Toconis

Vishnu Vishvarupa: Iconography of the Hindu Deity Vishnu

Kallista Z Toconis

Art 113B

Professor Listopad

May 21, 2014

 Toconis
2

I chose this painting because of the immense detail within Vishnus cosmic form. I am an

art major, and one of things that I personally enjoy in works such as the Vishnu Vishvarupa, is

the detail the artist put into the painting. This painting has the major Hindu and Vedic deities

portrayed plus several other important factors in the religions. I also chose this painting because

of the vast symbolic meaning behind it. It is Vishnu in his ultimate form, he is revealing the

cosmos to a man to guide him and give him personal strength. However it goes beyond that in

the sense that he is essentially showing a mortal all of the universe, the beginning and end,

heaven and hell. I liked the detail and complexity of the painting, and thats why I decided to

write about the Vishnu Vishvarupa.

The role this painting plays is from a religious,and iconographic standpoint within Hindu

culture. Religious,due to the fact that the artist derives inspiration from the Mahabharata. An

epic that is integral within the Hindu religion, and has had a vast cultural impact. The specific

part in the epic where Krishna shows his cosmic form can be found within the Bhagavad-Gita,

one of the most loved scriptures in India. Iconography wise, its role is for the artist to create a

visual representation of the Hindu God in his ultimate form for the audience.

This painting revolves around the iconography of Vishnu in his cosmic form. The artist

most likely would have found inspiration from the Bhagavad-Gita, one of the books in the

Mahabharata detailing Krishna revealing his cosmic form to Arjuna. Other aspects of this

painting deal with various religions, because it features both Hindu and Vedic Gods. Lastly the

symbology of Vishnu from what it is depicted on his body, to what he is holding is illustrated

upon the Vishnu Vishvarupa. This paper will analyze all aspects of the painting Vishnu

Vishvarupa and the iconography surrounding it.

 Toconis
3

This painting is currently on display at the Asian Art Museum in San Francisco,

California. It is in the exhibit titled under Yoga: The Art of Transformation. that is from

February 21- May 25th 2014 .1 The title of this painting is Vishnu Vishvarupa or Vishnu in his

cosmic form. This is just one of many depicting Vishnu in this form.

The artist of this painting is actually unknown, but it was created in Jaipur, India circa

1800-1820. 2 The subject matter regarding this painting is vast and covers many subjects, and

symbology revolving around Vishnu. They painted the background black, assumingly, so the

viewer could better see the finer details within Vishnu. He also uses gold with red mixed in for

the clothing. The gold/yellow represent the Vedas, sunlight, and his 8th incarnation, Krishna.

Vishnus body was painted blue, as blue is the color of the sky, and ocean where he resides.

Vishnus beginnings can be traced to the Rigveda with his original role starting out as a

minor sun god. He also had a close relationship with the Vedic god, Indra, Vishnu is said; to be

his friend and helper. Vishnu is sometimes Indras equal: the two are said to be brothers and

then it is Indras who stands by Vishnu. 3 This fact begins to set Vishnu apart from the early

Vedic gods. Also as rituals changed from within Hindu culture, where sacrifice was one of the

most important aspects of worship, to it slowly fading out, so did the important deities. Gods of

sacrifice were less important and pivotal, while gods of compassion, and righteousness took their

place. He currently has the most sites where Hindus may go for worship.

From there he evolved into the modern Hindu Triad consisting of himself, Siva, and

Brahma. However, he has become the most important, and powerful out of the Triad. Roles were

1
Asian Art Museum.
2
Victoria and Albert Museum, "Vishnu as Vishvarupa (cosmic or universal man)." Accessed March 23rd,
2014. http://collections.vam.ac.uk/item/O154643/vishnu-as-vishvarupa-cosmic-or-painting-unknown/.
3
Krishna, Nanditha. The art and iconography of Vishnu-Narayana. Bombay: D.B. Taraporevala, 1980.23.
 Toconis
4

reversed where Brahma used to be the ultimate creator of the universe, to Vishnu actually

creating Brahma. Brahma is portrayed on the painting of Vishnu Vishvarupa, upon Vishnus

forehead, and Siva is placed over his heart.

Iconographically, Vishnu usually has four arms (although there could be many more), a dark

blue complexion, and royal headgear. In his hands are the conch, discus, mace, and lotus. Upon

his chest is the miraculous jewel called the Kaustubha (treasure of the ocean) and a curl of hair

known as Sri-vatsa (beloved of Sri, or fortune).. his vehicle is Garuda, the sun eagle.. 4

All of these defining characteristics can be found within this painting.

All the items placed within his hands, and where they are placed play a large part in his

iconography. The conch shell, or shankha, held within his upper left hand, cannot be found

anywhere outside of India, and is considered a rarity. Its name is the Panchajanya , and it is a

major article of Hindu prayer. It symbolizes the ocean and the primitive sounds of creation. It

pertains to Vishnu because it also represents his control and power over the universe. In other

references it can also be used an instrument for war In the Ramayana and the Mahabharata there

are frequent references to the use of the shankha as a trumpet heralding the war. 5 In this

painting the way he is holding it, ... up for display as an emblem. 6The artist must have chose

this hand gesture for what it strictly symbolizes.

The discus is one of the more important attributes to the god, it is one of the earliest

pieces associated with Vishnu, and is held by his upper right hand. The discus, is more well

known as the chakra, but both simply mean wheel. Its main purpose is as a weapon, There is no

doubt that this chakra is a weapon, and not a chariots wheel. The chakra is undoubtedly the sharp

4
Williams, George M. Handbook of Hindu Mythology. New York: Oxford University Press, 2008.297.
5
Krishna, Nanditha. The art and iconography of Vishnu-Narayana. Bombay: D.B. Taraporevala, 1980.31.
6
Ibid. 36.
 Toconis
5

weapon with which asuras are to be defeated. 7Vishnu uses this as a weapon within epics and

puranic legends. Although Vishnu is a god of compassion, he is also a protector, and the chakra

displays this side of him.

Held by Vishnus lower left hand is the lotus flower, or padma. The lotus flower is the

most popular flower in India, it symbolizes divine perfection, and purity. These go hand-in-hand

with what Vishnu embodies, and is also a display of his great power. The lotus is symbolic of

both the Earth as well as the waters. Thus the lotus becomes a symbol of fertility. It represents

the generative powers of the waters which are, themselves, the generative power.8 There are

dualities within what Vishnu stands for,he represents all, including male and female, and the

lotus can be seen as having feminine aspects.

Finally, the final piece he holds can be find in his lower right hand, and the mace, or

gada. Its name is Kaumodaki, its most obvious use is as a weapon, but also symbolizes Vishnus

ability to destroy mental blocks that may prevent people in believing in him. When he destroys

this block, worshippers have no barrier, and they may reach god. Since it is more involved with

the mental more than the physical, is more closely related to knowledge.

Vishnu is the preserver god and maintains order. Blurton tells that, In conservative

society such as Indias, the maintenance of orthodox standards against the pollution of intruders

is highly important 9 Vishnu importance and relevance rely heavily upon this fact in modern

India.

The deity also represents the ideal household or matriarchal figure head within India.

he is the god of accepted behavior and the home- not his abandonment. Rama and Krishna

7
Ibid., 41.
8
Ibid., 60.
9
Blurton, T. Richard. Hindu art. Cambridge, Mass.: Harvard University Press, 1993. 111.
 Toconis
6

between them exemplify all the highly valued and desired traits settled, male- dominated life-

regal bearing, generosity, patience, single mindedness (Rama) and love, childish winsomeness,

ineffable power and control of natural forces (Krishna). Rama is considered the ideal husband,

while Sita his wife is the perfect spouse. 10 Although they are incarnations of Vishnu, they

represent him as a whole image, contributing to his status of the ideal male.

However, since he is associated with marriage and household, that correlates with

Vishnu being a god of love as well. This plays into him being the center of bhakti worship,

especially as his incarnation Krishna.

Bhakti is a major factor that plays into Vishnus iconography. Bhakti worship is

extremely emotionally driven, by devotees who have an unbreakable, intense love for the gods,

especially Vishnu. This activity is carried out in a number of ways but it revolves basically

around the worship of the forms and images of the Lord. Devotion is carried out by seeing,

touching, worshipping, praising, and saluting these images, by cleansing, anointing, and

decorating them.11 Part of Vishnus iconography within the Bhakti movement, is that he offers

them all the love, and life fulfillment theyd ever need.

As seen within the Bhagavad Gita, Krishna speaks to Arjuna after revealing his cosmic

form and tells him, For knowledge has more happiness than constant labor, meditation is more

excellent than knowledge, surrender of the fruits of action is better than meditation. After such

surrender, peace comes straight away. 12 This thought process is central to Bhakti for the

follower to give oneself over completely to Vishnu, and if they do so, will find peace. Krishna

continues on and add that, He who hates no living creature, who is friendly and compassionate;

10
Ibid.,112.
11
Singer, Milton B.. Krishna; myths, rites, and attitudes,. Honolulu: East-West Center Press, 1966. 11.
12
The Bhagavad-Gita. New York: The Peter Pauper Press, 1952. 80.
 Toconis
7

void of the thought mine and I..Truly such faithful worshippers, who are given over to me

and do service to this lawful power of immortality whereof I have spoken , these are exceedingly

dear to Me. 13

The god reveals his universal form in two well known circumstances. Once, as his avatar

Krishna to his human mother Yasoda, and once again as Krishna to Arjuna in the Mahabharata.

When Krishna was a baby, his mother believed he had eaten clay and told him to open his

mouth. When he did this happened:

She saw the entire outer space in all directions, mountains, islands,oceans, seas,planets, air, fire,

moon and stars. Along with the moon and the stars she also saw the entire elements,

water,sky,the extensive ethereal existence along with the total ego and the products of the senses

and the controller of the senses, all the demigods, the objects of the senses like sound, smell etc.,

and the three qualities of material nature. She also could perceive that within his mouth were all

living entities, eternal time, material nature, spiritual nature, activity, consciousness, and

different forms of the whole creation. Tasoda could find within the mouth of her child everything

necessary for cosmic manifestation.14

This description of Krishna revealing his cosmic form, parallels that of that painting.

How it is described, in both the literal, and philosophical sense is reflected in the Vishvarupa.

From having the sun and the moon as eyes, to having the gods, and demigods represented upon

him.

As stated throughout this paper the inspiration is heavily relied on from the

Mahabharata. The Mahabharata is an epic of enormous proportions, a hundred thousand

13
Ibid. 80-81
14
Bhaktivedanta Swami, A.C.. K
rs n a ; the supreme personality of Godhead Boston, Mass.: Iskcon Press,
1970. 61
 Toconis
8

verses, making it arguably the largest poem in existence. 15The epic focuses on an 18 day war,

with the heros Arjuna, (son of Indra), and Krishna. Krishnas personality and role in the

Mahabharata slightly differs from other accounts.

In the epic he is portrayed as warrior in most sections, and almost sage like as he guides

Arjuna through his journey. In most other accounts and depictions of Vishnus 8th incarnation,

he is playful but dangerous. He is an amourous cow herder who plays a flute, and all the gopis

(female cowherders) adore him. The relationship between Krishna and the gopis, can be taken

symbolically as his devotees wanting to be so close with to the god. The stories between them

are a way for the gods to connect with humanity.

One of the most important texts for Krishna connecting with humans, is in the Bhagavad

Gita which shows the loving friendship between Arjuna, and the god. The Bhagavad Gitas

purpose is purely Krishna giving Arjuna knowledge most men do not understand, or know. It

also focuses oh why Arjuna most complete his duty as a warrior, to kill, even if it involves his

own relatives.

For Krishna to assert his authority, power, and intelligence he shows Arjuna his

vishvarupa, or cosmic form. It is also to give Arjuna strength. I see Thee without beginning or

middle or end, boundless in potency, boundless of arms; the Sun and Moon are Thy eyes, Thy

mouth is gleaming fire, Thy radiance heats the universe.16 is described within the 11th chapter

of the Gita. Shortly After Krishna reveals himself, Arjuna realizes his destiny and sets forth to

perform his duty.

15
Williams, George M. Handbook of Hindu Mythology. New York: Oxford University Press, 2008. 203.
16
The Bhagavad-Gita. New York: The Peter Pauper Press, 1952. 73.
 Toconis
9

Vishnus iconography is ancient, and still pertains to modern day. The painting I selected,

Vishnu Vishvarupa, although a more modern piece, derives influence from the Rig Vedas, to the

Mahabharata. It shows Vishnus iconography from what has been placed in his hands, the color

of his skins, to all portrayed on his body. This piece is culturally, historically, and symbolically

important and will continue to be, as long as Vishnu is remains relevant, and supreme within

Hindu culture.
 Toconis
10

Bibliography

rs n a;
Bhaktivedanta Swami, A.C.. K the supreme personality of Godhead; a summary study of
rla Vysadeva's rmad-Bhgavatam, tenth canto. Boston, Mass.: Iskcon Press, 1970.

Blurton, T. Richard. Hindu art. Cambridge, Mass.: Harvard University Press, 1993.

Hiltebeitel, Alf. The Ritual of Battle: Krishna in the Mahabharata. London: Cornell University
Press, 1976.

Krishna, Nanditha. The art and iconography of Vishnu-Narayana. Bombay: D.B. Taraporevala,
1980.

Singer, Milton B.. Krishna; myths, rites, and attitudes,. Honolulu: East-West Center Press, 1966.

Victoria and Albert Museum, "Vishnu as Vishvarupa (cosmic or universal man)." Accessed
March 23rd, 2014.
http://collections.vam.ac.uk/item/O154643/vishnu-as-vishvarupa-cosmic-or-painting-unknown/.

Williams, George M. Handbook of Hindu Mythology. New York: Oxford University Press, 2008.

The Bhagavad-Gita. New York: The Peter Pauper Press, 1952.

 Toconis
11
 Toconis
12
 Toconis
13