Gandharva

From New World Encyclopedia


Gandharvas (from the Sanskrit: गंधर्व, gandharva, possibly meaning "fragrances") refers to a group of low-ranking male nature dieties that appear in both Hindu, Buddhist and sometimes even Jain mythology. In both traditions, the gandharvas are closely related to the wilderness as well as the creative arts, particularly music. Gandharvas also have symbolic connections with procreation and sexuality, including the informal "Ghandarva marriage".

In Hinduism

Early Conception

In the Hindu tradition, the term ghandarva is used in both the singular and the plural to refer a particular divine being and a race of related demigods, respectively. The former sense of the term is prevalent earlier on in the Vedas, where the celestial ghandarva acts as messenger between the gods and human beings, commonly holding the secrets of the gods and revealing them to all beings. Fittingly, this ghandharva is considered a personification of the light of the sun. In a similar role, Gandharva prepared and guarded Soma, the intoxicating ritual beverage which was thought to bestow power on both gods and human beings alike.

Gandharvas as Nature Spirits

The term ghandharva also came to denote an entire race of male nature spirits, sixty-million in number, who, according to the Vishnu Purana, the Gandharvas were the sons of Lord Brahma, the creator deity.[1] Later in the same text, they are said to be the offspring of Kasyapa and Arishta, which would render them the grand-children of Brahma. The Padma Purana, meanwhile, considers them children of Vac, the goddess of speech. The nature of the Gandharvas is capricious, to say the least. They have incomparable healing powers and are identified in the Rg Veda as the physicians of the gods; but, in contrast, they are also capable of causing madness. In their more unnerving forms, they are said to haunt remote areas such as forest glades and ponds. As such, it was considered necessary to keep the gandharvas appeased with offerings, obeisances and prayers. Some are part animal: often their face was that of a bird, and their hindquarters those of a horse or donkey. This human-animal hybridity lead some 19th century scholars to draw a connection between the theonym gandharva and that of the Greek centaurs, although this ostensible association has been met with strong opposition from most Indo-Europeanists.

Gandharvas were said to be husbands of the Apsaras, nymph-like female nature spirits of the clouds and water. One poignant tale involving Gandharvas and Apasaras appears in both the Satapatha Brahmana and later on in the Puranas. It begins with an Apsara by the name of Urvasi who left heaven due to the imprecations of Indra and Vishnu. Pururavas, son of Budha and Manu fell in love with her, and she agreed to take up residence with him. However, she set two conditions: first, she wanted two rams which were to stay by her side at all times, and secondly, she dictated that he must never see her undressed. The gods who looked on desired her prompt return to heaven, and so they had the Gandharvas come in the night and carry off the rams. Seeing this, Pururavas rushed into Urvasi's room naked, self-assured that the darkness would hide his bare flesh. At this point a sudden flash of lightning revealed Pururava's body to Urvasi, and so she was forced to return home to the heavens. He spent the years that followed searching for his lost love, and finally succeeded. Urvasi agreed to meet Pururavas yearly and present him with a son. After five such visits, Urvasi told him that if he offered a sacrifice with the goal of gaining her, he would be successful. He performed such a sacrifice, was promptly transformed into a Gandharva, and so one the hand of Urvasi in marriage.

Later literary sources such as the Puranas describe the gandharvas as handsome, youthful men. Gandharvas are said to have superb musical and dramatic skills, and often filled the role of entertainers in the heavenly courts, appearing at banquets and other special events to create beautiful music for the gods while their wives danced along. Such associations occur most frequently with the storm-god Indra, for whom the Gandharvas dance, sing and play games in Svarga ("the good kingdom"), Indra's glorious abode atop the mythical Mount Meru. They also appear in a similar function at other events of mythological significance, such as the all-important horse sacrifice in the Mahabharata. Iconographical depictions attempt to synthesize all these aspects of their character, and so the gandharvas are commonly pictured in flight with their musical instruments abreast, scarves and flower garlands rippling behind them.

The Gandharvas enjoyed an intense rivalry with the Nagas, a mythological race of snake-like dieties. In one encounter, the Gandharvas overthrew the kingdom of the Nagas, taking their jewels. Distressed, the Nagas appealed to Vishnu, who agreed to enter Purukutsa and destroy the Gandharvas. The Nagas sent their sister Narmada, personification of the river, to petition Purukutsa for his help, and he complied. As a reward for her actions, the Nagas decreed that whoever worshipped their sister and repeated her name would be safe from all poisons including that of snakes.

In conjunction with their musical abilities, Gandharvas are thought to be able to bestow beautiful singing voices upon girls. With this in mind, skilled singers both male and female who have mastered classical Indian Music have been popularly referred to as Gandharvas as an homage to their divine inspiration. However, true to their inconstant nature, the interaction of the Gandharvas with human beings does not always prove to be so benevolent. Among Hindus there is a prevailing belief that these gandharvas will occasionally visit earth and persuade young unmarried women into amourous encounters, only to vanish after impregnating them, leaving their earthly lovers in misery.

Gandharva Marriage

In Hindu law, one of the eight legitimate types of marriage is referred to as a Gandharva marriage. This occurs when man and woman make love with mutual consent but without formal approval from anyone else. This form of marriage is so-called because the Gandharvas, keeping an ever-watchful eye from the heavens, are said to be the only ones who witness the marriage. While this variation of marriage is considered valid, it is among the four "reprehensible" forms of legal union since it is carried out in the absence of parental validation, ritual affirmation, and is ultimately based in lust. Such marriages are considered valid solely to provide a woman with the legal status of a wife, and are certainly not intended to promote sexual activity outside or marriage. As such, Gandharva marriage is looked down upon and not intentionally practiced. Mythological Gandharva marriages of note include that resulting from the love affair between King Dushyanta and Shakuntala presented in the Mahabharata.

In Buddhism

Just as in later Hinduism, Buddhist theology considers gandharvas (or Pāli Gandhabba) to be a race of demi-gods, ranking among the lowest variations of devas. They are classed among the Cāturmahārājikakāyika devas, and are subject to the Great King Dhṛtarāṣṭra, Guardian of the East. Buddhist gandharvas are known for their skill as musicians, as well as their connection to the wilderness. Here they are among other wild beings that can potentially disturb a solitary monk in his attempts to meditate. They are connected with trees and flowers, and are described as dwelling in the scents of bark, sap, and blossom. Gandharvas also possess the ability to fly through the air.

Among the notable gandharvas in Buddhist mythology are Timbarū, Pañcasikha, and Mātali. Timbarū was a chieftain of the gandharvas. Pañcasikha acts as a messenger for the Four Heavenly Kings, conveying news from them to Mātali. Matali, meanwhile, is the charioteer and representative for Śakra, Buddhist equivalent of Indra, and the Trāyastriṃśa devas over which Sakra ruled. One popular love story in Buddhist lore links these three gandharvas. Pañcasikha was immediatly stricken with the pangs of infatuation when he saw Timbarū's daughter Bhaddā Suriyavaccasā dancing before Śakra, but was unable to act upon his feelings, since Suriyavaccasā was at that point in love with Sikhandī, Mātali's son. Pañcasikha went to Timbarū's home and played a melody on his lute constructed of beluva-wood, singing a love-song into which he wove themes about the Buddha and his Arhats. Later, Śakra prevailed upon Pañcasikha to intercede with the Buddha so that Śakra might have an audience with him. As a reward for Pañcasikha's services, Śakra was able to get Suriyavaccasā, already pleased with Pañcasikha's display of skill and devotion, to agree to marry Pañcasikha.

Ghandharvas are also closely related to Buddhist soteriology. According to the Janavasabha-sutta (DN.18) sentient beings are reborn among the Gandharvas as a consequence of having practiced the most basic form of ethics. Accordingly, it was considered embarrassing for a monk to be born in no better birth than that of a gandharva. Gandharva or gandhabba is also used in a completely different sense, referring to a being (or, strictly speaking, part of the causal continuum of consciousness) in a liminal state between birth and death.

Notes

  1. Wilkins, 484.

References
ISBN links support NWE through referral fees

  • Dallapiccola, Anna. Dictionary of Hindu Lore and Legend. London: Thames and Hudson, 2002. ISBN 0-500-51088-1
  • Friedrichs, Kurt. "Gandharva" In The Encyclopedia of Eastern Philosophy and Religion. Edited by S. Schumacher and Gert Woerner. Boston: Shambhala, 1994. p. 115. ISBN 087773433X
  • Lochtefeld, James G. The Illustrated Encyclopedia of Hinduism. New York: Rosen Publishing Group, Inc, 2002. ISBN 0-8239-2287-1
  • Wilkins, W.J. Hindu Mythology. New Delhi: Rupa Co., 1975.

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