r/AncientIndia

The Ajivika school was an ancient Indian Śramaṇa and nāstika (heterodox) tradition, believed to have been founded in the 5th century BCE by Makkhali Gośāla. Its central doctrine was Niyati (fate/determinism)—the belief that everything that happens is completely predetermined by cosmic forces and that human beings have no free will.

-> Niyati (Absolute Fate): The central doctrine of the Ajivikas was Niyati, meaning fate or destiny. They believed that everything in the universe—past, present and future—is completely predetermined by cosmic forces, leaving no room for genuine human control.

-> No Free Will and Rejection of Karma: Ajivikas rejected the idea of free will and believed that human actions cannot change one's predetermined destiny. Unlike Buddhists and Jains, they rejected karma as a determining force, arguing that happiness, suffering, purity and impurity occur according to fate rather than one's moral actions.

-> Predetermined Rebirth and Liberation: Ajivikas accepted the cycle of birth, death and rebirth (saṃsāra), but believed that every soul must pass through a fixed sequence of existences. Moksha or liberation would eventually occur automatically when this predetermined course was completed, not through personal effort, good deeds or religious practices.

-> Atheism and Cosmic Order: Ajivikas generally rejected the existence of a creator God and explained the universe through impersonal principles such as fate, nature and cosmic necessity. Their philosophy was therefore often described as atheistic or non-theistic, although they appear to have accepted the existence of an ātman (soul/self).

-> Atomism: The Ajivikas believed that the material universe was composed of tiny, indivisible atoms, whose combinations and arrangements produced different objects and qualities. However, these atoms did not move or combine randomly; their behaviour was governed by cosmic laws and Niyati (fate). Thus, even physical changes in nature were predetermined, just like human actions and destiny. This allowed the Ajivikas to explain the universe without a creator God, while extending their doctrine of absolute determinism from human life to the entire physical world.

-> Rejection of Objective Morality: Ajivikas questioned the idea that there are objective moral laws by which actions independently make a person good or bad. Since everything is governed by fate, a person does not become pure simply through good actions or sinful through bad actions; moral outcomes themselves are part of the predetermined cosmic order.

-> Extreme Asceticism: Ajivika ascetics were known for severe austerities, and some accounts describe fasting to the point of death as a form of ascetic practice.

None of the original Ajivika scriptures have survived; their sacred literature is considered lost. Much of what we know about their philosophy comes indirectly from Buddhist, Jain and Hindu texts, which preserved references to Ajivika ideas, often while debating or criticizing them.

Bindusara (c. 320–273 BCE), the second ruler of the Mauryan Empire and father of Ashoka the Great, was a believer in the Ajivika tradition. The Ajivikas reached their peak during the Mauryan period, receiving royal patronage, with Ajivika ascetics being invited to the royal court.

My mind becomes a boiling pot whenever I think of the 'Neela Chakra' installed on the top of the Mahaprabhu Jagannath temple at Puri, Odisha,India. I never become able to arrive at any concrete conclusion.

The Enigma of The Neela Chakra( Blue Wheel)

I used to think about three particular aspects....how such a humongous alloy( weight of Neela Chakra is 2200 kg) of eight different metals was lifted up to such an astounding height( 214 feet) thousand years back...and that to only by human muscle power without the help of crane or else any modern day machine !!!

The temple builders were certainly aware about the crude metallurgical treatment of different metals so as to make such a huge alloy ( Neela Chakra)!!!!

No matter from which direction you approach the temple, the appearance of the Neela Chakra remains same.It's like appearing to be identical from each direction.

https://lunarsecstacy.com/2022/04/08/most-impressive-weapon-of-shree-vishnu/

#Neela Chakra #Bluewheel #JagannathTemple #Puri #Sudarshana

Image 1:
A four-armed Ganesha seated with crossed legs on a cushion. He has a bare torso and wears a tiger skin garment (dhoti) around his waist and legs. In his upper hands, he holds a battle axe and a goad, in his his lower hands a broken tooth and a bowl of sweets.

This painting was found at Dandan-Oilik, an ancient settlement in the Taklamakan Desert of present-day Xinjiang, China. The painting dates to the 7th–8th century CE. Dandan-Oilik was an oasis settlement that flourished along the Silk Road. The ruins contained Buddhist temples, sculptures and paintings, many dating between the 6th and 8th centuries CE

Source: https://www.britishmuseum.org/collection/object/A_1907-1111-143

Image 2:
Left panel : Narayana (Vishnu), Indra and other guardian deities on the south side of the main niche, west wall of Cave 285.

Right panel : The painting depicts Maheshwar (Shiva), Kumara (Skanda - brother of Ganesha) and Vinayaka (Ganesha) on the opposite side of the main niche.
This image shows murals associated with Mogao Cave 285 at Dunhuang, China, dated to 538–539 CE. Reference below

Image 3 : Sculpted image of Shiva with his son Skanda at Mogao Cave art site. Reference below

Image 4 : Mogao Caves, A UNESCO World heritage site form a system of 500 temples 25 km southeast of the center of Dunhuang, an oasis located at a religious and cultural crossroads on the Silk Road, in Gansu province, China. Mogao Caves encompass caves, wall paintings, painted sculptures, ancient architecture, movable cultural relics and their settings

Reference: https://whc.unesco.org/en/list/440/

How did Ganesha / Hindu gods in general reach China and eventually Japan?

The Silk Road connected India, Central Asia and China through trade, Buddhist missions and cultural exchange. As Buddhism travelled from India, Indian deities and artistic traditions also entered Buddhist religious settings in Central Asia and China.

I found it very fascinating that the Mogao cave art site complements our Ajanta cave art in Maharashtra which is older at around 200-400 CE.
Both belong to a connected history of Asian Buddhist art, with Ajanta representing an important Indian source tradition and Mogao showing how Buddhist art evolved as it travelled across the Silk Road.

The cultural influence from India continued eastwards. In the 8th century, the Japanese monks studied esoteric Buddhism in Tang China and returned to Japan. Ganesha became known in Japanese Buddhism as Kangiten or Shōten.

This reflects the wider transmission of Indian Buddhist traditions through China, Korea to Japan.

References:

1. https://edspace.american.edu/silkroadjournal/wp-content/uploads/sites/984/2017/09/Dialogue-among-the-Civilizations.pdf

I find a striking resemblance in between the elongated earlobe of a Jain Shashan Devi ( sculpted inside the cave of Khandagiri) and that of a Soura tribal lady.

Women of the Soura tribe can be handily perceived by the huge wooden ear discs that they wear. For details about the varieties of tribal jewellery, you can go through the following article.

https://lunarsecstacy.com/2021/05/29/a-few-of-the-widely-used-ethnic-tribal-jewellery-of-odisha-east-india/

According to Indian history, this is one of the lesser known stories of how Indian gods, culture, religion, music, dance and stories travelled to Japan over many hundred of years starting from 5-6th century.
As per the 2006 lecture by Yasukuni Enoki, former Japanese Ambassador to India, titled A Strong Cultural and Historical Bond Linking Japan and India.

The first confirmed Indian person to reach Japan was Bodhisena, the “Brahman Buddhist High Priest”, who later performed the role of Master of Ceremony at the consecration of the Great Buddha at Todaiji Temple in Nara in 752 CE.

He was born in South India in 704 CE and he travelled through China and arrived at Dazaifu in Kyushu in 736. Together with his Vietnamese disciple Buttetsu, he propagated Buddhism as well as Indian culture, including Sanskrit, music and dance.

However the cultural transmission went much further.
Indian influence can be seen in Japanese Bugaku and Gigaku dances, Sanskrit/Siddham studies, musical traditions, and even Japanese theatre.
Enoki notes that the Kabuki play Narukami and Noh play Ikkaku-sennin ultimately derive from an Indian Mahabharata story.
The story of a powerful ascetic, a Naga/Dragon God, drought, and women sent to seduce the ascetic was preserved in the 12th-century Konjaku Monogatari before becoming part of Japanese theatrical tradition.

The same process occurred with Indian deities:
Indian religious traditions and deities

1. Buddhism incorporates many existing Indian deities
2. Buddhism spreads through Central and East Asia
3. Chinese Buddhist traditions give these deities Chinese names and form
4. Buddhism reaches Korea
5. Japanese Buddhism adopts and transforms them
6. Indian gods become part of Japanese Buddhist, folk and Shinto traditions.

The interesting part is that much of this Indian heritage survived in Japan even after its Indian origins were largely forgotten.

Source: https://www.in.emb-japan.go.jp/Ambassador_Lectures/Ambassador_Lectures1.html

Former Japanese Ambassador Yasukuni Enoki claims that more than 80% of Japanese gods are originally from Hinduism:

https://youtube.com/shorts/KrYiJZ30sQE?si=FRDiVWMCkbG6laAq

There is a difference in the description of the goddess Barahi in Vaishnavism and Shaktism.

The Vaishnava texts describe Goddess Barahi as the Shakti of Baraha ( incarnation of lord Vishnu) whereas the Shakta scriptures refer Barahi as the mother of Baraha.

In Vaishnavism, Barahi is considered one of the sapta-matrikas or the seven mother goddesses, who are considered the consorts of the seven main gods of the Hindu pantheon. Barahi is often depicted as a boar-headed goddess and is associated with the goddess Lakshmi, who is the consort of Lord Vishnu. In this tradition, Barahi is worshipped as a protective divinity who can remove obstacles and provide material wealth and prosperity.

In Shaktism, Barahi is considered one of the ten Mahavidyas or the supreme goddesses. She is often depicted with the head of a boar and is associated with the energy of transformation and regeneration. In this tradition, Barahi is worshipped as a fierce and powerful goddess who can help Her devotees overcome obstacles, fears, and negative influences. She is also associated with the element of earth and is believed to have the power to grant material prosperity and abundance.

Baraha is said to be quiet and shy whereas Goddess Barahi is completely independent and fierce.Here in this context I would like to suggest you to go through the following two articles .#Varahitemple #Barahideula #Barahi #BarahiTemple #kalingatemplearchitecture #khakhara #chaurasi #Odisha #shaktishrine #parswadebata #sidedeity #Ganesh #Surya

https://lunarsecstacy.com/2021/12/21/a-glaring-example-of-khakhara-architecture-barahi-temple-chaurasi/

https://lunarsecstacy.com/2023/06/15/%e0%a4%a6%e0%a4%b6-%e0%a4%ae%e0%a4%b9%e0%a4%be%e0%a4%b5%e0%a4%bf%e0%a4%a6%e0%a5%8d%e0%a4%af%e0%a4%be-%e0%a4%95%e0%a5%80-%e0%a4%89%e0%a4%a4%e0%a5%8d%e0%a4%aa%e0%a4%a4%e0%a5%8d%e0%a4%a4%e0%a4%bf/

Here I am submitting few of the exquisite sculptures of the Mukteshwar temple at Bhubaneswar ( Odisha, India). It was built during the tenth century AD. The presiding divinity of the temple is Lord Shiva venerated as Lord Mukteswara or Lord of Salvation. This temple is always referred as a " Miniature jewel" by students of history & archaeology for its perplexing and proportional craftsmanship.

The most distinguished factor of this temple is the Torana or the doorjamb which is perhaps the most praiseworthy and captured design structure in India . The dazzlingly cut mainstays of the angled door leaves travelers and guests awestruck with its incomparable accuracy and expertise.There lies an ancient solar clock in the garden of Mukteswar temple.

Solar Clock is a stone made structure that shows the time of day by means of the position, on a graduated plate or surface, of the shadow of the gnomon as cast by the sun.

For details on Kalingan temple architecture and their chronological details, please log in to the following link.

https://lunarsecstacy.com/2021/12/13/kalingan-temple-architecture-and-its-gradual-progression/

https://youtube.com/shorts/uITGYW0wlPM?si=N5SJn2uV2XYsNB4A