Monthly Archives: October 2017

Classical Indic Warfare I: Dhanur Veda

It is often asked whether there was a Traditional Dharmic Military Science. After all, in an era where “Might makes Right” and “Victory is the only Morality”, how can a society, any society, hope to survive without its own Tradition of Warfare? Although modern India has come to be associated with the concept of Ahimsa, it must also be remembered that Bharat is also the society of Dharma eva hatho hanthi.

Those who wish to elevate Dharmo rakshati rakshitaha from a mere maxim to an actual eternal truth must first begin by properly understanding the first installment in our new Series on Classical Indic Warfare: Dhanur Veda.


Vaasishtaaya namoh namaha

Salutations to Maharishi Vasishta, who expounded the Dhanur Veda to King Kausika (who became Vishvamitra).

Dhanur Veda is an ancient tradition, considered by some to be one of the 18 branches of knowledge. “According to Visnudharmottara, god Satakratu (Indra) represents Dhanurveda or the knowledge of warfare.” [2] Other divinities associated with it include Lord Skanda (the God of War), and his father (Sadashiva) who himself is credited with the Siva-Dhanur-Veda.

Although Dhanurveda is often referred to merely as Science of Archery or “Martial Arts”, it is in fact the Ancient Vedic Military Science. It is the foundation of the Indic Way of War. As for why the name emphasises the Dhanush, the explanation is as follows: Just as Soopa Sastra refers to Cuisine, just as Arthasastra refers to Statecraft, so too does Dhanur Veda refer to Military Science.

Long time readers would have become familiar with the preceding Upavedas we discussed. Each Upaveda is attached to one of the Chatur Vedas.

Gandharva Veda — Saama Veda

Sthaapatya Veda — Atharva Veda

Dhanur Veda — Yajur Veda

Ayur Veda — Rig Veda

As such, just as Gandharva Veda is attached to the Saama, just as Sthaapatya Veda is attached to the Atharvana, the Dhanur Veda is attached to the Yajur Veda.

That is why the realm of Dhanur Veda is not merely for rote regurgitators, but for those with an understanding of both ancient and modern military arts. In fact, the first guru-sishya parampara of Dhanur Veda begins with Lord Brahma teaching King Prithu. There are of course other lineages. The Siva Dhanur Veda propounds the teachings of Tripurantaka (Lord Shiva) who instructed Parashurama. And finally, the Vasishta Dhanurveda Samhita encompasses the discourse on Dhanur Veda delivered by Maharishi Vasishta to Vishwamitra. Some even list as many as 6 or 7 Traditions.

Despite the fumblings of neophytes, also-rans, and ahankari-shikhandis, a proper restatement of the Vedic Way of War has yet to be comprehensively discussed. To date, there have either been modern Subject-Matter-Experts with outstanding professional expertise, but minimal traditional awareness, or traditionalist (and pseudo-traditionalist) scholars who cite theory without practical modern understanding. But to face the Exigencies of the Politico-Strategic, both are required. We must be rooted in the past but pragmatically face the present as it is, not as we wish it to be.

As such, to fight the battle that faces us, rather than merely the one we want, one must properly understand that we face not a Clash of Civilizations, but a Clash for Civilization. Because when you realise the enemy you face is amongst you, and inherently uncivilised, you understand the traditional rules of Achara Yuddha do not apply. It is why Dhanur Veda stands astride both the realms of Raja Dharma and Raja Niti. While statecraft encompasses both, Dharmic Epistemology necessitates the classification of Sainyaara-vidya under Niti, as the principles of war are neither moral nor immoral, but amoral.


It is why in the Kali Yuga, Koota Niti rather than Dhanur Veda is the starting point, because strategy determines whether or not you go to war, rather than war being the starting point of considering strategy. The present time provides a set of sophisticated forms of warfare, which may or may not have been foreseen by our forbears and seers, but nevertheless are practiced today (Lawfare, Economic Warfare, Cultural Warfare, etc.). In fact, the modern and post-modern eras have become so complex, that one must consider strategy even before politics. The latter becomes an extension of the former, rather than the standard other way around.

If the Politico-Strategic involves understanding and successfully managing the competitive landscape, Dhanur Veda involves the ability to impose one’s decision upon the adversary.


The Purpose of Dhanur Veda was stated by Maharishi Vasishta himself. Rather than for seeking glory or demonstrating mere skill, the purpose of archery (Dhanurvidya) and warfare (Dhanur Veda) was to protect one’s subjects, and rescue the weak from the strong, and preserve Dharma and the virtuous persons who practice it.

Dushtadasyuchoradibhya saadhu-samrakshanam dhammethah |

Praja-paalanam Dhanurvedasya Prayojanam || sl.5

The purposes of learning [Dhanurveda] are to protect the virtuous people from the evil persons, robbers and thieves and also to protect and defend the subjects. [2,4]

As such, a teacher of Dhanurveda has the responsibility to train students well, and also to reject greedy, foolish, ungrateful, and evil students so that they cannot abuse this knowledge to harm others.

Knowledge, for both student and teacher, comes with responsibility.

Theoretical Foundations

For the defence of a country, there are abundant references in Vedas, to maintain a regular armed force. It is also enjoined therein that the immediate control of this defence force should be under the command of a chief.  [1,14]

These of course are references to the state of the Military art of the time. Contrary to popular opinion, the theoretical study of Warfare is ancient and widespread in Indic Civilization.

As with all things Dharmic, the foundational aspects of the Indic Military Tradition are found in the Chaturveda. Due to the numerous references to the subject in that samhita, Maharishi Vasistha considers Dhanurveda to also be a sub-branch of Atharva Veda.

Committees (samiti/sabha/sura) consisting of competent experts were to be appointed by the King on defence policy and related matters (AV. 15.8.9, 4.30.2). Such bodies had an advisory role, with the King naturally serving as the overall Chief of the Defence Forces (RV.10.125) Nevertheless, separate Commanders-in-Chief (senadhipatis) were frequently appointed (though the risk of coups remained—as evidenced by Pushyamitra Sunga‘s rise to power).

The election and consecration of the commander on the field of battle as evidenced in the epic at once reminds one of the Vedic king’s coronation. [7, 2]

While rooted in the Yajur Veda, there are a large number of sources (extant and otherwise) for understanding the application of Dhanur Veda.

Dhanurveda, the standard work on Vedic military science being lost, dissertations on the Mahabharata, the Agni Purana, Akasa Bhairava Tantra, Kautalya Arthasastra, Manusmrti, Matsya Purana…Manasollasa, Yukti Kalpa Taru, Visnudharmottara Purana, Viramitrodaya, Samrangana Sutradhara, Sukraniti, and other small works on Dhanurveda like Ausanas Dhanurveda, Vasishta Dhanurveda, Sadasiva Dhanurveda and Niti Prakasika are the only source of information on the subject left to us.” [1,13]

Many of course will argue that some of these texts, such as the Siva Dhanurveda, focus almost exclusively on literal Dhanur vidya (archery). That is true, but even the Vasistha Dhanurveda Samhita is more robust and covers elements of battle strategy and military operations as well. There are also other Dhanurvedas that are lesser known: Vishvamitra Dhanurveda, Jamadagni Dhanurveda, Vaisampayana Dhanurveda, as well as the Veerachintamani of Sarangadhara. [1,15] Furthermore, the RamayanaMahabharata, and Arthasastra all cover the details of the art of Dharmic War, down to the granular level of logistics and military education of princes.

The Hindu did not permit even the military art to remain unexamined. It is very certain that the Hindu kings led their own armies to the combat, and that they were prepared for this important employment by a military education; nor is it less certain that many of these monarchs were distinguished for the highest valour and military skill. [1,1]

The Nitiprakaasika of Vaisampayana tells us that Lord Brahma was the originator of Dhanur Veda and taught King Prthu, son of Vena, via 1,00,000 slokas. This was reduced to 50,000 by Rudra, 12,000 by Indra and 3,000 by Pracetasa & Brihaspathi. Sukra reduced it to 1,000, Bharadvaja to 700, Gaishira to 500 and Maharishi Veda Vyasa to 300.  Vaisampayana himself provides us with this work in 8 chapters. [1]

Dhanurveda is generally divided into 4 sections: 1. Deeksha (Initiation), 2. Sangraha (Procurement), Siddhaprayoga (Training), Prayogavidhi (Operations).

Modern Hindus are more obsessed with 1 and 4, when they need to pay more attention to 2 and 3. Some leaders are born—it is true—but most are made. They are made through education and tested through practice. It is why all-theory and no practice pseudo-trads need to exit the kshetra where they do not belong.

Pareekshaa anyaa yogyataa anyaa

Exam is one thing competence is another

This is emphasised by Acharya Chanakya himself, who mentioned training in the military arts to extend to study of the Itihaasas. It is not for nothing that History is dubbed “the school of princes”.

Interestingly, talented generals were often highly trained in the fine arts. Maharana Kumbha crushed the neighbouring Sultanates and turned Mewar into a powerhouse. He was also a commentator on Music & Literature.  As for Andhra, the Nrtta Ratnavali (a work on dance) of Jaya Senapati ends every chapter colophon as follows:


Jayasenapati- viracitaayaam nrttaratnaavalyaam

Nrtta Ratnavali authored by Jayasenaapti, the chief of the elephant forces of Ganapatideva, the superior king of kings. [147]

A great general in his own right, Ganapati Deva was the father of the warrior Queen Rudrama Devi.

Thus the Gaja-sadhanika (or Elephant Corps commander) also had a well-rounded education. While these are some of the theoretical foundations, one must also familiarise oneself with the terminology and principles of Dhanurveda.


  • Dhanurveda — Military Science
  • Samgraama/Vigraha — War
  • Yuddha — Battle
  • Sangraha — Procurement
  • Siddhaprayoga —Training
  • Prayogavidhi — Operations
  • Upasad — Siege
  • Samkrama — Bridge
  • Kavacha — Armour
  • Varma — Chain mail
  • Sirastraana/Sipra — Helmet
  • Kantatraana — Throat protector
  • Phalaka — Shield (metal or wood)/Charma (leather or hide shield)
  • Hastaghna — Armguard (especially for archers)
  • Dundubhi — War drum
  • Suhstra — Weapon
  • Dhanusha — Bow
  • Vaana — Arrow
  • Gadha — Mace
  • Vavri — Sheath/ Vaala — Belt
  • Khadga — Sword (falchion)
  • Khanda — Sword (long sword)
  • Asi — Blade/Knife
  • Chakra — Discus
  • Velam — Spear
  • Tomara — Lance
  • Parashu— Axe
  • Trishula — Trident
  • Yantra — War Engine (i.e. Catapult)
  • Durgam — Fortress
  • Skandhavaara/Shivira — Camp
  • Chakravartin — He who turns the Wheel of Dharma (Paramount Sovereign)
  • Raja — King
  • Rajanya — Royal Family
  • Kshatriya — Aristocrat
  • Veera — Warrior
  • Senadipathi — Commander in Chief
  • Senapathi/Senani — General
  • Nayaka — Commander
  • Upanayaka — Lieutenant
  • Sainik/Patti — Foot Soldier
  • Ashvasaada — Cavalryman
  • Spashah — Spy
  • Duta — Messenger
  • Gaja — Elephant
  • Ratha — Chariot
  • Naava — Boat
  • Nalikaa — Gun
  • Agnichoorna — Gunpowder
  • Nisthaanam — Base
  • Sena — Army
  • Nau Sena/Varuna Sena — Navy
  • Vayu Sena — Air Force
  • Kaksha — Flanks
  • Paksha — Wings (also camp)
  • Koti — Vanguard
  • Uras — Chest (front centre)
  • Madhya — Centre (behind the chest)
  • Prstha — Rearguard
  • Praligraha — Reserves
  • Vyuha — Formation


  1. Initiation
  2. Procurement
  3. Training
  4. Operations
    1. Strategic Planning
      1. Personnel
      2. Logistics
    2. Military Operations
      1. Encampment
      2. Battles
        1. Organisation
        2. Formations
      3. Sieges

Study of specifically Dhanur Vidya is more appropriate for another time. It is important to understand its place and practice in the wider context of War (Samgraam)

Dharma of Samgraama


The Dharma of Samgraama, or Dharma of War, is one that is complex and one that has grown increasingly subtle over time. While the purpose of war has already been discussed, how should a just war be conducted?

The Epic code of ethics helped to soften the edge of conflict…The civilian population was allowed to pursue its labours umolested, temples and places of public worship were left undefiled. That these rules were operative in the fourth century B.C., is fully supported by the testimony of Megasthenes. It is doubtful if any other ancient civilization set such humane ideals of war. [7, 167]

Achara Yuddha

Hindu warfare was honoured for its code of Ethics, so much so that foreign commentators often asked whether it was more of a tournament for warriors.

Murcchitham naiva vikalam nashastram naanyayodhinam |

Palaayamaanam saranam gathanchaiva na himsayeth || sl.41

One should not kill the enemy who is lying unconscious, who is crippled, devoid of weapon or is stricken with fear and also who has come for shelter. [2, 64]

With such rules, it is easy to see why Rajputs fell for Turk deceptions time and again. But the first responsibility of a King is not to be a chivalrous/magnanimous figure, but to protect his subjects.

But contrary to naysayers, however, there was a practical aspect to it as well.Ethical warfare is suited for ethical enemies. Those who practice koota-yuddha must be opposed by similar conduct. Kautilya himself was merely reasserting what Krishna had already taught. When the enemy is breaking all the rules, you cannot fight with one hand tied behind your back. That is the difference between a Raja and Rajaputra.

Therefore, Achara yuddha was meant to be followed with other Indic Kings who observed the rules of Civilised Warfare. Above all, civilians were to be respected, and women and children to be protected.

Suptam prasuptamunmattam hyakaccham suhstra-varjitham |

baalam striyam deenavaakyam dhaavantham naivadhyaathayeth || sl.64

The person who is asleep, who is in drunken state, who is devoid of clothes or weapons, the lady, the minor, the helpless, the afraid one who deserts the battle field should not be killed. [2, 75]

As Bharatavarsha found out in the medieval period, there are some enemies who specifically mandate the opposite.

Rakshasa Yuddha involved an enemy who breaks all the rules. Atrocities are committed against civilians, who are not spared. Any unchivalrous method can be applied by this honourless foe. In fact, chivalry is seen as ‘markaz i jahalat’, or crassly stupid, as per such barbarians. War is not a mere tournament of arms, but as stipulated by Maharishi Vasishta himself, a means to protect one’s subjects, rescue weak from strong, and punish the wicked. To this end, Achara Yuddha must be put aside, and Koota Yuddha utilised.

Koota Yudha is defined as ‘deceptive war’ by Chanakya. Nevertheless, its more correct meaning is Strategic War, as it is ultimately rooted in Koota Niti (Strategy). Modern War as conducted by foreigners breaks all the rules and indiscriminately slaughters and even commits biological atrocities against civilian populations. One need not similarly become demonic to fight demons. Instead, one must use strategy to outwit such foes and develop asymmetric means to defeat their dastardly weaponry, via both R&D and strategic design.

Dharma Yuddha

Above all this, of course, is the concept of Dharma Yuddha. Some have tried to liken it to a “Crusade” or its Saracenic counterpart, but it is neither. Dharma Yuddha is a war to restore Dharma. That is, all Kings who proclaim to uphold Dharma are mandated to come together to defeat and uproot those who are threatening its very existence. When facing an Adharmic opponent, Koota Yuddha is often not only needed, but even required.

The person who in order to save the brahmins, cows, women or minors gives up his own life is sure to attain eternal salvation [2,75]

All this is more appropriate discussion for another time. For now, the Principles of Dhanur Veda will be covered.


Vasishta muni states that “The ideal time for teaching and learning archery is in the presence of ten stars —Hasta, Punarvasu (Rama’s star), Pusya, Rohini, Uttaraphalguni, Uttarbhadrapada, Uttarasada, Anuradha, Aivini, Revati“, and that this should be done on the third, fifth, seventh, tenth, twelfth, and thirteenth days of the lunar month, ideally on Sunday, Thursday, or Friday. [2, 6-7]

The tradition of purvaranga vidhana (ritual oblations to the divine) is stipulated, as is reverence to the teacher by the students. Prayers to Mahadev, Krishna, Brahma, and of course, Ganesha are also advised.

The warriors of the day were duly indoctrinated in the code of morality and duty. Thus the education of Dhrtarastra, Pandu and Vidura includes lessons in morality, history, tradition, Vedas and the allied literature, apart from military exercises. [7, 163]

Martial Arts


In general, martial arts is a subset of the greater Dhanur Veda. In fact, these are more commonly associated with Kreeda, hence the term Military Science better suited for Dhanur Veda. Nevertheless, initiation into the different schools can take place. Some train at akhaaras learning malla and mushti yuddha (wrestling and boxing), and others learn more armed forms of martial arts, such as Kalaripayattu and Gatka.

Officially dating back to the venerable Guru Hargobind Singh ji,  “Gatka can be practiced either as a sport (khel) or ritual (rasmi).” It features aspects of armed and unarmed combat. It is practiced to this day.

More importantly however, again like its Southern counterpart, Gatka is a direct connection to the ancient Indic warrior ethos. It is an outgrowth of traditional Suhstra-Vidya, which in Punjabi is called Shastar Vidya ਸ਼ਸਤਰ ਵਿਦਿਆ, but has become a tradition in its own right. Sikh Dharma may be centuries old, but it draws from and is part of a millennia old Dharmic Civilization. Whether for sport or for safety, preserving and passing on its proud traditions remains important for Sikh: Citizen, and Soldier alike.


Procurement of excellent weapons, armour, and other equipment are an important part of War. Ancient India was no exception. Dhanurveda being intricately connected with Dhanur Vidya (Archery), procurement of a good bow was elemental.

Characteristics of a good bow were given. All these can be discussed elsewhere. What is important for now is that, different types of bow even composite bows made of horn are also discussed. Ancient India was, for obvious reasons, known for the long bow. Qualities of arrows (and even poisoned arrows) are also discussed. But more than the bow, it was the bowman who was irreplaceable. Good people, after all, are hard to find.


Chitrayuddha, practice of archery, is an essential aspect of training with the bow. Arjuna memorably shot arrows in the dark, and ultimately was able to strike the matsya yantra (fish machine) merely from a reflection. All this was due to practice and rigour in training.

Dhanurveda stipulates stringent rules for the selection and imparting of military instruction. Beyond the usual rules and rituals, it emphasised guna in pairing a soldier with a weapon of choice. Those with Sattvika guna should be paired with the Bow (dhanush). Those with Rajo-sattva should be paired with the Sword (khadga). Those of tamaso-rajas should be paired with the spear (kunta). And those of tamaso guna should be paired with the mighty mace (gadha).

In the ancient times, Acharyas in Dhanurveda were brahmanas (who were then barred from ruling and power politics). A preceptor excelling in 7 types of fighting was called a Saptayodha. One who is versed in 4 is called Bhargava. One in 2 is called Yodha, and if versed in 1 type, he is called Ganaka. Maharishi Aurva trained the mighty King Sagara, and the illustrious Saptarishi Vasishta, trained Sri Rama.

There are, of course, various methods of imparting training. Dhanurveda naturally begins with the bow.


Various methods for practice are stipulated, primarily for archery. These involve firing blunt arrows (and other suhstras) as practice weapons. These are very detailed in discussion and best discussed elsewhere. What is useful to know, is that Dhanur Veda discusses target practice for standing targets, moving targets, and even moving targets while on horseback. Success in this skill is more than just a matter of balance, but also technique.

 Holding the String (Gunamusti)

Pataakaa vakramushtischa simhakarnasthatthaiva cha |

Matsari kaakathundi cha yojaneeyaa yathaakramam || sl.84

Gunamusti is of five types — Pataka (Banner), Vajra-musti (thunder bolt), Simhakarna (ear of a lion), matsari (fish), Kakatundi (beak of a crow). These should be applied in proper places. [2, 23]

Dhanurveda specifies a number of different methods of holding the string. These influence not only the effectiveness of holding the arrow, but the precision of hitting the target. These are in turn combined with laksya (types of aim) and even types of bow draw (dhanurmushti) and bow posture.

Bow Postures (Vyaaya)

These are, of course, just a few of the basic aspects of training in Dhanur Vidya. Dhanur Veda proper is more complex. Though rooted primarily in archery, the Dhanur Veda Samhita of Vasishta is more detailed and covers operations as well.

Army Training

Contrary to our modern “I am an army of one!” ahankari-shikhandis, Dhanur Veda did not simply stipulate singular individual training. The Dharma of Collaboration requires not cooperation with the enemy, but cooperation with one’s countrymen and fellow soldiers.

Parasparaanurakthaa ye yodhaah shaarnga dhanurdharaah |

yuddha-jnaasthuragaarudaasthe jayanthi rano ripun || sl.182

The Warriors even armed with Saarnga bow (made of horn) who co-operate with each other and know battle-craft may beat enemies fighting them on horseback. [1, 141]

Moving and operating as a unit is nothing unique to a particular civilization. Here is Maharishi Vasishta on the infantry.

The infantry or the food soldiers should be of equal height. All of them should be equally expert in jumping an running. They should also be trained in moving backward (pascadga-manam), standing still (sthirikaranam), lying [down] (sayanam) running apace (dhvanam) rushing  headlong into the hostile army and moving in different directions in accordance with signals” [2, 69-70]

Horses and even elephants were to be trained as well. Indian mahouts were celebrated for their skill with the elephant and ankush (goad). A good driver would bond with his elephant, which was celebrated for its loyalty and fierce defence of its master in war.  All these involved detailed elements of raising an army. What about deployment?

Military Operations


Preparation and deployment of one’s defence forces is not a simple method of theory and orders. Strategic planning, selection and training of personnel, order-of-battle, selection of ground/place/time, and formations—all play a role in making successful contact with the enemy. Whether to oppose in the field or to prepare for a siege or to even engage in guerilla warfare via tribal allies (atavi), are all complicated aspects that are covered by Dhanurveda in general and Sainyara-vidya in particular.

While Naval forces (Samudra Sena) and naval operations are mentioned, they are better discussed elsewhere. The great Naval expeditions of Kalingas, Cholas, and the Vijayanagara Empire are important to Sainyara-vidya, but Land warfare being central to Dhanurveda, necessitates focus on that type of war first.

Strategic Planning

The Vasistha Dhanurveda Samhita specifically has a section called Samgraamavidhih. That is, it establishes the importance of war strategy. Though it does not go into depth, it becomes apparent that success in war is more than just about mere proficiency in weapons or even numbers. All the elements of the Art of War were required to come together under the command of skilled general who understood that ‘prudence is the handmaiden of victory’.

The Atharva Veda (7.12.2) “recommends the formation of an advisory Samiti that could chalk out the plan and decide the strategy to fight out the war. The members of such a Samiti are called Narista…All the members of this council have to work collectively.” [1,18]


Vasishta muni writes the following regarding selections of Senadhipatis and Senanis:

Listen O Visvamitra! that the Commander-in-chief should be physically fit, learned and powerful kshatriya. He should also treat all his subordinates equally. He should prove his intelligence in arranging the army in array and also provide such work to the infantry that fits it. [2, 73]

Qualifications of a Commander

           1. He must be conversant with the art of fighting a war (RV.1.114.4)

           2. He should possess exemplary character ( RV. 2.33.8)

           3. A Vajrabahu (one with arms like a thunderbolt) inspires confidence in troops.

          4. He should be a Pururupa(one who can handle all types of situations (RV.2.33.9))

          5. He should be a sahasraaksa (one who is equipped with a spying system (YV))

         6. He should be an outstanding warrior (Avevirah) (AV. 19.2.2)

Competent military and strategic leadership is paramount. As even the Vedas recognised, an intelligence network to surveil the enemy to determine capabilities/intentions, and to do basic reconnaissance on the field was important. Win or lose, a general is not allowed to be surprised.

Soldier – He should be swift in action, have great courage, be fearless and bright, and be prepared to make the ultimate sacrifice. He must be proficient in arms, and expert in his tasks, and possess requisite knowledge of army rules and regulations.

The Hindus display bravery not surpassed by the most warlike nations and will throw away their lives for any consideration of religion or honour. [1, 30]

Even Women could be recruited (though generally not for frontline combat). A secondary line battalion consisting of women could be put at the command of the mahishi (chief queen). It is this tradition of warrior women that could be seen from Kaikeyi down to Rudrama Devi to Rani Durgavati. [1, 29]

Above all, “Foremost qualification of the warrior is that he must be deeply in love with his motherland. It is only then he can put his whole soul to save his motherland from all sorts of troubles.” [2, 28]


Logistics is crucial to warfare in any era. After all, an army marches on its stomach and gold is the sinews of war. As such, “all kinds of facilities are to be provided to army men. A special type of clothing, proper nursing, food, living accommodation, clubs, playground, hospitals, places of the prayers and educational facilities are to be provided” [1, 29]

The Mahabharata makes reference to a position similar to that of Quarter-Master General. Yudhisthira appoints Nakula (a famed swordsman in his own right) to maintain records of the various forces, secure supplies (especially food and water), and ensure prompt payment.

Repeated stress is laid on the importance of regular and punctual payment of wages and rations to the army; irregularity in this may lead to disaffection or even rebelllion. In the Sabha parva Naarada asks Yudhisthira if he pays his troops in advance before he marches, and if he supports the wives and children of men who lay down their lives for him, or undergo misery on his account. [7,149]

In the medieval period, the Army of Vijayangara was fabulously well-supplied. It was a veritable moving city that accompanied the Emperor.


The army camp should be established at prudent (and auspicious) hours and avoid encroaching upon various burning grounds, temples, and other places of sanctity. “The ground, preferably level and abounding in grass and fuel, is properly measured for an encampment; a moat is dug around to protect it, and guards are stationed at important posts. Door-keepers and sentinels keep watch outside the tents of the chief heroes and princes. Stocks of arms and armaments, food and water are in evidence, and physicians and mechanics form part of the establishment.” {7, 151]

Discipline was to be maintained and stockades and watch towers erected for protection. Contrary to the current civic culture (or lack thereof), Ancient Indian military discipline (particularly in camps) was strict. Bivouacking was an orderly process, cleanliness and carelessness to be avoided, and clamour kept to a minimum.

Campfollowers were numerous, with doctors, purveyors of food stuffs, musicans, merchants, and vesya (women of the night). This practice was eventually banned by Chhatrapati Shivaji, due to the disrespect shown to women by foreign invaders.

The camp is, above all, a place for soldiers and warriors. The seriousness of the task and the adherence to strategy must be remembered.




Over the years, military organisation has changed given the size and needs of military forces. As gloriously recounted in the Mahabharata, these could reach fantastic levels that may stretch credulity in the modern day, and yet, align with the internal logic.  The Battle of the Kurukshetra featured 7 Akshauhinis on the Pandava side and 11 Akshauhinis for the Kauravas.

1 chariot and 1elephant, 3 horses and 5 foot soldiers = 1 patti.

3 pattis = 1 senamukha. 3 senamukhas = 1 gulma.3 gulmas = 1 gana.3 ganas = 1 vaahini

3 vaahinis = 1 prtana. 3 prtanaas = 1 chamu. 3 chamus = 1 aneekini.

10 aneekinis = 1 Akshauhini [1,17]

1 Akshauhini

21,870 Chariots; 21,870 Elephants; 109,305 Infantry; 56,610 Cavalry

With a ratio of 1: 1: 5: 3, the approximate total is 209,700 soldiers.

This would bring the total on the Kurukshetra to 4 million. It is an amazing number indeed, which would number in the more modest hundreds of thousands in the post-Legendary period.

The army of Chandra Gupta for example was estimated to be 600,000 infantry; 30,000 cavalry; 10,000 chariots; 9,000 War elephants. In late antiquity, the Imperial Pratiharas were said by middle eastern chroniclers to field 4 armies for the 4 cardinal directions, each numbering 800,000 soldiers—for a total of 3.2 million men. Ancient India was, not for nothing, known for its armies. But armies are one thing, and generalship another.

India has fielded many great and intelligent generals, none more so than Krishna (the real commander of the Pandava armies). Nevertheless, legendary figures aside, “historical” figures such as Ajatashatru, Samudra Gupta, and Chhatrapati Shivaji all made their marks on history. It is only a recent matter for Indians to forget the importance of strategy & generalship.The Republic of India must remember this again.

And after making the decision to take the field, the next decision for any general is how order-of-battle should take form.

Formations (Vyuha)

The Vyuhas are one of the most legendary aspects of ancient Indic armies. Perhaps no vyuha is more legendary than the chakravyuya famously featured in the Mahabharata. A formation of envelopment, it was notoriously difficult to enter, and as young Abhimanyu discovered, even more difficult to exit.

Despite the legendary aspects of the Kurukshetra War, the importance of Vyuhas was retained long into the entry of Common Era. Though divyastras obviously were not used, deployment in concentrated force with proper arrangement remained important. The four divisions of the army (chaturanga-bala) that would inspire chess (chaturanga), which would feature an elephant corps, a cavalry corps, chariot corps, and infantry. All these would be deployed per the needs of battle.

  1. Chakravyuha — Discus formation
  2. Makaravyuha — Crocodile formation
  3. Syenavyuha — Hawk formation
  4. Garudavyuha — Eagle formation
  5. Varahavyuha — Boar formation
  6. Gajavyuha — Elephant formation
  7. Sakatavyuha — Waggon formation.This is ideal if surrounded or expecting rear attack
  8. Kraunchavyuha — Bird formation
  9. Simhavyuha — Lion formation
  10. Sarpavyuha — Serpent array
  11. Agnivyuha — Fire array
  12. Gomutrika — Echelon or Zig-zag
  13. Pippeelika — Ant array
  14. Ardhachandra — Half moon formation
  15. Sarvatobhadra — Hollow square
  16. Suchimukha — Needle array
  17. Danda — Staff formation
  18. Gulma — Bush formation
  19. Mandala — Hollow Circle formation
  20. Padmavyuha — Lotus formation
  21. Srenika — ranks/rows
  22. Bhoja — column
  23. Asanhata — detachments of various units into penny packets

Many of these may seem rather intricate and complicated to our modern eyes. Nevertheless, there are certain important principles that come from this. As seen above with the Garuda vyuha, there is very much a concept of organisation and backup planning. Contrary to the current school of thought that assumes a disorganised mass of chivalrous soldiers in unthinking frontal charges, methodical deployment was very much a practical art. Above all, is the fact that the concept of keeping reserves was emphasised — a reality that frequently turned the tide of key battles in history. Placing the chariots in front, elephants next to break the enemy lines, followed by the infantry is specified. Siva Dhanurveda specifically mentions the placing of cavalry on the wings, in sloka 179.

Ancient Indian Warfare was certainly practical. If one does not believe in combining mantra with suhstra, then the place of supernatural astras is reduced, and rather than spiritual, more material weapons will be emphasised. That is the nature of war, as well as the nature of RMA.


Some of the most successful wars are conducted not in the field, but inside the fort. From the Vedic times of Purandara (destroyer of forts) to Chanakya to Chhatrapati Shivaji, the Indic Durg has been a crucial part of Dhanurveda. The most successful armies in history were those that mastered the art of conducting the siege. This involves more than just investment of fortified cities, but also the defense of even fortified positions and redoubts.

The frontiers of the country were expected to be guarded by forts, with the intention of perimeter defence or defence-in-depth. Terrain was taken into close consideration, and measures such as investment, artillery, and mining discussed to take opposing forts.

For the purposes of brevity,  a simple discussion of forts will be discussed here to dovetail with Sthapatya Veda:

Mountain fort (giri durgam), Forest fort (vana durgam), Water fort (jala durgam), Clay/Cave fort (panka/guha durgam), Chariot fort (ratha durgam), Divine fort (divya durgam, has extensive fortress with efficient defensive system), and Mixed fort (mishra durgam, situated among both both mountains and forest). [1, 45]

A land fort is the easiest to capture, a river fort more difficult and the mountain fort most difficult. From the point of a view of a besieged king, a mountain fort is preferable to a river fort which is better than a land fort (7.12.2) — Arthasastra

Important Texts


Siva Dhanurveda

Vasishta Dhanurveda

Ausanas Dhanurveda

Jamadagni Dhanurveda

Vaisampayana Dhanurveda



Agni Purana

Matsya Purana

Visnudharmottara Purana

Akasa Bhairava Tantra



Yukti Kalpa Taru


Samrangana Sutradhara

Niti Prakasika

Veerachintamani of Sarangadhara


Vedic scholars were well aware that ‘armies can signify but little unless there is  council or a wise management at home‘. The efficiency of an army is thus very much dependent on the efficiency of the ministry of defence.

In the legendary times, the sarvasreshta dhanurdharas (Sagara, Sri Rama, Bhishma, Arjuna) could all reputedly summon divine weapons (divyastras) that would unleash firepower that normal chariot borne archers could not match. Obviously in the present time, these seem to stretch credulity. Nevertheless, keeping in mind the internal logic of Divine involvement in the affairs of man (which even Homer includes in the Iliad) one could understand the devastating effect these dhanush-wielders could have. Bhishma himself swore to wipe out 10,000 soldiers a day with the firepower he commanded.  With these dhanurdharas as the centerpiece of the Indic armies of Legendary times, one understands the emphasis placed on them why they were deployed the way they were.

The Epic material provies depth to the pic-ture that we have gleaned from our Vedic sources. The nature of the Vedic literature precludes the possibility of the graphic des-criptions of warfare which we can find in the Epics. The echoes of the Mahabharata can be detected in the Vedic literature and, as we have pointed out time and again in our text, some of the Epic tradition is indeed very ancient. Chariots in the Epic are the invincible instruments of battle [due to the Dhanurdharas they carried]; elephants and cavalry play role of comparative insignificance. …By the time Alexander came to India, things had changed; the chariots were there of course, but the real responsibility of attack and defence had shifted to the elephants and the cavalry. ” [7, 2]


Standard Weapons are divided into mukta (released from the hand), amukta (held), mukta-amukta (may or may not be thrown ), and yantra mukta (released by artillery/engines). We also find another division of suhstra, yantra, and mantra. Mantra will obviously not be considered here.Nevertheless, ancient Indian war was more in line with how the native cinema depicts, rather than foreign indologists, who seem to imply that the society that had the best metallurgy somehow did not believe in armour and helmets. That is why it is important to not deconstruct a tradition, but to study it as a continuum.

Continuity in these traditional weapons is seen even outside strict Vaidika Dharma, as Sikh Dharma and its warrior-saints used them to great effect.


Technology is a trendy topic, particularly in what we presently consider to be a technologically advanced age. Some topics are controversial, while others not so much. One area that has been acknowledged by almost all parties is the advanced state of Indian metallurgy—particularly in the forging of blades.

The famous crucible steel (Wootz) had its origin in India. The Chera steel was renowned for its quality. Indian iron smiths must have invented the ‘wootz’ process in the 6th or early 5th century B.C. Ktesias saw two wonderful swords of Indian steel at the court of Artaxerxes Memnon. Herodotus speaks of the arrows of Indian soldiers tipped with iron.” [7, 102]

Hindu warfare (what has been acknowledged at least) has long been the subject of controversy. “Were divyastras really just pre-modern artillery?”  or the most notorious, “Come on, vimanas? Really?“. But the perhaps the most important one of all is the question of whether or not ancient India had independently invented gunpowder. That’s right, as discussed by this article, it has been averred that Eastern India (particularly Bihar) possessed excellent saltpetre mines which are crucial for firearms.

A number of ancient texts specifically refer to gunpowder (agnichoorna/ranjaka) and firearms (nalikaa). The Dhanurveda explicitly mentions nalikaa (guns) as well as goleem(bullets)

Even the Sukra Niti supports this:

In Sukraniti, the method and chemical composition for preparation of gunpowder has been given. Accordingly, five palas (582.5 mg) survaci slat, one pala (11.5 mg) of sulphur and one pala (11.5 mg) each of the charcoal received from the wood of arka (…asclepias giantia), snuhi and angaara plants by the Ayurvedic process of Sahdooma Putapaaka where a drug is prepared in a closed vessel placed in a pit. The above-mentioned salts and charcoals should be purified, powdered and mixed together. This mixture should then be soaked into the juices of snuhi, arka and garlic. It should be dried up in the sun and finally powdered like sugar, the substance will be gunpowder.” [1, 76]

Whether or not this is the case is for present day scholars to confirm. Nevertheless, these ancient texts make a convincing case for ancient firearms. At the very least they give insight into some of the ancient artillery Indian armies featured.

Professor Wilson writes “Rockets…appear to be of Indian invention, and had long been used in native armies when Europeans came first in contact with them.” [1, 74] He goes on to say that ‘The Indians are from time immemorial remarkable for their skill in fireworks..” [1, 77] So much for “cracker-free” Diwali…

Engines of War were called Yantras. Some celebrated ones include the Sataghni (hundred-killer, asmaguda (catapult that pelts stone balls), ayoguda (weapon that pelts iron balls).

That elephants and chariots also carried yantras, is proved by a few references, but yantras in open battle seem to signify weapons in general. King Ajatasatru of Magadha, a contemporary of the Buddha, used a new engine of war against the [Vrjjis], called the mahasilakantaga, which must have been a stone-hurling contri-vance like those denoted by the Epic yantras. [7, 113]

When Alexander of Macedon set foot in the ancient Indosphere, his armies were said to have been scattered by a besieged Indian city which featured weapons of fire and lightning. These were unleashed following a terrifying pitch silence, soon broken by the sounds of thunder and cries of men.

For those of you familiar with the Byzantine Empire, there is, interestingly enough, even evidence that perhaps the famed “Greek Fire” may not have had a Greek origin after all. “The fire which burns and crackles on the bosom of waves denotes that the Greek fire was anciently known in Hindustan under the name of badavaa“. [1,75]

Ctesias, Elian and Phostratus all make reference to such an incendiary oil , saying “it is inextinguishable and insationable [sic], burning both arms and fighting men” [1, 75] Perhaps when the Arabs were crushed at Constantinople and during the Battles of Rajasthan, they may have in fact received “Greek fire” from both ends…


Though the study of the Dhanurveda cuts across classes, this list will focus primarily on military commanders and direct operational planners. For brevity’s sake, this list will focus on both legendary commanders and warriors mentioned in the Puranas as well as “Historical” personalities from the Ancient, Medieval, and Late Medieval periods. Strategists and Commanding Generals of the Modern Era will be listed elsewhere.

King Prthu

King Sudasa

Maharishi Vishvamitra

King Sagara

Haihaya Karthaveerya Arjuna


Aikshvaku Raghu

Aikshvaku Rama

Bharata Dauhsanti


Vasudeva Krishna




Mahapadma Nanda

Chandragupta Maurya

Ashoka Maurya

Pushyamitra Sunga



Sriharsha Vikramaditya

Gautamiputra Satakarni of Andhra

Samudra Gupta Ashokaditya

Chandra Gupta II Vikramaditya

Skanda Gupta Paraakramaditya

Narasimha Gupta Baladitya

Vikramaditya Panwar of Ujjain

Salivahana Panwar of Ujjain

Harsha Vardhana Shiladitya of Thanesar

Chalukya Pulakesin II

Karkota Lalitaditya of Kashmir

Pratihara Nagabhatta I & II

Rashtrakuta Dhruva Dharavarsha

Rashtrakuta Govinda III

Rashtrakuta Indra III

Dharmapala I of Vanga

Bhaskaravarman of Assam

Raja Suhel Dev

Haihaya Kalachuri Gangeyadeva

Paramara Bhoja

Chola Raja Raja I

Chola Rajendra I

Chalukya Rani Naiki Devi

Prithviraj Chauhan III

Ganga Bhanudeva II of Odisha

Rani Rudrama Devi

Kakatiya Prataparudra II

Hoysala Veera Ballala III

Musunuri Nayaks of Andhra

Maharana Kumbhakaran Singh of Mewar

Sangama Harihara & Bukka

Krishna Deva Raya

Venkatapati Deva Raya

Maharana Sangram Singh Sisodia

Maharana Pratap Singh Sisodia

Rani Durgavati

Lachit Bophurkan of Assam

Chhatrapati Shivaji Bhonsle

Admiral Kanhoji Angre

Baji Rao I

Maharaja Prithvi Narayan Sah of Nepal

Zorawar Singh

Banda Bahadur Singh

Maharaja Ranjit Singh

Hari Singh Nalwa

Sher Singh Attariwala

Marthanda Varma of Travancore


Clearly much water has flowed down the Ganga since the days of Dhanurveda’s first exposition. From the Imperial Armies of Magadha to the modern Day Indian Army, there is a long tradition of Military Science in Bharatavarsha.

For those who call for an Indic and Dharmic Way of War, it must be remembered that military lineages cannot commence with mere colonial regiments. Regimental and Tri-services pride aside, a society whose motto is Satyameva Jayate, must have lineages which work for the triumph of Truth, rather than colonial occupiers. But at the same time, one cannot be occupied or pre-occupied only with unthinking traditionalism or rote ritual.

The Dharmic way of War must necessarily adapt to the modern exigencies where victory is the only morality…

…and this is the cost of defeat.

The price of war is terrible, and therefore, must necessarily be practiced by professionals, whether strategists or soldiers. Knowledge of the Dharmic Art of War must be rooted in tradition, while being pragmatic enough to adapt to the Enemy. As Ovid wrote, it is right to learn, even from the Enemy.

It also means promoting those with a proper understanding of military history and modern strategy as overall Defense planners. This criticism was in turn criticised by the politically motivated, but leave aside gender and other considerations—is it not on point?

With V.K.Krishna Menon at the helm, Nehru planned to turn the Indian Army into a mere constabulary force of 100,000. Within a year or two, China launched a surprise attack (after similar Doklam type Chinese Checkers in Ladakh). The unmitigated disaster that was A.K.Antony was only further proof of the need for a governing class that has a strong affiliation for military affairs—beyond mere mantra japa of “Chanakya!“.

It is true, as those who actually understand global political affairs will tell you, that the risk of foreign funded military coups was at one point very great. One need only look at the Republic of India’s neighbour to the West to see just how frequent they could be. Even its neighbour to the North has come tantalisingly close to this very real reality of political life. The first step to fore-stalling or mitigating such risks would be to have a governing class that the officer class would not feel disgusted by. The current crop of the corrupt lining the IAS and the Rajya Sabha is exhibit A in a fool’s gallery of fops.

The Prime Minister has rather wisely been taking to the ancient nostrum of “minding the solidiers” and has restored a measure of trust between the Bharatiya Sena and the Bharatiya Sarkar. The current Raksha Mantri is a very efficient minister, and MP’s such as Rajyavardhan Rathore and Kiren Rijiju cut dashing figures. But the governing classes and would-be elites must build on even this, and regain a strong sense of the native Indic military sense, and military sense begins with strategic thinking. Winning in war is more than just a matter of mere numbers.

Api panchashatham suraa mrudananthi mahathim chamoom |

Athavaa pancha shat saptha vijayanthaanivarthinah || sl. 181

Even five hundred determined and well-trained soldiers can defeat a large army. Sometimes even five, six or seven such heroes who do not withdraw and fight bravely may emerge victorious [1,141]

—Siva Dhanurveda

If “war is too important to be left to the generals”, then it is definitely too important to be left to the hands of poets and pedants. Serious politicians with the Dharmic martial ethos and modern strategic education are required. The list of Dhanurveda personalities we listed above cut across caste and class, because they all faced the unignorable exigency of competence. All too much emphasis has been placed on Government, which in turn has become code for mere electioneering and politics. True Governance is rooted in Rajadharma, which is what is missing in today’s governing classes, with rare exception. An education in Governance and Modern Strategic Affairs is required to not only take the tradition of Dhanurveda into the Modern (and Post-Modern) era, but also to steer India and the rest of the world away from strategic disaster.

Indeed, the stakes of Dhanurveda are far higher than military honour or an “izzat ka sawal”. The very fate of humanity’s freedom depends on native Kshatriyata to re-emerge across caste lines focused above all on competence and character. We conclude this introductory article on the Indic Tradition of Dhanurveda and Dharma (and why they remain relevant), rather ironically, with a quote from a European General of whom you might have heard:

It is character that remains the Achilles heel of governing classes around the world, and India can no longer risk a governing class (or wannabe governing class) steeped in incompetence, completely clueless on strategic affairs, and utterly hypocritical and characterless. Those who are so compromised they induct and promote foreign “acharyas” to teach Indians how to “decolonise” are the least qualified to govern…period—their claims to “Chanakyanism” aside.

Vishvaksena Janardhana

It is time to  return to Krishna Niti. To properly understand modern Military Affairs, the ethos of the Kshatriya (the native Bharatiya Kshatriya) is required to train, mentor, and anoint a governing class across caste lines. That is the path of not only the Dhanurveda of King Prthu, but of Dharmic Civilization’s Revival itself.

  1. Arya, Ravi Prakash. Dhanurveda – The Vedic Military Science.Rohtak: Indian Foundation for Vedic Science (Amazon Books).  2014
  2. Ray, Purnima. Vasishta’s Dhanurveda Samhita.Delhi: J.P.Publishing House.
  3. Gaur, Niketan. Sthapatya Ved-Vastu Sastra: Ideal Homes, Colony and Town Planning. New Delhi: New Age Books. 2009
  4. Rangarajan, L.N. Edit, Kautilya. The Arthashastra. New Delhi. Penguin.1992
  5. Sukra Niti
  6. Kota, Venkatachalam.
  7. Singh, Sarva Daman. Ancient Indian Warfare.Delhi: MLBD.1997
  8. Pappu, Venugopala Rao. Nrtta Ratnavali of Jayasenapati. Kakatiya Heritage Trust. 2013

Intro to Sthaapatya Veda — Indic Architecture, Sculpture, & Painting

Indian Architecture has been the subject of much discussion and debate. Often times, rootless people have a tendency to downplay the native tradition and place emphasis on theorised “foreign contributions” to the Indic Canon. The reality, however, is that there is a long and ancient tradition of not only Art & Architecture, but even City Planning per the Vedic Tradition. In fact, while these are all often grouped under Vaastu Sastra, they are in fact properly categorised under the upaveda known as Sthaapatya Veda.


Much as Sangeeta Sastra & Nrtya Sastra emerged from the Gandharva Veda, so too does our tradition assert that Vaastu Sastra, Silpa Sastra, and Chitra Sastra emerged from Sthaapatya Veda. “It expounds the principles involved in the areas of Vastusastra (Architecture and Planning), Silpasastra (Sculpture and Iconography), Chitrakalaa (Painting in all branches“. [1,1] Just as the Gandharva Veda is attached to the Saama Veda, this upaveda is attached to the Atharva Veda. Further, knowledge of Ayurveda, Gandharva Veda, Jyotisha, and Saamudrika Sastra is also relevant to the field.

Central to Sthaapatya Veda is the Sthaapathi (master-architect). Sthaapathoh karma sthapatyam (the work of an architect is Sthaapatya Veda). [4,44] Silpa-Sastra has a section called Sthaapati-lakshana, or the Characteristics of a Sthapathi. It says:

“I am now going to described the Sthaapatya as handed down to us from generation to generation, by the knowing of which the values and defects of the Sthaapati are known”. The Sthaapatya is fourfold— the traditional lore (Sastra), the practical experience (Karma), intuitive insight (Prajna) and the righteous conduct and character [4, 45]

Vishvakarma is considered the originator of this field of study, and Pauranic tradition holds him to the be the Divine Architect. The great cities of Dvaraka and Indraprastha are attributed to his supreme skill in the field of city planning.

For civilized people a comfortable residence is as necessary as food and clothes. In fact the standard of civilization seems to be regulated, amongst other things, by durability, scientific plan, aesthetic construction, and successful finish of buildings, religious, residential or military. [1]

Maanasaara (‘the essence of measurement’, is considered the authoritative and exhaustive text on this topic today. However, the philosophy behind Sthaapatya Veda in general and Vaastu in particular is far more ancient. “The Creative feelings of Rsis, who were attributed to be the authors of the Indian Vaastu and Silpa texts, and the practicing Silpins had to activate the centre called aakaasa or aatman“.[3,17] This aligns very much with the common thread of Dharmic thought across the native Indic traditions.

For ancient Indian writers, at any rate, architecture seems to have been a very fascinating subject, inasmuch as the Vedic, Buddhist, Epic, Pauranic, Agamic, Historical, Political and even Astronomical literature bears traces of it. [1,1]

Theoretical Foundations

As with the Indic tradition in general, the origins of epistemology date back to our most sacred texts. Along with the Vedas, the Puranas, Agamas, and literature from the Buddhist and other Nastika philosophies have all contributed to Indic Art and Architecture. Therefore, an article on Sthaapatya should give space to all of them.


The Hymns of the Atharva-veda give some information about the construction of a house.” [1,1] Maharishi Vasishta is recorded to have spoken in the Rig Veda of his wish to have a tri-dhaatu-saranam constructed for him, indicating the varied types of housing even at an ancient date. [4, 51] The Sulba-sutras, which supplement the vast corpus of the Kalpa-sutra literature, discusses the measurement and construction of various vedis (vedic altars). This is often seen as foundation for the origin of Architecture in India. Altars mentioned by Baudhayana and Apastamba reach to the height of 10-15 layers of bricks.

As western scholars would later minimisingly mention, “the authors of the Vedic literature ‘were not ignorant of stone forts, walled cities, stone houses, carved stones, and brick edifices“.[1, 3] This is, therefore, even more so the case with the authors of the Pauranic literature.


The Mahabharata contains short but comprehensive accounts of the cities of Dvaraka (III.5), Indraprastha (1.207, 30f), a floating city (III.173,3), Mithilaa (III.207, 7) and others.[1,9]

Itihaasa-Purana is valuable source of information for Classical Indic Architecture. While it is averred that many accounts may seem fantastical to our ‘modern’ eyes, they give insight on not only continuity of theory to the present day, but also provide understanding of native inspirations (rather than the current obsession with native implementations of foreign inspiration).

The Epics furnish copious description of cities, storeyed buildings, balconies porticos, triumphal arches, enclosing walls, flights of stone masonry steps for tanks and a variety of other structures, all indicative of a flourishing architecture in the country [of India]. [1,8]

Perhaps the most famous account of City Construction in the Epics was that of ancient Indraprastha (modern Delhi). From the clearing of Khandavaprastha forest to the yagna performed for its construction, to its design and implementation by Vishwakarma, to even its beguiling wonders that caused Duryodhana to fall and Draupadi to laugh, one sees the start, completion, and effects of such beautiful municipalities.

Notably, the city plan of Ayodhya is ‘strikingly similar’ to the town-plan listed in the Maanasara and various other Architectural treatises. “The temples (devaayatana) in this city (Ayodhya) were as resplendent as the sky. Its assembly-halls, gardens, and alms-houses (prapaa) were most elegant; and everywhere were arranged extensive buildings crowded with men and women……..The houses were as mines of gems, and the abodes of the goddess of fortune. The steeples (sikhara) of the houses were as resplendent as the crests of mountains and bore hundreds of pavilions (vimana) like the celestial palace of the chief among the Devas. The rooms were full of riches and corn, exquisitely gilt and decorated, and seemed as charming as pictures; and they were so arranged that men could pass from one room to another without perceiving any inequality.” [1, 9]


While the Ramayana and Mahabharata are traditionally classified under Itihasa, the Puranas proper (said to number 108) provide a wealth of information on the science of Art & Architecture proper.  The Matsya purana has 8 expansive sections discussing Vaastu and Silpa in great detail. One entire chapter is dedicated to the pillar, which is considered ‘the regulator of the whole composition of a building’. 5 styles of columns with 8 different mouldings are described. The other chapters focus on silpa and discuss taalamaana (proportionate measurement of images). Skanda purana has 3 chapters dedicated to it, and makes mention of construction of a golden hall, special pavilions for the wedding of a princess, and even chariots. The Garuda purana comprehensively discusses the 3 main types of buildings: religious, residential, and military. Layouts of temples, palaces, pleasure-gardens, fortresses, and fortified cities are all reviewed. Murthi-sthaapana (installation of religious icons) are also discussed. These are performed by a Sthaapaka (architectural priest) distinct from Sthaapathi (professional architect). [1, 11]

Finally, the Agni Purana of all the Puranas, allocated the greatest length to Sthaapatya Veda. It devotes 16 chapters to town-planning, 2 chapters with residential building, and 13 for sculpture. That temples are again discussed here shows the antiquity of temples to Sanatana Dharma itself. There are of course other puranas which treat on the topic, such as the Naarada, Linga, Vaayu, and Varaaha, but there are all better expounded upon elsewhere.

The most notable of the minor puranas is the Vishnudharmottara. It extensively covers the Artistic tradition of India, with special emphasis on sculpture and painting.

Bhagavata Purana


The agamas are critical text to the Vedic tradition that are still used today for both temple construction and temple management. Though legend asserts that there were once countless agamas, today there are about 200, with  3 Main categories: Vaishnava (108), Shaiva (28), and Shakta (64). In fact, from these are collected the 64 Tantras (but that is a topic for another time).

The Kaamikaagama dedicates 60 of its 75 chapters to Architecture, Sculpture, and Painting. It is a highly technical and systematic text (much like the Silpa Sastra) and deals with matters such as soil testing and preparation, selection of sites, measurement scheme and cardinal points for building orientation, as well as ground plans. 20 different types of buildings are mentioned. It also provides exceedingly technical classifications such as the various styles (Nagara, Dravida, and Vesara), shapes (masculine, feminine, and neuter), materials (Suddha, Mishra, and Samkeerna), amalgamation of materials (Sthaanaka, Aasana, and Sayana), as well as various ayadi formulae regarding proportionality. [1, 13]

The Karanaagama  allocates much of its treatment to Sthaapatya Veda, with 37 chapters on the subject. The Suprabhedaagama dedicates 15 chapters, but is highly useful for laypeople due to its brevity, clarity, and precision. It is deemed superior to Varahamihira‘s Brhat Samhita in such matters and has much in common with the Maanasaara. Finally, the Vaikhaanasaagama has 2 chapters on sculpture and various taala measures.

There are other Indic texts discussing various topics under Sthaapatya Veda. These include the Arthasastra of Kautilya, the Harsacharita of Bana, the Garga-samhita, and so on. Poetry, such as Bhavabhuti’s Uttaramacharita also mention aspects of Sthaapatya, as does Yaaska’s Nirukta and other subsequent compilations such as the Amarakosa.

However, this is also a unique point of divergence as we see along with the Astika Vaidika Dharma tradition, the Bauddha Dharma contribution to the Indic concepts of Art & Architecture.


“In the Buddha’s time and in that portion of northern India where the Buddhist influence was most early felt—that is to say, in the districts including and adjoining those now called the United Provinces and Behar’—the arrangements of villages were practically similar…Villagers are described as ‘uniting of their own accord to build mote-hills and rest-houses and reservoirs, to mend the roads between their own and adjacent villages, and even to lay out parks.'” [1,3]

The stupa is arguably the most famous contribution of Bauddha Dharma to Indic Civilization. Amaravati, Sarnath, Sanchi, Naalanda, and Takshasila all feature constructions famous the world over. While much of it is naturally an outgrowth of the Vedic Canon, the Buddha himself appears to have been a progenitor of a distinct approach to architecture. “At places it appears as if Buddha were delivering discourses on architecture. As a matter of fact, he enjoined upon his devotees the supervision of building construction as one of the duties of the order. It is stated in one of the early texts that the Bhikkhus were told on a certain occasion by the Blessed One, after the delivery of a religious discourse, with respect to dwellings, thus: ‘I allow you O Bhikkus, abodes of five kinds—Vihara, Arddhayoga, Praasaada, Harmya, and Guhaa’.” [1,4]

Viharas are the famous grand monasteries of the Bauddhas, Ardhayoggas are considered to be unique to Vanga (Bengal) and were part ceremonial and part residential. Praasaadas are purely residential multi-storied constructions. Harmyas are more humble versions of praasaadas, and Guhas are part underground cave constructions, which are famous through India. These of course often feature the Chaitya halls known in rock-cut cave architecture. Just to give insight into the timescales associated with their completion, a small Vihara was said to take 5-6 years and a large Vihara or Prasada 10-12 years.

Houses were built comprising ‘dwelling-rooms and retiring-rooms, and store-rooms, and service halls and halls with fire-places in them, and store-houses,, and closets, and cloisters, and halls for exercise, and wells, and sheds for the well, and bath-rooms, and halls attached to the bath-rooms, and ponds, and open-roofed sheds.” [1,4-5]

There was also mention of pavilions, lotus ponds, and inner chambers of 3 types: Sivikaa-garbha (square halls), Naalikaa-garbha or rectangular halls, and Harmya-garbha (large dining halls). Gates, doors, screens, and revolving doors are all mentioned. We also find discussion of various types of furniture such as divans (pallanka), rectangular chairs (aasandako), sofa (sattango), state chair (bhadda-peetam), cushioned chair (paeetikaa), cane-bottomed chair (koccham) and so on. There is also description of carpets, rugs, pillows, and other such accents and fixtures.

Literature providing insight into the Buddhist approach to architecture includes the Jatakas, the Nikayas, various Sutras such as the Mahaa-Suddassana.

File:Amaravati Stupa relief at Museum.jpg
Frieze of Amaravati Stupa, Andhra Pradesh
Key Concepts

There are a vast and variegated number of concepts associated with Sthaapatya Veda, given its status as a meta-category for Art & Architecture. As this article is meant to primarily provide a snapshot for readers, it will be more restricted in coverage.

Any object is a vastu, hence any creation deriving from an object is Vaastu.  Vaastu literally means “site planning”.  [2] As such subjects discussed below include home planning, municipality planning, and public hygiene.

Home Planning

Land Type

There are 16 types of Lands. They are classified under forest lands, fertile lands and ordinary lands. One that is fertile, verdant, full of hills and valleys all around, contains tall and “sweet scented trees and shrubs, where the atmosphere is serene, cool, and calm, where songs of birds abound, such a location is ideal for the selection of a dwelling site.” [1, 17]

Soil Type

Per the Maanasaara, “the ground should have sweet, dense, soft, and pleasant soil.” [1,17]

Ground to be avoided include those having the smell of honey, ghee, burnt items, birds, fish, or rotten bodies, those adjacent to Royal palaces or factories or workshops, road crossings, tomb, thorny trees, uneven surface, circular/concave land, and those infested by wild animals. Suitable ground is characterised by “having various colours, taste, fertile, redolent like musk by black bees, having all good features“, sloping hills and ponds in the right directions, and so on. Such a plot of land should be selected and purified. [1,18]

Each House plan is divided into x number of plots. Each set of plots is dedicated to a deity (such as Brahma, Indra, Vivasvan, and so on). Various directions and sets of plots are specified as ideal for certain occupations. It is said that water bodies should be made in the North East, South/Southwest suitable for dining halls, etc. Specification for bedrooms, study rooms, treasuries, and rooms for amusements, and flower gardens are also made on the basis of plot set. Proportionality (something modern Indians lack in behaviour) is mandated everywhere.


There is a specified ritual for commencement of construction. Jyotisha should be consulted to determined the auspicious moment, followed by bath and prayers. A Sthaapathi (Architect) should also be consulted.  Following this, erection of the gnomon (similar to a sundial)and pegs can be done with the assistance of a surveyor. There are 3 types of gnomons. These are long, middle and smaller.


At the centre of the prepared site a circle having a radius double that of the selected gnomon should be drawn using a chord. The gnomon should be firmly fixed at the centre of the circle.” [1, 19] It’s quite clear from descriptions from the Maanasaara, that not only Jyotihsastra, but even Ganita that was crucially & carefully applied by the Sthaapathis.

Municipality Planning

Artist representation of Lothal, Gujarat

Urban planning of the Indic variety did not merely focus on urban areas and forts. Towns and even villages were meticulously planned and established. As such, what is called city planning is better termed municipality planning, since even ancient Indic villages not only conformed to certain patterns, but had specified plans for development and maintenance.

32 ground plans are given in the Maanasaara for the construction of buildings, villages, towns, palaces, and forts. Rather than give an exhaustive list here, the construction types will be covered instead


Per Sthaapatya Veda, there were 8 types of Villages. A separate exegesis on Vaastu Saastra will better cover the topic. Nevertheless, here is a brief overview:

  1. Dandaka—suited for agraharas, with 12-300 houses, including some for munis.
  2. Sarvotabhadra—another village type suitable for aescetics (Vedic, Jain, Buddhist), but in this case housing all classes of people with different occupations. Mathas may also be constructed here.
  3. Nandyaavarta—meaning frog-shaped, this type of village may even feature royal residences. Streets here are larger and feature footpaths as well. Residences for musicians and dancers are also specified.
  4. Padmaka—Has 4-8 streets. Generally follows the pattern of the nandyaavarta.
  5. Svastika—This village type has 81 plots and is particularly purposed for the residence of kings. Naturally the main street shape is in the design of a Svastika.Has a royal palace, with residential buildings laid out around temples
  6. Prastara—with 81, 64, or 49 plots, this village type is square-shaped. There is a circular road, and it is ideal as fortified trading municipality.
  7. Kaarmuka—This village type is ideal for mercantile and productive classes. Vishnu and Siva temples are stipulated for construction at the junction of 2 streets.
  8. Chaturmukha—Square or rectangular in layout, it has four main streets in four cardinal directions, with a round boundary wall. This village type can be purposed for all ways of life.

Reading various texts of Sthaapatya Veda, the ideal of the Village Republic becomes clear. The first priority is made for defence. Each village was expected to be surrounded by a high wall of brick or stone, along with a ditch beyond it to serve as an obstacle in the event of an attack. Four main gates are considered the standard with 2 intersecting N-S and E-W streets. Often one for circumambulation of the entire village is also advised.  Tanks and ponds are also mentioned. Houses in the street could range from 1 to 12 storeys. [1,39] The main point was that residential houses should be located in areas without street congestion from traffic. In addition, murthi-sthaapana was to take place only during festivals or special occasions, and with proper religious rituals and honours. [1, 38]

Most notable, however, is that provision is made not only for village planning but re-planning!In the case of replanning a village, the architect or town planner should follow the order laid down for all villages.” [1,39] And for those who believe Hindus have no sense of heritage, here is a specific exhortation for village re-planning: “if there is any ancient building or temple in the village it should be retained and preserved.” [1, 39]


Palitana — Jain City of Temples

City and town planning are admittedly more complex.  These were categorised based on who resided in the area, the most important being the ruler of the particular polity.  There were 9 categories for cities based on 9 types of rulers: Astragrahin, Praharaarka, Pattaabhaj, Mandalesa, Pattaadhara, Parshnika, Narendra, Maharaja, Chakravartin. These in turn had various sub-categories.

The other set of cities are simply known as Nagara or Kevala:

  • Nagara/Kevala—City with four gates in the cardinal directions. Army barracks and guard quarters with temples and markets.
  • Pura—Without a royal palace.  It has many gardens and orchards for people of the various varnas. It is a centre of trade and commerce, with temples for worship
  • Nagaree—A city near a mountain or river. It should have a wall for protection
  • Kharvata—A city near pasture lands with mixed population
  • Kheta— A forest municipality inhabited by hunters
  • Kubjaka—A town with diverse types of people. It does not have a defensive wall
  • Pattana—A citadel near a river (much like Mohenjo-daro)

Forts were categorised as Sivira (camp or outpost), Vahinimukha (city with defence establishments), Sthaniya (strategic city near mountains/passes), Dronaka (fortified town built on banks of a river for commerce), Samviddha (town for brahmins), Kolaka (a samviddha with a palace for the king), Chaari/Nigama (town primarily for religious and commercial purposes), and Skandhavara (fortified town for kshatriyas). [1, 44]

There are of course the traditionally specified types of fortresses, which are 7 in number: Mountain fort (giri durgam), Forest fort (vana durgam), Water fort (jala durgam), Clay/Cave fort (panka/guha durgam), Chariot fort (ratha durgam), Divine fort (divya durgam, has extensive fortress with efficient defensive system), and Mixed fort (mishra durgam, situated among both both mountains and forest). [1, 45]

Temple construction is a topic of its own.

Harmandir Saheb – Golden Temple of Amritsar, Punjab

Given the technicality, Temple construction is better dealt with again under Vaastu Sastra. Not to play to the gallery by saying “pehle sauchalay, phir devalay“, (which should really not be an either or proposition…) but another critical aspect to discuss is the emphasis on public hygiene. Modern Indian municipalities may not be known for this (the cost of Colonialism), but ancient India certainly was.

Interestingly, not just cities, but even villages had to plan for hygiene, drainage, and catchment.

Drainage & Hygiene

With the passage of time and the efforts of archaeologists, it’s becoming more and more difficult to deny the greater and greater similarities between the Vedic culture that is recorded (and still lived today) and the ever increasing discoveries of the scale and spread of the Indus Valley Civilization, so much so, that it is increasingly being called the Sarasvati-Sindhu Civilization. This, of course, dovetails with the Vedic Tradition itself, which asserts the Sarasvati-Sindhu (Brahmavarta) as the original home of all Indians.

Given the likelihood of this, and texts such as the Arthasastra which specify the high degree of regimented and disciplined public hygiene, Harappa and Mohenjo-daro are very much emblematic of Sthaapatya Veda’s emphasis on the same. If these cities in Sindhu desh show the urban plan of drainage, Sthaapatya Veda describes it right down to the village level.

It is also no wonder that Ayurveda is closely associated with it. According to Sthaapatya Ved it is imperative to known about other various valuable effects to the environment given out by various types of trees, plants, shrubs and herbs, etc. This has been studied methodically and their effects to human physiology have been stated. This is effectively used in planning a garden around a home, planting trees around a village, public gardens and tree in the cities. The trees and plants have been classified according to the location of their use.” [1, 48]

Vriksha Ayurveda, due to it extensive nature, is again, better discussed elsewhere. Nevertheless, this dovetails into the key terms for the topic.


Keerthi Thorana, Warangal, Telangana
  • Vaastu Sastra—Study of Architecture & City Planning
  • Silpa Sastra—Study of Sculpture & Iconography
  • Chitra Sastra—Study of Painting
  • Chitra lakshana—Painting
  • Taksana—Carpentry
  • Rajadhani— Capital City
  • Graama— Village
  • Thorana—Arch
  • Devaayatana—Temple
  • Sabha—Assembly Hall
  • Sikhara—Steeple
  • Gala—Dome
  • Uttara—Lintel
  • Jaala—Jali (screen/lattice)
  • Gopura—Tower
  • Garbagriha—Sanctum Sanctorum
  • Praasaada—Palace
  • Vimaana—Pavilion
  • Visesha Bhavana—Palace of Beauty
  • Marga—Road
  • Manusyalaya—Residence
  • Aarama—Guest house
  • Alinda—Verandah
  • Prakaara—Ramparts
  • Parikha—Moats
  • Kapisirsaka—Battlements
  • Kautukalya—Museum
  • Silpasala— Art House
  • Istaka—Brick
  • Stambha—Pillar
  • Dvara—Door
  • Kaksa—Room
  • Gavaaksa—Window
  • Attaalika—Edifices/Buildings
  • Sthaapathi—Architect
  • Sthaapaka—Presiding priest at an architectural site
  • Silpi/Bhaskara—Sculptor
  • Chitrakaara—Painter

Important Texts

Vishvakarma Vastu Sastra

Vishvakarma Prakasa

Vishnudharmottara Purana

18 Mahapuranas (Matsya, Skanda, Garuda, Agni, etc)

Silpa Sastras

Silpa Ratna

Brihat Samhita of Varaahamihira



Agamas, ie Kaamikaagama, Karanaagama, Suprabhedaagama & Vaikhaanasaagama



Samarangana Sutra of King Bhoja

Aparaajita-Prcchaa of Bhuvanadevacharya

Leelavati of Bhaskaracharya (mentions architecturally important concepts)


Much like virtually every field of study—even contribution—in Indic Civilization, Indian Art & Architecture is also subject to great controversy. On the one hand, western and western-sponsored “scholars” seek to minimise and question every accomplishment, be it intellectual or architectural, and on the other hand, the atisayokti-prone argumentative Indian reacts in grand hyperbole (“Taj Mahal was Shiva temple!“—[even this theory guys, asserts it was a palace that housed a Shiva Temple…details matter].

Marxist “historians” have only complicated matters more by inventing schools that didn’t previously exist “Indo-saracenic”, and crediting everything under the sun (pillars, domes, screens, even temples!) to foreign invaders. Finally, foreign invaders themselves gleefully catalogued their vandalism and iconoclasm that resulted in the destruction of many beautiful palaces and temples. Ghazni himself waxed eloquent on the wondrous temple of Mathura, saying it would take 200 years to build such a magnificent and glorious structure—before he proceeded to rob it of its inlaid gold and gems and burn it down with sulphur and naphta. Self-proclaimed “seculars” engage in all sorts of denialism of such realities, despite widespread primary source evidence. How can a person interested in facts, and Historical Truth, navigate his or her way through such a quagmire?

The answer lies in starting from the roots. And the roots of Indian Art & Architecture (real Indian Art & Architecture) are in Sthaapatya Veda.

Hindus had codified every branch of knowledge in some kind of Saastra and we had a Saastra on Art also. Among many Vedas and Upa-Vedas there was a Sthaapatya-Veda. Accordingly Hindu Art had a very vast scope in which Fine Arts, Technical Arts and Applied Arts, all were included. We had a full-fledged science which was called Shilpasasatra or Vaastusaastra. We had also a tradition of Kalaas what are known as ‘Catussastri-kalaas” [2, 1]

Srirangam Temple, Trichy, Tamizh Nadu

As seen  above with the Srirangam temple and also with the Vedanga Jyotisha, most of the traditional sciences in Indic Epistemology have an holistic unity. Architecture, Sculpture, and Painting are seamlessly integrated not only with themselves, but also with Ganita and Jyotihsastra. Many of course naturally protest saying the mythological and metaphysical should be kept apart from the modern and material. But in fairness, is that always the case?

Are the findings of Dvaraka real? —maybe. Are the roots of the Sarasvati-Indus Valley, Vedic?—possibly. But the answer to whether or not there was a native and ancient Indic approach to Art & Architecture should certainly be “definitely”. And that Indic approach to Art & Architecture is found in Sthaapatya Veda.

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  1. Gaur, Niketan. Sthapatya Ved-Vastu Sastra: Ideal Homes, Colony and Town Planning. New Delhi: New Age Books. 2009
  2. Shukla, Lalit Kumar. A Study of Hindu Art and Architecture (with special reference to the terminology). Chowkhamba. 1972
  3. Singh, B. Satyanarayana. The Art and Architecture of Kakatiyas.Delhi: Bharatiya Kala Prakashan. 1999
  4. Shukla, D.N. Hindu Science of Architecture (Vol. I). New Delhi: Munshiram Manoharlal Publishers. 2008

Classical Indic Literature V: Romantic Sanskrit Poetry 3

Those of you familiar with our Post on Madan Utsav are no longer wondering whether Bharatavarsha had its own Festival of Love. But what if we told you there were not one but two festivals where lovers honoured and celebrated each other, and secret prayers for romance to fructify were offered to the Gods.

Sharad Rtu (autumn) is famous throughout India as the season of moonlight. The very sight of the full moon itself brings many thoughts of Sringara rasa.

Therefore, in honour of the ancient Kaumudi Utsav—celebrated on Ashvina Purnima, we give you Part 3 in our Set on Romantic Sanskrit Poetry.

While most of your are familiar by now with the peerless Mahakavi Kalidasa, today’s poet is uniquely talented in the art of Sringara Kavya. From the supple and spritely verses sauntering in the sophistication of simplicity, we give you the very pangs of separation incarnate.

Today’s installment on Classical Indic Literature features that beautiful work of Bhavabhuti called the Uttararamacharita.


Bhavabhuti’s patron is thought to be Yasovarman of Kannauj, and is thus dated to the 8th century CE. Though there are debates as to Bhavabhuti’s correct time period, it is known that his ancestral home was Padmapura in the Dakshinapatha. Udumbara was the surname of his family, which was of the Kasyapa gotra. Udumbara may also correlate to the present Amraoti of Maharashtra, which was previously called Audambaravati, city of fig trees. Nevertheless, this family was of the Taittiriya school of the Krishna Yajurveda. Five generations prior was also a Mahakavi in the family. Bhavabhuti’s grandfather was Bhatta Gopala and his father was Nilakanta. Some hold that Bhavabhuti’s actual name was Srikantha, with Bhavabhuti as his title. His mother was Jatukarni. His tutor, Jnananidhi, was considered a master scholar. This Jnananidhi schooled him in the Vedas, the traditional systems of philosophy, grammar, and rhetoric. Bhavabhuti was certainly well acquainted with the Upanishads. Thus, along with being a master poet, Bhavabhuti was a master scholar himself. [1]

There is some indication that he was considered a rival of Kalidasa (if not in fact contemporaneous with him). Other non-contemporaneous rivals mentioned in the Bhojaprabandha include Bana and Mayura, and the Goddess Bhuvanesvari said to have anointed Bhavabhuti the best. Irrespective, if Kalidasa excelled at depicting Romance (sringara), Bhavabuti was an expert portrayer of Pathos (karuna) and Heroism (veera). Karuna is especially seen through the sympathetic portrayal of the separation of Sita and Rama,in the Uttararamacarita. If Kalidasa is “the Grace of Poetry”, Bhavabhuti is the “Master of Loquence”[1]. If the former is more idealistic and romantic, the latter is more realistic and varied.

Bhavabhuti was a great stylist and had a wonderful command over language; he was skilled in adjusting the sound of his verse so as to be an echo to the sense. [1,19]

The great author is known to have written three dramatic works: These are Mahaviracharita, Malati-Madhava, & Uttararamacharita.

The chief merit of Bhavabhuti’s plays, apart from questions of languages, lies, however, in their high moral tone. Even in describing ordinary human love, Bhavabhuti never wanders into the sensuous; he has probed the depths of romantic passions without descending to appeals to mere lust. He maintains a dignified gravity throughout; his ideal of a lover is one who obliterates self [1, 19-20]

Mahaviracharita is considered to be the earliest and covers the life of Sri Rama from his childhood to his later victory over Ravana and return to Ayodhya. Malati-Madhava is a love story in 10 acts. Uttararamacharita deals with the separation of Sita and Rama.


Sometimes the truth isn’t good enough. Some times people deserve to have their faith rewarded.

The Uttara Kanda of the Ramayana is one that leaves feminists aflutter in fury, but more importantly, leaves devotees and romantics alike afflicted with the pangs of pathos. One cannot help but shed tears, not only for Sita, who after all her suffering, was fated to be slandered by idle gossip, but also for Ram, who had to uphold the rigid Dharma of the Treta Yuga, and banish his beloved pativrata.

If the wife of mere Caesar had to be above suspicion, is it any wonder that the Chakravartin of Ayodhya’s had to be as well? Such laws have no place in our time of easy lies and facile gossipy gupshup. But even those of us who loathe cruel kimvadanthi can’t help but be deeply unhappy at the doom these two transcendental lovers were fated to suffer. Even the great Bhavabhuti, who authored the Mahaviracharita that celebrated Rama’s prowess, asked Vidhaatha, “Is this how you end it?“.

Determined to set things right, Bhavabhuti decided to give an ending he believed to be worthy of such a Divine Couple.

A nataka (drama) in 7 parts, the Uttararamacharita, like its predecessor, the Mahaviracharita, is a work that celebrates an episode from the Ramayana. The naayaka (hero) is a dheerodaatta (generous & self-sacrificing) and the naayika is a sveeya (one’s own rightful lover). While there is no pratinayaka (villain), the vastu (plot) is considered historical. [1, 22] While the earlier work is steeped in veera rasa, the later one is replete with soka as its sthayibhaava. While we feel the pathos of the protagonists through Karuna rasa, we also get ripples of romantic Sringara Rasa—the king of the rasas.

Sringara Rasa, as discussed in our previous article, is divided into Sambhoga and Viprayoga. While the former deals with lovers-in-union, the latter deals with lovers-in-separation. Quite possibly the epitome of viprayoga sringara was personified by that epitome of Dharma: the Divine Couple of Sita-Rama.

As such, Uttaramaracharita is very much work on viprayoga. Much maligned by misandrist feminists today, Bhagavan Ram’s deep-seated pain is searingly catalysed into our being, by Bhavabhuti kavi.

An interesting point that exposes the agendas of the “many Ramayanas crowd” is that if all Ramayanas are equally valid, then so is the Uttararamacharita—anyways based on the Uttara kanda. So either only Valmiki Ramayana is valid or the entire industry of India-hating feminists must accept the Uttaramacharita where Rama is not only reunited with Sita, but where the Goddess Ganga herself justifies Rama’s action as King who accepted the popular will.

In any event, one cannot help but be moved by the agony in Raghava’s heart. He who laid low the haughty brahma-rakshasa Ravana, now stood powerless once more before the high burden of Dharma.

The crown prince of Kosala could give up his rightful throne as if it were a speck of dust, but how could the King of Kosala banish his beloved wife, whom he rescued from Ravanasura? His duty as a king came before his duty as a husband, but that he nevertheless suffered the pain of parting becomes apparent in Bhavabhuti’s opus. Selection I alone is proof of this.

Those of you with commercial preferences for the crass persianised pidgin poetry of Bollywood may first require an immediate primer on real Romance. For the rest of us, however, the more sophisticated sensibilities of Sringara Sanskrita Kavya are more appealing to aesthetes and connoisseurs with more refined tastes.

Before we begin with the Poetic selections, in honour of the occasion, here is a brief overview of the Kaumudi Utsav.

Kaumudi Utsav

The sanskrit word kaumudi comes from the term for moonlight. As you will read in the selections below, such beauteous comparisons are not infrequent in Classical Indian Literature. They bring to mind wondrous thoughts of sleepy serene vales and dreamy autumn nights, when great love is painted on the canvas of existence.

It is in fact still celebrated in many parts of India, notably Assam, as the end of the Monsoon. Ashvin Purnima is known as Kojagiri Purnima and Sharad Purnima elsewhere. Appropriately, the Sharad Purnima itself is dedicated to none other than Goddess Lakshmi.

So without further ado, we bring you the love story of the Uttama Purusha through the Poetry of Bhavabhuti’s Uttaramacharita.


I.Tatkaalam Priyajana viprayoga janmaa

Teevro’pi pratikruti vaanchhaya visodah |

Duhkhaagnir manasi punar vapachya maano

Hrunmarma vrana iva vedanaam karoti || A.1,Sl.30

The fire of grief arising from the separation of my beloved, however fierce, was at that time borne by me through the desire for retaliation; but now, reviving in my breast, it causes agony like a wound festering in the vital part of my heart . [1,9]


II.Iyam gehe Lakshmiriya mamruta varthirnayanayo-

Rasaavasyah sparsho vapushi bahulaschandana-rasah |

Ayam baahu kante sisiramasrno mauktikasarah

Kimasyaa na preyo yadi parama sahyastu viraha || A.1, Sl. 38

She is the very Lakshmi of my house, and a pencil of nectar to my eyes;

Her touch is a thick sandal-paste to my body; this her arm twined round my neck is as cooling and as smooth as a pearl-string; what about her would not be pleasing, but separation from her is exceedingly unbearable. [1,11]



Dadhatee vilolakabaree-kamaananam|

Karunasya moorthiratha va sareerini

Virahavyatheva vanameti Janaki || A.3.Sl.4

The daughter of Janaka, her countenance charming owing to its pallid and emaciated cheeks and her loosened braids waving about, coming to the wood like the very image of pity, or rather lie the pain of separation incarnate. [1,26]


IV.Sramaambu sisiree-bhavath prasruthamandha mandhaakini

Maruttha-ralithaalak-aakula lalaata chandra dhyuthi |

Akunkuma-kalankithojjvala-kapolamut prekshyathe

Niraabharana sundara sravana paasa mugdham mukham || A.6, Sl.37

I remember her face, as it was cooled by the perspiration caused by fatigue

with its beautiful moon-like forehead overhung with her tresses, disheveled by the gently blowing breezes of the Mandakini

with its cheeks bright, not being marked with saffron-paint and engaging with its well-formed ears, charming in their unadorned state. [1,71]


V.Ethaani te suvachanaani saroruhaakshi

Karnaamruthaani manasascha rasaayanaani A.1, Sl.36

These thy words, O lotus-eyed one, cause the withered flower of my life to bloom,

[they] Gladden me, lull all my senses into peace, serve as nectar to the ears and as a sovereign balm to the heart.[1,11]

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VI.Advaitham sukha dukha yoranu gunam sarvaasavasthasu ya-

Dvisramo hrudayasya yathra jarasaa yasminna haaryo rasah |

Kaalenaa varanaatya yath parinathe yath premasare sthitham

Bandra tasya sumaanu shasya kathama pyekam hi tat praapyate || A.1, Sl.39

Blissful is that fortunate man who, somehow, obtains that one thing—pure matchless…

love—which is the same in happiness or misery, which adapts itself to all conditions, where the heart finds its solace, the flavour of which is unaffected by old age, and which matures, as time removes the veil of reservedness, into permanent deep affection.[1,12]


VII.Tvam jeevitam tvamasi me hrudayam dvitiyam

Tvam kaumudi nayanayor amrutam tvamange

A.3, Sl.26

You are my very life, you are my second heart; you are the moonlight to my eyes and ambrosia to my limbs. [1,34]

  1. Kale, M.R.The Uttararamacarita of Bhavabhuti. Delhi: MLBD.2010
  2. Winternitz, Moriz.History of Indian Literature. Vol 1.Delhi: MLBD.1996
Acknowledgement: My gratitude to the young man who once more lent his voice to give life to these lyrics. An example to other young men on how to respect young ladies.

Vedanga Jyotisha & Indology

The method of simply assuming results, once one is persuaded that they are true, rather than trying to prove them, has all the advantages of thievery over honest toil.
- Bertrand Russell quoted in The Origins of Astronomy [5].


This short article is a prequel to the ICP post on Vedanga Jyotisha (VJ). The prior post contains the answers to the questions from Indologists that are listed in this article.

Vedanga Jyotisha

Epistemological Continuity

Scholars from within the Indic tradition successfully decoded the complex VJ text available in the form multiple rescensions, after 150 years of attempts by researchers from all over the world [1]. Their rigorous analyses, made possible by their multi-disciplinary expertise in Sanskrit, Jyotishastra, Ganita Sastra, and astronomy, have helped debunk many unsubstantiated claims regarding Indic sciences and VJ. Their research work can also enlighten contemporary eminent historians in India who remain unaware of the deep connection between science and Vedas. The findings about VJ clearly establish that its scientific innovations arise from Rta and Vedic Yagna, and its calendar recalls earlier Indic traditions [2].  The inter-connected developments in astronomy and other sciences also coincided with the growth of Ganita (‘science of computation’). This progress was part of an independent and continuous Indic tradition [5, 11] that spanned more than 3300 years, from the VJ and Sulba Sutras, to the genius of Madhava and Srinivasa Ramanujan. We have discussed Ganita Sastra and its epistemological continuity in this ICP post. Due to the integral unity [9] of dharma traditions, we also find this continuity in multiple other fields including Indic artmusic, dance, etc.

Indologists Study Vedanga Jyotisha

The previous post concluded with three findings that are pertinent to this post:

  1. The date range for VJ (1150 – 1550 BCE).
  2. The location of VJ (Northern India / Kashmir).
  3. Necessary qualifications to study VJ in its original form [1]:
    • a) Expertise in Sanskrit,
    • b) knowledge of Western/modern astronomy, and
    • c) an understanding of the concepts/practices of Hindu astronomy.

The absence of one or more of these three qualifications is likely to nullify the research effort and end in frustration [1].

Indology is a peculiar field. Sportspersons, scientists, and actors love their work, take pride in the history and traditions of their respective fields, and generally take their field forward. However, many career Indologists loathe the subject they study: Indic history and culture, and their research effort is directed toward producing results that can bring both down.

Summary of Claims

We reviewed the various assertions made by some (not all) western Indologists regarding VJ and ancient Indic astronomy and compiled a representative set of ten claims to discuss.

  1. The Vedic Indians possessed only a crude calendar.
  2. The Indics borrowed ‘Nakshatra’ from Mesopotamia.
  3. The Vedic calendar had no systematic intercalation.
  4. The date for VJ is 600 BCE or later.
  5. VJ content was created in Mesopotamia.
  6. Aryans brought astronomy and VJ ideas to India.
  7. Indian Astronomy was borrowed from Mesopotamia.
  8. The superiority of European time-keeping.
  9. The water clock is a Mesopotamian invention that Indics borrowed.
  10. Indic sciences exhibit a lack of originality, are repetitive, and non innovative.

Christopher Hitchens fans would say “what can be asserted without evidence can be dismissed without evidence“. On the other hand, these claims have been systematically studied and countered by multiple researchers, which allows one to dismiss them with evidence. For brevity, we have reviewed the arguments in [5], [3], and [1] to produce a limited response to each of these claims.

Claim 1

The Vedic Indians possessed only a crude calendar.


Many of the ideas in VJ are present in prior Vedic calendars. It is sophisticated for its time, and its mean measurements of lunar cycles and parameters, as well as the start time of the Yuga (a fundamental time unit of VJ), are remarkably accurate. The computations performed required expertise in modulo arithmetic, and the rule of three was employed as a subroutine. The invariant Nakshatra coordinate system, the Javadi table, the self-organizing and self-correcting Yuga based calendar, etc. indicate the depth of thought that the Vedic Indians put into the VJ.  The Javadi table is a thing of beauty that emerges from Rta. We found hidden inside this table, a full-period linear congruential (pseudo random number) generator that enumerates the ecliptic longitudes of all the full and new moons in a Yuga. VJ combined observational astronomy and Ganita (computation). The resultant balancing of order and chaos is characteristic of the Indic method [9] that is anything but crude.

Summary: False claim that has to be rejected.

Claim 2

The ancient Indians borrowed Nakshatra from Mesopotamia.


The commonality of certain prominent Nakshatras across cultures is unsurprising since everyone shares the same sky. In particular, it has been shown that the importance of Krittika nakshatra (star group ‘Pleiades’) is special to not just one or two cultures, but to peoples across all continents [3]. The Vedic lists of Nakshatras start with Krittika and the Rta basis for this choice is that the seasonal year begins when the sun in this Nakshatra sector (in Vasanta ऋतु, spring season). Krittika is relatively easy to observe and is important for a variety of reasons tied to the seasonal cycles of agricultural planning, food gathering, etc., and not because one culture found it first and shared this ‘IP’ all over the world.

Nakshatras (as stars or star-groups) are fundamental to the Vedic calendar as summarized in the Vedanga Jyotisha post. On the other hand, the Nakshatra coordinate system of the VJ is a uniquely Indic development that is not found elsewhere. In VJ, the Nakshatras identify wide ecliptic sectors that yield an invariant ecliptic reference system, and not the stars themselves [3], as misunderstood by some western Indologists.

Summary: False claim that has to be rejected.

Claim 3

The Vedic calendar had no systematic intercalation


In our post, we summarized the findings of researchers on intercalation in VJ, and discussed the intercalary months (adhimasa or adhikamasa) employed by Vedic calendars, and how the VJ Yuga is a self-organizing system derived from Rta that contains built-in error-correction.  VJ authors knew that the seasons must be synchronized with the sidereal year [3]. Such corrections prevented cascading errors (something that the European Julian calendar carried forward for more than a millennium until it was repaired for theological reasons by Catholic priests to safeguard the history-centrism [9] of their religion). The maximum error possible in the Vedic calendar has been calculated and shown to be bounded. Over the centuries, updated calendars and astronomical results were produced by the Indian astronomers and Ganita scholars.

The Indic method is systematic and is characterized by the Sanskrit non-translatable term abhiyukti (~algorithm) which is not entirely mechanical, but is comfortable with approximations, exceptions and non-mechanical corrections. This aspect can be seen continuously in Ganitasastra from the VJ to Aryabhata, from Madhava to Ramanujan.

Summary: False claim that has to be rejected.

Claim 4

VJ date is 600 BCE or later.


The astronomical time-stamp present in the VJ itself, a statistical analysis of the Nakshatra system, and other data enable us to narrow down VJ to a date range 1150-1550 BCE. It must be remembered that the VJ recalls earlier traditions that go further back in time. The 600 BCE or later date may have been proposed by Indologists so that it would be later than the earliest available Mesopotamian texts on astronomy (700 BCE), in order to satisfy their assumption of transmission from a Mesopotamian source.

Summary: This Claim has to be rejected. VJ dates several centuries prior, and is itself a culmination of results from previously existing traditions.

Claim 5

VJ content was created in Mesopotamia


Indologists latched on to the 3:2 ratio of the longest to the shortest day given in VJ to make this claim. This claim has been well-studied in [3]. The ratio depends on the latitude where these observations were made, and multiple locations qualify. However, most Mesopotamian areas are excluded, except for a couple of cultural centers in West Asia. Furthermore, a mathematical analysis reveals locations in the latitude range of 25N to 30N to be the more likely candidates, increasing the likelihood of an Indic origin, and significantly weakening claim 5.  Furthermore, mention of this ratio shows up in Mesopotamian literature after 700 BCE, long after VJ’s latest possible date.

Summary:  Unsubstantiated claim that has to be rejected. Kashmir is a likely candidate. Mesopotamian locations are unlikely.

Claim 6

Aryans brought astronomy and VJ ideas to India.


Aryan Invasion Theory (AIT), invented by Max Muller in the 19th century has been thoroughly debunked (historians have noted that the racist Aryan theory has been cynically exploited by two totalitarian regimes guilty of large-scale crimes against humanity: the British Raj and the Third Reich). There is no mention of such an invasion in Vedic text or Itihasa. Furthermore, the location and date of VJ, as well as its epistemology, considerably diminishes the chances of a non-Indic origin of VJ. There is a vast amount of work done by Indic scholars on this topic. The interested reader is referred to ‘Breaking India, by Rajiv Malhotra and Aravindan Neelakandan.

Summary: AIT today is a discredited theory, albeit one that has considerable propaganda value in contemporary Indian ‘vote bank’ politics, and thus the debate is unlikely to end soon. The only sure way to ‘prove’ AIT today is to assume that AIT is true and then find data (genetic models are popular in recent times) that agree with this assumption. Quite Easily Done.

Claim 7

Indian Astronomy was borrowed from Mesopotamia.


Again, the time period of VJ and prior Vedic calendars, and the secure epistemology of Indic astronomy, makes this a remote possibility. There are several differences between ancient Mesopotamian and Indic astronomy since the latter is rooted in Rta, which is Satya in action. For example: A seven-day week is recognized as a Babylonian artifact, and is not found in Vedic text. Note that a 7-day week is not clearly tied to Rta whereas ahoratra (day-and-night), Pakshas / lunar phases, and ऋतु (seasons) have naturally occurring periods that are observable (pratyaksha). They represent Rta, and are used within ancient Indic calendars.  Per [3], the earliest mention of a seven day week in Indic literature is 484 CE, nearly two millennia after VJ. Research shows that the Hindus developed their own calendar and astronomy, and in many areas, were several centuries ahead of their time. (For example, see Ahargana in claim 8).

Summary: There was little need to borrow astronomical concepts from Mesopotamia or Greece since Indic astronomy was epistemologically secure [5] and advancing quite nicely. Ancient Indics had developed strong traditions in both algebra and geometry [5], a claim that few others (if any), can make. It may have been counter-productive to import alien concepts since it would require the Indics to force fit them into the Indic approach based on pramana, which is no easy task. In fact, a leading Indian scientist has argued that although this Indic policy of rejecting foreign paradigms (that lacked pramana) had positive outcomes, not re-working and adapting them into the dharma framework proved costly later.

Claim 8

The superiority of European time-keeping.


From the 18th century CE, European time-keeping and astronomy made rapid progress and took the lead. However, time-keeping there was not always as well developed. We can mention a couple of examples.

a) The Julian calendar (~45 BCE) produced a cascading error that could not be fixed until the Gregorian reform in 1582 CE. This effort relied at least partially on Indian time-keeping methods, using text from the Indian west coast obtained by visiting European missionaries during this time period. Once the Gregorian reform victory was secured for the church, Roberto De Nobili, the Italian Jesuit missionary in India (in 1610 CE) launched a diatribe against VJ to discredit the source text [11].

b) The Julian day number (not to be confused with the Julian calendar) was first created in Europe in 1583. This system calculates the elapsed time from a fixed date, Julian 1/1/4713 BCE. In comparison, Aryabhata’s Ahargana (‘heap of days’) method [5] for tracking elapsed time was already in use for a thousand years. Without a reliable method for time-reckoning, accurate time-stamping of historical events and record keeping is difficult.

Formidable numerical and calculating challenges had to be overcome by ancient cultures that did not yet possess Ganita. Commenting on the Indologists who ignored these epistemic gaps, Kosla  Vepa [5] remarks:”[ancient Europeans] had no symbols or numbers larger than a thousand. Most Indians have been persuaded by the Colonial power into believing that Indian chronology is faulty and wanting (compared to whom?). Such an assumption is belied by the fact that it is the Indian records that they depended on to decipher what the Greeks did according to David Pingree. We will illustrate the inherent contradictions in their stance towards Indian historical record keeping in the chapter on knowledge transmission, where we examine a half a dozen instances of similar contradictions…”

Time-keeping (from small intra-day units to the largest time units) has been a part of Indian civilization for a long time, and evident in the earliest texts. The importance of history to Indic civilization cannot be understated.

Vedic Cosmology — The Dharmic View of Time

Summary: The claim is rejected since the data suggests otherwise. It makes more sense to reverse the claim and find out whether the ancient Indic methods could be considered dominant based on the available data.

It would not be out of place to recognize the Indics as the original time-keepers of the cosmos.
Claim 9

The water clock is a Mesopotamian invention that Indics borrowed.


Indic water clock designs were different from the Mesopotamian ones. Ohashi’s informative paper (see [3]) on this topic debunks this claim and shows that post-Vedic water clocks were different from Mesopotamian ones. Furthermore, Narahari Achar [7] identified passages in Vedic text that suggest the usage of water clocks in Vedic times were also different in design.

Summary: This claim has to be rejected for lack of evidence.

Claim 10

Indic sciences exhibit a lack of originality, are repetitive, and non-innovative.


The VJ post shows that the exact opposite is true. This claim sounds childish now, after all the evidence meticulously uncovered by researchers, but such claims were taken seriously and parroted by multiple western Indologists in essays and books.  There is a long list of Indologists who spent years learning from Sanskrit Pandits and thereafter U-turned and denied, diluted, or damned with faint praise, the original accomplishments of the ancient Indians, without pretence of objectivity.

Summary: It is time to reverse the gaze and study why, who, and from where the motivation for such sustained hostility to Indic civilization emerges from.

Many churlish claims were made by a researcher named David Pingree. It is worth studying his approach as a representative specimen of Euro-centric bias.

Who was David Pingree?

Professor Pingree was a mathematical historian at Brown University in the US, and much of his professional career involved the study of scientific material in ancient Sanskrit texts. After spending decades wading through Indic works to create his magnum opus, ‘a census (not just a sample) of  the exact sciences in Sanskrit’, he opined that the Indics really did not come up with anything noteworthy and borrowed everything either from Europe (ancient Greeks), and if not Greeks, then from Mesopotamia. Interestingly, the volume of relevant manuscripts available from these ‘sources’ is minuscule compared to the massive amount of ‘borrowed’ material in Sanskrit that Pingree literally had to take a census of [5].

Pingree makes an implicit assumption that designates Indians as knowledge consumers and Greeks/Mesopotamians as knowledge producers. Thereafter, one can always speculate about how this transmission took place and find data that fits this assumption. Such Indologists would claim, without hard evidence, that many valuable results in Sanskrit texts were borrowed. If by chance, Indic priority was undeniable, then the claim would be that the G/M discovered it independently [5]. Pingree was neither the first, nor the last indologist to indulge in such narrative building exercises. The Aryan Invasion fiction is a necessary tool in this Eurocentric propaganda since it provides the Indologist a safe fall-back that ‘in any case, the Indic science and math came from the Aryan master race who invaded India’. The discussions in [5] and [3] thoroughly expose the methods employed by Pingree and other Euro-centric indologists.

It was an uphill task for Pingree to begin with as there are few, if any, primary sources of these claimed Greek results, and the earliest texts relevant to these claims belong to the Common Era [5]. As far as verifiable evidence of Greek-to-Sanskrit transmission to support these claims, there is none. However, in recent times, there is information regarding potential transmission in the reverse direction. In order to create a plausible picture from scant data, some Indologists have employed a technique called speculative reconstruction [5].

Some Indologists may have missed the lesson on 'etaddhasti darshana iva jatyandhah'. Different people can look at the same data and arrive at entirely different conclusions that suits their preconceptions. 

Speculative Reconstruction

A grand narrative promoted by Euro-centric Indologists requires a glorious, ancient Greek past where almost everything important in science and math today originated there (or independently discovered there, if someone else got lucky and did it first). Researchers like Pingree have devoted entire careers, producing results that further this goal. They have succeeded spectacularly, if one looks at all the theorems, results, and entire areas in mathematics that are attributed to Europeans in textbooks, starting from the Pythagoras theorem and Euclidean geometry to Fibonacci series to Newton’s calculus and McLaurin/Taylor series. It is as if no worthwhile mathematics ever happened outside the Judeo-Christian domain (!). These historians of math have often employed speculative reconstruction (SR) to guess the original result from partial data. SR combines imagination with contemporary math to form a conjecture about what was done thousands of years ago.

Recently, researchers have used such methods to try and push back the date of trigonometry in ancient Mesopotamia by creatively reinterpreting an ancient manuscript: Plimpton 322.  Other western experts saw through this as a marketing exercise. A key counter-argument to such claims is that exceptional “3000 years ahead of xyz” events is unlikely to occur in a vacuum. Showing the continuity in epistemology throughout that time period, and establishing a historical context for the result goes a long way in making such claims credible and reduces the chances of being dimissed as hype.

SR in itself may be a useful academic tool, but its value as confirming historical evidence is nil since it is speculation. Some Indologists have employed multiple layers in SR, i.e., they have rejected part of the historical data as mistakes committed by the author thousands of years ago and then generated new data ‘to correct the error’ and essentially produce what they assumed. An outrageous example is the ‘chord table of Hipparchus‘ where SR was used to claim that Aryabhata borrowed his R-sine difference table from this [5].  This claim has been exposed by Indic researchers by showing how SR works and then explaining the original Ganita in Aryabhatiya and its commentaries.

Final Note

Of all the subjects we studied in school, Mathematics was regarded as the least subjective.  As a historian of mathematics in a top US university, why did Pingree adopt such an utterly biased approach when it came to Indology? To understand his motivation, let us turn to his PhD work. One of his graduate advisors was Daniel Ingalls.

Ingalls visited India and learned Sanskrit, became a celebrated professor of Sanskrit in the US, and authored several works on Sanskrit literature. The names of the students who did their PhD work under Ingalls read like the who’s who of Hinduphobic Indologists: Wendy Doniger, Sheldon Pollock, John Stratton Hawley, and others. Daniel Ingalls has received relatively limited attention from Indic scholars so far, since the spotlight has been grabbed by the infamous bunch of students he spawned . He served as an espionage agent during WW2, when he was required to spy on Indians in Kabul. His closest Indian friend was the Marxist DD Kosambi. His student, Padma Shri Sheldon Pollock,  has progressed further and is the darling of both Indian marxists and Islamic fundamentalists. Indian billionaire Narayana Murthy’s son Rohan Murty, provided more than USD 5M to fund his subversive work.  More than 50 students got their PhD under Ingalls and teach in major universities.  The co-authors of the Harvard tribute to Ingalls that we have excerpted here includes Diana Eck and Micheal Witzel, well-known for their Hinduphobic writings.

Ingalls’ life-story deserves to be thoroughly researched since he succeeded in learning Sanskrit from the Pandits in India, and eventually produced an army of Sanskrit-aware western-supremacist scholars who, until recently, have hijacked and poisoned the discourse in India, and have been rewarded by the Indian government, media, and industrialists for this effort.

Juan Pujol Garcia (codenamed Garbo) was a spy and a dedicated double agent against the Nazis in WW2. His contribution toward the allied D-day deception is considered critical. He received major military awards from the Nazis and the British.The Germans paid for his fictional network of 27 Nazi spies. Once, one of these spies was killed, and the Nazis generously paid out a pension to his equally fictional widow. By the end of the war, German intelligence was actually funding British intelligence, paying several hundred thousand USD.

  1. KV Sarma and Kuppanna Sastry. Vedanga Jyotisa of Lagadha In its Rk and Yajus Rescensions. With the Translation and Notes of Prof. T. S. Kuppanna Sastry. Critically edited by K. V. Sarma. Indian National Science Academy. 1985.
  2. Subhash Kak. Astronomy and its Role in Vedic Culture. Chapter 23 in Science and Civilization in India, Vol. 1. The Dawn of Indian Civilization, Part 1, edited by G.C. Pande. ICPR/Munshiram Manoharlal, Delhi, 2000.
  3. Prabhakar Gondhalekar. The Timekeepers of the Vedas: History of the Calendar of the Vedic Period (From Rgveda to Vedanga Jyotisa). Manohar Publishers. 2013.
  4. K. Ramasubramanian. Perspectives on Indian Astronomical Tradition. HH Dalai Lama Premises. Dharmasala. 2016.
  5. Kosla Vepa. The Origins of Astronomy, the Calendar, and Time. 2011.
  6. Narahari Achar. Enigma of the Five Year Yuga of the Vedanga Jyotisa. Indian Journal of the History of Science (33). 1998.
  7. Narahari Achar. A Case for Revising the Date of Vedanga Jyotisa. Indian Journal of the History of Science (35). 2000.
  8. John Playfair. The Works of John Playfair (Vol. 3).. with a memoir of the author. Edinburgh, A. Constable & Co. 1822.
  9. Rajiv Malhotra. Being Different: India’s Challenge to Western Universalism. Harper Collins. 2011.
  10. Sudha Bhujle and MN Vahia. Possible Period of the Design of Nakshatras and Abhijit. Annals of the Bhandarkar Oriental Research Institute. 2006.
  11. C. K. Raju. The Cultural Foundations of Mathematics: The Nature of Mathematical Proof and the Transmission of the Calculus from India to Europe in the 16 c. CE.  Pearson Education. 2007.
  12. Subhash Kak. The Astronomical Code of the Rig Veda. Oklahoma State University, Stillwater. 2011.
  13. Subhash Kak. The Wishing Tree: Presence and Promise of India. iUniverse Inc. 2008.
  14. Kapila Vatsyayan. The Square and The Circle of The Indian Arts. Abhinav Publications. 1997.
  15. R. N. Iyengar. A Profile of Indian Astronomy before the Siddhāntic Period. ISERVE Conference, Hyderabad, India. 2007.
  16. Kuppanna Sastry. The Main Characteristics of Hindu Astronomy in the Period Corresponding to Pre-Copernican European Astronomy. Indian Journal of the History of Science (Vol 9). 1974.
Thanks to N.r.i.pathi garu for his patience and encouragement.