bow and an arrow, Samba, holding a wine goblet, and Aniruddha, holding a sword and a shield.[63] The fact that they stand around Narasimha suggests a fusion of the Satvata cult with the Vrishni cult at this point.[63]

Vāsudeva in the Kondamotu relief (4th century CE)
Hyderabad State Museum. Vāsudeva is second from the left.[63][64]

Transition from Vāsudeva to Vishnu (4th–5th century CE)

Iconographic transition

See also: Art of Mathura
Type of statuette now reattributed to Vāsudeva, with three attributes, hand in abhaya mudra and without an aureole, 3rd–4th century.[66]

Various early statues showing a deity with the attributes of Vāsudeva have long been attributed to Vishnu.

aureole starting at the shoulders: the Vishnu Caturanana ("Four-Armed Vishnu") statues.[66] The statues before the 4th century CE have been reattributed to Vāsudeva, a period during which Vāsudeva seems to have been much more important than Vishnu.[66]

Other statues of Vishnu show him as three-headed (with an implied fourth head in the back), the Visnu Vaikuntha Chaturmurti or Chaturvyuha ("Four-Emanations") type, where Vishnu has a human head, flanked by the muzzle of a boar (his avatar Varaha) and the head of a lion (his avatar Narasimha), two of his most important and ancient avatars, laid out upon his aureole.[66] Recent scholarship considers that these "Vishnu" statues still show the emanation Vāsudeva Krishna as the central human-shaped deity, rather than the Supreme God Vishnu himself.[67][66]

Theological transition

Over centuries, the cult of Vāsudeva transformed into Vaishnavism.[68] Overall, "Vaishnavite Hinduism is believed to have originated in the 4th century BC in the cult of Vāsudeva-Krishna, which was then grafted in the 2nd century AD onto the cult of Narayana. By the 4th century, Vishnu's prominence increased considerably. He was now regarded as a member of the Trimurti, the cosmic triad of Gods, Brahma, Vishnu and Shiva".[20]

From the 4–5th century, Vāsudeva-Krsna is identified with Vishnu and Narayana, and fuses with Gopala-Krishna:[69]

In the Kavyas of Kalidasa we find not only Vāsudeva-Krsna identified with Vishnu and Narayana, but Krsna is also called Gopala-Krsna. He has obtained the Kaustubha jewel from the serpent Kaliya of the Jamuna, "wears the peacock feathers resembling the cloud adorned with rainbow", and his wife is Rukmini and his brother Balarama.

— Radhakamal Mukerjee[69]
  • Vāsudeva with four attributes and without an aureole, terracotta[66]
    Vāsudeva with four attributes and without an aureole, terracotta[66]
  • The Vishnu Nicolo Seal may depict Vāsudeva, holding the attributes of the gada club, the chakra discus, the wheel and the lotus, rather than Vishnu. 4th century CE, Gandhara.[70]
    The
    lotus, rather than Vishnu. 4th century CE, Gandhara.[70]
  • A statue of Vishnu Caturanana ("Four-Armed"), using the attributes of Vāsudeva, with the addition of an aureole around the head (5th century CE)[66]
    A statue of Vishnu Caturanana ("Four-Armed"), using the attributes of Vāsudeva, with the addition of an
    aureole around the head (5th century CE)[66]
  • Four-faced four-armed Vishnu Vaikuntha Chaturmurti, still showing Vāsudeva Krishna as the central human figure, 4th–5th century, Mathura[67][66]
    Four-faced four-armed Vishnu Vaikuntha Chaturmurti, still showing Vāsudeva Krishna as the central human figure, 4th–5th century, Mathura[67][66]
  • Four-armed Seated Vishnu (with the aureole) in meditation, Medieval Period
    Four-armed Seated Vishnu (with the aureole) in meditation, Medieval Period

Vāsudeva at Deogarh (6th century CE)

Abhaya Mudra.[71]
Main article: Dashavatara Temple, Deogarh

The

Samkarshana, Pradyumna and Aniruddha.[71] According to Lubotsky, it is likely that the entrance is dedicated to the Vāsudeva aspect of Vishnu; the Anantashayana side is his role as the creator (Aniruddha); the sage form of Nara-Narayana side symbolizes his preservation and maintainer role in cosmic existence (Pradyumna); and the Gajendramoksha side represents his role as the destroyer (Samkarsana).[71]

Vasudev

'Vasudev' are people believed to be incarnation of Lord Krishna. Bedecked in the distinctive headgear of peacock feathers, performers sing Vasudev songs and with nimble, delicate dance steps, whirl around presenting anecdotes from Lord Krishna's life in exchange for alms. They sing soothing, melodious notes through the villages in the morning time.[72]

To this day, a group of religious mendicants known as Vasudevs are people believed to be incarnation of Lord Krishna. Bedecked in the distinctive headgear of peacock feathers, performers sing Vasudev songs and with nimble, delicate dance steps, whirl around presenting anecdotes from Lord Krishna's life in exchange for alms. They sing soothing, melodious notes through the villages in the morning time.[72]

"The Vasudevs, the village mendicants, also live on the alms they get from the villagers. The religious cult from which this art form originated was that of Vasudev-Krishna which was in existence in the fourth century B.C. It gained popularity only after the first century B.C., and in subsequent centuries it was absorbed into the wider religious framework of Vaisnavism"

— Narayana Menon[73]

Devotion

A popular short prayer for worshipping Vāsudeva is

Hindu mantras, and one of the most important mantras in Vaishnavism. It means "Om, I bow to Lord Vāsudeva", who is variously understood as Krishna or Vishnu.[74][75]

See also

Notes

Part of a series on
Vaishnavism
Closeup of Vishnu, seated in the lotus position on a lotus. From depiction of the poet Jayadeva bowing to Vishnu, Gouache on paper Pahari, The very picture of devotion, bare-bodied, head bowed, legs crossed and hands folded, Jayadeva stands at left, with the implements of worship placed before the lotus-seat of Vishnu who sits there, blessing the poet.
Supreme deity
Vishnu / Krishna / Rama
Important deities
Dashavatara
Other forms
Consorts
Related
Holy scriptures
Puranas
Sampradayas
Others
Teachers—acharyas
Related traditions
Pāñcarātra system[76][77][78]
Vyūhas Image Attributes Symbol[79][80] Direction Face Concept
Narayana
Vishnu 		Vāsudeva Chakra Wheel
Gadā Mace
Shankha Conch 		Garuda Eagle East Saumya
(Placid/ benevolent) 		Jṅāna Knowledge
Samkarsana
 Lāṅgala
Pestle

Wine glass 		Tala Fan palm South Simha Lion Bala Strength
Pradyumna Cāpa Bow
Bāṇa
 Arrow 		Makara Crocodile West Raudra Kapila Aiśvaryā Sovereignty
Aniruddha Carma Shield
Khaḍga Sword 		Ṛṣya (ऋष्य) White-footed antelope North Varaha Boar Śakti Power

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    .
  79. ^ "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'." in Journal of the Indian Society of Oriental Art. Indian Society of Oriental Art. 1937. p. 16.
  80. ^ 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.

Further reading

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