1

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 Arthas̓ āstra 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 s̓ ilāyuga (Paleolithic Age),

stone was his main weapon and in lohayuga (Metal Age), iron was used

for weapons in different forms of sword, s̓ ūla 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

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

1
http://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.

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, S̓ ambara 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

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,

Paras̓ urāma, 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, Sudars̓ ana cakra, Nandiki and S̓ aranga.

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 As̕ vaṭhāma 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. S̓ aranga and Vaiṣṇavacāpam are the other names of

Vaiṣṇavāstra.4 According to Vasiṣṭha’s Dhanurveda samhita, the divine

S̓ aranga of Viṣṇu measures seven vitasti. This bow is said to have

made by Vis̓ vakarma5.

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

Sudars̓ ana cakra – Sudars̓ ana cakra is a disc of sharp circular missile

weapon. Vajranābha is another name of Sudars̓ ana 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 Sudars̕ ana cakra. The

most popular story is – once Saṃṇja, the daughter of Vis̓ vakarma 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, Vis̓ vakarma churned Sun by the

help of a churn machine. At the time of churning he got Sudars̕ ana

cakra, Puṣpaka vimāna, Tris̓ ūla and s̓ akti. Vis̓ vakarma offered

Sudars̕ ana cakra and s̓ akti 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 s̓ loka 28
3
Purāṇic encyclopedia p 1174
 13

respectively. Lord Brahma offered Sudars̓ ana cakra to Viṣṇu1. The

Sudars̕ ana 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. Sudars̓ ana

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 Sudars̓ ana 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 Sudars̓ ana 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.

1
ibid 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

Brahma, who got rid of the disturbance by the aid of Viṣṇu, completed

the sacrifice. 1

S̓ IVA

According to Hindu Mythology S̓ iva is the Lord Destroyer. S̕ iva

is the most fearsome manifestation of the supreme god,2 assigned with

destroying the entire universe at the end of the time. S̕ iva is the most

fearsome warrior unconquerable by any and all. He holds some

powerful weapons. They are Pās̓ upata, Tris̓ ūla, Pināka and the like.

Pās̓ upata: Discharged by the mind, eye, words or a bow, Pās̓ upata is

the irresistible and most destructive personal weapon of S̓ iva. Arjuna

during his exile in the forests performed penance to propitiate S̓ iva and

got this missile from him. S̓ iva has a bow named Pināka. Pās̓ upata is

the arrow that is used on that bow. The string of the bow is wound

round the neck of S̓ iva. The arrow, bright like the sun and equal to the

fire of death, is the Pās̓ upata. It may burn all that it touches.
1
Mahabharata S̓ āntiparavam chapter 14, see also Purāṇic encyclopedia p.651
2
http://en.wikipedia.org/wiki/Hindu_mythological_wars
 16

Nārāyaṇāstra, Braḥmāstra, Āgneyāstra or Varuṇāstra cannot stand

against this. S̓ iva burnt the Tripura (three cities of the notorious three

demons) by this arrow. Even Brahma and Viṣṇu could be killed by

Pās̓ upata. 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

Tris̓ ūla: Tris̓ ūla is a weapon of lord S̓ iva with the Vaiṣṇava tejas

(brilliance of Viṣṇu) obtained by churning of Sūrya. Vis̓ vakarma made

this weapon2. In Vedic Period there was no reference about this

weapon, Tris̓ ūla. Dhanurveda only describes the weapon kunta. The

kunta was used by S̓ ūdra community. Kunta is single tipped long tailed

weapon. Tris̓ ūla have three tipped edges in one side. The other end of

the long staff is also sharpened. Really s̓ ūla or Tris̓ ūla is not a useful

weapon in war. Tris̓ ūla or S̓ ūla is useful only for hunting. The multiple

1
Mahābhārata Aus̓ āsanasa Parvam chapter 14,see also Purāṇic encyclopedia p.759
2
Ibid p,529,see also Viṣṇu purāṇa chapter 2 ams̓ a 3,
http://en.wikipedia.org/wiki/Hindu_mythological_wars
 17

sharpened edge of Tris̓ ūla is inconvenient to attack in battle or

destroying the enemy. Actually this weapon is used to punish someone.

Pināka: Pināka is the bow of S̓ iva. Pināka was formerly the three-

forked spike of S̓ iva. Once it fell down from the hands of S̓ iva 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.

S̓ iva 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 S̓ iva 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.Anus̓ āsana
Parvam chapter 141, S̓ ānti 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 S̓ iva.

He is addressed as S̓ akra in Sanskrit. In Iran, Indra is considered as

arch demon in the Zoroastrian religion.1

Indra was the son of Kas̓ yapa 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,

uccais̓ ravas; 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 S̓ araṇya. 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 S̓ alya 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 S̓ iva. Kālī means the black one. 1

1
http://en.wikipedia.org/wiki/Kali
 22

Since S̓ iva 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 S̓ iva, 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 Das̓ a 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 S̓ iva, and

S̓ aivas derive her feminine name from the masculine Kāla (an epithet of

1
http://en.wikipedia.org/wiki/Kali
 23

S̓ iva). The nineteenth century Sanskrit dictionary, the

S̓ abdakalpadruma, states-

कालः िशवः । त य प नीित - काली ।1 - "S̓ iva 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 As̕ vaṭhāmā. She is most famously described in the sixth

century Devīmāhātmyam as one of the s̓ akti 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,

Tris̓ ūla, 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, Das̓ aratha 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 S̓ ambara and his groups. S̓ ambara started

his special mode of battle called māyāyudḍha against Devas. All these

activities of the cruel asura S̓ ambara were beyond the reach of Devas.

1
Mahābhārata Sabhā Parvam adyāya 38
 26

Das̓ aradha fought against S̓ ambara from ten different angles at the

same time. So he could be able to conquer him. During this battle the

chariot of Das̓ aratha had met with some technical problems. The lock

pin of the chariot’s wheel seemed to be loosened. Then Kaikeyi saved

king Das̓ aratha 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
 27

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 sudars̓ ana

cakra, pās̓ upatāstra 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.