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Chapter 1
INTRODUCTION TO ANCIENT INDIAN
ARTILLERIES
Artillery means the weapons in general. It is explained in
Webster’s dictionary as a branch of army armed with artillery. Also this
word means that, weapons such as bow, slings and catapult for
discharging missiles.1 From a remote past, the use of weapons is seen
among all societies. A variety of weapons are used for different
purpose. Hence a study on the weapons of ancient times is not out of
place. The present study, however, is limited to the area of ancient
India only. It further delimited to the references seen in Sanskrit texts. A
major part of Indian wisdom is recorded on the ancient Indian artilleries
based on Sanskrit sources.
Though all of the Sanskrit texts have discussed the war and the
like in full details, and also a number of texts are available of the
science of artillery, Dhanurveda by name, there is no sufficient studies
on this area from the academic side. The only studies done in this field
are Vasiṣṭha’s Dhanurveda samhita, Kalāvidyāvivaraṇam of M K
1 www.merriam-webster.com/dictionary
2
Gurukal, Dhanurveda by Dr.Devavṛta ācārya and the like. Hence a
study on ancient Indian artillery is not out of place.
India is designated as the country of spirituality by many oriental
and occidental scholars. They present as proof the vast amount of
Vedic, philosophical and religious treatises available from the early
times to establish their arguments. To a considerable extent this
statement is true. The Secret of the Veda by Aurobindo, The Religion
and Philosophy of the Veda and Upanishads by A B Keith and similar
works state that India is holding a great spiritual backing from the
remote past.
In his book, The secret of Veda, Aurobindo interpreted Vedic
hymns in its spiritual form. According to Aurobindo, the soma (wine) in
Rg-Veda symbolizes the replacing of our ordinary sense-enjoyment by
the divine ānanda1. In the book, The Religion and Philosophy of the
Veda and Upanishads, A B Keith described Vedic sacrifices, such as
agnihotra, soma sacrifice, animal sacrifice and human sacrifice as
1 The Secret of Veda P 75
3
revealing the spiritual ceremonies of the Hindu society. The house
holder of the Vedic period was expected to maintain a fire normally in
his dwelling, sometimes, however, in a special place outside the house.
The establishment of such a fire was normal at marriage, division of
property of a family, the return of a student from his studentship, or the
death of the head of the family, when the eldest son was expected to
kindle a new fire.1 It was the duty of the house holder, his son, wife,
daughter, or pupil to keep alive. All of our ancient ceremonies are
connected with ritual sacrifices and myths and ancestors believed in
heaven, life after death etc.
But on the other hand a much developed scientific tradition of
material world was in India from the remote past. Works on artillery like
Dhanurveda, social policies like Arthasāstra and other books explain
the importance of weapon and martial arts. Epics and Purāṇas and
almost all religious books narrate war and weapon with minute detail on
many occasions.
1 The Religion and Philosophy of the Veda and Upanishads Part 2 p358
4
Hunting was the coeval with the early stage of social structure
with the dawn of pre agricultural economic order. Man took to this
occupation as the principal mean of sustenance, as his primary
livelihood depended on the flesh of wild animals taken in chase. With
the gradual development of social structure, when the pastoral and
agricultural economy emerged, hunting became a professional means
of livelihood of a tribe of the society. Later on hunting was considered
as a hobby among the noble classes.
In pre historic period, the man was afraid of natural calamities
such as rain, thunderbolt and storm, fire, wind, night and the like. He
believed that these natural forces are dangerous. To overcome that
destruction and fear, he obeyed the rulings of nature and praised these
natural occurrences. This may be considered as the primitive form of
worship. In the course of time, natural worship became a custom of
tribal groups. The tribal man was also afraid of wild animals and other
tribal groups. So he thought about self-defense and protection. He
realized that power has a key role in victory. If anyone has power and
5
strength he can rule others and defeat the wild animals. He realized
that protection is the product of strength and power. Body strength and
fighting techniques are necessary to achieve victory and domination.
He realized that the animals and the birds use their teeth, nail and beak
for fighting. But the nail and teeth of human beings are not much
stronger to attack. So he was forced to accept weapons. He learned the
fighting techniques from wild animals to protect himself. He imitated and
followed the fighting techniques of animals and learned some tricks to
attack the enemies from the wild animals. In karate, kungfu, judo and
similar activities, he adopted many fighting techniques from animals. He
used stone, bone, horn and metals as weapons to attack enemies in
different stages of human civilization. In silāyuga (Paleolithic Age),
stone was his main weapon and in lohayuga (Metal Age), iron was used
for weapons in different forms of sword, sūla and the like.
Invention of agni (fire), archery and gun powder made man
more and more powerful. These inventions are the major milestones in
his development. By the help of these three, he could attack the
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enemies from distance. By the usage of gun powder in a large scale,
the man became the most powerful.
The history of war is really interesting. Among the ages of tribes,
war was a political and necessary evil. To the early tribes war was a
holy function. Before the actual expedition, they offered sacrifices to the
tribal god or goddess. The idea was that god was all powerful and he
would protect the soldiers and confer victory in war. Bows and arrows
were their major weapons, though the use of spears was not unknown.
THE EARLY INDO-ĀRYANS
All the aboriginal tribes were not entirely hunters. Some people
were taken to a pastoral life and they cultivated the arts of peace, while
pursuing a primitive form of agriculture. To this category belonged the
so called Indo Āryans of the RgVedic period. They settled in the plains,
especially on the bank of rivers and streams and countries and their
wealth was the cattle they possessed.1
1http://Wikipedia.org/wiki/cast system
7
They were primitive normal tribes who took to agriculture and cultivated
habits of peace and not of war. The pressure of an ever increasing
population drove them to seek new settlements and new homes. With a
settled society, the state implemented laws of marriage and property.
The sanctity of family life and the rights of private property led the
increasing complexity of society. This resulted in the formation of
different classes or cast.
HINDU MYTHOLOGY
Hindu mythology is the large body of traditional narratives
related to Hinduism notably as contained in Sanskrit literature such as
Epics and Purāṇas. As such it is a sub set of Indian mythology. Many
Indians believe that these narratives are sacred and that they
communicate profound truths. The roots of mythology that evolved from
the basic roots of Hinduism come from the times of the Vedic civilization
which form the ancient Vedic religion. The characters, theology,
philosophy and stories that make up Vedic myths are indelibly linked
with Hindu beliefs.
8
HINDU MYTHOLOGICAL WAR
The most destructive wars in Indian mythology were driven with
the mission of good triumphing over evil. Indian mythology considered
war as the final option to be employed only after peaceful methods are
exhausted. The epical wars are the best examples. But when it comes,
war is fought as a matter of greater personal and religious importance
where every man must do his duty (if he belongs to the warrior cast)
exemplifying courage, honour and fearsome powers even against all
the odds, and even at high cost of life. The Bhagavadgītā places duty
above all gain and loss, triumph and destruction, no matter how terrible
or personal it becomes.
Vedas, Epics and Purāṇas had detailed narrations about war
and weapons. Actually Vedic hymns are worshipping God, battle and
weapons. All of the Gods and Goddesses described in Vedic and later
Hindu mythologies are great warriors. Indra, Rudra, Kṛṣṇa, Kālī, Durgā
9
and the like are the best examples. Most of the Vedic hymns are in
praise of the battle fought by Indra with enemies. Vedic hymns praise
Indra’s weapons. His thunderbolt is very famous in Vedic hymns. He
was considered as the first among the warriors and he defeated Vṛtra,
Vala, Sambara and other enemies. In battle maruts were his
companions. Many Vedic hymns were composed as praise on him to
attack enemies. Hence the entire Veda is attributed as texts of
worshipping mighty Indra and his battle. In fact the Vedic chants or
hymns are only texts of war history of gods with others.
The Vedic people praised great wars, more harmful weapons and
fighting techniques. They worshipped both gods and their powerful
weapons. The Vedic literature, as a whole, indicates a great passion of
war and victory of ancestors. Early Indians always praise the heroes
who fought great war. The concept of vīramṛtyu is a clear evidence of
war loving mind. Vīramṛtyu is considered as the holy death in war. This
concept never comes from a spiritually balanced society. If the society
is spiritually balanced, they may consider release or mokṣa as the
10
ultimate aim. The Vedic hymns and Purāṇas narrate a number of
weapons. Some weapons have equal important as the God and some
powerful weapons are very famous. Vajrāyudha of Indra is a best
example.
INCARNATIONS OF VIṢṆU
Viṣṇu, the inconceivable supreme periodically takes birth an
incarnation upon to destroy evil and to deliver the pious. He is also the
refuge of the Devas in the battle against Asuras. The most martial
incarnations are Matsya, Kūrma, Varāha, Narasiṃha, Vāmana,
Parasurāma, Rāma, Balarāma, Kṛṣṇa and Kalki. All the avatārās of
Viṣṇu are aiming at destroying some demon or other enemies. If
Purāṇas are aiming at spirituality and Ātma or spiritual world, these
incarnations may not be described as good warriors. Lord Viṣṇu is
described as holding a number of weapons. The war loving Indian mind
also praises his powerful weapons. They loved Lord Viṣṇu in the form of
a good warrior. The major weapons of Viṣṇu are Nārāyaṇastra,
Vaiṣṇavāstra, Kaumodaki, Sudarsana cakra, Nandiki and Saranga.
11
Nārāyaṇastra - Nārāyaṇastra is the personal missile weapons of
Viṣṇu. This astra lets losses a powerful tirade of millions of deadly
missiles simultaneously.1 The intensity of the shower increases with
resistance. The only solution is total submission before the missile,
given which it will stop. This astra was used by Asvaṭhāma in the
Mahābhārata war against the Pāṇdava army2
Vaiṣṇavāstra – Vaiṣṇavāstra is the personal missile weapon of Viṣṇu,
once fired it cannot be thwarted by any means, save by the will of Viṣṇu
himself. This astra was used by Bhagadatta in Mahābhārata war
against Arjuna3. Saranga and Vaiṣṇavacāpam are the other names of
Vaiṣṇavāstra.4 According to Vasiṣṭha’s Dhanurveda samhita, the divine
Saranga of Viṣṇu measures seven vitasti. This bow is said to have
made by Visvakarma5.
1 Purāṇic encyclopedia p683 2 Ibid p683, see also http://en.wikipedia.org/wiki/Hindu_mythological_ wars 3 http://en.wikipedia.org/wiki/Hindu_mythological_ Purāṇic encyclopedia p1174 4 ibid p 1174 5 Vasiṣṭha’s Dhanurveda Samhita p 13
12
Kaumodaki – Kaumodaki, the divine mace of Viṣṇu, is invisible and
without parallel1. The letter ka denotes earth. Kāmodaka means Viṣṇu.
According to Mahābhārata, the Kaumodaki weapon was given by
Varuṇa to Kṛṣṇa at the time of the fire in the Khāṇdava forest.2
Sudarsana cakra – Sudarsana cakra is a disc of sharp circular missile
weapon. Vajranābha is another name of Sudarsana cakra3. This is the most
powerful weapon of lord Viṣṇu. In Vedic hymns there is no narration about
this cakra. There are many stories about the origin of Sudarsana cakra. The
most popular story is – once Saṃṇja, the daughter of Visvakarma married the
Sun. But as she failed to accommodate the shine of Sun, she said this to her
father. Then to avoid the over shining, Visvakarma churned Sun by the
help of a churn machine. At the time of churning he got Sudarsana
cakra, Puṣpaka vimāna, Trisūla and sakti. Visvakarma offered
Sudarsana cakra and sakti to Lord Brahma and Subrahmaṇya
1 Purāṇic encyclopedia p.1174 see also http://en.wikipedia.org/wiki/Hindu_mythological_wars 2 Mahābhārata Ādiparva adyāya 237 sloka 28 3Purāṇic encyclopedia p 1174
13
respectively. Lord Brahma offered Sudarsana cakra to Viṣṇu1. The
Sudarsana flies at the command of Viṣṇu, spinning away to tear off the
heads of his opponents or to perform any function desired by Visnu. It
was most frequently used by Kṛṣṇa in the Mahābhārata war. Sudarsana
cakra is not mentioned in Vedas or in any other ancient texts.
Ancestors described Viṣṇu and Rudra as the more powerful
than any other God. So they described them with powerful weapons.
Actually the cakra type of weapon is not of much use in battle. A great
practice and technique is needed to use Sudarsana cakra in battle. But
it is believed that this magical cakra would come back to the orginal
place after spearing the object.
A collective effort is needed to develop a new type powerful
weapon. The Sudarsana cakra is a product of ancestor’s collective
effort. This is a clear indication of ancestor’s war and victory loving
mind. They used much time to make new weapons for maximum
destruction.
1ibid p 1174
14
Nandiki: Nandiki is a sword of Mahāviṣṇu. This sword is also pronounced
as Nandakam. There is a story explaining how Viṣṇu gained this sword
Nandiki. In days of old, Brahma performed a sacrifice on the banks of the
heavenly Ganga on a peak of mount Mahāmēru. While Brahma was sitting in
deep meditation in the sacrifice, Lohāsura was seen coming to cause
disturbance to the sacrifice. Immediately a male being came into existence
from the meditation of Brahma. He paid homage to Brahma and Devas
(gods). They encouraged the male being and bless him to be more powerful
and he was changed into a sword called Nandakam. That sword was
received by Mahāviṣṇu at the request of the gods. When Mahāviṣṇu slowly
took it, Lohāsura was an asura of blue complexion, with thousand hands
of adamantine fists. By wielding his club he drove away the gods.
Mahāviṣṇu cut down his limbs one by one and those organs became
metals by the touch of the sword. Then Mahāviṣṇu killed the asura.
Then Mahāviṣṇu granted Nandakam a pure body with various boons.
Afterwards Nandakam became the deity of weapons on the earth. Thus
15
Brahma, who got rid of the disturbance by the aid of Viṣṇu, completed
the sacrifice. 1
SIVA
According to Hindu Mythology Siva is the Lord Destroyer. Siva
is the most fearsome manifestation of the supreme god,2 assigned with
destroying the entire universe at the end of the time. Siva is the most
fearsome warrior unconquerable by any and all. He holds some
powerful weapons. They are Pāsupata, Trisūla, Pināka and the like.
Pāsupata: Discharged by the mind, eye, words or a bow, Pāsupata is
the irresistible and most destructive personal weapon of Siva. Arjuna
during his exile in the forests performed penance to propitiate Siva and
got this missile from him. Siva has a bow named Pināka. Pāsupata is
the arrow that is used on that bow. The string of the bow is wound
round the neck of Siva. The arrow, bright like the sun and equal to the
fire of death, is the Pāsupata. It may burn all that it touches.
1 Mahabharata Sāntiparavam chapter 14, see also Purāṇic encyclopedia p.651 2 http://en.wikipedia.org/wiki/Hindu_mythological_wars
16
Narāyaṇāstra, Braḥmāstra, Āgneyāstra or Varuṇāstra cannot stand
against this. Siva burnt the Tripura (three cities of the notorious three
demons) by this arrow. Even Brahma and Viṣṇu could be killed by
Pāsupata. It will remove all obstacles from the way and if recited
respectively a hundred times it will end all your calamities and bring
success in any war.1
Trisūla: Trisūla is a weapon of lord Siva with the Vaiṣṇava tejas
(brilliance of Viṣṇu) obtained by churning of Sūrya. Visvakarma made
this weapon2. In Vedic Period there was no reference about this
weapon, Trisūla. Dhanurveda only describes the weapon kunta. The
kunta was used by Sūdra community. Kunta is single tipped long tailed
weapon. Trisūla have three tipped edges in one side. The other end of
the long staff is also sharpened. Really sūla or Trisūla is not a useful
weapon in war. Trisūla or Sūla is useful only for hunting. The multiple
1 Mahābhārata Ausāsanasa Parvam chapter 14,see also Purāṇic encyclopedia p.759 2 Ibid p,529,see also Viṣṇu purāṇa chapter 2 amsa 3, http://en.wikipedia.org/wiki/Hindu_mythological_wars
17
sharpened edge of Trisūla is inconvenient to attack in battle or
destroying the enemy. Actually this weapon is used to punish someone.
Pināka: Pināka is the bow of Siva. Pināka was formerly the three-
forked spike of Siva. Once it fell down from the hands of Siva and on
falling down took the shape of a bow. From then onwards it was used
as a bow.1
Tāṇdava: Tāṇdava is the dance of the destroyer, which he performs
over the body of a demon, and simultaneously destroys all creations, all
beings, material and illusion, the ultimate martial arts.
Siva employs his power to kill the asura Tripura by destroying
the flying cities of Tripura. He is restrained and not involved in the wars
of the world prior to dissolution. According to Hindu Mythology, Lord
Braḥmā, Viṣṇu and Siva hold the charge of sṛṣti (creation) sthiti
(controlling) and saṃhāra (destroying) respectively.2 The first two
concepts Sṛiṣti and Sthiti are positive ideas. But the third one Saṃhāra
1 Purāṇic encyclopedia p p.762, see also Mahābhārata Vana Parvam chapter 40.Anusāsana Parvam chapter 141, Sānti Parvam 290. 2 http://en.wikipedia.org/wiki/Hindu_mythology
18
or destroying is a negative one. Such ideas may not develop from a
spiritually developed society. The custom of worshiping a destroyer is
never fruitful for such a society.
INDRA
Indra is an important god in many Vedic and Hindu mythological
tales. In Vedic period Lord Indra was the king of Gods. Most of the
Ṛgvedic hymns are praises of Indra. In Vedic mythology Indra is the
god of war, storm and rain fall. In Ṛgveda Indra is the chief deity. Indra
is bestowed with heroic and almost brash and amorous character; he
has always remained significant in Indian mythology, from Vedic to
Purāṇic times, even as his reputation and role diminished in later
Hinduism with the rise of the Trimūrti concept of Brahma, Viṣṇu or Siva.
He is addressed as Sakra in Sanskrit. In Iran, Indra is considered as
arch demon in the Zoroastrian religion.1
Indra was the son of Kasyapa by Aditi, the eldest daughter of
Dakṣa. Indra became the ruler of Devas. In Veda most of the hymns
1 http//Wikipedia encyclopedia/Indra
19
praise lord Indra and his weapons. Airāvata is the elephant of Indra,
uccaisravas; his horse and vajra (Thunder bolt) his weapon1. He used it
to kill Vṛtra. He also used bows. When Indra is described as having
four arms, he has lances in two of his hands which resemble elephant
gods. When he is shown to have two hands, he holds the Vajra and
bow.
Indradhanuṣ - In Hindu mythology the rain bow is called Indradhanuṣ.
It is the bow of Indra, who is considered as the God of lightening,
thunder and rain. In RgVeda most of the hymns praise Indra, some
hymns praise Agni, and some hymns Varuṇa, Marut and the like.
Vajrāyudha
The Vedic hymns glorified war and great victories won by Gods.
Indra got a prominent role in RgVeda. Vajra is his major weapon. Indra
got this weapon from the great saint Dadhīci. He presented vajrāyudha
to Indra for defeating Vṛtrāsura. Dadhīci made vajrāyudha from his own
1 Purāṇic encyclopedia p. 146, see also Agni Purāṇa chapter 51.Mahābhārata Ādi Parvam chapter18
20
bone. In other words the weapon Vajrāyudha is made of from human
bone. The manufacturer was Dadhīci himself.1
There was a similar story in Vedas that Indra used bone as a
weapon in battle. Once when Dadhīci had gone to Heaven, the earth
became infested with asuras. Indra set out to fight them. He tried to find
out whether Dadhīci had left behind anything to be used as a weapon.
"Dadhīci had with him a horse-head", the people told. Indra went in
search of it and at last found it in a lake at a place called Saraṇya. It is
with its bone that he killed the asuras2
Ancestors used bone as weapon from the time immemorial.
They used bone as a weapon for hunting. Actually such a hard bone is
praised in Veda as Vajrāyudha. And this weapon was made from
human body. In other words the most glorifying weapon Vajrāyudha is
actually a human bone. Yet in another story Indra is said to have used
horse head as a weapon.
1 Mahābhārata Salya Parvam chapter 51, see also Purāṇic encyclopedia p539-540 2 ibid p 158, See also RgVeda Mandala-1 Anuvāka-13 Sūkta-84.
21
The tribal culture of Vedic age is revealed here and the powerful
God Indra was only a tribal soldier. The saint Dadhīci may be his tribal
head or guru. And the war was not between God and Asura, but was
only with two or more tribal groups. At that time stone and bone might
have been used as good weapons. Ancestors enjoyed these tribal
wars and the victories. They explained war and the way of victory on
others. Sometimes these narrations become in the form of poems or in
a rhythmic form. In the later period these narrations became the so
called Vedic hymns .The hunter and his master became the part of
these chanting hymns and got a divine colour.
KĀLĪ
Kālī, also known as Kalikā is the Hindu goddess associated with
eternal energy. The name Kālī comes from Kāla, which means black,
time, death, lord of death and Siva. Kālī means the black one. 1
1 http://en.wikipedia.org/wiki/Kali
22
Since Siva is called Kāla, the eternal time, Kālī his consort, also means
the time or death. Hence Kālī is considered as the goddess of time and
change. Although she is presented as dark and violent, her earliest
incarnation as a figure of annihilation still has some influence. Various
Sākta Hindu cosmologies, as well as Sākta Tāntric beliefs worship her
as the ultimate reality or Brahman. She is also revered as Bhavatāriṇi
(literally "redeemer of the universe").1 Comparatively recent devotional
movements largely conceive Kālī as a benevolent mother goddess. Kālī
is represented as the consort of Lord Siva, on whose body she is often
seen standing. She is associated with many other Hindu goddesses like
Durga, Bhadrakālī, Sati, Rudrāṇi, Pārvati and Chāmuṇdā. She is the
foremost among the Dasa Mahāvidyas, ten fierce Tantric goddesses.
Kālī is the feminine term of kāla ("black, dark coloured"). Kāla primarily
means "black," but also means "time." Kālī means "the black one" and
also "time" or "beyond time." Kālī is strongly associated with Siva, and
Saivas derive her feminine name from the masculine Kāla (an epithet of
1 http://en.wikipedia.org/wiki/Kali
23
Siva). The nineteenth century Sanskrit dictionary, the
Sabdakalpadruma, states-
कालः िशवः । त य प नीित - काली ।1 - "Siva is Kāla, thus his wife is Kālī."
Hugh Urban notes that although the word Kālī appears as early as in
the Atharva Veda, the first use of it as a proper name is in the Kāṭhaka
Gṛhya Sūtra2. Kālī is the name of one of the seven tongues of Agni, the
Ṛgvedic God of Fire, in the Muṇdaka Upaniṣad,3 but it is unlikely that
this refers to the goddess. The first appearance of Kālī in her present
form is in the Sauptika Parva of the Mahābhārata4. She is called
Kālarātri (literally, "black night") and appears to the Pāṇdava soldiers in
dreams, and finally she appears amidst the fighting during an attack by
Droṇa’s son Asvaṭhāmā. She is most famously described in the sixth
century Devīmāhātmyam as one of the sakti of Mahādevi, who defeated
the demon Raktabīja. The tenth century Kalika Purāṇa venerates Kālī
1 www.wikipeadia free encyclopedia/kali 2 Kāthaka Gṛhya Sutra, 19.7 3 Muṇdaka Upaniṣad, 2:4 4 Mahābhārata Sauptika Parvam, 10.8.64.
24
as the ultimate reality or Brahman.1 The weapon of Kālī is sword,
Trisūla, gadā and the like.
ĀYUDHAPŪJA The passion towards weapons and war of our ancestors brought
some kind of prayers. The origin of worshiping weapons was started
from Vedic period. In Vedic age, ancestors worshiped thunder bolt,
Vajrāyudha of lord Indra. In later period worshiping of weapon changed
into a developed form. Powerful weapons, war history, heroism in
battle are the main content in prayers and hymns.
The custom of devotion is as old as the Vedic age. The
Durgāpūja and Āyudhapūja are the continuation of this custom. The
myth behind Āyudhapūja is the remembrance of a battle done by the
deity Kālī. Actually the ten days of pūja festival is the celebration of a
holy war and the Āyudhapūja is also the remembrance of the powerful
weapons used for the deity for defeating the enemy.
1 www.wikipeadia free encyclopedia/kali
25
Both in the Vedic and modern age, the weapons were included in
durgāpūja. In Vedas, there was no prominent role for the female
goddesses. But in pūja festivals, the female goddesses achieved their
superiority among Gods.
The transformation of hero concept from male to female was also a
notable thing. Actually this transformation has happened by the social
changes occurred during this time. From the references in the epic we
can see better examples for the participation of women in battles.
Once, Aditi’s earrings were stolen by Narakāsura. Srīkṛṣna and
Satyabhāma fought together against Narakāsura. In this battle they
assassinated Narakāsura and gave the earrings back to Aditi.1 In the
battle of Devāsura, Dasaratha and Kaikeyi started their journey to
heaven in a chariot to help Indra, the king of Devas. During this time
the Devas were troubled by Sambara and his groups. Sambara started
his special mode of battle called māyāyudḍha against Devas. All these
activities of the cruel asura Sambara were beyond the reach of Devas.
1 Mahābhārata Sabhā Parvam adyāya 38
26
Dasaradha fought against Sambara from ten different angles at the
same time. So he could be able to conquer him. During this battle the
chariot of Dasaratha had met with some technical problems. The lock
pin of the chariot’s wheel seemed to be loosened. Then Kaikeyi saved
king Dasaratha by using her finger instead of the damaged lock pin.1 In
Mahābhārata, once Subhadra drived the chariot of Arjuna for battle.
These examples reveal the women participation in war. From this one
may conclude that the myth behind Durgāpūja is the remembrance of battle
fought by women for the society. The female goddess got importance in later
Hindu mythology. Thus the Durgāpūja festival indicates the domination of
female goddess.
In this chapter, a brief discussion about the gradual and steady
development of weapons is given. At the very early stage, man used
stone, bone and such other things as weapons. Also they worshiped
thunder bolt and such natural phenomenon as divine weapons. In later
period, ancestors modified their weapons and accepted and provided
1 Vālmīki Rāmāyaṇa, Ayodhyākāṇda Sarga 9. See also Kampa Rāmāyaṇa Bāla kāṇda, Purāṇic encyclopedia p 345
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such modifications and discoveries in the field of weapon
manufacturing. They used bow and arrow, sword and such other
weapons instead of stone, bone and the like. Ancestors realized that
thunder bolt is a natural occurrence and they worshiped sudarsana
cakra, pāsupatāstra and the like as divine weapons. The incarnation
stories are also good examples for the war loving Indian mind. The
passion towards war and weapon is continuing from generation to
generation. The ancient Indian society was a scattered society
throughout various geographical and cultural situations. Battle was the
most important event in their life. So they developed more efficient
weapons for their existence. As a result of this, the progress of the
manufacturing of weapons achieved greater importance in their life.
They planned more war techniques and made more powerful
weapons. Hence Indian mind in ancient times was not of completely a
spiritual backing one.