N
Nārāyana
˙
Shakuntala Gawde
Department of Sanskrit, University of Mumbai,
Mumbai, India
particularly and Vaiṣṇavism in general. Nārāyaṇa
is also mentioned as inseparably associated with
the sage Nara.
Nara – Nārāyana
˙
Synonyms
Nara Nārāyaṇa; Puruṣa Nārāyaṇa; Puruṣottama
Definition
Nārāyaṇa is important God of Vaiṣṇava cult. It is
generally referred as another name of Viṣṇu. Historically Nārāyaṇa was different God than Viṣṇu
which later got identified with Viṣṇu and also got
intermingled into Vaiṣṇava pantheon. In later literature, Nārāyaṇa and Viṣṇu are used alternatively
to refer to same deity.
Introduction
Nārāyaṇa and Viṣṇu are considered almost synonymous in Purāṇas and later Upaniṣads.
Rāmānuja considered Nārāyaṇa-Viṣṇu as Parabrahman. He became the important god in Purāṇic
period and attained the status in Trinity of Hinduism. Nārāyaṇa was the main god of Pañcarātra
sampradāya. Syncretic deity Nārāyaṇa-Viṣṇu
got associated with Bhāgavata sampradāya
Nārāyaṇa is also known as one among two ṛṣis
known as Nara-Nārāyaṇa. Dharma, son of
Brahmā was his father. Dharma married to ten
daughters of Dakṣa and four sons namely, Hari,
Kṛṣṇa, Nara, and Nārāyaṇa were born to him.
Nara and Nārāyaṇa were inseparable samnyāsins.
They did tapas for thousand years on the slopes of
Himalaya to please Brahmā ([10], p. 532).
Many scholars have given the etymology of the
word Nārāyaṇa from Nara. Nārāyaṇa is a gotra
name derived from the word Nara ([5], p. 33).
Jaiswal quotes the views of Barnett and D. C.
Sirkar. So according to this view, Nārāyaṇa was
a sage born in the family of another sage Nara.
Nara and Nārāyaṇa are considered two ṛṣis.
Nārāyaṇa is the composer of Puruṣasūkta. Nara
and Nārāyaṇa were advocates of solar worship
which led to their identification with sun god.
According to Jaiswal, this interpretation of terms
clearly ignores the view that in the Mahābhārata
the sage Nara is born out of the austerities
performed by Nārāyaṇa and not vice versa ([5],
p. 34). Constant association of Nara and Nārāyaṇa
is seen in several stories but there is no mention of
Nārāyaṇa as a god in early references. From the
© Springer Nature B.V. 2020
P. Jain et al. (eds.), Hinduism and Tribal Religions, Encyclopedia of Indian Religions,
https://doi.org/10.1007/978-94-024-1036-5_194-1
2
views of Jaiswal, it can be said that Nārāyaṇa
attained the status of god who was initially a sage.
Symbolism of Nara-Nārāyaṇa is also seen from
philosophical viewpoint. R. G. Bhandarkar
unfolds allegory of Nara-Nārāyaṇa with the metaphor of two birds – one dwelling on tree and
other enjoying sweet and bitter fruits. That one
of those who is called the lord and the onlooker is
in the present tradition Nārāyaṇa and the other
who is engaged in eating the fruit of the tree
Nara. The old idea was transferred to the new
conception of Nārāyaṇa as the resting place or
abode of all men ([2], p. 32). Rao cites Manusmṛti
to explain the symbolism of Nara- Nārāyaṇa in
philosophical temperament. Nara means that
which does not perish (na rī yate kṣī yate) and the
word refers to the cosmic spirit of the soul, which
creates the endless stretch of the primeval water
(which therefore is called nāram); the supreme
spirit that lies hiding in this watery mass is
Nārāyaṇa (meaning abiding Nāra) ([8], p. 81).
There are different narratives about NaraNārāyaṇas which throw light on the nature of the
Nārāyaṇa.
Vettam Mani mentions one story from Devi
Bhāgavata, 4th skandha, which is about the
tapas of Nara-Nārāyaṇas which was hindered by
Indra. The whole world was burnt by intense
tapas of Nara-Nārāyaṇa. Indra went to
Badarikāśrama to break their tapas in order to
save his position of Indra. He asked them to
choose a desired boon but they didn’t even recognize him or answer him. Then he decided to disturb them with his māyā. He created ferocious
animals, storm, rain, flood but they were
unmoved. Then Indra appointed Kāmadeva for
this task. Kāmadeva came to Badarikāśrama
with all apsarās. They started singing and dancing
before these two sages. Understanding the diplomacy of Indra, they decided to take away his pride
by creating more beautiful apsaras. Beautiful
woman was created from Nārāyaṇa’s thigh (uru)
known as Urvaśī. All were wonderstruck by her
beauty. They felt ashamed. Munis asked them to
take her to Devaloka ([10], p. 532).
Nārāyaṇī ya section of the śāntiparvan from
Mahābhārtata mentions Nārāyaṇa. Nārada goes
to Badarikāśrama to see Nara and Nārāyaṇa. The
Nārāyana
˙
later was engaged in the performance of religious
rites. Nārada asked Nārāyaṇa whom he
worshipped, while he himself is the Supreme
Lord. He uttered that he worshipped his original
Prakṛti (nature) which is the source of all. Nara,
Nārāyaṇa, Kṛṣṇa, and Hari called as sons of
Dharma are represented as the four sons of
Supreme. Nārada flies into the sky to see the
original nature, i.e., Prakṛti of Nārāyaṇa and
alights on the peak of Meru mountain. He saw
people without senses, with heads like umbrellas,
making sound like thundering and devoted to
Bhagavat. Yudhiṣṭhira asks Bhīṣma about these
people. Then Bhīṣma told the story of King Vasu
Uparicara who worshipped Lord with the Sātvata
vidhi. He was very pious king honoured by Indra.
Citraśikhaṇḍins were the original promulgators of Sātvata. The mountain Meru was the
place where they revealed it. They were seven
consisting of Marīci, Atri, Aṅgiras, Pulastya,
Pulaha, Kratu, and Vasiṣṭha. Eighth was
Svāyambhuva from whom emanated excellent śā
stras. This they promulgated to Bhagavat who
said to ṛṣis that you have composed hundred
thousand verses which contain rules of affairs of
men which are in harmony with Yajus, Sāman,
Ṛc, and Atharvāṅgiras. I created Brahman from
my peaceful and Rudra from wrathful nature. This
śāstra will be handed over from person to person
till reaches to Bṛhaspati. Then it will be passed to
Vasu Uparicara, a first disciple of Bṛhaspati. The
king will follow this śāstra and will become my
devotee. After his death, this śāstra will be lost.
From the above stories, it can be observed that
cult of Nārāyaṇa discloses prominent influence of
the nature of asceticism and it is very probable that
it was dominated by them in its early stages.
Origin and Development of Deity
Nārāyana
˙
First reference of the deity Nārāyaṇa can be traced
back to Śatapatha Brāhmaṇa XIII.6 in connection
with Paῆcarātra sattra. Here he is referred as
Puruṣa Nārāyaṇa (Puruṣo ha Nārāyaṇah
akāmayat|) He sent forth Vasus, Rudras, Ᾱdityas
by means of morning, mid-day, and evening
Nārāyana
˙
offerings. Prajāpati asked him to sacrifice again.
Nārāyaṇa placed in all the worlds, the gods, the
Vedas, the vital airs, etc. Prajāpati asked him to
sacrifice again; and by means of sacrifice
Nārāyaṇa placed himself in all the worlds, gods,
Vedas, vital airs, etc. Nārāyaṇa became superior
to all.
Nārāyaṇa gained superiority by this and
became identical with all beings. Here Nārāyaṇa
is not connected with Viṣṇu. According to
Rayachaudhuri, in Taitiriya Āraṇyaka (X.11.1),
Nārāyaṇa is brought into direct connection with
Viṣṇu [9]. Nārāyaṇa appears as the deity “eternal,
Supreme and Lord” and receives the name Hari.
There is one view that Nārāyaṇa is the deity of
Dravidian origin, his name being composite of
three words nār-ay-an. Dravidian nī r meaning
water, ay meaning “to lie in a place,” and male
personal termination “an.” So it means a deity
lying on the water. In the Mahābhārata, this etymology of Nārāyaṇa is explained as “waters were
called as Nāra, I have assumed their name that
being my abode (ayana).” ([6], p. 250) Manusmṛti
I.10 etymologizes the word Nārāyaṇa from Nāra
meaning water. Keny says that Nārāyaṇa is originally non-āryan god but incorporated later on by
Brāhmaṇas while writing the great epic. They
have in fact, āryanised a non-āryan god, probable
of the people who had a high sea commerce and
identified him with the present Viṣṇu of the āryan
pantheon ([6], p. 252). According to Keny, the
very word śeṣa-śāyī corroborates the Dravidian
character of Nārāyaṇa. The representation of
pure āryan god with a nāga would not be quite
suitable, Śeṣa being the king of Nāgas, who were
Dravidian tribe. It was the ārynanisation of the
Dravidian deity of sea. He was identified later on
with Viṣṇu and thus incorporated in Āryan pantheon ([6], p. 254). Later on Keny propounds that
representation of Nārāyaṇa on the tree, which is
being surrounded by waters all around in
Mahābhārata, vana parva has remarkable parallelism with the Supreme Being of Mohenjo Daro
which is also represented as being on a tree. This
Nārāyaṇa of the āryan pantheon seems to be the
Supreme Being of the Mohenjo Daro ([6], p. 255).
Suvira Jaiswal derives the connection of
Pañcarātra sattra with Puruṣamedha sacrifice on
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the basis of references from Śatapatha Brāhmaṇa
XIII.6.1 (sa etam pañcarātram puruṣamedham
yajñakratumapaśyat |). The ritual killing of man
was a universal development from cannibalism
through which human civilization had to progress.
Nārāyaṇa signified the collectivity of men; it was
for the good of human tribe that human being was
killed originally to provide food (medhā means lit.
food) ([5], p. 35) He traces traits of original association of Nārāyaṇa with human sacrifice as preserved in the ritual of Nārāyaṇa bali. Nārāyaṇa
bali is performed for those who die unnatural
death, commit suicide, or are slain and for all
those persons for whom cremation is forbidden.
It was specially ordained for whom the cremation
was forbidden ([5], p. 36). He traces the concept
of universal form or viśvarūpa which became
popular in Bhagavadgī tā as originally associated
with Nārāyaṇa. Mārkaṇḍeya’s entry into the
mouth of Nārāyaṇa and his vision of the whole
universe as existing inside the body of the deity is
described in Āraṇyaka Parva, Mahābhārata ([5],
p. 36).
Jaiswal traces the origin of Nārāyaṇa to Indus
Valley civilization. He shows Nārāyaṇa’s connection with śrāddha ceremony as observed in
Mahābhārata XII.333; XII.322.19f where offering of black sesamum is an essential rite and
rituals connected with sesamum are an inheritance
from the Harrappa culture ([5], p. 47).
R. G. Bhandarkar shows the similarity of the
word Nārāyaṇa with Nāḍāyana which is formed
by Pāṇini’s Sūtra IV.1.99 and means the gotra
Nāḍāyana. The term is significant and means in
this case the resting place or the place to which
Nāḍa or collections of Nāḍas go. Therefore,
Nārāyaṇa may be construed as the resting place
or goal of gods ([2], p. 30).
Nārāyaṇa is also associated with primeval
waters. Waters were called as Nāras because
they were the sons of Nara. He is considered as
creator at many places including Purāṇas which
can be taken as the identity which was established
in Brahmā and Nārāyaṇa. Cosmological function
of Brahmadeva was transferred to Nārāyaṇa by
assigning him prime position of creator.
Brahmadeva sprang from the lotus in the navel
of Nārāyaṇa or Viṣṇu (Mahābhārata III.12,34 and
4
XII.349.18) is evident to prove that superiority of
Nārāyaṇa or Viṣṇu is established over Brahmā.
Nārāyaṇa is represented as lying on the body of
huge serpent in the ocean of milk.
Identification with Visnu and Krsna
˙˙
˙˙ ˙
Nārāyaṇa is considered synonymous with the
Viṣṇu so much so that these two terms are alternatively used. Āgamic literature considers
Nārāyaṇa as vyūha incarnation of Viṣṇu.
According to Pañcarātra treatise, Nārāyaṇa
descends from Vāsudeva who is the vyūha
avatāra of Viṣṇu ([4], p. 217) Sātvata Samhitā
XII includes Nara- Nārāyaṇa in the vibhava
avatāra. Same is told by Ahirbudhnya Samhitā.
Nārāyaṇa is sometimes identified with
Prajāpati Brahmā. Cosmic activities are assigned
to Nārāyaṇa. Evidently Nārāyaṇa is a powerful
God in his own right, which conduces to his
identification first with Brahmā and next with
Viṣṇu ([4], p. 49) Kṛṣṇa got identified with
Viṣṇu Nārāyaṇa in later times. Rayachaudhuri
finds the identification of Vāsudeva with Viṣṇu
Nārāyaṇa in the Taitirīya Āraṇyaka ([7], p. 68).
Rayachaudhuri states the active propaganda of
Ashoka that led the Vedic priests to identify
Vāsudeva with Nārāyaṇa-Viṣṇu. Regarding the
question as to why Kṛṣṇa was identified with
Viṣṇu and not any other Vedic God; Rayachaudhuri
suggested that Viṣṇu was connected from earliest
Vedic times with a work of deliverance for mankind
in distress ([7], p. 69). Brāhmaṇic identification of
Vāsudeva with Nārāyaṇa-Viṣṇu was not accepted
by the bhāgavatas in the pre-Christian centuries.
Ghosūṇḍī inscription does not prove any connection
between the worship of Nārāyaṇa and the cult of
Saṅkarṣaṇa Vāsudeva in second century BCE ([7],
p. 69). Bhāgavatas ultimately accepted the identification of their master with these deities, as is evident
not only from the Garuḍa Pillar inscription but from
the Nārāyaṇī ya, the Tusām Rock Inscription, and
epigraphic records of the Paramabhāgavata
emperors of Gupta line ([7], p. 70).
R. G. Bhandarkar also opines that Nārāyaṇa
was evolved as a Supreme Being in the later
Brāhmaṇic period was prior to Vāsudeva and in
Nārāyana
˙
epic times when worship of later arose, Vāsudeva
was identified with Nārāyaṇa ([2], p. 32). He has
cited the story from Mahābhārata Vanaparvan
(Chaps. 188, 189). There is description of the
time of dissolution of the universe. There was
water everywhere and a boy lying on a couch on
a branch of Nyagrodha tree. He opened his mouth
and took Sage Mārkaṇḍeya, who roamed inside
and saw the whole universe and was again sent
out. Again, sage Mārkaṇḍeya saw water everywhere. At that time boy said, formerly I gave
waters the name Nārah and those were my resting
place (ayana) and therefore I am Nārāyaṇa. The
burden of the whole Nārāyaṇīya section is
establishing identity between Vāsudeva and
Nārāyaṇa according to R. G. Bhandarkar ([2],
p. 32). Nara and Nārāyaṇa are often identified
with Arjuna and Vāsudeva. In Mahābhārata,
Udyogaparvan (49, 19) it is said that “the two
heroes, Vāsudeva and Arjuna who were great
warriors are the old Nara and Nārāyaṇa.”
Identification of Nārāyaṇa suggests assimilation of Nārāyaṇa cult into Viṣṇu cult. Cult of
Nārāyaṇa which was originally associated with
asceticism (as known from Mahābhārata) or the
performance of Puruṣamedha (as known from
Śatapatha Brāhmaṇa) got assimilated in the cult
of Viṣṇu.
Epigraphy and Iconography
Though there are several references of Viṣṇu in
inscriptions, references to Nārāyaṇa can be found
in inscriptions of specific regions. In Andhra,
Viṣṇu became popular by the name Nārāyaṇa.
Around fourth century CE, cult of Viṣṇu had
penetrated deep into the south. There is an inscription related to God Viṣṇu found from Andhra
Pradesh in the fourth and fifth century CE. In
this, God Viṣṇu is mentioned as Nārāyaṇa.
A copper plate of the time of Pallava king
Skandavarman recovered to the gift of land to a
temple of God Nārāyaṇa ([4], p. 61).
Viṣṇu is referred as Nārāyaṇa in the inscriptions
of Maharashtra. Narendradeva inscription of
Vikramaditya III found in Narendra village of
Dharwad district eulogize Nārāyaṇa. Kolhapur
Nārāyana
˙
inscription equates the Mahāmaṇḍaleśvara
Gaṇḍara deity with Nārāyaṇa in calmness. Another
Kolhapur plate of Vijayāditya compares the
Śilāhāra kings with Nārāyaṇa ([4], p. 103).
Description of Vīra- Nārāyaṇa is also found in the
inscriptions of Rāṣṭrakūtas ([4], p. 101). VīraNārāyaṇa form is described as Nārāyaṇa resting
on Ananta.
Generally, iconography of Nārāyaṇa is same as
Viṣṇu. He is four armed, arms representing four
vyūhas, i.e., conch, discus, mace, and lotus. Other
characteristic marks are the Śrī-vatsa on the chest
and the garland of wild flowers (vanamālā)
around his neck. He wears yellow silken garments
(pī tāmbara). Nārāyaṇahṛdaya describes his body
color as that of the rising sun and Kālikā Purāṇa,
Chap. 22, describes his complexion like a pure
crystal. It is more usual to describe his complexion
as dark blue ([8], p. 79).
In Sātvata Samhitā, XII.139–142, iconography
of Nara- Nārāyaṇa is described in NaraNārāyaṇa-dhyānam. Nara is described as having
coral-lustre, half-open eyes, expressions as emotions internalized, and whose mind is unified with
Śabdabrahma, having the akṣasūtra in hand made
of crystal beads, his left hand is engaged in
counting the revolutions of akṣasūtra. God
Nārāyaṇa is described as having complexion of
white lotus, hands are in the posture of
Brahmāñjali, displaying tranquil mind focussed
on heart lotus.
Lakṣmī-Nārāyaṇa is Viṣṇu as Nārāyaṇa in the
company of goddess Lakṣmī. Goddess is generally on the left of the god. She holds lotus in the
left hand. Right hand of the goddess is around the
neck of god. Nārāyaṇa’s left hand is around her
waist. Siddhi decorated with ornaments stands
near Lakṣmī- Nārāyaṇa with a cāmara in her
hand. There is also image of Garuḍa slightly
below on the right.
Images of Yoga- Nārāyaṇa are found in different parts of India. In such sculptures, Viṣṇu is seen
sitting with his lower hands in a meditating posture while the upper two hands carry his usual
weapons. Numerous Yoga- Nārāyaṇa images
have been recovered from Rājapūtānā. R. C.
Agrawala has cited unique image of YogaNārāyaṇa found in Jodhpur Museum where
5
weapons in the hands of Yoga-Nārāyaṇa are not
seen. He dates the sculpture around ninth century
CE. With the analysis of inscription from Nāḍol
(Jodhpur division) refers to harmonious relationship existing between the members of Jain community and the followers of Brahmanic faith.
R. C. Agrawala concludes that this idol of Viṣṇu
was fashioned in such a way to suit the taste of all,
to serve the purpose of being worshipped by non-Vaiṣṇavas as well ([1], pp. 236, 237). Thus, different changes took place in the iconography of
God Nārāyaṇa as he got associated with different
gods.
Abode
Śvetadvīpa is the abode of Nārāyaṇa. In the
Harivamśa (XIV, 384), it is stated that yogins or
Kāpilasāmkhyas who desire for mokṣa go to the
white island or Śvetadvīpa. Even Kathāsaritsāgara
(54.19, 21, 23) mentions Naravāhanadatta is
represented to have been carried to the white island
by Devasiddhi and to Hari by reposing on the body
of serpent Śeṣa and attended by Nārada and other
devotees. After identification with Viṣṇu, Nārāyaṇa
got associated with Vaikuṇṭha which is considered
the divine realm belonging to Viṣṇu.
Supreme Reality
Nārāyaṇa enjoys the position of Supreme reality
in Āgamic as well as philosophical and religious
literature. Mahānārāyaṇa Upaniṣad considers
Nārāyaṇa as the Supreme Reality. Nārāyaṇa is
Highest Brahman, Highest light and Highest
Self.
(Mahānārāyaṇa
Upaniṣad
XIII.4Nārāyaṇah param brahma tattvam Nārāyaṇah
parah | Nārāyaṇa parah jyotirātmā Nārāyaṇah
parah |) whatever is seen in this world, heard
outside as well as inside is pervaded by Nārāyaṇa.
(Mahānārāyaṇa Upaniṣad XIII.5).
Nārāyaṇa Upaniṣad of Kṛṣṇa Yajurveda
describes the entire creation from Nārāyaṇa.
Brahmā, Śiva, and Indra are equated with
Nārāyaṇa. Nārāyaṇa is considered one without
second. There is also mention of mantra “Om
6
namah Nārāyaṇāya.” One who studies this eightsyllabled mantra is supposed to attain liberation
by going to Vaikuṇṭha. Great fruit is attached to
the recitation of this Upaniṣad. Whosoever knows
thus, attains sāyujya of Nārāyaṇa, i.e., becomes
one with Nārāyaṇa.
Mahopaniṣad states that in the beginning
Nārāyaṇa existed. It denied the existence of
Brahmā and Rudra ([3], p. 153, f. 30). Nārāyaṇa
Upaniṣad states that in the beginning Puruṣa
Nārāyaṇa willed to create the beings. It clearly
states that from Nārāyaṇa was born Rudra, Indra,
etc. It also asserts that the only one reality is
Nārāyaṇa (śuddho deva eko nārāyaṇah) and
whole universe is pervaded by Nārāyaṇa
(Nārāyaṇa evedam sarvam) ([3], p. 137).
Srinivasa Chari cites the etymology of the
word Nārāyaṇa as befitting for the concept of
Ultimate reality. He says that the word Nārāyaṇa,
which is a far more comprehensive term implying
all the characteristics of the ultimate reality, bears
the same etymological meaning as that of Viṣṇu
and Vāsudeva ([3], p. 133). He cites the etymologies from Ahirbudhnya Samhitā. Nāras stands for
sentient and non-sentient beings (nara
sambandhino nārāh) and nara means the
Supreme Being (puruṣottama). Ayana means
abode or ground so Nārāyaṇa means one who is
the ground of all sentient and nonsentient entities
in the universe (nārāṇām ayanam). It can also
mean one who is immanent in all (nārāh ayanam
yasya sah) ([3], p. 134).
Superiority of Nārāyaṇa in the Trinity is propounded in many texts. Varāha Purāṇa (25–26)
explicitly says that Nārāyaṇa is the primary deity
of the universe and from Him was born Brahmā,
Brahmā in turn caused Rudra. In the same Purāṇa
(90–93), it is mentioned that Nārāyaṇa is the
Supreme Being and from Him was born
Caturmukha Brahmā ([3], p. 140).
Nārāyana
˙
Rāmānuja’s theology considers Brahman as
the ultimate reality. He refers the Supreme reality
as Bhagavān, Viṣṇu, Puruṣottama, Nārāyaṇa,
Hari, etc.
Cross-References
▶ Rāmānuja
▶ Śrīvaiṣṇava
▶ Vaiṣṇavism, Overview
▶ Viśiṣṭādvaita Vedānta
▶ Viṣṇu
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