Iravan

Iravan also known as Iravat and Iravant, is a minor character from the Hindu epic Mahabharata. The son of Pandava prince Arjuna (one of the main heroes of the Mahabharata) and the Naga princess Ulupi, Iravan is the central deity of the cult of Kuttantavar (Kuttandavar) which is also the name commonly given to him in that tradition—and plays a major role in the sect of Draupadi. The Mahabharata portrays Iravan as dying a heroic death on the 8th day of the 18-day Kurukshetra War, the epic's main subject. However, the South Indian traditions have a supplementary practice of honouring Aravan's self-sacrifice to the goddess Kali to ensure her favour and the victory of the Pandavas in the war. The Kuttantavar tradition focuses on one of the three boons granted to Aravan by the god Krishna in honour of this self-sacrifice. Aravan requested that he be married before his death. Krishna agreed to give his cousin Satyaki's daughter Paravanacciyal in marriage. The Draupadi tradition emphasises another boon: Krishna allows Aravan to witness the entire duration of the Mahabharata war through the eyes of his severed head. In another 18-day festival, the ceremonial head of Aravan is hoisted on a post to witness the ritual re-enactment of the Mahabharata war. The head of Aravan is a common motif in Draupadi temples.…

Iravan also known as Iravat and Iravant, is a minor character from the Hindu epic Mahabharata. The son of Pandava prince Arjuna (one of the main heroes of the Mahabharata) and the Naga princess Ulupi, Iravan is the central deity of the cult of Kuttantavar (Kuttandavar) which is also the name commonly given to him in that tradition—and plays a major role in the sect of Draupadi. The Mahabharata portrays Iravan as dying a heroic death on the 8th day of the 18-day Kurukshetra War, the epic's main subject. However, the South Indian traditions have a supplementary practice of honouring Aravan's self-sacrifice to the goddess Kali to ensure her favour and the victory of the Pandavas in the war. The Kuttantavar tradition focuses on one of the three boons granted to Aravan by the god Krishna in honour of this self-sacrifice. Aravan requested that he be married before his death. Krishna agreed to give his cousin Satyaki's daughter Paravanacciyal in marriage. The Draupadi tradition emphasises another boon: Krishna allows Aravan to witness the entire duration of the Mahabharata war through the eyes of his severed head. In another 18-day festival, the ceremonial head of Aravan is hoisted on a post to witness the ritual re-enactment of the Mahabharata war. The head of Aravan is a common motif in Draupadi temples. Often it is a portable wooden head; sometimes it even has its own shrine in the temple complex or is placed on the corners of temple roofs as a guardian against spirits. Aravan is worshipped in the form of his severed head and is believed to cure disease and induce pregnancy in childless women. Iravan is also known in Indonesia (where his name is spelled Irawan). An independent set of traditions have developed around Irawan on the main island of Java where, for example, he loses his association with the Naga. Separate Javanese traditions present a dramatic marriage of Irawan to Titisari, daughter of Krishna, and a death resulting from a case of mistaken identity. These stories are told through the medium of traditional Javanese theatre (Wayang), especially in shadow-puppet plays known as Wayang Kulit. , Singapore|alt=A crowned male wooden head with big eyes and ears, a Vaishnava tilak and bushy brows and large moustache. He has reddish skin, and two large canine teeth that hang down lower than his bottom lip. His eyes are wide open and he has large S-shaped ears that reach down to his chin. In the dark background, images are displayed on the back wall under lighting.]] Aravan is always worshipped in temples in the form of his severed head. He is usually depicted with a moustache, pronounced eyes and large ears. Typically, he also wears a conical crown, a Vaishnava tilak mark on his forehead and earrings. Aravan is often depicted with a cobra hood over his crown, cobra heads sprouting through the crown, or a snake emerging from behind the crown. Even the chief Koovagam icon features a serpent on Aravan's crown asserting his mother Ulupi's naga lineage. Another distinctive feature of Aravan's iconography is the presence of demonic canine teeth. Although the central Koovagam icon does not feature such demonic teeth, they are a regular feature of most Draupadi cult images, where Aravan's demonic features are emphasised. Aravan-head icons are either painted or unpainted portable ones for processions; they are housed together in the temples of his shrines. Koovagam, Kothadai, Kothattai and Pillaiyarkuppam have icons painted with a red face and multi-coloured ornamentation. Unpainted black stone images of the Aravan-head are seen in Kothattai, Madhukarai and Pillaiyarkuppam. Some paintings also depict the sacrifice of Aravan. In these scenes, he is often depicted bowing to Kali, while his head is about to be severed; or, as in one Sowcarpet painting, a self-decapitated Aravan holds both a sword and his own severed head, offering the latter to the goddess. |alt=A crowned male wooden head with big eyes and ears, a Vaishnava tilak and bushy brows and moustache. A garland is seen around the neck and on the crown. He has pink skin, and two large canine teeth that hang down lower than his bottom lip. His eyes are wide open and he has large S-shaped ears.]] Iravan is also mentioned, as the son of Arjuna and Ulupi, in passing references in two Puranas ("sacred texts") known as the Vishnu Purana (4:20:12)—also with a text history from the late Vedic through the Gupta periods—and the Bhagavata Purana (9:22:32)—traditionally dated to the Vedic period but dated by modern scholars to the 9th or 10th century CE. Although the original Sanskrit version of the Mahabharata records Iravan's (Sanskrit name) death during the 18-day Mahabharata war, the Tamil versions discuss Aravan's (Tamil name) ritual self-sacrifice to Kali before the war. Hiltebeitel relates this to the South Indian glorification of "heroic" self-mutilation and self-decapitation before a goddess. He takes particular note of a scene towards the end of a puranic text, Devi Mahatmyam, in interpreting old Tamil sculptures depicting a warrior king spilling his own blood, as in the Purana, in adoration of a goddess of victory. In the Tamil sculptures, the goddess is Korravai, who became associated with Durga and hence Kali. He also finds parallels in the Telugu legend of the sacrifice of Barbarika —another Mahabharata character—and its variants in Rajasthan (see also: Khatushyamji), Himachal Pradesh, Garhwal, Kurukshetra, Bundelkhand and Orissa. Most notable among the similarities between Aravan and Barbarika is the boon to witness the entire duration of the Mahabharata war—through the eyes of the severed head, despite the sacrifice. The first account of Aravan's sacrifice is found in Parata Venpa—the earliest surviving Tamil version of the Mahabharata—by Peruntevanar (9th century). The tale is later retold by Villiputuralvar in his 14th-century Makaparatam and by Nallapillai in the 18th century. The legend is also mentioned in the text Khoothanvar Sthala Purana, associated with the shrine of Kuttantavar. Another source of Aravan traditions is the folk-theatre of Tamil Nadu, called koothu. Aravan Kalappali (or Aravan Kalabali), "Aravan's Battlefield Sacrifice", is a popular theme of the traditional Terukuttu ("street theatre"). Aravan Kalappali tells the story of Aravan's pre-battle self-sacrifice to the goddess Kali to win her support, guaranteeing victory for the Pandavas (Arjuna and his brothers) in the Mahabharata war. Aravan Kalappali is staged annually in the villages of Melattur, Kodukizhi and Yervadi, according to various forms of the koothu folk-theatre. In Karambai, Aravan Kalappali is performed as part of the cult of Draupadi, on the 18th day of an annual festival (April–May), to please the goddess. In modern interpretations, Aravan's head symbolises not only self-sacrifice but also regeneration and continuity, because of his ability to see the war after his sacrifice. For example, Iramacamippulavar's Merkolvilakka Kkatai Akaravaricai (1963)—which narrates the tale of Aravan—ends with the conclusion that Aravan continues to live on as a folk hero in Tamil Nadu, because he embodies "the ideal of self-sacrifice". Aravan is considered to be a representation of the cost of war; he evokes the "countless innocent" reluctantly sent by their mothers "to be consumed by the insatiable Goddess of War". Indologist David Shulman, on the other hand, considers Aravan's sacrifice to be a reworking of the serpent sacrifice in the Tamil epic tradition. relief|alt=A black stone relief depicting a number of men wearing a crown and a dhoti, fighting with spears, swords and bows. A chariot with half the horse out of the frame – is seen in the middle.]] While the marriage of Iravan's parents is mentioned in the first book of the Mahabharata, Adi Parva (the Book of Beginnings), both the birth and death of Iravan are mentioned later, in the sixth book, Bhishma Parva (the Book of Bhishma). In this sixth book of the epic, Arjuna, the third Pandava brother, is exiled from Indraprastha (the capital city of the Pandava kingdom) to go on a 12-year pilgrimage as a penance for violating the terms of his marriage to Draupadi, the Pandava brothers' common wife. Arjuna reaches the north-east region of present-day India and falls in love with Ulupi, a widowed Naga princess. The two get married and have a son named Iravan; later, Arjuna proceeds with his pilgrimage, leaving Iravan and Ulupi behind in Nagaloka, the abode of the Nagas. Iravan is described as being born parakshetre, literally "in a region belonging to another person", interpreted by Hiltebeitel as "upon the wife of another". Iravan grew up in Nagaloka, protected by his mother, but was rejected by his maternal uncle because of the latter's hatred of Arjuna. After reaching maturity, Iravan, hoping to be reunited with his father, departs for Indraloka, the abode of the god Indra, who is also Arjuna's father. Upon meeting his adult son, Arjuna requests his assistance in the Kurukshetra War. Thus Iravan finally reaches the battlefield of Kurukshetra to assist his father and Pandavas against their cousins and opponents, the Kauravas and slays many enemy warriors. On the first day of war, Iravan fights a duel with Srutayush, a Kshatriya king who had been a daitya (demon) called Krodhavasa in a prior incarnation. Srutayush is later killed by Arjuna. On the seventh day of war, Iravan also defeats Vinda and Anuvinda, the princes of Avanti, who are later killed by Arjuna. On the eighth day of the war, Iravan combats the princes of Gandhara, sons of king Suvala, and the younger brothers of Shakuni, the treacherous maternal uncle of the Kauravas. The brothers Gaya, Gavaksha, Vrishava, Charmavat, Arjava, and Suka attack Iravan, supported by the whole Kaurava army, but Iravan's army of Nagas slay all the soldiers, leaving the Gandhara princes for Iravan. Iravan, then gets down from his chariot and slays five of the Gandhara princes in a sword fight; Vrishava alone escapes death. Agitated by this reversal, the eldest Kaurava, Duryodhana, orders the rakshasa (giant) Alamvusha (or Alambusha), son of Rishyasringa, to kill Iravan. This time Alambusha, as well as Iravan, uses illusion in combat. Alambusha attacks Iravan with a bow, but Iravan counters, breaking Alambusha's bow and slicing the giant into several pieces. Alambusha's body, however, reconstitutes itself. Then Iravan assumes the form of the serpent Shesha (Ananta), and his serpent army surrounds him to protect him. Alambusha counters this by assuming the form of Garuda (the eagle-man), the eternal foe of the serpents, and devours the serpent army. Ultimately, Alambusha catches Iravan by surprise and kills him by cutting off his head, though Iravan is later avenged when Ghatotkacha, his cousin, finally kills Alambusha during the night war on the fourteenth day and restrucess him. (pictured), to ensure her favour and victory in war for his father, Arjuna, and uncles—the Pandavas.|alt=A reddish bronze statue of a four-armed topless woman wearing a short pant sari, standing on a pedestal. She wears a flaming crown and various ornaments. She carries in her hands a goad, a noose, a bowl and a small broken trident.]] The god Krishna, who is a close friend of and advisor to the Pandavas, hears of Duryodhana's plan, and devises one of his own, to ensure that Aravan will give himself as a sacrifice on behalf of the Pandavas rather than the Kauravas. Krishna first discusses the issue with Yudhishthira (Dharma or Dharmaraja), the eldest of the Pandavas, recommending the sacrifice to Kali as a part of an ayudha-puja ("worship of the weapons"). Krishna establishes that there are four candidates most suited to being offered as the victim: Shalya, who is on the side of Kauravas; Arjuna, the commander of the Pandavas; Aravan; and Krishna himself. From this shortlist, Krishna finally narrows the best choice down to Aravan. Aravan agrees to undergo the kalappali on behalf of the Pandavas but mentions his prior commitment to Duryodhana. Later Tamil sources provide variants to Peruntevanar's version. In Villiputuralvar's 14th-century version, Krishna first offers himself as the sacrificial victim, but Aravan volunteers to replace him. There is no mention of Duryodhana in this version of the legend. In other accounts, Aravan is sacrificed in order to counteract the Kauravas' sacrifice of a white elephant. In the traditions of the village of Neppattur, in the Thanjavur district, Aravan is described as being so strong that he could slay all the Duryodhanas at once, thus preventing any war from happening. So Krishna prescribes the human sacrifice of Aravan in order that "the greater sacrifice of the war can take place". In terukkuttu performances, at the time of Aravan's sacrifice, he is often compared to Puru and Bhishma, characters in the Mahabharata who gave up their youth and sexual fulfilment for the sake of their respective fathers, Yayati and Santanu. In the drama, after acquiring Aravan's approval, Krishna approaches Aravan's mother, Ulupi—Nagakanni or Nakakanni ("Serpent maiden") in Tamil, for her consent. At first she strongly opposes her son's proposed sacrifice but finally relents when Aravan appeals to her, explaining that he belongs to Kali alone. Finally, in all versions of the tale, Krishna tricks the gods Surya (the Sun) and Chandra (the Moon) to co-ordinate their movements so that the day of the new moon will fall one day earlier—the current day. This allows Aravan to make the initial sacrifice of flesh on behalf of the Pandavas, only making the rest-offering on behalf of Duryodhana the following day, yet fulfilling his promise to Duryodhana by doing so. temple in Ayyampettai. A cobra hood is seen on his crown, while another five-headed cobra is emerging from behind the crown.|alt=A big wooden male head with a moustache, bushy brows, Vaishnava tilak, fangs protruding from the end of the mouth, big eyes and ears and wearing a conical crown with a cobra on its front and another five-headed cobra is emerging from behind]] Devotees of Draupadi commemorate the Mahabharata war by conducting an annual festival known as patukalam. This festival usually begins with a kuttu ("drama") re-enacting Draupadi's wedding. During the festival, the actor playing the part of Draupadi (and other women participating in the public ceremonies) lament the death of Aravan and the other heroes of the war. There is some variation in the length of the patukalam festival and in the day allocated to performing the kuttu of "Aravan's sacrifice" (kalappali), but wherever the ritual kalappali is performed, that place is declared to be, symbolically, the battlefield of Kurukshetra. In Irunkal, Tamil Nadu, this kuttu is usually performed 16 days before "patukalam day", the last day of an 18-day festival. In Singapore, however, the kuttu is performed on the day of the new moon in the Tamil month of Purattaci (September–October). In shorter 10- to 12-day festivals, the kuttu and ritualisation of Aravan's kalappali are performed on the concluding night of the festival, as can be observed in Bangalore and in and around Chennai—at Sowcarpet, Alantur and Punamalli. There is also variation in how Aravan is represented in the festivities. While permanent wooden Aravan heads are used in temples in Chennai and Puducherry, in rural areas the head and body of Aravan are made of clay; both are destroyed at the end of the festival. At Tindivanam, a headless clay and bamboo body of Aravan is modelled, showing him in a heroic position, kneeling on his left knee and holding a bow. A clay head is then ceremoniously fixed, making the effigy about tall. The officiating priest first takes a sword, striking pieces from the head. Then, a pumpkin is sliced into 32 pieces, symbolising 32 pieces of Aravan's sacrificed body. Next, Aravan is fed his own "blood", represented by the blood of goat, sacrificed to Aravan beforehand. Aravan's body from the neck downwards is then covered with a bloodstained white cloth. Finally, blood-soaked rice is sprinkled on Aravan's face. Devotees, as in the Kuttantavar cult, believe eating this rice from Aravan's face, recovered after the ceremony, can induce pregnancy. In Cattiram Karuppur, near Kumbhakonam, a statue of Aravan is constructed horizontally and placed on the ground. Aravan's story is then re-enacted; one of the actors, believed to be possessed by Kali, kills a rooster over the statue's neck, symbolising the sacrifice. Again, blood-soaked rice is distributed to devotees, especially childless women. Similar rituals associated with a symbolic sacrifice and blood-soaked rice are performed in Melaccari, Alantur, Punamalli and Villupuram. At Alantur and Punamalli, a goat is sacrificed, in Cuddalore, Patirikkuppam and Villupuram, a cock is sacrificed. In the districts of Cuddalore, Thanjavur and Villupuram, Aravan's head is hoisted to an elevated position to watch over the patukalam and the symbolic re-enactment of the Mahabharata war.

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