Vishnu (/ˈvɪʃnuː/; Sanskrit pronunciation: [ʋɪʂɳʊ]; Sanskrit: विष्णु, IAST: Viṣṇu) is one of the principal deities of Hinduism. The “preserver” in the Hindu triad (Trimurti), Vishnu is revered as the supreme being In Vaishnavism as identical to the metaphysical concept of Brahman (Atman, the self, or unchanging ultimate reality), and is notable for adopting various incarnations (avatars such as Rama and Krishna) to preserve and protect dharmic principles whenever the world is threatened with evil, chaos, and destructive forces. In the Smarta Tradition of Hinduism Vishnu is also one of the five equivalent deities worshipped in Panchayatana puja.
Vishnu (or Viṣṇu, Sanskrit विष्णु) means ‘all pervasive’, and according to Medhātith (circa 1000 CE), ‘one who is everything and inside everything’. Vedanga scholar Yaska (4th c. BCE) in the Nirukta defines Vishnu as ‘viṣṇur viṣvater vā vyaśnoter vā’, meaning ‘one who enters everywhere’, adding ‘atha yad viṣito bhavati tad viṣnurbhavati’, meaning ‘that which is free from fetters and bondage is Vishnu’.
The 108 Names of Vishnu
In the tenth part of the Padma Purana (4-15th century CE), Danta (Son of Bhīma and King of Vidarbha) lists 108 names of Vishnu (17.98-102). These include the ten primary avatars (see Dashavarara, below) and descriptions of the qualities, attributes, or aspects of God.
The 1000 Names of Vishnu
The Anushasana Parva of the Mahabharata and the Garuda Purana (chapter XV) both list over 1000 names for Vishnu, each name describing a quality, attribute, or aspect of God. Known as the Vishnu Sahasranama, ‘Vishnu’ here is defined as ‘the omnipresent’. Other notable names in this list include Hari (‘remover of sins’), Kala (‘time’), Vāsudeva (‘Son of Vasudeva’, i.e. Krishna), Atman (‘the soul’), Purusa (‘the divine being’) and Prakrti (‘the divine nature’).
MahaVishnu (‘Great Vishnu’) – also known as Karanodakasayi Vishnu – is another important name that denotes his being the source and creator of the multiverse as the total material energy (also known as mahat-tattva). Garbhodakaśāyī Viṣṇu (stimulation of energy to create diverse forms) and Kṣīrodakaśāyī Vishnu (diffusion of the paramatman or ‘supersoul’ in the hearts of all living beings) are expansions of MahaVishnu.
In Hindu mythology, Vishnu is depicted as having:
A dark blue to black complexion
Earrings in the shape of sharks
A garland of flowers hanging from His neck (Vaijayanti); honey bees flying around it symbolise the verses of the YajurVeda.
The shrivatsa mark on His chest (in the form of a curl of hair)
The Kaustubha gem on His chest
Upper-left hand holding the Panchajanya shankha (conch)
Lower-left hand holding a padma (lotus flower)
Upper-right hand handing the Sudarshana Chakra (discus)
Lower-right hand the Kaumodaki gada (mace)
Yellow-coloured silk trousers
The bow of Vishnu is known as Sharanga and His sword is known as Nandaka. A traditional depiction of Vishnu is that of Him reclining on the coils of the serpent Shesha, accompanied by his consort Lakshmi, as he “dreams the universe into reality”.
Particularly in Vaishnavism, the so-called ‘Hindu Triad’ (or ‘Great Trinity’ or Trimurti) represents the three fundamental forces (gunas) through which the universe is created, maintained, and destroyed in cyclic succession. Each of these forces is represented by a Hindu deity:
Brahma: Represents Rajas (passion, creation)
Vishnu: Represents Sattva (goodness, preservation)
Shiva: Represents Tamas (darkness, destruction)
In Hindu tradition, the trio is often to as Brahma-Vishnu-Mahesh. All have the same meaning of three in One; different forms or manifestations of One person the Supreme Being.
The concept of the avatar (or incarnation) within Hinduism is most often associated with Vishnu, the preserver or sustainer aspect of God within the Hindu Trimurti. The avatars of Vishnu descend to empower the good and to destroy evil, thereby restoring Dharma and relieving the burden of the Earth. An oft-quoted passage from the Bhagavad Gita describes the typical role of an avatar of Vishnu:
Whenever righteousness wanes and unrighteousness increases I send myself forth.
For the protection of the good and for the destruction of evil,
and for the establishment of righteousness,
I come into being age after age.
— Bhagavad Gita 4.7–8
Vedic literature, in particular the Puranas (meaning ‘ancient’, similar to encyclopedias) and Itihasa (meaning ‘chronicle’, ‘history’, and ‘legend’), narrate numerous avatars of Vishnu. The most well-known of these avatars are Krishna (most notably in the Vishnu Purana, Bhagavata Purana, and Mahabharata; the latter encompassing the Bhagavad Gita), and Rama (most notably in the Ramayana). Krishna in particular is venerated in Vaishnavism as the ultimate, primeval, transcendental source of all existence, including all the other demigods and gods such as Vishnu.
In the Mahabharata, Vishnu (as Narayana) states to Narada that He will appear in the following ten incarnations:
Appearing in the forms of a swan [Hamsa], a tortoise [Kurma], a fish [Matsya], O foremost of regenerate ones, I shall then display myself as a boar [Varaha], then as a Man-lion (Nrisingha), then as a dwarf [Vamana], then as Rama of Bhrigu’s race, then as Rama, the son of Dasaratha, then as Krishna the scion of the Sattwata race, and lastly as Kalki.
— Mahabharata (translated by Kisari Mohan Ganguli, 1883-1896), Book 12, Santi Parva, Chapter CCCXL (340)
Specified avatars of Vishnu are listed against some of the Puranas in the table below. However, this is a complicated process and the lists are unlikely to be exhaustive because:
Not all Puranas provide lists per se (e.g. the Agni Purana dedicates entire chapters to avatars, and some of these chapters mention other avatars within them)
A list may be given in one place but additional avatars may be mentioned elsewhere (e.g. the Bhagavata Purana lists 22 avatars in Canto 1, but mentions others elsewhere)
A personality in one Purana may be considered an avatar in another (e.g. Narada is not specified as an avatar in the Matsya Purana but is in the Bhagavata Purana)
Some avatars consist of two or more people considered as different aspects of a single incarnation (e.g. Nara-Narayana, Rama and his three brothers)
The Dashavatara is a list of the so-called Vibhavas or ‘10 (primary) Avatars’ of Vishnu. The Agni Purana, Varaha Purana, Padma Purana, Linga Purana, Narada Purana, Garuda Purana, and Skanda Purana all provide matching lists. The same Vibhavas are also found in the Garuda Purana Saroddhara, a commentary or ‘extracted essence’ written by Navanidhirama about the Garuda Purana (i.e. not the Purana itself, with which it seems to be confused):
The Fish, the Tortoise, the Boar, the Man-Lion, the Dwarf, Parasurama, Rama, Krisna, Buddha, and also Kalki: These ten names should always be meditated upon by the wise. Those who recite them near the diseased are called relatives.
— Garuda Purana Saroddhara by Navanidhirama (translated by E. Wood and S.V. Subrahmanyam), Chapter VIII, Verses 10-11
Apparent disagreements concerning the placement of either the Buddha or Balarama in the Dashavarara seems to occur from the Dashavarara list in the Shiva Purana (the only other list with ten avatars including Balarama in the Garuda Purana substitutes Vamana, not Buddha). Regardless, both versions of the Dashavarara have a scriptural basis in the cannon of authentic Vedic literature (but not from the Garuda Purana Saroddhara).
Matrikas (Mother Goddesses) are the feminine, personified powers of different Devas (and avatars of Vishnu). For example, the female form (or Shakti) of Vishnu is Vaishnavi, of the man-lion avatar Narasimha it is Narasimhi, of the tortoise avatar Kurma it is Kumari, and of the boar avatar Varaha it is Varahi. There is no scriptural evidence that any of Matrikas are counted as de-facto avatars of Vishnu or any other Deva.
Perumal (Tamil: பெருமாள்), or Perumaal or Thirumal (Tamil: திருமால்), also known as Maayon (as he is described in the Tamil scriptures), was appropriated as manifestation of Lord Vishnu in later Hinduism is a popular Hindu deity among Tamilans in Tamil Nadu as well among the Tamil diaspora.
Vishnu is a RigVedic deity, but not a prominent one when compared to Indra, Agni and others. Just 5 out of 1028 hymns of the Rigveda are dedicated to Vishnu, although He is mentioned in other hymns. Vishnu is mentioned in the Brahmana layer of text in the Vedas, thereafter his profile rises and over the history of Indian mythology, states Jan Gonda, Vishnu becomes a divinity of the highest rank, one equivalent to the Supreme Being.
Though a minor mention and with overlapping attributes in the Vedas, he has important characteristics in various hymns of Rig Veda, such as 1.154.5, 1.56.3 and 10.15.3. In these hymns, the Vedic mythology asserts that Vishnu resides in that highest home where departed Atman (souls) reside, an assertion that may have been the reason for his increasing emphasis and popularity in Hindu soteriology. He is also described in the Vedic literature as the one who supports heaven and earth.
In the Vedic hymns, Vishnu is invoked alongside other deities, especially Indra, whom he helps in killing the symbol of evil named Vritra. His distinguishing characteristic in Vedas is his association with light. Two Rigvedic hymns in Mandala 7 refer to Vishnu. In section 7.99 of the Rgveda, Vishnu is addressed as the god who separates heaven and earth, a characteristic he shares with Indra. In the Vedic texts, the deity or god referred to as Vishnu is Surya or Savitr (Sun god), who also bears the name Suryanarayana. Again, this link to Surya is a characteristic Vishnu shares with fellow Vedic deities named Mitra and Agni, wherein different hymns, they too “bring men together” and cause all living beings to rise up and impel them to go about their daily activities.
In hymn 7.99 of Rigveda, Indra-Vishnu are equivalent and produce the sun, with the verses asserting that this sun is the source of all energy and light for all. In other hymns of the Rigveda, Vishnu is a close friend of Indra. Elsewhere in Rigveda, Atharvaveda and Upanishadic texts, Vishnu is equivalent to Prajapati, both are described as the protector and preparer of the womb, and according to Klaus Klostermaier, this may be the root behind post-Vedic fusion of all the attributes of the Vedic Prajapati unto the avatars of Vishnu.
In the Yajurveda, Taittiriya Aranyaka (10.13.1), Narayana sukta, Narayana is mentioned as the supreme being. The first verse of Narayana Suktam mentions the words paramam padam, which literally mean highest post and may be understood as the supreme abode for all souls. This is also known as Param Dhama, Paramapadam or Vaikuntha. Rig Veda 1.22.20 also mentions the same paramam padam.
In the Atharvaveda, the mythology of a boar who raises goddess earth from the depths of cosmic ocean appears, but without the word Vishnu or his alternate avatar names. In post-Vedic mythology, this legend becomes one of the basis of many cosmogonic myth called the Varaha legend, with Varaha as an avatar of Vishnu.
Trivikrama: The Three Steps of Vishnu
Several hymns of the Rigveda repeat the mighty deed of Vishnu called the Trivikrama, which is one of the lasting mythologies in Hinduism since the Vedic times. It is an inspiration for ancient artwork in numerous Hindu temples such as at the Ellora Caves, which depict the Trivikrama legend through the Vamana avatar of Vishnu. Trivikrama refers to the celebrated three steps or “three strides” of Vishnu. Starting as a small insignificant looking being, Vishnu undertakes a herculean task of establishing his reach and form, then with his first step covers the earth, with second the ether, and the third entire heaven.
विष्णोर्नु कं वीर्याणि प्र वोचं यः पार्थिवानि विममे रजांसि ।
यो अस्कभायदुत्तरं सधस्थं विचक्रमाणस्त्रेधोरुगायः ॥१॥ (…)
viṣṇōrnu kaṃ vīryāṇi pra vōcaṃ yaḥ pārthivāni vimamē rajāṃsi |
yō askabhāyaduttaraṃ sadhasthaṃ vicakramāṇastrēdhōrugāyaḥ ||1||
I will now proclaim the heroic deeds of Visnu, who has measured out the terrestrial regions,
who established the upper abode having, wide-paced, strode out triply (…)
— Rigveda 1.154.1, Translated by Jan Gonda
The Vishnu Sukta 1.154 of Rigveda says that the first and second of Vishnu’s strides (those encompassing the earth and air) are visible to the mortals and the third is the realm of the immortals. The Trivikrama describing hymns integrate salvific themes, stating Vishnu to symbolize that which is freedom and life. The Shatapatha Brahmana elaborates this theme of Vishnu, as his herculean effort and sacrifice to create and gain powers that help others, one who realizes and defeats the evil symbolized by the Asuras after they had usurped the three worlds, and thus Vishnu is the savior of the mortals and the immortals (Devas).
The Shatapatha Brahmana contains ideas which Vaishnavism tradition of Hinduism has long mapped to a pantheistic vision of Vishnu as supreme, he as the essence in every being and everything in the empirically perceived universe. In this Brahmana, states Klaus Klostermaier, Purusha Narayana (Vishnu) asserts, “all the worlds have I placed within mine own self, and mine own self have I placed within all the worlds”. The text equates Vishnu to all knowledge there is (Vedas), calling the essence of everything as imperishable, all Vedas and principles of universe as imperishable, and that this imperishable which is Vishnu is the all.
Vishnu is described to be permeating all object and life forms, states S Giora Shoham, where he is “ever present within all things as the intrinsic principle of all”, and the eternal, transcendental self in every being. The Vedic literature, including its Brahmanas layer, while praising Vishnu do not subjugate others gods and goddesses. They present an inclusive pluralistic henotheism. Max Muller states, “Although the gods are sometimes distinctly invoked as the great and the small, the young and the old (Rig Veda 1:27:13), this is only an attempt to find the most comprehensive expression for the divine powers and nowhere is any of the gods represented as the subordinate to others. It would be easy to find, in the numerous hymns of the Veda, passages in which almost every single god is represented as supreme and absolute”.
The Vaishnava Upanishads are minor Upanishads of Hinduism, related to Vishnu theology. There are 14 Vaishnava Upanishads in the Muktika anthology of 108 Upanishads. It is unclear when these texts were composed, and estimates vary from the 1st-century BCE to 17th-century CE for the texts.
These Upanishads highlight Vishnu, Narayana, Rama or one of his avatars as the supreme metaphysical reality called Brahman in Hinduism. They discuss a diverse range of topics, from ethics to the methods of worship.
Vishnu is the primary focus of Vaishnavism-focused Puranas genre of Hindu texts. Of these, according to Ludo Rocher, the most important texts are the Bhagavata Purana, Vishnu Purana, Nāradeya Purana, Garuda Purana and Vayu Purana. The Purana texts include many versions of cosmologies, mythologies, encyclopedic entries about various aspects of life, and chapters that were medieval era regional Vishnu temples-related tourist guides called mahatmyas.
One version of the cosmology, for example, states that Vishnu’s eye is at the Southern Celestial Pole from where he watches the cosmos. In another version found in section 4.80 of the Vayu Purana, he is the Hiranyagarbha, or the golden egg from which were simultaneously born all feminine and masculine beings of the universe.
The Vishnu Purana presents Vishnu as the central element of its cosmology, unlike some other Puranas where Shiva or Brahma or goddess Shakti are. The reverence and the worship of Vishnu is described in 22 chapters of the first part of Vishnu Purana, along with the profuse use of the synonymous names of Vishnu such as Hari, Janardana, Madhava, Achyuta, Hrishikesha and others.
The Vishnu Purana also discusses the Hindu concept of supreme reality called Brahman in the context of the Upanishads; a discussion that the theistic Vedanta scholar Ramanuja interprets to be about the equivalence of the Brahman with Vishnu, a foundational theology in the Sri Vaishnavism tradition.
Vishnu is equated with Brahman in the Bhagavata Purana, such as in verse 1.2.11, as “learned transcendentalists who know the Absolute Truth call this non-dual substance as Brahman, Paramatma and Bhagavan.”
The Bhagavata Purana has been the most popular and widely read Purana texts relating to Vishnu avatar Krishna, it has been translated and available in almost all Indian languages. Like other Puranas, it discusses a wide range of topics including cosmology, genealogy, geography, mythology, legend, music, dance, yoga and culture. As it begins, the forces of evil have won a war between the benevolent devas (deities) and evil asuras (demons) and now rule the universe. Truth re-emerges as the Vishnu avatar first makes peace with the demons, understands them and then creatively defeats them, bringing back hope, justice, freedom and good – a cyclic theme that appears in many legends. The Bhagavata Purana is a revered text in Vaishnavism. The Puranic legends of Vishnu have inspired plays and dramatic arts that are acted out over festivals, particularly through performance arts such as the Sattriya, Manipuri dance, Odissi, Kuchipudi, Kathakali, Kathak, Bharatanatyam, Bhagavata Mela and Mohiniyattam.
Some versions of the Purana texts, unlike the Vedic and Upanishadic texts, emphasize Vishnu as supreme and on whom other gods depend. Vishnu, for example, is the source of creator deity Brahma in the Vaishnavism-focussed Purana texts. Vishnu’s iconography typically shows Brahma being born in a lotus emerging from his navel, who then is described as creating all the forms in the universe, but not the primordial universe itself. In contrast, the Shiva-focussed Puranas describe Brahma and Vishnu to have been created by Ardhanarishvara, that is half Shiva and half Parvati; or alternatively, Brahma was born from Rudra, or Vishnu, Shiva and Brahma creating each other cyclically in different aeons (kalpa).
In some Vaishnava Puranas, Vishnu takes the form of Rudra or commands Rudra to destroy the world, thereafter the entire universe dissolves and along with time, everything is reabsorbed back into Vishnu. The universe is then recreated from Vishnu all over again, starting a new Kalpa. For this the Bhagavata Purana employs the metaphor of Vishnu as a spider and the universe as his web. Other texts offer alternate cosmogenic theories, such as one where the universe and time are absorbed into Shiva.
The Agama scripture called the Pancharatra describes mode of worship of Vishnu.
Sangam & Post-Sangam Literature
The Sangam literature refers to an extensive regional collection in the Tamil language, mostly from the early centuries of the common era. These Tamil texts revere Vishnu and his avatars such as Krishna and Rama, as well as other pan-Indian deities such as Shiva, Muruga, Durga, Indra and others. Vishnu is described in these texts as mayon, or “one who is dark or black in color” (in north India, the equivalent word is Krishna). Other terms found for Vishnu in these ancient Tamil genre of literature include mayavan, mamiyon, netiyon, mal and mayan.
Krishna as Vishnu avatar is the primary subject of two post-Sangam Tamil epics Silappadikaram and Manimekalai, each of which was probably composed about the 5th century CE. These Tamil epics share many aspects of the story found in other parts of India, such as those related to baby Krishna such as stealing butter, and teenage Krishna such as teasing girls who went to bathe in a river by hiding their clothes.
Ideas about Vishnu in the mid 1st millennium CE were important to the Bhakti movement theology that ultimately swept India after the 12th century. The Alvars, which literally means “those immersed in God”, were Tamil Vaishnava poet-saints who sang praises of Vishnu as they traveled from one place to another. They established temple sites such as Srirangam, and spread ideas about Vaishnavism. Their poems, compiled as Alwar Arulicheyalgal or Divya Prabhandham, developed into an influential scripture for the Vaishnavas. The Bhagavata Purana’s references to the South Indian Alvar saints, along with its emphasis on bhakti, have led many scholars to give it South Indian origins, though some scholars question whether this evidence excludes the possibility that bhakti movement had parallel developments in other parts of India.
Lakshmi, the Hindu goddess of wealth, fortune and prosperity (both material and spiritual), is the wife and active energy of Vishnu. She is also called Sri or Thirumagal in Tamil because she is the source of eight auspicious strengths for Vishnu. When Vishnu incarnated on the Earth as the avatars Rama and Krishna, Lakshmi incarnated as his respective consorts: Sita (Rama’s wife) and Rukmini (Krishna’s wife). Lakshmi and Padmavati are wives of Lord Vishnu at Tirupati. In Hinduism, Lord Vishnu had incarnated as Lord Venkatachalapathi at Tirupati, although this grand form of him is not counted as one of the dasavatars.
Vishnu’s mount (Vahana) is Garuda, the eagle. Vishnu is commonly depicted as riding on his shoulders. Garuda is also considered as Vedas on which Lord Vishnu travels. Garuda is a sacred bird in Vaishnavism. In Garuda Purana, Garuda carries Lord Vishnu to save the Elephant Gajendra.
Vishvaksena also known as Senadhipathi (all literally “army-chief”), is the commander-in-chief of the army of the Hindu god Vishnu
Harihara and Harirudra
Shiva and Vishnu are both viewed as the ultimate form of god in different Hindu denominations. Harihara is a composite of half Vishnu and half Shiva, mentioned in literature such as the Vamana Purana (chapter 36), and in artwork found from mid 1st millennium CE, such as in the cave 1 and cave 3 of the 6th-century Badami cave temples. Another half Vishnu half Shiva form, which is also called Harirudra, is mentioned in Mahabharata.
Vishnu is referred to as Gorakh in the scriptures of Sikhism. For example, in verse 5 of Japji Sahib, the guru is praised as who gives the word and shows the wisdom, and through whom the awareness of immanence is gained. Guru Nanak, state Christopher Shackle and Arvind Pal-Singh Mandair, teaches that the Guru (teachers) are “Shiva (isar), Vishnu (gorakh), Brahma (barma) and mother Parvati (parbati)”, yet the one who is all and true cannot be described.
The Chaubis Avatar text of Sikhism lists the 24 avatars of Vishnu and this includes Krishna and Rama of Hinduism, and the Buddha of Buddhism as avatar of Vishnu. Similarly, the Dasam Granth includes Vishnu mythology mirror that found in the Vaishnav tradition. The latter is of particular importance to Sanatan Sikhs, including Udasis, Nirmalas, Nanak-panthis, Sahajdhari and Keshdhari sub-traditions within Sikhism; however, the Khalsa Sikhs disagree with the Sanatan Sikhs. According to Sanatan Sikh writers, the Gurus of Sikhs were avatars of Vishnu, because the Gurus brought light in the age of darkness and saved people in a time of evil Mughal era persecution.
While some Hindus consider Buddha as an incarnation of Vishnu, Buddhists in Sri Lanka venerate Vishnu as the custodian deity of Sri Lanka and protector of Buddhism. Vishnu is also known as Upulvan or Uthpala Varna, meaning Blue Lotus coloured. Some postulate that Uthpala varna was a local deity who later merged with Vishnu while another belief is that Uthpala Varna was an early form of Vishnu before he became a supreme deity in Puranic Hinduism. According to Chronicles Mahawamsa, Chulawamsa and folklore in Sri Lanka, Buddha himself handed over the custodianship to Vishnu. Others believe that Buddha entrusted this task to Sakra (Indra) and Sakra delegated this task of custodianship to god Vishnu. Many Buddhist and Hindu shrines are dedicated to Vishnu in Sri Lanka. In addition to specific Vishnu Kovils or Devalayas, all Buddhist temples necessarily house shrine rooms (Devalayas) closer to the main Buddhist shrine dedicated to Vishnu.
John Holt states that Vishnu was one of the several Hindu gods and goddesses who were integrated into the Sinhala Buddhist religious culture, such as the 14th and 15th-century Lankatilaka and Gadaladeniya Buddhist temples. He states that the medieval Sinhala tradition encouraged Visnu worship (puja) as a part of Theravada Buddhism just like Hindu tradition incorporated the Buddha as an avatar of Vishnu, but contemporary Theravada monks are attempting to purge the Vishnu worship practice from Buddhist temples. According to Holt, the veneration of Vishnu in Sri Lanka is evidence of a remarkable ability over many centuries, to reiterate and reinvent culture as other ethnicity have been absorbed into their own. Though the Vishnu cult in Ceylon was formally endorsed by Kandyan kings in the early 1700s, Holt states that Vishnu images and shrines are among conspicuous ruins in the medieval capital Polonnaruwa.
Vishnu iconography such as statues and etchings have been found in archaeological sites of Southeast Asia, now predominantly of the Theravada Buddhist tradition. In Thailand, for example, statues of four armed Vishnu have been found in provinces near Malaysia and dated to be from the 4th to 9th-century, and this mirror those found in ancient India. Similarly, Vishnu statues have been discovered from the 6th to 8th century eastern Prachinburi Province and central Phetchabun Province of Thailand and southern Đồng Tháp Province and An Giang Province of Vietnam. Krishna statues dated to the early 7th century to 9th century have been discovered in Takéo Province and other provinces of Cambodia. Archeological studies have uncovered Vishnu statues on the islands of Indonesia, and these have been dated to the 5th century and thereafter. In addition to statues, inscriptions and carvings of Vishnu, such as those related to the “three steps of Vishnu” (Trivikrama) have been found in many parts of Buddhist southeast Asia. In some iconography, the symbolism of Surya, Vishnu and Buddha are fused.
In Japanese Buddhist pantheon, Vishnu is known as Bichū-ten (毘紐天), and he appears in Japanese texts such as the 13th century compositions of Nichiren.
Ancient Egyptian God Horus too is a part of a trinity, just like Vishnu is, states James Freeman Clarke. According to Richard Leviton, the younger Horus riding on elder Horus is similar to Vishnu riding on Garuda. According to James Cowles Prichard, while the trinity concept is present in both Egyptian and Indian mythologies, Horus cannot be clearly identified with Vishnu and the link doubtful.
4034 Vishnu is an asteroid discovered by Eleanor F. Helin.
Vishnu rocks are a type of volcanic sediment found in the Grand Canyon, Arizona, USA. Consequently, mass formations are known as Vishnu’s temples.
During an excavation in an abandoned village of Russia in the Volga region, archaeologist Alexander Kozhevin excavated an ancient Cult image of Vishnu. The idol dates from between the 7th and 10th centuries. In the interview, Kozhevin stated that “We may consider it incredible, but we have ground to assert that Middle-Volga region was the original land of Ancient Rus. This is a hypothesis, but a hypothesis, which requires thorough research.”
Iconography & Temples
Vishnu iconography shows him with a dark blue, blue-gray or black colored skin, and as a well dressed jeweled man. He is typically shown with four arms, but two armed representations are also found and discussed in Hindu texts on artworks. The historic identifiers of his icon include his image holding a conch shell between first two fingers of one hand (left back), a chakra – war discus – in another (right back). The conch shell is spiral and symbolizes all of interconnected spiraling cyclic existence, while the discus symbolizes him as that which restores dharma with war if necessary when cosmic equilibrium is overwhelmed by evil. One of his arms sometimes carries a gadda (club, mace) which symbolizes authority and power of knowledge. In the fourth arm, he holds a lotus flower which symbolizes purity and transcendence. The items he holds in various hands varies, giving rise to twenty four combinations of iconography, each combination representing a special form of Vishnu. Each of these special forms is given a special name in texts such as the Agni Purana and Padma Purana. These texts, however, are inconsistent. Vishnu iconography show him either in standing pose, seated in a yoga pose, or reclining. Hindu texts on iconography describe design rules of these.
Some of the earliest surviving grand Vishnu temples in India have been dated to the Gupta Empire period. The Sarvatobhadra temple in Jhansi, Uttar Pradesh, for example, is dated to the early 6th century and features the ten avatars of Vishnu. Its design based on a square layout and Vishnu iconography broadly follows the 1st millennium Hindu texts on architecture and construction such as the Brihat Samhita and Visnudharmottarapurana.
Archaeological evidence suggest that Vishnu temples and iconography probably were already in existence by the 1st century BCE. The most significant Vishnu-related epigraphy and archaeological remains are the two 1st century BCE inscriptions in Rajasthan which refer to temples of Sankarshana and Vasudeva, the Besnagar Garuda column of 100 BCE which mentions a Bhagavata temple, another inscription in Naneghat cave in Maharashtra by a Queen Naganika that also mentions Sankarshana, Vasudeva along with other major Hindu deities and several discoveries in Mathura relating to Vishnu, all dated to about the start of the common era.
The Padmanabhaswamy Temple in Thiruvananthapuram, Kerala, is dedicated to Vishnu. The temple has attracted huge donations in gold and precious stones over its long history.