Vishnu Sahasranama 192 - 200

Vishnu Sahasranama 192  - 200

192. Suparṇaḥ सुपर्णः

Suparṇa refers to the mystic bird discussed in Rig and Yajur Vedas.  The shape of a bird is used as fire altar in agnisayana.  Agnisayana is a huge Vedic fire ritual spread over a period of twelve days. It is interesting to know why ṛṣi-s  have chosen the shape of a bird to perform this ritual.  The shape of a bird is conceived to carry the yajamāna (on whose behalf and at whose expense this sacrifice is performed) of the ritual to the heavens. Mostly these types of rituals are performed for the benefit of the people in general, engaging several learned scholars well versed in all the four Vedas. Those days kings used to fund these types of rituals and such kings are called yajamāna. The construction of a huge altar for the agnisayana is mainly for the purpose of restoring Prajāpati also known as Brahmā, the god of creation. It is said that Prajāpati sacrificed his life for the creation of the universe. Prajapati’s body is said to be mortal and his breath – prāṇa, apāna, vyāna, udāna and samāna is said to be immortal. The significance of this agnisayana is to resurrect Prajāpati, who has initially manifested beneath the fire altar. The agnisayana altar is of five layers constructed with specially made bricks. The first, the third and the fifth layers are also filled with pebbles to enable Prajāpati to breathe. From non-ritualistic point of view, these three layers are considered as earth, air and ākāśa. The second and the fourth layers represent fire and water. These are the five sheaths of body referred in Vedānta as pañcakośa.

From the ritualistic point of view this bird is considered to carry the yajamāna of the ritual to the heavens. Yajur Veda says that the bird’s head is Tṛvṛt or Stoma (the verses in the Vedas that give protection to the yajamāna), its eye as Gāyatri (the famous Gāyatri mantra for seeking noble mind and thoughts. It also refers to gāyatri meter), its body as Vāmadeva Sāman (verses of Sāma Vdea), it’s both the wings as bṛhat and rathantara (both are names of melodies in Sāma Veda), its tail as the place for conducting this yajña, its limbs as meters (number of letters in a mantra. This is also calledchandas and Gāyatri meter is supposed to be the best), its hooves as the masters of knowledge, its name is Yajur mantras and the bird is called as garutmat (possibly meaning the bird garuḍa. Garuḍa is one of the vāhana-s used by Lord Viṣṇu, who is the ultimate authority for any yajña.). One of the soma oblations in this yajña is Gāyatri mantra. Interestingly the Gāyatri mantra finds a place in Yajur Veda next to the verses on suparṇa, the Vedic bird. Gāyatri mantra finds a place both in Rig and Yajur Vedas. Finally a request is made to this bird to go to the heaven and then fly to the world of light, carrying the yajamāna. The five of its parts viz. its head, trunk, left wings, right wings and tail are mainly identified with five basic elements and manifestation of these five elements such as organs of action, sensory organs, organs of perception, five sheaths etc.

Muṇḍaka Upaniṣad (III.i.1) also refers to two mystical birds by saying dvā suparṇā.  These two mystical birds refer to self (individual soul) and the Self (Brahman). The Upaniṣad says that these two birds exactly look alike, conveying the truth that there is no difference between the individual soul and the Brahman. The individual self (the first bird) eats the fruits of the tree in which these birds are seated watched by the Cosmic Self (the other bird).  The mental condition of the first bird changes depending upon the quality of the fruits it eats.  Since the other bird is merely a spectator, its mental condition does not change. Though these birds are the same, only their attitude differs. Upaniṣad beautifully highlights the ‘difference’ between the self and the Self.  

Since Viṣṇu is the Lord of all fire rituals, He is adored here as Suparṇa.  It can also be said that Viṣṇu is praised here as the One, whose vāhana is Garuḍa, the mystic bird.

193. Bhujagottamaḥ भुजगोत्तमः

Bhujaga means a serpent.  Viṣṇu always relaxes over the body the mythical serpent Ananta and this famous posture is known as anantasayana.  Kṛṣṇa has a great liking for this divine serpent Ananta (Bhagavad Gītā X.193). Ananta and Vāsuki refer to the same serpent. Ananta also means infinite and it can be said that Viṣṇu rests on infinitude, an exclusive quality of the Brahman.

194. Hiraṇyanābhaḥ हिरण्यनाभः

Hiraṇya means gold and nābhi means navel.  From His hiraṇyanābhi arose the lord of creation Brahmā. Anything associated with creation is cited as golden. Another example is hiraṇyagarbha, which also refers to Brahmā.  Brahmā is different from Brahman or Brahma. According Purāṇa-s Brahmā is the god in charge of creation. 

195. Sutapāḥ सुतपाः

Sutapa refers to the one who practices great austerities.  During His incarnation as Nara andNārāyaṇa, He performed severe austerities.

Muṇḍaka Upaniṣad (I.i.9) says, “From the Brahman, who is all knowing and whose austerity is knowledge, originated all shapes and forms (referring to the entire creation).”  Since the Brahman is an embodiment of knowledge and by using that knowledge, He creates.  Without the highest level of knowledge, all the intricacies of creation could not have been taken care of. Examples are human nervous system, gravitational force of different planets, etc.

The highest level knowledge can be attained only by practicing severe austerities and as a result of which, mind disconnects from the materialistic world and gets connected to the spiritual world.  

196. Padmanābhaḥ पद्मनाभः

Repetitive nāma-s at 48 and 346.

Padma means lotus and this nāma says that Viṣṇu has lotus like navel, from which the lord of creation Brahmā originates.  This is the grosser meaning of this nāma.

Subtly, this nāma refers to maṇipūraka cakra or the navel cakra, which shines like gold (refer nāma 194) and after activating this cakra one has to cross Viṣṇugranthi, the knot of Viṣṇu. Viṣṇu is worshipped in maṇipūraka cakra. Because of this, He is Padmanābha.

There are lot similarities between Viṣṇu and lotus flower. His eyes and feet are also compared to lotus flower.

197. Prajāpatiḥ प्रजापतिः

Repetitive nāma at 69.

Some scriptures say that Prajāpati and Brahmā are the same, whereas some others say that they are different and that Prajāpati is lower in status than Brahmā.  Brahmā first created Marīci, Atri, Aṅgiras, Pulastya, Pulaka, Kratu, Vasiṣṭha, Dakṣa, Bhṛigu and Nārada known as Dakṣa Prajāpati-s.  

Since Viṣṇu is the creator of Brahmā, this nāma affirms that Viṣṇu is the Supreme Lord of creation.

198. Amṛtyuḥ अमृत्युः

Mṛtyu means death and a-mṛtyu means without death.  An exclusive quality of the Brahman is eternity.

Kṛṣṇa says, “ayam na mṛtyate”, which means ‘this (the Self) do not die.”

Kaṭha Upaniṣad (I.ii.25) says, “death is a mere condiment of the Self.”

199. Sarvadṛk सर्वदृक्

He is capable of seeing all the happenings of the universe.  Brahman always remains as a witness. He is not the cause for one’s karmas.  Karmas are self made, through one’s thoughts and actions.

Puruṣasūktam says, “Puruṣa (the Self) has thousands of heads, eyes and feet” and He sees through those infinite eyes.  Infinite eye refers to the individual soul and is seated within.  

200. Siṁhaḥ सिंहः

Siṁha not only means the lion, but also refers to a powerful person.  It also means the Self or the Ātman.

This nāma also refers to His Narasiṁha avatar, the most ferocious of all His avatars. This nāma says that just like the lion being the king of all animals, Viṣṇu is the king of all beings.  Though there cannot be any comparison between Viṣṇu and a lion, such comparisons are common to enable the spiritual seeker to understand the supremacy of the Brahman.