Hercules, Jagannātha, Vaiṣṇava Tilaka

 

For those of you who are unfamiliar, these three images (mūrtis) represent primary forms of Viṣṇu. From left to right, they are Baladeva (the "Strong Divinity"), Subhadrā (the "Very Auspicious One"), and Jagannātha ("Lord of the Moving World"). They are among the oldest known deity forms in South Asia, dating at least to the Maurian dynasty, circa 600 BCE. Emic scholars have even suggested far older dates, though we have reason to suspect that Jagannātha's "ascendency" coincides to some extent with cosmological events that can be reconstructed based upon refined measurements of axial precession and so forth. That is, we suspect that the "image" of Jagannātha coincides with the ascendency of Tau Hercules to the position of a polestar.

Jagannātha, just in terms of his esoteric aniconism, remains one of the most striking forms in South Asian deity worship. The culture surrounding his worship, the narratives of his origin, the reconstructive history behind his Mauryan heritage, and the unique form he and his siblings manifest—all these in aggregate signal the unusual origins of this dharu-brahman, this "Wooden Spirit".

Pramā/Pratimā 

The image of Jagannātha seen in temples is a pratimā, or "reflection" of the "original" Jagannātha. The proportions which belong to the original are the pramā, a term signifying the act of measuring a form (pra [forth] + √mā [measure] = "mete out"), while Pratimā (prati [counter-] + mā [measure] = reflection) indicates the reproduction of the original, in the sense of a reflection. In an earlier blog, we discussed how this enables us to draw a direct link between Mount Kailāśa and the form of Ophiuchus-Serpens. This is also seen in the side-by-side placement of Jagannātha, Subhadrā, and Baladeva. 

These constellations also happen to be visible directly overhead in the evening on Kṛṣṇa Janmāṣṭhami

In particular, we note the commonly Trapezoidal shape of Jagannātha's head, the characteristic Jawlines of all three deities, or in particular, of Subhadrā, as well as the crown shape of Baladeva. the Constellation of Baladeva here is Boötes. Each of these constellations contains a number of features which recommends these specific identifications.

But first, not that the images have been reversed, in keeping with the Pramå/Pratimå thesis, that the temple mūrtis are based upon the shapes of the constellations, like a reflected, as if the Lord of the Universe, Jagannātha, were only looking at Himself in a mirror. It really does suggest something along the lines of Genesis, even: "I have made man in My Image".

Indeed, when Thomas Colebrooke, back in the 1800's posited that Hercules was originally derived form India, he may have well had ample reason to believe this. He postulated that the name "Hercules" originated from the phrase, "Hari-kula-iśa" or "Lord of the Dynasty of Hari-Viṣṇu", meaning, Vāsudeva Kṛṣṇa. It seems possible to me, though I am as yet uncertain, and more data on this postulate ought to be gathered and related. Still, the reflection of the deities as seen here is quite striking.

There is another important place that we find this trapezoidal form:

Śrīvaiṣṇava Tīlaka

"Tīlaka" derives from the term, tīla, or sesame seed. Tīlaka, it seems, used to be made with sesame seed paste. This paste was applied as an ornament to various parts of the body, and designates, by its specific shape, the sectarian affiliations of various individuals. The Tenkalai Sect of Śrīvaiṣṇavism bears Tīlaka that is more or less Trapezoidal, and thus, plausibly signifies this same constellation: Hercules.

Old Sadhu in Kathmandu, Nepal. Note the slight variation in the shape of the tīlaka.
Variations are common, but almost always play on a common theme.

Of course, I specialize in Gauḍīya Vaiṣṇava thought, so why, you might ask, do Gauḍīyas wear the particular tīlaka they do? It's not at all trapezoidal! Well, it is important to remember that many practitioners are likely to be unaware of the original signification of tīlaka so that they will allow for slight variations, here and there. Over time, this can produce the variations we see today.

While searching online for images of tīlaka, I found this old drawing of mine from 1995. Ah, the good old days.  

Moreover, as many of these variants represent distinctive sects, one can appreciate that the form signals the many schisms which have arisen over the centuries between this and that sect which felt the need to use such symbolism to distinguish itself from other versions with which it might otherwise become easily confused. When the geometric options are limited by tradition, the tensions bring about inventive modifications, which can both preserve and alter the original dimensions!

this chart shows just a few of the many Vaiṣṇava tilakas around today. 

You may suspect that all of this has little apparent relation to the concept of Time in South Asian literature. If so, I can't blame you. But this is all part of building an evidentiary case for the identification of Viṣṇu with Hercules. You see, if it is true, that Hercules really just is Viṣṇu, then this gives a very important interpretation to the ancient Ṛg-Veda verse, Oṃ tad Viṣṇoḥ paramam padam sadā paśyanti sūrayaḥ ("Om! That farthest foot of Viṣṇu, is ever gazed upon by the gods!"). This verse appears to be talking about Tao Hercules as a pole star. If that is true, then the narrative tradition from which this verse takes its basic form is arguably more than 9000 years old!

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Update: the Ophiuchus-Kailāśa blog has been temporarily removed. More work needs to be done to clean it up and solidify the arguments.