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[[Image:24 Avatars.jpg|thumb|'''The Twenty-four Incarnations of Vishnu''', Modern Madhubai Painting]] | [[Image:24 Avatars.jpg|thumb|'''The Twenty-four Incarnations of Vishnu''', Modern Madhubai Painting]] | ||
The '''Chobis avatar''' is the name given to the seventh [[Bani]] in the second holy scriptures of the [[Sikh]]s called the [[Dasam Granth]]. In the standard Dasam Granth Sahib printed in 1897 AD, the Chaubis Avatar is from pages 155-611 in 1428 pages. This text spans from page 643 to page 1343 of the 1478 pages (at the www.gobindsadan.org site [http://www.gobindsadan.org]). | |||
It a collection of tales of twenty-four incarnations of the demi-god Vishnu, and forms a part of Bachitra Natak, in Guru Gobind Singh's Dasam Granth. The complete work contains a total of 4,371 verse units of which 3,356 are accounted for by Ramavtar and Krishnavtar. The shortest is Baudh Avatar (The Buddha) comprising three quatrains, and the longest is Krishnavtar, with 2,492 verse units, mostly quatrains. | It a collection of tales of twenty-four incarnations of the demi-god Vishnu, and forms a part of Bachitra Natak, in Guru Gobind Singh's Dasam Granth. The complete work contains a total of 4,371 verse units of which 3,356 are accounted for by Ramavtar and Krishnavtar. The shortest is Baudh Avatar (The Buddha) comprising three quatrains, and the longest is Krishnavtar, with 2,492 verse units, mostly quatrains. | ||
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In the epilogue to one of the episodes in Krishnavtar occurs a statement repudiating the worship of popular deities like Ganesa, Krishna and Vishnu (verses 43440). The Supreme Being, called in the Guru's authentic idiom, Mahakal (the Supreme Lord of Time) is acknowledged as the Succourer to whom prayer is made to keep operative the defensive might (tegh) and dispensing of charity (deg). Thus is set forth the basic principle of the Sikh faith amid a long literary exercise. | In the epilogue to one of the episodes in Krishnavtar occurs a statement repudiating the worship of popular deities like Ganesa, Krishna and Vishnu (verses 43440). The Supreme Being, called in the Guru's authentic idiom, Mahakal (the Supreme Lord of Time) is acknowledged as the Succourer to whom prayer is made to keep operative the defensive might (tegh) and dispensing of charity (deg). Thus is set forth the basic principle of the Sikh faith amid a long literary exercise. | ||
The poet asserts that he, having descended from the martial Ksatriyas, cannot think of adopting the attitude of a recluse towards the disturbed conditions of his time. The greater part of the tales of Ramavtar and Krishnaavtar are taken up with battlescenes evoked through many alliterative devices with the clash and clang of arms constantly reproduced. At the close of Krishnavtar, in a kind of postscript, is proclaimed the crusader's creed, which is ever "to remember God, to contemplate holy war;and, unmindful of the destruction of the perishable body, to embark the boat of noble repute." The poet has thus extracted the element of heroism from the prevalent stories without projecting the attitude of a worshipper, with the sole purpose of inspiring his followers with the resolve to fight for Dharma, i.e. to uphold righteousness. | The poet asserts that he, having descended from the martial [[Khatri|Ksatriyas]], cannot think of adopting the attitude of a recluse towards the disturbed conditions of his time. The greater part of the tales of Ramavtar and Krishnaavtar are taken up with battlescenes evoked through many alliterative devices with the clash and clang of arms constantly reproduced. At the close of Krishnavtar, in a kind of postscript, is proclaimed the crusader's creed, which is ever "to remember God, to contemplate holy war;and, unmindful of the destruction of the perishable body, to embark the boat of noble repute." The poet has thus extracted the element of heroism from the prevalent stories without projecting the attitude of a worshipper, with the sole purpose of inspiring his followers with the resolve to fight for Dharma, i.e. to uphold righteousness. | ||
Chaubis Autar does not appear to be the work of one period. It was a long project which was in execution for a decade or more. While Krishnavtar is stated in verse 2,490-91 to have been composed in Samvat 1745/AD 1688 at Paonta when Guru Gobind Singh was residing there,Ramavtar, according to verses 860-61 was composed at Anandpur in Samvat 1755/AD 1698 near the temple of Nainadevi, close to the bank of the River Sutlej. | Chaubis Autar does not appear to be the work of one period. It was a long project which was in execution for a decade or more. While Krishnavtar is stated in verse 2,490-91 to have been composed in Samvat 1745/AD 1688 at Paonta when Guru Gobind Singh was residing there,Ramavtar, according to verses 860-61 was composed at Anandpur in Samvat 1755/AD 1698 near the temple of Nainadevi, close to the bank of the River Sutlej. | ||
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The texture of the language is neoclassical Braj. The poet has employed a variety of metres, and made them responsive to the passing moods or emotions and changing situations. The metres are alternately short and long in consonance with the increasing and lessening of the fury of battle. Blank verse in Punjabi has been inserted for the first time by the poet in the SirkhandT metre (Ramavtar, verses 467-70). Punjabi words keep cropping up as in the heading of a Krishnavtar episode lukmichan (hide and seek) and in referring to a king condemned to be incarnated as a lizard (kiria, in Punjabi). At one place in Ramavtar (verse 657-68) Persian words are blended with Hindi to make rekhta: the language that was the precursor of modern Urdu. The range of vocabulary thus becomes vast and varied. | The texture of the language is neoclassical Braj. The poet has employed a variety of metres, and made them responsive to the passing moods or emotions and changing situations. The metres are alternately short and long in consonance with the increasing and lessening of the fury of battle. Blank verse in Punjabi has been inserted for the first time by the poet in the SirkhandT metre (Ramavtar, verses 467-70). Punjabi words keep cropping up as in the heading of a Krishnavtar episode lukmichan (hide and seek) and in referring to a king condemned to be incarnated as a lizard (kiria, in Punjabi). At one place in Ramavtar (verse 657-68) Persian words are blended with Hindi to make rekhta: the language that was the precursor of modern Urdu. The range of vocabulary thus becomes vast and varied. | ||
The entire chapter is very narrative and speaks of Dharam always being protected by the Almighty and how this has occured through the various eras. The section covering Sri Krisha, Sri Ram, and Nehklanki is the longest. Each Avtar brings with him a special technique or method of warfare to defeat the enemy he is facing. | |||
The entire chapter is very narrative and speaks Dharam always being protected by the Almighty and how this has occured through the various eras. The section covering Sri Krisha, Sri Ram, and Nehklanki | |||
It is this aspect that appeals to the Akali Nihang Singh Khalsa as much of this forms the basis for the higher martial art skills within Shastar Vidiya (click here for more information). The avtars can be categorised as being either: | It is this aspect that appeals to the Akali Nihang Singh Khalsa as much of this forms the basis for the higher martial art skills within Shastar Vidiya (click here for more information). The avtars can be categorised as being either: | ||
Revision as of 03:02, 11 August 2009
The Chobis avatar is the name given to the seventh Bani in the second holy scriptures of the Sikhs called the Dasam Granth. In the standard Dasam Granth Sahib printed in 1897 AD, the Chaubis Avatar is from pages 155-611 in 1428 pages. This text spans from page 643 to page 1343 of the 1478 pages (at the www.gobindsadan.org site [1]).
It a collection of tales of twenty-four incarnations of the demi-god Vishnu, and forms a part of Bachitra Natak, in Guru Gobind Singh's Dasam Granth. The complete work contains a total of 4,371 verse units of which 3,356 are accounted for by Ramavtar and Krishnavtar. The shortest is Baudh Avatar (The Buddha) comprising three quatrains, and the longest is Krishnavtar, with 2,492 verse units, mostly quatrains.
The Chaubis Avatar is the second largest work within Dasam Granth Sahib (Dasam Guru Durbar) covering 5297 verses, it recounts the 24 incarnations of Vishnu:
Machh, Kachh, Rudra, Jallandar, Bisan, Sheshmai, Arihant, Dev, Manu Raj, Dhanantar, Nar, Narayan, Mohini, Varaha, Narsingha, Baman, Parshuram, Brahma, Suraj, Chandra, Ram Krishan, Arjan, Buddha, and Nehklanki (Kalki).
The introductory thirty-eight chaupais or quatrains refer to the Supreme Being as unborn, invisible but certainly immanent in all objects. Whenever evil predominates, saviours of the humanity or avatars emerge by His hukam, i.e. order, to reestablish righteousness. They fulfil His will and purpose. Akal Purakh who creates them ultimately subsumes them all in himself. The poet asserts his monotheistic belief here and while enumerating the avatars discountenances any possibility of their being accepted as the Supreme Being, i.e. Akal Purakh.
In the epilogue to one of the episodes in Krishnavtar occurs a statement repudiating the worship of popular deities like Ganesa, Krishna and Vishnu (verses 43440). The Supreme Being, called in the Guru's authentic idiom, Mahakal (the Supreme Lord of Time) is acknowledged as the Succourer to whom prayer is made to keep operative the defensive might (tegh) and dispensing of charity (deg). Thus is set forth the basic principle of the Sikh faith amid a long literary exercise.
The poet asserts that he, having descended from the martial Ksatriyas, cannot think of adopting the attitude of a recluse towards the disturbed conditions of his time. The greater part of the tales of Ramavtar and Krishnaavtar are taken up with battlescenes evoked through many alliterative devices with the clash and clang of arms constantly reproduced. At the close of Krishnavtar, in a kind of postscript, is proclaimed the crusader's creed, which is ever "to remember God, to contemplate holy war;and, unmindful of the destruction of the perishable body, to embark the boat of noble repute." The poet has thus extracted the element of heroism from the prevalent stories without projecting the attitude of a worshipper, with the sole purpose of inspiring his followers with the resolve to fight for Dharma, i.e. to uphold righteousness.
Chaubis Autar does not appear to be the work of one period. It was a long project which was in execution for a decade or more. While Krishnavtar is stated in verse 2,490-91 to have been composed in Samvat 1745/AD 1688 at Paonta when Guru Gobind Singh was residing there,Ramavtar, according to verses 860-61 was composed at Anandpur in Samvat 1755/AD 1698 near the temple of Nainadevi, close to the bank of the River Sutlej.
Another component of the Chaubis Autar is Nihkalankavtar which is a sustained expression of appearance of Nihkalank who would destroy evil and establish righteousness.
An interesting phenomenon observable in Krishnavtar is the sliding of the poet from Krsna's mythical career into his own contemporary scene. Among the heroes mentioned some bear medieval Rajput names (Gaj Singh, Dhan Singh, Surat Singh); some Muslim like Nahar Khan, Tahir Khan, and Sher Khan. In verse 1602 malechh which was the pejorative term used for Muslims is used. The name of the city of Delhi appears, which is an anachronism. Such anachronisms indicate how the poet's consciousness was touched by the turmoil in contemporary Mughal times.
The texture of the language is neoclassical Braj. The poet has employed a variety of metres, and made them responsive to the passing moods or emotions and changing situations. The metres are alternately short and long in consonance with the increasing and lessening of the fury of battle. Blank verse in Punjabi has been inserted for the first time by the poet in the SirkhandT metre (Ramavtar, verses 467-70). Punjabi words keep cropping up as in the heading of a Krishnavtar episode lukmichan (hide and seek) and in referring to a king condemned to be incarnated as a lizard (kiria, in Punjabi). At one place in Ramavtar (verse 657-68) Persian words are blended with Hindi to make rekhta: the language that was the precursor of modern Urdu. The range of vocabulary thus becomes vast and varied.
The entire chapter is very narrative and speaks of Dharam always being protected by the Almighty and how this has occured through the various eras. The section covering Sri Krisha, Sri Ram, and Nehklanki is the longest. Each Avtar brings with him a special technique or method of warfare to defeat the enemy he is facing.
It is this aspect that appeals to the Akali Nihang Singh Khalsa as much of this forms the basis for the higher martial art skills within Shastar Vidiya (click here for more information). The avtars can be categorised as being either: i) Shastardhari (using weapons and battle techniques to uphold Dharam, eg, Narsingha) ii) Shaastardhari (using wisdom to overcome unrighteousness, eg, Buddha) iii) Kalyaandhari (who change their environment through great deeds, eg, Machh)
The ballad enforces the view that although each Avtar has great powers and carried out great deeds, they all succumbed to egotism. The 'Atma' (soul) of these great beings still derived its strength from 'Parmatma' (Highest of all Souls, ie. the Almighty). The chapter also reinforces the traditional Sikh philosophy than none other than the Almighty Nirankar (formless) God is to be worshipped.
The summary of this Bani is narrated by Gobin Sadan at:
| www.gobindsadan.org |
| "This is a very important literary piece. In this the stories of twenty-three Avatars of lord Vishnu have been included. These are Machch, Kachch, Nar, Narain, Mohini, Varaha, Narsingha, Baman, Parasram, Brahma, Rudra, Jallandhar, Bisan, Sheshmai, Arihant, Dev, Manu Raja, Dhanantar, Sooraj, Chandra, Ram Krishan, Nar (Arjan), Budh and Nehkalanki. Of these, Krishnavatar is the longest followed by Ramavatar and then Nehkalanki avatar. While some of the facts included are as per the scriptures, the writer has also used his own imagination to further elaborate on the facts.
At the beginning, Guru Gobind Singh Ji has clearly stated his aim for writing this literary piece. In this God has been referred to as the source and fountain head from which all avatars have come forth. Whenever the earth gets weighed down by evil and sin, God sends down lord Vishnu as an avatar. But even the avatars fall prey to their inflated ego hence face the displeasure of God who then sends another avatar. Each of these avatars is an expert at martial arts and strategies. It is this aspect of their personalities that is of utmost significance to the Guru." |
Following the Chaubees Avtar are 2 ballads: Brahm Avtar (343 verses) and Rudra Avtar (498 verses). The first of these described the egotism within Brahma and how excessive vanity lead to his 7 incarnations on Earth: Balmik, Kashyap, Shukra, Brahaaspati, Vyas, Sastrodhaarak, and Kalidas. In the second section, the lives of 2 incarnations of Rudra (also known as Shiva) are described namely, Dattatreyaa and Parsnaath. Rudra, as his counterpart Brahma also was the victim of excessive uncontrolled ego and was banished to Earth (by taking the form of the 2 incarnations).
Chaubis Avatar - accounts of twenty-four incarnations of the Vishnu, according to the Hindus, and Brahmavatar and Rudravatar, selected because of their warlike character. or it maybe that in Indian religion most scriptures focused on the supremacy of One deity over another. Guru Gobind Singh to show the unity of Ik Oankar intergrated the trimurti into the BN Granth.
References
1. Loehlin, C.H., The Granth of Guru Gobind Singh and the Khalsa Brotherhood. Lucknow, 1971
2. Ashta, Dharam Pal, The Poetry of the Dasam Granth. Delhi, 1959
3. Jaggi, Ratan Sirigh, Dasam Granth Parichaya. Delhi, 1990
| Banis: | Jaap | Akal Ustat | Bachitar Natak | Chandi Charitar Ukat(i) Bilas | Chandi Charitar 2 | | Chandi di Var | Gyan Parbodh | Chobis Avatar | Brahm Avtar | Rudar Avtar | Shabad Hazarey | 33 Swaiyey | Swayyae| Shastar Nam Mala | Charitropakhyan | Zafarnama | Hikayats |
| History: | Historical References · Guru Gobind Singh · Paonta Sahib · Bhai Mani Singh · Mata Sundri |
| Philosphy: | Idol Worship · Pilgrimages · Chandi · Triya · Shastar · Waheguru |
| Sikh Scholars About Dasam Bani: | Singh Sabha Lahore · Bhai Kahn Singh Nabha · Professor Sahib Singh · Bhai Veer Singh · Jarnail Singh Bhindrawale · Anti Dasam Bani Movement |
