Devon ke Dev Mahadev


Devon ke Dev Mahadev
Devon ke Dev Mahadev

~Ardhanarishavara form of Vishnu & Lakshmi~

.Kore. IF-Dazzler

Joined: 15 October 2012
Posts: 4117

Posted: 22 June 2013 at 9:32am | IP Logged
Vaikuntha-Kamalaja is a composite androgynous form of the Hindu god Vishnu and his consort Lakshmi. Though inspired by the much more popular Ardhanarishvara form of the god Shiva, Vaikuntha-Kamalaja is a rare form, mostly restricted to Nepal and the Kashmir region of India.
Like Ardhanarishvara, Vaikuntha-Kamalaja is depicted as half male and half female, split down the middle. The right half is the male Vishnu, illustrating his traditional attributes. The icon symbolises the oneness or non-duality of male and female principles of the universe. Unlike the Ardhanarishvara icon much celebrated in Hindu scriptures, Vaikuntha-Kamalaja is mentioned in few Tantric and iconographical texts and no tale of the origins of this form is found in Hindu legends.

The androgynous form of Vishnu is known by several names including: Vaikuntha Kamalaja,(Vaikuntha is the abode of Vishnu, here name of the Vishnu side and Kamalaja is "she who is born of a lotus" – Lakshmi), Vaishnava Ardhanari ("the Ardhanari – "half-woman" of the Vaishnava sect, which is dedicated to Vishnu), Ardhanari-Narayana ("Narayana (Vishnu) who is half-female"), Ardhanari-Vishnu ("Vishnu who is half-woman"), Ardha-Lakshmi-Narayana("Vishnu who is half-Lakshmi"), Vasudeva-Kamalaja ("Vishnu-Lakshmi"), Vasudeva Lakshmi ("Vishnu-Lakshmi") and Ardha-Lakshmi-Hari ("Hari (Vishnu) who is half-Lakshmi").

The concept as well as iconography of Vaikuntha-Kamalaja is derived from Ardhanarishvara – the popular androgynous form of the god Shiva and his consort Parvati. P. Pal suggests that the concept of Vaikuntha-Kamalaja originated in Eastern India and then migrated to Nepal, however according to Deo, the concept originated in medieval Nepal, which D. C. Sircar refutes citing an 11th-century Gaya inscription. A late 11th century inscription of the local ruler Yakshapala in the Shitala Gaya Temple in Gaya, India says that Yakshapala built the temple to house a number of deities, including Kamalardhangina-Narayana, "Narayana (Vishnu) whose half body is Kamala ("Lakshmi"). According to another theory, Kashmir was the birthplace of Vaikuntha-Kamalaja. Although relevant Indian texts and icons of Vaikuntha-Kamalaja are found in Nepal, hardly any exist in India except Kashmir. Some notable Indian icons of Vaikuntha-Kamalaja are found at Bijbehara (late 10th–11th century), Anantnag, Kashmir; Jaintipur, Haryana; Baijnath Temple, Himachal Pradesh (1204 CE) and the Sayana Thakura icon of Jagannath TemplePuri.
Vaikuntha-Kamalaja icons are found in Nepal since 13th century. The earliest known Nepali depiction of Vaikuntha-Kamalaja is in a 1263 AD pata (cloth panel), now in the Ramakrishna Mission Institute of Culture, Kolkata, India. Some Nepali bronze sculptures of Vaikuntha-Kamalaja are housed in some museums. Notable among Vaikuntha-Kamalaja icons are icons in Indreshvar Temple, Panauti; Narayan Temple, Patan and Saraswati Temple, Sankhu.
While Ardhanarishvara's legends and iconography are recalled in the Puranic scriptures, Vaikuntha-Kamalaja is not mentioned in them.The Vaikuntha-Kamalaja is hinted implicitly in many Pancharatra treatises and Tantric texts. Tantric iconographic texts like Saradatilaka (10th–11th century-in a dhyana mantra -a mantra mentioning a deity's iconic form), the 17th century Tantrasara of Krishnananda (in a dhyana mantra) as well as the 16th century Shilparatna mentions the iconography of this androgynous form of Vishnu.
                                                       ICONOGRAPHY & SYMBOLISM:-
As explained in Saradatilaka and Tantrasara, Vaikuntha-Kamalaja, like Ardhanarishvara, symbolise the oneness or non-duality of male and female principles of the universe.The Shilparatna specifically talks about the oneness of Vishnu and Lakshmi.It also denotes the combination of Sat (truth) and Cit (consciousness), producing ananda (bliss) (See Satcitananda).[8] Like Ardhanarishvara, the left half is female signifying Lakshmi, the right is the male Vishnu. The icon is depicted standing on a lotus pedestal or may be seated on the Garuda or Garuda (the vahana – mount – of Vishnu) as well as a tortoise or Kurma, often associated with Vishnu, but aligned with Lakshmi as her mount in this particular iconography. Sometimes, the Garuda and the tortoise may be depicted kneeling to the deity on male and female side respectively of the standing deity. Vaikuntha-Kamalaja is eight-armed, has a fuller female breast and a longer floral-patterned waist-garment on the left, while the male half wears a plain shorter waist-garment up to the knee or a same length garment but with a different design. The Vishnu half holds the four traditional attributes of Vishnu: chakra(discus), shankha(conch), gada (mace) and lotus. The female half holds a kalasha (coconut-mango leaves atop a pot) or kumbha (water-pot) filled with gems, mirror, manuscript or book and a lotus. The goddess side may also hold a bell or a rosary. The manuscript and mirror are never associated with Lakshmi's iconography, however they are traditionally associated with other goddesses, suggesting their influence on the iconography of female side. The manuscript is the attribute of goddess Sarasvati, while the mirror is the traditional attribute ofParvati, especially in Ardhanarishvara icons. The necklace, anklets, waist-belt are common on both sides; the ear-rings, shape of the crown and arm ornaments differ.


The above unique image in northern India depicts composite form of Vishnu with his female counterpart, seated on garuda which is shown ten handed with humane face and body. The right side depicting Vishnu has a kirit mukut and karanphool. Of his four hands Vishnu is holding usual attributes lotus, mace, couch and discuss. However, it is the left side of the image which is unusual and makes it very important and different. It shows female form with a low round crown, round earrings and hair-do in the background. In her four hands she holds a book in front hand, a lotus in the second, a pot in the third and a mirror in the upper hand. Of these book is an attribute of Sarasvati and mirror is an attribute of Parvati. It means the artist has combined the attributes of two goddesses with that of Laxmi. There is a foliated hallow behind the head of image. Credit:-

Vaikuntha-Kamalaja, 14th century Nepal,Guimet Museum in Paris, France:-

The following 10 member(s) liked the above post:


Surya_krsnbhakt IF-Dazzler

Joined: 20 March 2013
Posts: 3069

Posted: 24 June 2013 at 10:05am | IP Logged
Wow thanks for sharing. Vaikuntha-Kamalaja... Cool.
SRJKiMahakaali IF-Sizzlerz

Joined: 22 November 2011
Posts: 17645

Posted: 25 June 2013 at 10:05am | IP Logged
thank u for this info
NandiniRaizadaa IF-Stunnerz

Joined: 23 October 2010
Posts: 45789

Posted: 25 June 2013 at 10:13am | IP Logged
Wow I didn't know this

Thanks dear God bless you

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