Showing posts with label Eastern. Show all posts
Showing posts with label Eastern. Show all posts

Saturday, December 19, 2015

Manjusri (Mañjuśrī) - मञ्जुश्री





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Manjusri, which means Gentle Glory or Sweet Splendor, the personification of Transcendent Wisdom, and one of the two most important Bodhisattvas of Mahayana Buddhism, is the first Bodhisattva mentioned in the Mahayana scriptures. In fact, his name occurs frequently in various sutras, and in the Lotus Sutra it is stated that he has trained and disciplined many Bodhisattvas.

According to Chinese tradition, in order to bring Manjusri into manifestation the Buddha caused a golden ray to emanate from his forehead This ray pierced a jambu tree which grew from the foundation of the most sacred Buddhist mountain in China, now called Wu Tai Shan. A lotus sprang from the tree and from the interior of the flower was born the prince of sages, also called the Prince Royal of the Buddha's realm. He was born without father and mother and was thus free from the pollution of the common world. In his right hand he brandishes the flaming sword, which cleaves asunder the clouds of ignorance. In his left hand he holds a lotus, on the top of which rests the Prajnaparamita, the Treatise on Transcendent Wisdom. The sword also symbolizes his perfect wisdom and his intellect which penetrates to the deepest recesses of Buddhist thought, dispelling doubts which otherwise cannot be dispelled.

He is also sometimes called Manjugosha, the "Gentle Voiced One." Manju meaning soft indicates that his continuum of life has become softened by his wisdom which cuts through distress-causing hindrances to liberation from samsara to be cut and removes the obstructions barring the way to infinite knowledge or omniscience. Gosha means "chanting" or "intonation" and refers to Manjusri's perfect vocalization and creative communication ability. By writing or intoning the mantra Namo Guru Manjugoshaya the monks in Tibet have hailed him as the "Lamp of Wisdom and Supernatural Power" who destroys falsehood and ignorance and removes them from the minds of all beings.

According to tradition in China the first day of the year is dedicated to Manjusri, who is considered by some to be the god of agriculture, by others the celestial architect who is believed to have inspired with his divine intelligence those who have been active in propagating the Buddha-Dharma.

Some devotees consider him the god of science and believe when he preaches the Law that every demon is subjugated and every error that might deceive humankind is dissipated. It is considered that Padma Sambhava, the eighth century founder of Tibetan Buddhism, as well as Tsongkhapa, the founder of the Gelugpa sect, were manifestations of this great Bodhisattva. In Mahayana Buddhism wisdom and compassion are regarded as equally important, but in the early years greater emphasis was placed on wisdom. Therefore, in early Mahayana the hand of wisdom was considered to be the foremost Bodhisattva.

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For the rest, see: HERE
The names Mañjughoṣa and Mañjuśrī are synonyms for the same figure, although there are sometimes slight iconographic differences between them in Buddhist art. In Sanskrit mañju means: "beautiful, lovely, charming, pleasent, sweet"; while ghoṣa means "voice", while śrī has a range of meanings taking in "light, lustre, radiance; properity, welfare, good fortune, success, auspciousness; high rank, royalty". So Mañjughoṣa can mean Beautiful Speech, and Mañjuśrī might be translated as Lovely Prince, or Beautiful Radiance, etc.

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Seed Syllable
Seed syllable of manjusri/manjughosa 'dhih', the perfection of wisdom, in the Siddham script
Mañjuśrī 's seed syllable is dhīḥ, the seed syllable of perfect wisdom which he shares with Prajñāpāramita.

Mantra
oṃ a ra pa ca na dhīḥ

For more info, see: HERE
Manjushri is the Bodhisattva of Wisdom and Knowledge. He is actually the male embodiment of Perfection of wisdom and is second in importance only to Avalokiteshvara in Mahayana tradition. Manjushri's name, often translated as "Beautiful Glory", may equally accurately be translated as "Beautiful Goddess". In the Tantric understanding, Manjushri is recognized as fully enlightened Buddha. He manifests in highly esoteric forms, such as Yamantaka or Vajrabhairava and Dharmadhatu Vagishvara Manjushri also embodies the full enlightenment of Vairochana and manifests the entire Dharma, or teachings of Buddhism. Manjushri ensures that human will gain knowledge and insights provided have faith in the Dharma. He cleaves the clouds of ignorance with wisdom and brings light into darkness. This darkness has a double meaning, and is thus also spiritual darkness and ignorance.

Manjushri is the patron deity of Nepalese Buddhism. He is identified with the primordial Buddha Svayambhu and is the root teacher of Nepalese Buddhist Chakrasamvara practice. Moreover the cult of Manjushri is popular in Northern Buddhist countries. They conceived him in various forms and worshipped him with various mantras. Those, who could not form any conception of him according to Tantric rites, attained perfection only muttering his numerous mantras; he is believed to have been a wandering ascetic and the Gandavyuha Sutra records the tradition that he came out of Pratishthanakutagara and, accompanied by Bodhisattvas of his status and other divinities, led his journey to Dakshinapatha. Further it is also mentioned in the text about an assembly at Jetavana in which Manjushri, Samantabhadra, five thousand Bodhisattvas and Mahashravakas are said to have been present along with Buddha. A Chinese tradition records that Gautama Buddha informed Manjushri of his duty to turn the Wheel of Law for the salvation of the Chinese and choose Panchashira (five-peaked) mountain in Shan-si province in China as his place of manifestation. The association of Manjushri with China is also mentioned in the Svayambhu Purana in which it is mentioned that Manjushri was a great saint with many disciples and followers. He came from mount Panchashira, which was his abode, to Svayambhunath Kshetra in order to pay his respect to Adi Buddha who had manifested himself as a flame of fire on a mountain in lake Kalihrada, which is now the Nepal Valley. Manjushri erected a temple over the flame of fire and on a hillock and nearby he made his own abode, and also a vihara still known as the Manjupattana, for his disciples. He did many pious deeds there. He returned home after putting everything in proper order and soon attained the divine form of a Bodhisattva, leaving his mundane body behind. This tradition has led some scholars to propound the view that Manjushri was a historical character who brought civilization to Nepal from China. Arya- Manjusri-Mulakalpa and Sadhanamala describe a number of distinctive forms of the god for worship.

From: here
Manjushri (Tibetan: Jampalyang, Jampaiyang (rje btsun 'jam pa'i dbyangs) is a popular Buddhist figure commonly represented in art. He first arises from the Mahayana Sutra literature of Northern Buddhism where he is regarded as a bodhisattva - the bodhisattva of wisdom. In the Tantric literature of Northern Buddhism he is seen as a completely enlightened Buddha with a great number of manifestations and appearances spanning all four classes of Tantra, simple and complex in form. The mandala of Dharmadhatu Vagishvara presents a large number of appearances both peaceful and wrathful - twenty-three in number not counting the accompanying retinue figures. The Manjushri Lhakang is Sakya, Tibet, depicts many different forms of Manjushri. The early text known as the One Hundred Sadhanas, or Bari Gyatsa in brief, describes fifteen forms of Manjushri. The Ocean of Sadhanas text describes twenty-five forms.

From: here
Mañjuśrī (Skt: मञ्जुश्री) is a bodhisattva associated with transcendent wisdom (Skt. prajñā) in Mahāyāna Buddhism. In Esoteric Buddhism he is also taken as a meditational deity. The Sanskrit name Mañjuśrī can be translated as "Gentle Glory".[1] Mañjuśrī is also known by the fuller Sanskrit name of Mañjuśrīkumārabhūta.[2]

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Mañjuśrī is depicted as a male bodhisattva wielding a flaming sword in his right hand, representing the realization of transcendent wisdom which cuts down ignorance and duality. The scripture supported by the lotus held in his left hand is a Prajñāpāramitā sūtra, representing his attainment of ultimate realization from the blossoming of wisdom. Mañjuśrī is often depicted as riding on a blue lion, or sitting on the skin of a lion. This represents the use of wisdom to tame the mind, which is compared to riding or subduing a ferocious lion.

He is one of the Four Great Bodhisattvas of Chinese Buddhism, the other three being: Bodhisattva Kṣitigarbha, Bodhisattva Avalokiteśvara, and Bodhisattva Samantabhadra. In China, he is often paired with Bodhisattva Samantabhadra.

In Tibetan Buddhism Manjushri is sometimes depicted in a trinity with Avalokiteśvara (Tib. Chenrazig) and Vajrapāṇi (Tib. Channa Dorje).

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From: Wiki

Also see:

Mediation/poem for him
Manjushri at Khandro Net
Manjushri (Bodhisattva)

Manjusri Role and Significance, Parts 1 & 2: Anthony Tribe (Dharmachari Anandajyoti)
Manjusri - Origins, Rôle and Significance, Part 3: Anthony Tribe (Dh Anandajyoti)

Manjusri and the Cult of the Celestial Bodhisattvas


Buddhist Deity: Manjushri Main Page (links to tons of images)

A Concert of Names of Manjushri
(English translation of the Manjusrinamasamgiti) -- lists tons of names and descriptors
Google Book preview: Chanting the names of Mañjuśrī: the Mañjuśrī-nāma-saṃgīti, Sanskrit and Tibetan texts

Praise to the Intelligent One (Manjushri Prayer, Gang-loma)


Prayer to Manjushri
Manjushri (The most profound wisdom)
Monju Bosatsu (Bodhisattva)
Another site
Manjushri: The Young Prince of Wisdom
Manjusri Bodhisattva -- images

http://www.youtube.com/watch?v=fw8NTMRgDso

ETA:
Dissertation:
A View of Manjusri - Wisdom and its Crown Prince in Pala Period India (Direct PDF download)

Saturday, December 24, 2011

Avalokitesvara

Avalokita, or more properly, Avalokitesvara ("Lord Avalokita"), is the Buddhist bodhisattva of compassion, said to have one thousand arms, which symbolize His never-tiring work to save all souls from the Ocean of Illusion. From His tears were born the Goddess Tara, whose two principle forms are White Tara and Green Tara. He is also linked to the Chinese goddess Kwan Yin, another deity of compasssion.
FROM HERE: Avalokitesvara
By the most popular and beloved of the Mahayana bodhisattvas. The name Avalokitesvara means something like " the Lord who looks down on the World" or according to another interpretation " the Regarder of the Cries of the World". This bodhisattva is first mentioned in the Lotus Sutra (approx. 1st century AD) which together with the Karandavyuha Sutra describe him as rescuing from all kinds of distress and danger anyone who calls out his mantra, Om Mani Padme Hum (Om the Jewel in the Lotus Hum). This desire and ability to help all without distinction is due to Avalokitesvara's great compassion, indeed he is seen as the very embodiment of the Buddha's compassion.

In India Avalokitesvara was usually portrayed as a handsome young prince with the Buddha nestled in his crown, or sometimes as an ascetic, iconographically very similar to the Hindu god Siva. He was also given some of Siva's names - the Blue Throated One, Mahesvara etc. In Tibet he is often portrayed with a thousand arms, each hand with an eye in it, symbolising the seeing and reaching out to help those in distress. In China however Avalokitesvara is more usually represented as a beautiful white robed woman and is known as Kwan Yin. From Mongolia to Sri Lanka, from Afghanistan to Indonesia, the worship of Avalokitesvara has long been popular, even fervent, and has inspired some of the most beautiful examples of Buddhist art.

A. On, In China. J. Blofield, Bodhisatva of Compassion. Boston, 1988; in Sri Lanka, J.C. Holt, Buddha in the Crown. Oxford, 1991.

FROM HERE: Dharma Data: Avalokitesvara
Avalokitesvara (pronounced and sometimes written as Avalokiteshvara) is one of Buddhism's most inspiring figures. The literal meaning of 'Avalokitesvara' is 'the Lord who looks down', the implication being that he looks down with perfect compassion. He is depicted with a number of heads, between two and eleven, and up to a thousand arms. Such depictions show him to be all seeing and all helping, ready to acknowledge and support all suffering beings.


Symbolism
The accompanying picture (Courtesy of the Buddha Hunter) to this article shows Avalokitesvara with one head and four arms. In his outer left hand he holds the lotus, a major Buddhist symbol, and in his outer right hand a 'rosary' or mala in a figure of eight. The mala usually consists of 108 beads and is used for the recitation of mantras. The two central hands hold a jewel, again another potent Buddhist symbol.

The lotus is an inspirational symbol in itself. Though it has its roots in mud and slime, it blossoms into a beautiful flower. Similarly, though we dwell in ignorance, we have the potential to grow into fully enlightened beings. The beads signify Avalokitesvara's purity of speech, exercised through his mantra recitations. The jewel in the center of the picture is the wish-granting jewel, symbolizing Avalokitesvara's ability to help all those who call upon him.

The Lotus Sutra
In Chapter 24 of the Lotus Sutra Avalokitesvara is seen as a figure who can be called upon in times of adversity: 'If some creature, young man of good family, shall be bound in wooden or iron manacles, chains or fetters, be he guilty or innocent, then those manacles, chains or fetters shall give way as soon as the name of the Bodhisattva Mahâsattva Avalokitesvara is pronounced'. Similarly, he can grant whatever one desires: 'If a woman is desirous of getting a daughter, a nice, handsome, beautiful girl shall be born to her; one possessed of the (good) characteristics of a girl, generally beloved and winning, who has planted good roots'.

The Lotus Sutra emphasizes Avalokitesvara's chameleon-like nature, assuming different guises appropriate to his audience:'To those who are to be converted by a goblin, he preaches the law assuming the shape of a goblin'. He is described as possessing the perfection of all virtues', beholding 'all beings with compassion and benevolence'.
In the Tibetan tradition Avalokitesvara is known as Chenrezi of whom, in the Tibetan tradition, the Dalai Lama is considered the living embodiment. In China Avalokitesvara takes a female form and is known as Kuan Yin.

FROM HERE: Avalokitesvara
Avalokitesvara, merciful lord, is one of the most important deities in the Mahayana sect of Buddhism. He is thought to have originated in India, and worshipped from around 500 BC to the present. In Lamaism he is the tutelary god of Tibet. He is equated with Vishnu in Hinduism, and is somewhat connected with Padmapani. In cosmic mythology he is considered a creator god. His Shakti is Pandara, and his attendant animal is a lion. There exist many forms of Avalokitesvara including varieties with up to eleven heads, occasionally arranged in a pyramid. His colors are white and red; and his attributes are the blue lotus, image of Amitabha (top-most pyramidal head), lotus, rosary, sword, and water jar.

FROM HERE: Avalokitesvara
Also search for: Chenrezig and Kwan Yin (whom Avalokitesvara is also associated with).

Other sites:

Saturday, November 19, 2011

Bhuvaneshwari/Bhuvaneshvari




"Bhuvanesheem Mahamayaam Sooryamandalaroopineem
Namami Varadaam Suddhaam Kamakhyaroopineem Shivam"


Bhuvaneshwari, in Sanskrit, means the Creator of the World. Goddess Bhuvaneshwari is the fourth of the Dus Mahavidyas. She embodies the physical cosmos and is considered to give shape to the creation of the World.


Bhuvaneshwari is regarded as the supreme goddess who creates everything and destroys all the unnecessary evils of world. She is also the Mother goddess of Kali, Lakshmi, and Saraswati also Gayatri. The Bija(root) Mantra of Goddess Bhuvaneswari is "Hreem" and she is also known as Om Shakti or Adi Shakti.


It is believed that she is so powerful that even the navagrahas (nine planets) cannot stop her from doing anything she wishes to do.

From: here
In Hinduism, Bhuvaneshvari (Sanskrit: भुवनेश्वरी, Bhuvaneśvarī} is the fourth of the ten Mahavidya goddesses and an aspect of Devi,as elements of the physical cosmos, in giving shape to the creation of the World". Also Bhuvaneswari is considered as the supreme goddesses who creates everything and destroys all the unnecessary evils of world. She is also considered as the Mother goddess of Kali, Lakshmi, and Saraswati also Gayatri. In Hindu Mythology she is considered as the most powerful goddess in the universe. Parvati is Sagun Roop of Goddess Bhuvaneswari. Her bija mantra is "Hreem."

Bhuvaneshwari: The Queen of the Universe. Bhuvaneshwari means the Queen or ruler of the Universe. She is the Divine Mother as the Queen of all the worlds. All the Universe is her body and all beings are ornaments on her infinite being. She carries all the worlds as a flowering of her own Self-nature. She is thus related to Sundari and to Rajarajeshwari, the supreme Lady of the Universe.

She is also known as Om Shakti or Adi Shakti q.e one of the earliest forms of shakti. She is capable of turning situations according to her wish. It is considered that even the navagrahas and trimurti cannot stop her from doing anything. She can order trimurti to do anything she wants.

From: Wiki
Skt., bhuvanesvari; Universal Empress

This exalted "Universal Empress", whose body is golden as a rising sun and who wears the crescent moon as a crown on her head, embodies "the totality of the transcendent knowledge that sustains the world", and it is she who provides, from her swollen breasts, the very substance of the material world.

Sometimes, Bhuvaneshvari is regarded as a manifestation of the Great Goddess Durga. A translation of her alternative name Rajarajesvari would be "High Queen" - in an Arthurian sense of the term.

In the Kalika Purana, she is simply listed as one of many yoginis.

From: here
A modern text gives the legend of origin of Bhuvaneshvari as follows:

'Before anything existed it was the sun which appeared in the heavens. The rishis (sages) offered soma the sacred plant to it so that the world may be created. At that time Shodashi was the main power, or the Shakti through whom the Sun created the three worlds. After the world was created the goddess assumed a form appropriate to the manifested world.'

In this form she came to be known as Bhuvaneshvari, literally 'Mistress of the World.'

Bhuvaneshvari thus remains un-manifest until the world is created. Hence she is primarily related with the visible and material aspect of the created world.

More than any other Mahavidya with the exception of Kamala (mentioned later), Bhuvaneshvari is associated and identified with the energy underlying creation. She embodies the characteristic dynamics and constituents that make up the world and that lend creation its distinctive character. She is both a part of creation and also pervades it's aftermath.

The Mahavidya BhuwaneshvariBhuvaneshvari's beauty is mentioned often. She is described as having a radiant complexion and a beautiful face, framed with flowing hair the color of black bees. Her eyes are broad, her lips full and red, her nose delicate. Her firm breasts are smeared with sandal paste and saffron. Her waist is thin, and her thighs, buttocks, and navel are lovely. Her beautiful throat is decorated with ornaments, and her arms are made for embracing. Indeed Shiva is said to have produced a third eye to view her more thoroughly.

This beauty and attractiveness may be understood as an affirmation of the physical world. Tantric thought does not denigrate the world or consider it illusory or delusory, as do some other abstract aspects of Indian thought. This is made amply clear in the belief that the physical world, the rhythms of creation, maintenance and destruction, even the hankerings and sufferings of the human condition is nothing but Bhuvaneshvari's play, her exhilarating, joyous sport.

From: here
Bhuvaneshwari is the Queen (Ishvari) of the phenomenal world (Bhuvan). It is the prime force Parashakti, which manifests herself as the phenomenal world. As a queen, she is interested in the welfare of her subjects and resides in the hearth chakra.

Once Brahma, Vishnu and Shiva quarreled over who was supreme. When the quarrel became too serious, the Divine Mother took them to her abode, where they saw themselves as three women attendants, taking care of creation, preservation and destruction.

Bhavneshwari is one of the ten Mahavidyas - the others are Kali, Tara, Shodashi, Bhairavi, Chinnamasta and Dhumavati, Matangi, Kamala and Bagla Mukhi. The Mahavidyas represent some or other incarnation or manifestation of the Divine Mother. They are in this sense also to be regarded as Vidyas or different approaches to (tantric) knowledge.

Her bija sound is the same as that of Maya. Through the worship of Bhuvaneshwari the divine plan is realized and the illusionary nature of Maya becomes the play of the divine Leela. This brings a deep change in the emotions and in body chemistry.

From: here
More than any of the Mahavidyas, with the possible exception of Kamala, Bhuvaneshvari is associated and identified with the earth, the creation in general, and the underlying energy that brings it to be and pervades it. She embodies the characteristic dynamics and constituents that make up the world and that lend creation its distinctive character.

The legend behind her origin says that in the beginning the sun appeared in the heavens. The rishis (sages) offered soma (a sacred plant) so that the world might be created. The sun then created the three worlds (lokas or bhuvanas). At that time Shodashi (Tripura-sundari) was the main power, or shakti, through whom Surya (sun) created the worlds. Having created the worlds, or having empowered the sun to do so, the goddess assumed an appropriate form and pervaded and directed the triple world. In this form she became known as Bhuvaneshvari, "mistress of the world." It is further said that Bhuvaneshvari remains unmanifest until the world is created. That is, Bhuvaneshvari is particularly associated with the visible, created world.

Bhuvaneshvari's beauty is mentioned often. The Tantrasara describes her as having a beautiful face, framed with flowing hair the color of black bees. Her eyes are broad, her lips full and red, and her nose delicate. Her firm breasts are smeared with sandal paste and saffron. Her waist is thin, and her thighs, buttocks, and navel are lovely. Her beautiful throat is decorated with ornaments, and her arms are made for embracing. Shiva is said to have produced a third eye to view her more thoroughly. In her hundred-name stotra (hymn) in the Shaktapramoda, she is said to be a beautiful young girl, to have a smiling face, and to have an attractive sexual organ. She is said to be the triangle itself (the schematic representation of the yoni).

Here she is shown with four arms, two of them making the gestures of granting boons and removing fear respectively. These gestures express her gracious attitude towards the world, particularly towards her devotees.

The other two hands hold a goad and noose. These suggest control. The goad means that she controls evil forces or inner hindrances, such as anger, lust, and any obsession that interferes with spiritual development. The noose symbolizes the different bodily sheaths that hide, and therefore bind, the spiritual essence of a person, the atman.

From: here
I devoutly pray to Bhuvaneshi
who
has radiance like that of the rising sun
has a moon diadem
has elevated breasts
has three eyes
has a smiling face
has (in her hands) goad and noose
(and the other two are in the stances of)
boon-conferring and protection.

Bhuvaneshi fulfils the four objects of human life
is entire, enjoys Brahmananda (bliss),
is the queen of the universe
is the aggregate of the three powers (will, action and knowledge),
is beyond birth and death,
is served by Vishnu, Brahma and Indra.

From: here
BHUVANEŚVARI 1
FROM THE TANTRASĀRA 2

1

Now I pray for the attainment of all blessings to Bhuvaneśvarī,
The cause and Mother 3 of the world,
She whose form is that of the Śabdabrahman, 4
And whose substance is bliss.

2

Thou art the primordial One, 5
Mother of countless creatures,
Creatrix of the bodies 6 of the lotus-born, 7 Viṣṇu and Śiva.
Who creates, preserves, and destroys the three worlds.
O Mother! by hymning Thy praise I purify my speech.

3

O Daughter of the Mountain-King, 1
Thou art the cause of the world-destroying energy of Śiva, 2
Who manifests in earth, water, fire, ether, the sacrificer, the sun and moon, 3
And who destroyed the body of Manmatha. 4

4

O Mother! men only worship the triple-streamed Gangā 5
Because She shines in the matted hair of Śiva, 6
Which has been purified
By the dust of Thy lotus feet.

5

As the moon 7 delights the white night lotus 8 and none other,
As the sun delights the day lotus 1 and none other,
As one particular thing only delights one other,
Thou, O Mother! delightest the whole universe by Thy glances.

6

Although Thou art the primordial cause of the world,
Yet art Thou ever youthful;
Although Thou art the Daughter of the Mountain-King, 2
Yet art Thou full of tenderness.
Although Thou art the Mother of the Vedas, 3
Yet they cannot describe Thee. 4
Although men must meditate upon Thee,
Yet cannot their mind comprehend Thee. 5

7

O Mother of the worlds!
Those who have reached that birth amongst men
Which if so difficult to attain,
And in that birth their full faculties,
Yet nathless do not worship Thee,
Such, though having ascended to the top of the stairs,
Nevertheless fall down again. 1

8

O Bhavānī!
Such as worship Thee with fragrant flowers and sandal paste,
Ground with cool water 2 and powdered camphor,
Gain the sovereignty of the whole world.

9

O Mother! like the sleeping King of serpents, 3
Residing in the centre of the first lotus, 4
Thou didst create the universe.
Thou dost ascend like a streak of lightning, 5
And attainest the ethereal region. 6

10

Thy body, having been moistened with the nectar flowing from That, 1
Thou dost again reach Thy abode 2 by that way. 3
O Mother and Spouse of Maheśvara!
They in whose heart Thou glitterest are never reborn.

11

O Gaurī! with all my heart
I contemplate Thy form,
Beauteous of face,
With its weight of hanging hair,
With full breasts 4 and rounded slender waist, 5
Holding in three hands a rosary, 6 a pitcher, 7 and a book,
And with Thy fourth hand making the jnānamudrā. 8

12

O Bhuvaneśvarī
Yogis who have restrained their senses
And have conquered the six enemies, 9
In yoga with calm minds behold Thee
Holding noose and a goad,
And making the vara and abhaya mudrās. 1

13

Thou art Lakṣmī,
Rivalling the lustre of molten gold,
Holding two lotuses in two of Thy hands,
And with the other two making the gestures which grant boons and dispel fear. 2
Four elephants holding jars (in their trunks),
Sprinkle Thy head with nectar. 3

14

O Bhavānī! Thou art Durgā, 4 seated on a lion,
Of the colour of durvā grass, 5
Holding in Thy eight hands various kinds of dreadful weapons,
And destroying the enemies of the immortals. 1

15

I remember again and again the dark 2 primeval Devī 3 swayed with passion, 4
Her beauteous face heated and moist with the sweat (of amorous play), 5
Bearing a necklace of Ganjā berries, 6 and clad with leaves.

16

O Spouse of Śrīkaṇṭha, 7
I place on my head Thy blue lotus feet,
Which are followed by 8 the Vedas,
As swans are lured by the tinkling sound of an anklet.

17

O Bhavānī! I worship thy body from ankle to knee, 1
Upon which the bull-bannered one 2 gazes with great love,
And who, as if not satiated by looking thereon with two eyes,
Has yet made for himself a third. 3

18

I call to mind thy two thighs, 4
Which humble the pride of the trunk of an elephant,
And surpass the plantain-tree in thickness and tenderness. 5
O Mother! youth 6 fashioned those thighs
That they may support as two pillars the weight of thy (great) hips, 7


19

Looking at thy waist, 1 it would seem as if it had been absorbed
And become the great bulk of thy breasts and hips. 2
By the youth 3 which clothes the body with hair, 4
May it ever be resplendent in my heart!

20

O Devī! may I never forget thy navel, 5
As it were a secure inviolate pool, 6
Given to Thee by Thy blooming youth,
Filled with the liquid beauty 7 of the beloved of Smara, 8
He who was fearful of the fire from the eyes of Hara. 1

21

Thy two lotus-like breasts, smeared with sandal,
Which bear ashes telling of Śiva's embrace, 2
Call to mind the vermilion-painted temples moist with ichor 3
Of some (impassioned) elephant
Rising from his bath in waters,
Flicked with foam. 4

22

O Mother! Thy two arms, beauteous with the water
Dripping from Thy body bathed from neck to throat,
Seem to have been formed by the crocodile-bannered One, 5
As long nooses wherewith to hold the throat of his enemy 6 (Śiva).
May I never forget them!

23

O Daughter of the Mountain-King,
Again and again have I looked upon Thy shapely neck,
Which has stolen the beauty of a well-formed shell,
And is adorning with pleasing necklace and many another ornament;
Yet am I never satiated.

24

O Mother! he has not been born in vain 1
Who oft calls to his mind
Thy face, with its large round eyes and noble brow,
Its radiant cheeks and smile,
The high, straight nose,
And lips red as the bimba fruit. 2

25

Whoever, O Devī! contemplates upon Thy wealth of hair,
Lit by the crescent moon, 3
Resembling a swarm of bees hovering over fragrant flowers,
Is freed of the ancient fetters which bind him to the world. 4

26

The mortal who in this world
Devoutly from his heart reads this hymn,
Sweet to the ears of the wise,
Attains for ever all wealth in the form of that Lakṣmī
Who attends the crowned kings who are prostrate at Her feet.


Footnotes

31:1 The Devī in her aspect as Lord and Ruler of the world.

31:2 P. 567.

31:3 Ambikā.

31:4 Sākṣātsabdabrahmasvarūpiṇī: the "sound" or manifested Aparabrahman, as opposed to the absolute, the Parabrahman. The Devī and the Śabdabrahman are, in fact, one, though men speak of Her as His Śakti (power).

31:5 Ādyā.

31:6 Vapuhpratipādayitrī. The Devas have bodies, subtle though they be, as the Śabdabrahman Himself has.

31:7 Brahmā.

32:1 Himavat, whose daughter, as Pārvatī, the Devī was.

32:2 For they derive their power from the Devī, the All-Mother, whose children they are, and who also manifests as their Spouse.

32:3 These constitute the eight-fold forms (aṣṭamūrti) of Śiva, viz, Sarva, Bhava, Rudra, Ugraha, Bhīma, Paśupati, Īśāna, Mahādeva.

32:4 The Deva of Love.

32:5 Trisrotah, for there are three Ganges: the heavenly (Mandākinī), earthly (Alakanandā), and that of the nether world (Bhogavatī).

32:6 As to the descent of Gangā into the jaṭa of Śiva (see Hymn to Gangā, post).

32:7 Literally Lord of Kalā. Kalā is a digit of which there arc sixteen in the moon. The amākatā is that from which the nectar is distilled.

32:8 Kumudinī, which blooms and opens at night.

33:1 Kamalinī.

33:2 Mountain (Śaila), which is that which is made of masses of stone (Śilā)--a rhetorical comparison between the hardness of stone and Her tenderness.

33:3 Trayā. The whole Veda is so called because it consists of song, prose, and verse; or because the Rik, Yajus, and Sāma are alone referred to as Veda.

33:4 Cf. verse 2 of Mahimnastava of Puṣpadanta.

33:5 Literally, "Though thou art to be meditated upon, thou dost not stay in the path of mind" (cf. Mahimnastava, loc. cit, and Śruti, which says, "Yato vāco nivarttante aprāpya manasā saha.")

34:1 That is, as the subsequent fall makes the ascent useless, so human incarnation is without avail for those who, without excuse in such incarnation, do not worship the Devī.

34:2 Kālidāsa in the Ritusamhāra says that in the hot weather women should wear fine cloth, powder their hair with fragrant scent, and smear their breasts with sandal, ground with cool water.

34:3 She as Kuṇḍalinī resembles a sleeping serpent with three and a half coils abiding in the mūlādhāra.

34:4 The Mūlādhāra cakra (see last note).

34:5 Vidyullatā balaya vibhramamudvahanti. This is the sense of the passage which may literally mean that the Devī carries the beauty (vibrahma) of wristlets, like a streak of lightning, or "the Devī is sporting like a streak of lightning."

34:6 Khamasnuvānā. Kham is here Śiva in the Sahasrāra, whither the Devī repairs when Her passion is aroused by the lightning of the Kāmāgni around Her fanned by the leftward revolution of the red Kandarpavayu.

35:1 That is the Sahasrārapadma.

35:2 Mūlādhāra.

35:3 Margenātena--that is, the nādī suṣumnā.

35:4 Apīvarastanatatīm.

35:5 Tanuvrittamadhyām.

35:6 Japamāla, with which japa or recitation of mantra is done.

35:7 Kalaśa.

35:8 Literally, holding cintā, which is a name for the jñāna mudrā, or manual gesture so called.

35:9 The six sins (see p. 27, n. 3).

36:1 That is, the gestures (Mudrā) which grant boons and dispel fear. In the first the hand is held horizontally, the palm open, the fingers close to each other, and the thumb across the palm and touching the root of the third finger. The second is the same, but the hand is held upwards vertically, the palm being shown to the spectator.

36:2 That is, the vara and abhayamudrās, ante.

36:3 In this form the Devī is represented as being surrounded by four elephants, which pour nectar over 'her from jars held in their trunks.

36:4 One of the names of Bhuvaneśvarī (see p. 171 of Prosanna Kumar Shastri's "Daśamahāvidyā").

36:5 Of a dark green. It is not clear why this colour is here mentioned, as the colour of Durgā is a golden yellow. It is, however, the colour of other forms, which are those of the one and the same Devī. Thus the colour of Kālī is that of anjana (black, collyrium), Tārā is nīlā (dark blue), Mātanginī is asitā (black) or shyāmāngī (dark green). The hue of Shodashī (Śrī) is that of the rising sun (bālārkākanti), at it is that of Bhuvaneśvarī (uddaddinakaradyuti). The colour of Bhairavī is said to be that of a thousand rising suns; of Chinnamastā that of a million suns; p. 37 Dhūmāvati is of an ashen colour (vivarnā); Bagalāmukhī is all yellow (pītavarṇā), and Kamalā is said to be like lightning (saudāminisannibhā)--see Prosanna Kumar Shastri's "Daśamahāvidyā".

37:1 The Daityas, enemies of the Devas, whose Protectress the Devī is.

37:2 Asitakānti. It is difficult to arrive at English translations for some Sanskrit words of colour. Mātanginī here referred to is also spoken of as shyāmāngī or dark green; and dark green and dark-blue seem also to be used interchangeably.

37:3 Mātanginī, one of the Daśamahāvidyā.

37:4 Anangatantrām--influenced or swayed by Ananga ("the bodiless one"), a name of the Hindu God of Love, Kāma.

37:5 Avirnidāsha jalashikharashobhivaktrām. The cause is shown in the preceding line--play and union with her Lord.

37:6 Red and black berries used as goldsmiths' weights.

37:7 Śiva, the "beautiful throated," also called Shitikaṇṭha ("peacock-throated"), from the colouring caused by His drinking the venom which arose at the churning of the ocean.

37:8 Anugamyamānau--that is, the Vedas worship and adore Her.

38:1 Janghā. cf. Lalitāsahasranāma, verse 18, where the Devī's calves are compared to "the sapphire-studded quiver of the God of Love, with rounded ankles and instep arched like the back of a tortoise."

38:2 Śiva, also called Vriṣaddhvaja.

38:3 Śiva is always represented with three eyes, the third being the eye of wisdom, which in man opens on the realization of divinity.

38:4 Uru (cf. Lalitāsahasranāma, verse 17. "The symmetry and smoothness of Her thighs are known only to Kāmeśa (Śiva). Her knees shine like jewelled discs."

38:5 Cf. First Canto of Kālidāsa's Kumāra Sambhavam.

38:6 Madhyamenabayasā.

38:7 Shroni.

39:1 Murtirmadhyastava.

39:2 Shronyaustanauchayugapat prathayishyatochchairbālyāt parena bayasā parihristasārah--that is, the waist is so slender and the breasts and hips so heavy that it would seem that the greater part of the body, which goes to the making of the waist, had been taken away and put into the breasts and hips, and formed their bulk.

39:3 Bālyātparenabayasā. Literally the age which follows childhood, which is the cause of these changes in woman's body.

39:4 Romāvalivilāsitena, which appears with puberty (cf. verse 15 of the Lalitā).

39:5 Nābhi, which also means any navel-like cavity.

39:6 Pallalamapradhriśyam--from all but Śiva: a similar idea to that of verse 17 of the Lalitā, where it is said that the beauty of the Devī's thighs are known only to Her Lord Kāmeśa (Śiva).

39:7 Lāvanyavāribharitāng.

39:8 That is, Rati, Spouse of Kāma or Smara, the God of Love, son of Kṛṣṇa and Rukminī. The son of Kāma is Aniruddha, and his companion is Vasanta, the spring. He is armed with a bow-and-arrows, the bow string being a line of bees, and the arrows flowers of different plants.

40:1 When the Devas desired a commander for their forces in their war with Tāraka, they sought the aid of Kāma in drawing Śiva towards Pārvatī, whose issue alone could destroy the demon. Kāma undertook the mission, and shot his arrows of love at Śiva, when the latter was doing tapas. Śiva, however, who was offended at this disturbance of his devotions, burnt Kāma down with a flash from the fire of His third eye. Subsequently Kāma was reborn in the form of Pradyumna at the request of Rati.

40:2 For Śiva's body is covered with ashes.

40:3 Samadasyakumbhau, the ichor which exudes from the temples of elephants in rut.

40:4 The ashes are thus compared to foam, and the sandal paste to the vermilion with which the temples and foreheads of fine elephants are painted.

40:5 That is, Kāma, the God of Love.

40:6 For Śiva burnt him (see ante n. 5). The Devī's arms embrace the neck of Śiva.

41:1 Sa eva jātah. Literally, "He is indeed born." His birth is fruitful.

41:2 The fruit of the tree called tyālākucho in Bengali, which, when ripe, is very red, and to which the lips of young women are often compared (cf. Meghadūta, verse 2, "Pakvabimbādharoṣthī").

41:3 The Devī bears the crescent moon on her head as does Śiva.

41:4 Tasya svayam galati Devī purāṇapāshā--that is, he is freed of rebirth, the fruit of Karma. Here commences the phala (fruit or result portion) of the stotra.

From: here


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Vayu वायु





HYMN CLXVIII. Vāyu.

1. O THE Wind's chariot, O its power and glory! Crashing it goes and hath a voice of thunder.
It makes the regions red and touches heaven, and as it moves the dust of earth is scattered.
2 Along the traces of the Wind they hurry, they come to him as dames to an assembly.
Borne on his car with these for his attendants, the God speeds forth, the universe's Monarch.
3 Travelling on the paths of air's mid-region, no single day doth he take rest or slumber.
Holy and earliest-born, Friend of the waters, where did he spring and from what region came he?
4 Germ of the world, the Deities’ vital spirit, this God moves ever as his will inclines him.
His voice is heard, his shape is ever viewless. Let us adore this Wind with our oblation.
HYMN CXXXIV. Vāyu.

1. VĀYU, let fleet-foot coursers bring thee speedily to this our feast, to drink first of the juice we pour, to the first draught of Soma juice.
May our glad hymn, discerning well, uplifted, gratify thy mind.
Come with thy team-drawn car, O Vāyu, to the gift, come to the sacrificer's gift.
2 May the joy-giving drops, O Vāyu gladden thee, effectual, well prepared, directed to the heavens, strong, blent with milk and seeking heaven;
That aids, effectual to fulfil, may wait upon our skilful power.
Associate teams come hitherward to grant our prayers: they shall address the hymns we sing.
3 Two red steeds Vāyu yokes, Vāyu two purple steeds, swift-footed, to the chariot, to the pole to draw, most able, at the pole, to draw.
Wake up intelligence, as when a lover wakes his sleeping love.
Illumine heaven and earth, make thou the Dawns to shine, for glory make the Dawns to shine.
4 For thee the radiant Dawns in the far-distant sky broaden their lovely garments forth in wondrous beams, bright-coloured in their new-born beams.
For thee the nectar-yielding Cow pours all rich treasures forth as milk.
The Marut host hast thou engendered from the womb, the Maruts from the womb of heaven.
5 For thee the pure bright quickly-flowing Soma-drops, strong in their heightening power, hasten to mix themselves, hasten to the water to be mixed.
To thee the weary coward prays for luck that he may speed away.
Thou by thy law protectest us from every world, yea, from the world of highest Gods.
6 Thou, Vāyu, who hast none before thee, first of all hast right to drink these offerings of Soma juice, hast right to drink the juice out-poured,
Yea, poured by all invoking tribes who free themselves from taint of sin,
For thee all cows are milked to yield the Soma-milk, to yield the butter and the milk.
Vāyu (Sanskrit: वायु, IAST: Vāyu; Malay: Bayu, Thai: Phra Pai) is a primary Hindu deity, the Lord of the winds, the father of Bhima and the spiritual father of Lord Hanuman. He is also known as Vāta (वात), Pavana (पवन, the Purifier),[2] and sometimes Prāṇa (प्राण, the breath).

As the word for air, (Vāyu) or wind (Pavana) is one of the Panchamahābhuta or five great elements. The Sanskrit word 'Vāta' literally means "blown", 'Vāyu' "blower", and 'Prāna' "breathing" (viz. the breath of life, cf. the *an- in 'animate'). Hence, the primary referent of the word is the "deity of Life", who is sometimes for clarity referred to as "Mukhya-Vāyu" (the chief Vāyu) or "Mukhya Prāna" (the chief of Life).

Sometimes the word "vayu," which is more generally used in the sense of the physical air or wind, is used as a synonym for "prāna".[3] There is however a separate set of five deities of Prāna (vital breath), Mukhya-Prāna being chief among them, so that, in Hindi and other Indian languages, someone's death is stated as "his lives departed" (uske prān nikal gaye) rather than "his life departed." These five Vāyu deities, Prāna, Apāna, Vyāna, Udāna, and Samāna, control life (and the vital breath), the wind, touch/sensation, digestion, and excretion.

Vāta, an additional name for Vāyu, is the root of the Sanskrit and Hindi term for "atmosphere", vātāvaran (वातावरण).[4]

Pavan is also a fairly common Hindu name. Pavan had played an important role in Anjana's begetting Hanuman as her child. Hence Hanuman is also called Pavan-Putra (son of Pavana) and Vāyu-Putra.

In the Mahabharata, Bheema was the son of Vāyu and played a major role in the Kurukshetra war. He utilised his huge power and skill with the mace for supporting Dharma.

In the hymns, Vayu is "described as having 'exceptional beauty' and moving noisily in his shining coach, driven by two or forty-nine or thousand white and purple horses. A white banner is his main attribute."[2] Like the other atmospheric deities, he is a "fighter and destroyer", "powerful and heroic."[5]

In the Upanishads there are numerous statements and illustrations of the greatness of Vāyu. The Brhadaranyaka states that the gods who control bodily functions once engaged in a contest to determine who among them is the greatest. When a deity such as that of vision would leave a man's body, that man would continue to live, albeit as a blind man and having regained the lost faculty once the errant deity returned to his post. One by one the deities all took their turns leaving the body, but the man continued to live on, though successively impaired in various ways. Finally, when Mukhya Prāna started to leave the body, all the other deities started to be inexorably pulled off their posts by force, "just as a powerful horse yanks off pegs in the ground to which he is bound." This caused the other deities to realize that they can function only when empowered by Vayu, and can be overpowered by him easily. In another episode, Vāyu is said to be the only deity not afflicted by demons of sin who were on the attack. The Chandogya states that one cannot know Brahman except by knowing Vāyu as the udgitha (the mantric syllable "om").

Followers of Dvaita philosophy hold that Mukhya-Vāyu incarnated as Madhvacharya to teach worthy souls to worship the Supreme God Vishnu and to correct the errors of the Advaita philosophy.

From: Wiki
Vayu is the Hindu god of wind. In Vedic times he was much revered as one of the Hindu Triad. After that age, in the Brahmanic era, he was reduced in status but he still continues to occupy a certain eminent position in the Hindu pantheon. Vayu roams all over the earth and the heavens though his home is in the north-west, a quarter which he rules exclusively. He is featured as a destructive god who has an intemperate character and is often subject to violent desires which he never strives to repress. He is also said to be the king of the Gandharvas, spirits of the mountains who dwell in the foothills of Mount Meru, a mythical summit often mentioned in Hindu religious texts.

Notwithstanding Vayu's amicable association with Mount Meru, he nevertheless once mounted an attack on it and broke its summit. The story goes that, for some unknown reason, Vayu was incited by the sage Narad, a person who can be taken as akin to Mercury of Greek myth, to break off the top of Mount Meru. Vayu, being vindictive and violent, strived to do this for a full year, blowing hard continuously at the Mount but it was nobly defended by Garuda who spread his great wings and took the brunt of Vayu's force, thus shielding the mythical peak. After a full year had passed in this struggle, Garuda became tired and left his guard-post for a while. Narad, who was more mischievous than vindictive, saw the opportunity in this and immediately exhorted Vayu to double his efforts. This time Vayu was successful and Mount Meru lost its respectable top, which Vayu then hurled into the sea where it became the island of Lanka (present-day Sri Lanka).

Vayu's lusts were indiscriminate and the number of illegitimate children he engendered is legion. Though he was married to a daughter of Vishwakarma, the divine architect, he had offspring by many notable female characters of Hindu myths. One of his most famous illegitimate offspring is Hanuman, the monkey god. Hanuman's ability to fly is credited to his covert parentage. Another offspring Vayu engendered is Bhim, the third son of Kunti, one of the two principal mother figures of the Hindu epic Mahabharata. Bhim's antecedents are more respectable as his mother conceived him as a result of a prayer to Vayu asking him for a son. There is also a tale told of Vayu trying to seduce all the hundred daughters of King Kusanabha. When they resisted all his amorous efforts Vayu gave all of them crooked backs.

Vayu is nevertheless important for certain Hindu ceremonies and is then perceived of in more temperate terms. He is called "the bearer of perfumes" and is credited with being a benign force who is a constant companion of Vishnu, one of the incumbent Hindu triad, and his wife Lakshmi, goddess of wealth and beauty.

From: here
Vayu is the god of the wind. Extremely handsome in appearance, he moves about noisily in a shining chariot drawn by a pair of red or purple horses. At times the number of horses increase to forty—nine or even a thousand. The latter number would probably be employed when there is a cyclone. He is also represented as a fair-complexioned man riding a deer and carrying a white flag. He may have two to four hands and may carry a goad and a wheel.

Often associated with Indra, Vayu won the race for the first draught of Soma juice (ambrosia). He does not occupy a very prominent position in the Vedic hymns. He is considered the friend of the waters. At a later stage he is said to have begotten a son, Hanuman (the monkey god), who played a conspicuous role in the epic Ramayana. In the other epic Mahabharata, Bhim also is said to be the son of Vail.

From: here
This is Vayu, the God of the Winds, who rules over the atmosphere. After Indra, he is perhaps the most prominent of the storm gods of the Vedas and is often associated with him. He is presented as riding the golden chariot of Indra, pulled by anything from 99 to a 1000 horses, red or purple in colour. Since he is supposed to have been born from the breath of Purusa, the Supreme Being, he is God of the Wind.

He is supposed to infuse the Universe with life, and to purify the atmosphere as Pavan (the pure) and it is said that his sounds have been heard but his form has never been seen.

Praises have been sung of his swiftness and agility, and later, in the Ramayana and the Mahabharata, he is said to be the father of two of the strongest and bravest heroes, Hanuman and Bheema respectively. Hanuman is often referred to as Pavanputra, the son of Pavan (Wind) by a monkey mother. Kunti, the mother of Bheema, was permitted to bear a child by any of the gods, since her husband could not become a father due to a curse. The fact that she chose Vayu, points to the fact that his position among the gods must have been significant.

Being associated with purification, he is dressed in white and even carries a white flag. He is often referred to as Maruti, the air necessary for life, or Anila, breath of life.

From: here
VAYU. [Source: Dowson's Classical Dictionary of Hindu Mythology] 'Air, wind.' The god of the wind, Eolus. In the Vedas he is often associated with Indra, and rides in the same car with him, Indra being the charioteer. The chariot has a framework of gold which touches the sky, and is drawn by a thousand horses. There are not many hymns addressed to him. According to the Nirukta there are three gods specially connected with each other. "Agni, whose place is on earth; Vayu or Indra, whose place is in the air; and Surya, whose place is in the heaven." In the hymn Purushasukta Vayu is said to have sprung form the breath of Purusha, and in another hymn he is called the son-in-law of Twashtri. He is regent of the north-west quarter, where he dwells.

According to the Vishnu Purana he is king of the Gandharvas. The Bhagavata Purana relates that the sage Narada incited the wind to break down the summit of Mount Meru. He raised a terrible storm which lasted for a year, but Vishnu's bird, Garuda, shielded the mountain with is wings, and all the blasts of the wind-god were in vain. Narada then told him to attack the mountain in Garuda's absence. He did so, and breaking off the summit of the mountain, he hurled it into the sea, where it became the island of Lanka (Ceylon).

Vayu is the reputed father of Bhima and of Hanuman, and he is said to have made the hundred daughters of King Kusanabha crooked because they would not comply with his licentious desires, and this gave the name Kanyakubja, 'hump-backed damsel,' to their city.

Other names of Vayu (wind) are Anila, Marut, Pavana Vata, Gandhavaha, 'bearer of perfumes;' Jalakantara, 'whose garden is water;' Sadagata, Satataga, 'ever-moving,' etc.

From: here
VĀYU.
Another of the storm-gods is Vāyu, the god of the winds. He is often associated with Indra, and is regarded, equally with him, as representing or ruling over the atmosphere. He won the race for the first draught of the Soma juice; and, at Indra's request, allowed him to have a quarter of it. He does not occupy a very prominent position in the Vedic hymns. In one passage * we read, "The two worlds (heaven and earth) generated him for wealth." This may be intended to teach his parentage; and Dr. Muir says that he is not aware of any other passage where his parentage is declared. He is said to be the son-in-law of Tvastri (Visvakarma); but here a difficulty occurs: only one daughter of Tvastri is mentioned, and, as was noticed in the account of Surya, he was said to be husband of this girl.

Vāyu is described † as being most handsome in form; one who moves noisily in a shining car, drawn by a pair of red or purple horses. At times the number of horses is increased to ninety-nine, a hundred, or even a thousand. This latter number would probably be employed during a cyclone. He is seldom mentioned in connection with the Maruts (storm-deities), though in one place he is said to have begotten them by the rivers of heaven.

Another name for Vāyu in the Vedas is Vāta. The praise of Vāta is sung in the following hymn:— * (I celebrate) the glory of Vāta's chariot; his noise comes rending and resounding. Touching the sky, he moves onward, making all things ruddy; and he comes propelling the dust of the earth. The gusts of air rush after him, and congregate upon him as women in an assembly. Sitting along with them on the same car, the god [Indra] who is king of this universe is borne along. Hasting forward . . . he never rests. Friend of the waters, first-born, holy, in what place was he born His sounds have been heard, but his form is not (seen)."

In a later age, when it was thought necessary to connect the heroes, whose exploits are then sung, with the gods, Vāyu, or Pavan as he is then called, is said to have had a son, Hanumān, by a monkey mother. Hanumān played a most conspicuous part in Rāma's expedition in search of Sita. In the Mahābhārata, Bhīma (the Strong), one of the bravest of the warriors whose history is given there, is also said to be a son of Vāyu. Kunti, the mother of Bhīma, had a boon granted as a reward of her devotion, that she could obtain a child by any of the gods she might wish. As her husband, owing to a curse, could not become a father, she employed this charm, and so Vāyu became the father of Bhīma.

Vāyu or Pavan (the Purifier) is represented in pictures as a white man riding on a deer, and carries a white flag in his hand. In the Purānas he is said to be son of Aditi.

Other names by which this deity is known are the following:—Anila, breath; Mārut, air that is necessary to life; Sparsana, he who touches; Gandhavaha, he who carries odours.

From: here
Vayu - the God of Wind

Vayu is a Hindu deity, presiding over the element of air. Vayu is hence the Lord of the winds. Vayu, the father of Bhima and the spiritual father of Lord Hanuman, is also known as Pavana, Vaata and Praana. Vayu is one of the Panchamahabhutas or five elements. 'Vaata' literally means both "atmosphere" and "blown", "Vaayu" means "blower", and "Praana", "breath". Hence, this deity is also regarded as the "Deity of Life", who is sometimes also referred to as "Mukhya-Vaayu" or "Mukhya Praana".

Interestingly, there is however a separate set of five deities of Praana (vital breath) and Mukhya-Praana is their chief. These five Vaayu deities, Praana, Apaana, Vyaana, Udaana, and Samaana, control life, the wind, touch/sensation, digestion, and excretion respectively.

Hanuman - son of Vayu

Pavan had played a vital role in Anjana begetting Hanuman as her child. Hence Hanuman is also called Pavan-Putra (son of Pavana) and Vaayu-Putra. In the Mahabharata, Bheema, another son of Vaayu, played a great role in the war of Kurukshetra. He utilised his formidable phyiscal power and skill in the Gada Yudhha (fighting with the mace) martial art to fight against the Pandavas.

Physical characteristics

Vayu is described as an exceptionally beautiful deity, moving noisily in his ratha (carriage), driven by forty-nine or thousand white and purple horses. His main attribute is a white banner. Like the other atmospheric deities, he is a warrior deity, powerful, heroic and destroyer of adharma.
Legends on Vayu

The Upanishads gives many illustrations on the greatness of Vayu. The Brihadaranyaka states that the gods who control bodily functions once engaged in a contest to determine who among them is the greatest. It was seen here that when a deity such as that of vision left a man's body, that man would still continue to live, albeit as a blind man. He would regain the lost faculty once the errant deity returned to his post. One by one, the deities all took their turns leaving the body, but the man still continued to live on, though impaired each time one of the deities left his body.

Finally, when Mukhya Prana started to leave the body, all the other deities were forced out of the body as well. This caused the other deities to realize that they could survive and function only when empowered by Vayu, and that Vayu could easily overshadow them.

Followers of the Dvaita philosophy believe that Mukhya-Vayu incarnated as Madhvacharya, in order to fulfill his mission of teaching people to worship the Supreme Lord Vishnu and to correct the errors of the Advaita philosophy as well. In fact, Madhvacharya himself makes this claim, citing the Rig Veda as his evidence.

From: here