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Antique Collection India, a country with rich history and traditions, which is evident not only in its buildings and books, but also in its architecture, culture, lifestyle, food and what not! But did you know that you can own a piece of its rich history?Yes! It is possible! Thanks to Peepul Tree’s Antique Collection that would not only be making you discover the treasures of India’s rich heritage, but also would make you experience the splendour of India’s rich antiquity. Handcrafted by the finest Indian artisans, our Antique Collection is the reminiscent of the rich past which has been kept alive by them. Right from the Dhokra Metal Handmade Owl to Indian National Flag, our Antique Collection bears witness to the historical phases India has underwent. Our Antique Collection makes you unearth the past in the pursuit of embracing beauty. So what are you waiting for? Explore Peepul Tree’s Antique Collection today! Historical Collections Now Discover the Treasures of India’s with the Historical Collections of Peepul Tree. Our Historical Collections enable you to unveil the majesty of Indian Antiques. Handcrafted, eco-friendly and sustainable, our Historical Collections make the patron step into the Timeless World of Indian Antiques. Varying not only in their source materials and the products, our Historical Collections offer you a wide range of historical phases, that India underwent. Visit Peepul Tree to get the finest of its Historical Collections. Antique Pieces Those were the rare days, when owning Antique Pieces were mostly far from reality. But did you know that you can now actually own Antique Pieces in just one Click? At Peepul Tree, you can now own Antique Pieces ranging from different regions of India, source materials, that belong to different historical eras too! Be it the Periplus Of The Erythraean Sea Map from the Ancient Era to the Preamble of the Indian Constituion of the Modern Era, Peepul Tree offers you the finest of the exquisite Antique Pieces that would make you own a piece of India’s rich history! Antique Collection Online Now give a new dimension to your shopping of Antique pieces. Visit Peepul Tree and explore its Antique Collection Online. With our Antique Collection Online, you can journey through centuries, through which you not only embrace elegance of Indian Antiques, but also elevate your home decor too. The products offered by Peepul Tree’s Antique Collection Online enable you to discover the soul of India, making you embark on an antique adventure, also preserving History, and celebrating Culture. So what are you waiting for? Explore the best of Antique Collection Online only at Peepul Tree! F.A.Q.’s1. What are the care instructions taken for Peepul Tree’s Antique collection?For metallic objects under Peepul Tree’s Antique collection , for maintaining the sheen, clean regularly with a soft dry cloth. Keep away from moisture and abrasive cleaning agents. These handcrafted products that may have sharp edges. For silver objects, rub with coconut oil if heavily tarnished. 2. Why Should I purchase Antique products from Peepul Tree?At Peepul Tree, one discovers the allure of owning antique products - a captivating journey through time and history awaits you. When considering the purchase of these cherished relics on our website, one is immediately drawn to the following compelling reasons:Timeless Beauty: Pur antique products boast an unparalleled beauty that transcends the ever-changing trends of modern times. Crafted with meticulous attention to detail, these pieces exude a sense of elegance, sophistication, and charm, making them stand out as unique additions to any space.Rich Heritage: Each antique product carries a fascinating story, a window into the past that connects us to the generations that came before us. Owning such items allows us to become custodians of history, preserving and cherishing the cultural heritage that shaped our world.Unmatched Craftsmanship: In an age when mass production reigns supreme, antique products represent a tribute to the skilled craftsmanship of yesteryears. These items were meticulously handcrafted by skilled artisans who poured their hearts and souls into creating enduring masterpieces.Investment Value: Beyond their aesthetic appeal, Peepul Tree’s antique products are true valuable investments. As time passes, rare and sought-after pieces often appreciate in value, making them not only a source of joy but also a smart financial decision.Eco-Friendly Choice: Choosing antique products is an eco-conscious decision. By purchasing items that have stood the test of time, we reduce the demand for new manufacturing, thus minimizing the environmental impact of consumerism.Unique Character: Unlike mass-produced contemporary items, antique products possess a distinct character and soul. The slight imperfections and patina they acquire over time add to their allure, making each piece truly one-of-a-kind.Emotional Connection: Owning an antique product can evoke nostalgic feelings and create a sense of wonder. These items often carry sentimental value, having been passed down through generations or acquired during significant moments in history. Conversation Starters: Antique products are excellent conversation starters. Their history and provenance can spark engaging discussions, encouraging the sharing of stories and knowledge among friends and family.Curating a Personal Collection: Collecting antique products can become a fulfilling and passionate hobby. As you acquire pieces from Peepul Tree that resonate with you, you begin to curate a personal collection that reflects your taste, values, and interests.Support for Heritage Preservation: By purchasing antiques from Peepul Tree, you contribute to the preservation and conservation of historical artifacts. Supporting antique dealers, collectors, and museums helps ensure that these treasures remain accessible for future generations to appreciate.In conclusion, purchasing antique products from Peepul Tree is not merely a transaction; it is an enriching experience that connects us to our past, enriches our present, and leaves a lasting legacy for the future. Embrace the allure of antiquity and embark on a captivating journey through time with these treasured pieces.

<h1>Antique Collection</h1>
India, a country with rich history and traditions, which is evident not only in its buildings and books, but also in its architecture, culture, lifestyle, food and what not! But did you know that you can own a piece of its rich history? Yes! It is possible! Thanks to Peepul Tree’s Antique Collection that would not only be making you discover the treasures of India’s rich heritage, but also would make you experience the splendour of India’s rich antiquity. Handcrafted by the finest Indian artisans, our Antique Collection is the reminiscent of the rich past which has been kept alive by them. Right from the Dhokra Metal Handmade Owl to Indian National Flag, our Antique Collection bears witness to the historical phases India has underwent. Our Antique Collection makes you unearth the past in the pursuit of embracing beauty. So what are you waiting for? Explore Peepul Tree’s Antique Collection today! 
<h2>Historical Collections</h2>
Now Discover the Treasures of India’s with the Historical Collections of Peepul Tree. Our Historical Collections enable you to unveil the majesty of Indian Antiques. Handcrafted, eco-friendly and sustainable, our Historical Collections make the patron step into the Timeless World of Indian Antiques. Varying not only in their source materials and the products, our Historical Collections offer you a wide range of historical phases, that India underwent. Visit Peepul Tree to get the finest of its Historical Collections. 
<h2>Antique Pieces</h2>
Those were the rare days, when owning Antique Pieces were mostly far from reality. But did you know that you can now actually own Antique Pieces in just one Click? At Peepul Tree, you can now own Antique Pieces ranging from different regions of India, source materials, that belong to different historical eras too! Be it the Periplus Of The Erythraean Sea Map from the Ancient Era to the Preamble of the Indian Constituion of the Modern Era, Peepul Tree offers you the finest of the exquisite Antique Pieces that would make you own a piece of India’s rich history! 
<h2>Antique Collection Online</h2>
Now give a new dimension to your shopping of Antique pieces. Visit Peepul Tree and explore its Antique Collection Online. With our Antique Collection Online, you can journey through centuries, through which you not only embrace elegance of Indian Antiques, but also elevate your home decor too. The products offered by Peepul Tree’s Antique Collection Online enable you to discover the soul of India, making you embark on an antique adventure, also preserving History, and celebrating Culture. So what are you waiting for? Explore the best of Antique Collection Online only at Peepul Tree! F.A.Q.’s 1. What are the care instructions taken for Peepul Tree’s Antique collection? For metallic objects under Peepul Tree’s Antique collection , for maintaining the sheen, clean regularly with a soft dry cloth. Keep away from moisture and abrasive cleaning agents. These handcrafted products that may have sharp edges. For silver objects, rub with coconut oil if heavily tarnished. 2. Why Should I purchase Antique products from Peepul Tree? At Peepul Tree, one discovers the allure of owning antique products - a captivating journey through time and history awaits you. When considering the purchase of these cherished relics on our website, one is immediately drawn to the following compelling reasons: Timeless Beauty: Pur antique products boast an unparalleled beauty that transcends the ever-changing trends of modern times. Crafted with meticulous attention to detail, these pieces exude a sense of elegance, sophistication, and charm, making them stand out as unique additions to any space. Rich Heritage: Each antique product carries a fascinating story, a window into the past that connects us to the generations that came before us. Owning such items allows us to become custodians of history, preserving and cherishing the cultural heritage that shaped our world. Unmatched Craftsmanship: In an age when mass production reigns supreme, antique products represent a tribute to the skilled craftsmanship of yesteryears. These items were meticulously handcrafted by skilled artisans who poured their hearts and souls into creating enduring masterpieces. Investment Value: Beyond their aesthetic appeal, Peepul Tree’s antique products are true valuable investments. As time passes, rare and sought-after pieces often appreciate in value, making them not only a source of joy but also a smart financial decision. Eco-Friendly Choice: Choosing antique products is an eco-conscious decision. By purchasing items that have stood the test of time, we reduce the demand for new manufacturing, thus minimizing the environmental impact of consumerism. Unique Character: Unlike mass-produced contemporary items, antique products possess a distinct character and soul. The slight imperfections and patina they acquire over time add to their allure, making each piece truly one-of-a-kind. Emotional Connection: Owning an antique product can evoke nostalgic feelings and create a sense of wonder. These items often carry sentimental value, having been passed down through generations or acquired during significant moments in history. Conversation Starters: Antique products are excellent conversation starters. Their history and provenance can spark engaging discussions, encouraging the sharing of stories and knowledge among friends and family. Curating a Personal Collection: Collecting antique products can become a fulfilling and passionate hobby. As you acquire pieces from Peepul Tree that resonate with you, you begin to curate a personal collection that reflects your taste, values, and interests. Support for Heritage Preservation: By purchasing antiques from Peepul Tree, you contribute to the preservation and conservation of historical artifacts. Supporting antique dealers, collectors, and museums helps ensure that these treasures remain accessible for future generations to appreciate. In conclusion, purchasing antique products from Peepul Tree is not merely a transaction; it is an enriching experience that connects us to our past, enriches our present, and leaves a lasting legacy for the future. Embrace the allure of antiquity and embark on a captivating journey through time with these treasured pieces.

Dhokra Metal Handmade Owl Showpiece

Candle Stand in Bastar Wrought Iron | Handmade in India

Dhokra Metal Handmade Harappan Dancing Girl Replica Statue Showpiece

Terracotta Harappan Pashupati Seal Replica with Frame

Tealight Holder Handmade in Wrought Iron | Bastar Craft |Tribal Forest Showpiece

Candle Stand Handcrafted Bastar Tribal Art | Tea Light Holder

Terracotta Harappan Bull Seal Replica with Frame

Dhokra Bankura Horse Figurine Showpiece

Terracotta Harappan Peepul Tree Seal Replica with Frame

Ganesha Showpiece Handmade in Metal |  Dhokra Craft

The History Shop

Blue Sparkle Handmade Mud Art Wall Hanging

Rust Coloured Handwoven Cushion Cover

Mustard & Black Handwoven Tribe Inspired Table Runner

Marble Coaster Set with Red Inlay| Set of 2/6 | Handcrafted In India

Wall Hanging Handmade in Mud | Lippan Art Home Decor | Desert Oasis

Hand Embroidered Mirror & Thread-Work Table Runners - Lambani Table Runners in Scarlet

Multi-purpose Wicker Basket From Kashmir

Black & White Handwoven Cotton Table Runner

Red & Black Handwoven Mirror & Thread-Work Table Runner

Handcrafted Wall Decor in Lime Green with Mirror Work | Lippan Art

Handcrafted Home Decor For You

Peepul Tree Bestseller Collection

Explore the ancient tradition and mythological story of Guliga and Panjurli, revered as daivas or bhutas in Tulunadu, as immortalised in the film Kantara. Immerse yourself in the rich history and culture of Tulunadu through this story.

Guliga and Panjurli - The Divine Deities from Kantara

The Divine Deities from Kantara

‘Ponniyin Selvan’ is a five-volume piece of historical fiction written by Kalki Krishnamurthy in the 1950s. Considered one of the greatest works of modern Tamil literature, the novel is still considered a cult classic. Catch the story here

The Real Story Behind ‘Ponniyin Selvan’

This Ramnavami, embark on a pilgrimage with us as we trace Lord Ram's journey across the Indian Subcontinent. From his birthplace in Ayodhya to the scenic Chitrakoot, where he spent time during his exile, we'll visit the many places associated with Lord Ram's life. Join us as we explore the rich cultural and religious heritage of India and celebrate the auspicious occasion of Ramnavami.

In the Footsteps of Ram 

India’s first Republic Day celebrations were far from the impressive show we see today. And guess what? There was no grand pageant on Rajpath. We bring you some stunning details that marked the day India became a republic

What India’s First Republic Day Celebrations Looked Like

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Dholavira: Tracing the Story of the Harappans

South Asian Masterpieces at the Museum of Fine Arts, Boston

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Join us on unforgettable journeys week after week and meet those who are defining the way we look at history

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Your Gateway to Exclusive History Content one Story at a Time

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Handmade Harappan Dancing Girl Replica in Dhokra Metal

MARBLE INLAY ROSELLE COASTER

Lippan White Wall Mirror

It is said that before the road was built in front of it, the grand Varaha sculpture of Udayagiri, near present-day Vidisha in Madhya Pradesh, rose high from the waters of the tank that lay before it. What a sight it would have been. It reminded the many who flocked here of the story from the 

of how the Hindu God Vishnu took the form of a boar to rescue the Earth Goddess Bhudevi from the clutches of the demon Hiranyaksha, who had hidden her deep within the cosmic waters, as the 

– gods and demons – fought for control of the universe.

The great relief in Cave No. 5 in Udayagiri captures the story of the Varaha, considered the third avatar of Vishnu, in fine detail. You can see Bhudevi perched on the anthropomorphic boar’s shoulders, as numerous sages and 

look on. The rivers Ganga and Yamuna depicted as goddesses stand by, as does Varuna, the God of the Oceans, and a Naga king, who bows his hooded head. Even the ripples of the ocean can be seen etched on the wall.

But apart from the popular Puranic tale, this relief also hides many other layers of stories. This is more than just a depiction of a mythological tale. It is a reflection of an important phase of Indian history, a ‘threshold’ period, according to historians like Romila Thapar.

During this time, things began to change.

The empire builders - the Guptas - were on the rise. By the end of the 4th century CE, they had taken control over much of Northern India, picking up the pieces as the Kushana Empire (1st to 3rd CE) broke up. This was the period when Buddhism was starting to decline. The Gupta emperors had gained legitimacy thanks in large part to their patronage of Brahmanism, the Vedic religion or the early form of what we call ‘Hinduism’ today. Sanskrit literature was seeing its golden age. Dry Brahmanical religion dominated by rituals was being replaced by vivid Puranic tales and personalised gods whom we pray to, even today.

were given concrete shape and codified. The epics, the 

, which till then had been passed down orally, were written down, and all this was being reflected in public areas of worship - temples. While the early form of worship in the Vedic religion had been through 

and rituals, between the end of the 4h and the beginning of the 6th CE, there was a flurry of temple building.

In fact, travel to Udayagiri and the area around it - Sanchi, Deogarh and Eran, on the Malwa plateau in Madhya Pradesh - and you will find a snapshot of all that was happening during this time.

Once on the Tropic of Cancer that cuts through India, Udayagiri (now it is around 0.2 degrees off it), around 20 minutes from Sanchi, was always an important site for worshippers of the Sun, and other faiths. But in the later part of the 4th CE, the area over which it stands became a place of strategic political importance.

The army of the Gupta Emperor Chandragupta II (r. 380 - 415 CE) probably camped here as he mounted an offensive against the last of the Shaka/Kshatrapa rulers of Gujarat and Kathiawar. Historians believe that the Guptas may have once been one of the feudatories of the Kushanas in the region of Magadha. They rose to claim much of the Kushana Empire, in the Indian subcontinent as the latter crumbled.

Samudragupta (r. 350 - 370), described by historians like Vincent Smith as the ‘Napoleon’ of India, is credited with much of the empire building. However, it was his son Chandragupta II, who led the charge for the capture of the lucrative and rich region of Gujarat and parts of Malwa. He defeated the last of the Shakas/Kshatrapas (1st to 5th CE), Indo-Scythians who had once ruled large parts of North and Western India. Commemorating his victory are gold coins showing him slaying a lion (still found in Gujarat) as opposed to his father’s coins – which interestingly showed him slaying a tiger (found across India).

Historians believe that the Varaha of Udayagiri was symbolic of Chandragupta’s victory over the Shakas/Kshatrapas (Indo-Scythians). The legend of the Varaha was used as a motif to depict the Gupta ruler’s victory over an ‘outsider’ and celebrate his suzerainty over much of North India. This was perhaps among the earliest attempts to visually link divinity and kingship, symbolically, through sculpture.

But the thread connecting divinity and kingship was first deployed earlier. In his study of the historical and political allegory in Gupta art, scholar Frederick Asher points out that the notion of the monarch enjoying divine rank can be traced to the time of the Kushanas. “During this period, statues of rulers were actually established in a shrine called 

– quite literally meaning the family of god. King Kanishka took on the title Devaputra or the son of god.” Asher believes that the notion must have been especially important to alien/foreign rulers like the Kushanas and the Shakas, who did not have the authority of Kshatriya birth.

Both were tribes from Central Asia who had marched in to take advantage of the vacuum created after the decline of the Mauryas a few centuries back. They stayed on and built large kingdoms. The Kushanas patronized Buddhism and the Kshatrapas a combination of Buddhism, Brahmanism and Sanskrit. In fact, the earliest recorded Sanskrit inscription is the one by Kshatrapa ruler Rudradaman I in Junagadh in Gujarat. Written in a fine prose style, it is dated to around 150 CE.

This was followed by the Guptas. Though politically secular, they too promoted Brahmanism, the use of Sanskrit and iterated their link with the divine. The Gupta rulers used titles like ‘Paramesvara’ (Highest Supreme Ruler) ‘Paramadaivita (Highest Deva) apart from the regular title of ‘Maharajadhiraja’ or ‘King of Kings’. Chandragupta II, however, preferred to refer to himself as ‘Paramabhagvata’ or First Among the Followers of Vishnu’.

In the 20 caves of Udayagiri, you will also find a profusion of gods and goddesses sculpted on the walls, reflecting both the Vaishnavite (Vishnu-centred) and Shaivite (Shiva-centred) imagery.

Interestingly, the one area that early historians – Orientalists and Nationalists – agreed upon as they tried to study the pages of Indian history was in how they saw the Gupta Age. For both, this was the ‘Golden Age’ of India’s past. For the Orientalists, obsessed with ‘Empires’, the centralization under the Guptas was worth lauding. For the Nationalists, the Guptas were the ideal because they created a ‘Golden’ age of classical literature and religion. Under them, there was a major revival of Vedic religion and Sanskrit language. Royal patronage by the Guptas ensured that both prospered.

Over the decades, numerous scholars have questioned these generalizations and added layers of new perspective.

For instance, the rise of Sanskrit as the official language seems to have happened earlier, during the time of the Shakas. Foreign rulers who made their way into India, as we have seen, were canny enough to support Sanskrit and the Brahmanism (Vedic religion) in a bid to find legitimacy as rulers in India.

Similarly, there are references to the Bhagavata cult in the 2nd century BCE. The famous Heliodorus pillar in Besnagar, just a 10-minute drive from Udayagiri, is testimony to the flourishing Bhagvata cult (early Vaishnavism) that prospered for centuries. References to Shaivite sects also abound.

But historians like Kanad Sinha, who have studied the close relationship between kingship and religion in the Gupta period, point out that the big change that happened in this era was how the state patronized the more popular Puranic cults that had evolved at the grassroots, amalgamating them within formal Brahmanism.

As Sinha points out, ‘The most popular form of Brahmanical religion – the Puranic sects – started to flourish from the Gupta period. The rise of both the empire and the sects needs to be seen as parallel processes. The Gupta kings had adopted a new political philosophy to acquire legitimacy in which both religion and art played a crucial role.’

may have originated as an oral, bardic tradition that incorporated mythological stories of the origin of the world and genealogies of the various rulers who ruled across large swathes of the subcontinent, it is in the Gupta period that the 

were penned, structured and codified. This was done by the Brahmanas in Sanskrit. Of course, there was also a lot added to these texts (there are 18 main Puranas) over the centuries. The Puranas, as per definition, are said to have five elements - stories on 

or great periods of time from the time of Manu; and 

 or the history of the dynasties both solar and lunar. But the Brahmanas putting down the 

also added their own layers to it, including interpretations, details of rites and rituals, prevailing ideas of astronomy, science and customs.

Sanskrit scholar Dr G V Devasthali gives a great assessment of the evolution of the 

(Bharatiya Vidya Bhavan series Volume 3). He points out, ‘The original authors of the Puranas, like the epics were Sutas or bards…later on it fell into the hands of temple priests who helped themselves by adding to the Puranas a great deal of new matter which served their own ends’.

Devasthali writes that the codification of the 

may have been a deliberate attempt to bring theistic religions like Vaishnavism and Shaivism within orthodoxy. This in many senses also gave a new lease of life to the old Vedic religion, which had lost ground thanks to the rise of heterodox faiths like Buddhism and Jainism.

Different sections dealing with rites and rituals were added to the 

between the 3rd and the 7th century CE. The bulk of this was done during the Gupta period.

This was also the period in which the great epics – the 

Dr Binda Paranjape of the Banaras Hindu University, who has taught Gupta history and the evolution of the language and literature of this period, adds another dimension to this. She believes that an important part of the ‘evolution’ of the 

that had happened, was the incorporation of a series of local gods and goddesses into the Puranic pantheon. Their stories were woven into myths and legends, thus embracing local sects and drawing them into the Brahmanical fold.

She cites the example of the Varaha as an avatar of Vishnu. She believes that this form of the boar was an important local deity in the forest regions of Malwa. Even the Neolithic cave paintings of Bhimbetka, in Madhya Pradesh, have numerous visual depictions of the boar. As the Gupta Empire expanded, local deities like this were not just incorporated but also given pride of place within the Puranic pantheon – in this case, Varaha was taken as the 3rd avatar of Vishnu, to win over locals and gain their respect and trust.

If the Puranic literature incorporated a wide array of colourful local deities into the Brahmanical (Vedic) religion to increase its reach, the epics provided a reference point to celebrate kingship and also draw parallels between the heroes and the Gupta rulers. This was reflected in literature too. Take, for example, Kalidasa’s famous work 

. Historians believe the description of the hero Raghu’s 

(conquests) may have had echoes of the conquests of Samudragupta (r. 350-370 CE).

The interplay between rulers, legends and Puranic gods is also reflected in the large number of coins from the Gupta period. Here, the kings are shown slaying tigers, lions or drawing the bow. Most often, the goddess of wealth and prosperity, Lakshmi, is shown on the reverse.

If Puranic literature was adding a new vibrancy to orthodox Brahmanism, the mode of worship also seems to have changed during the Gupta period.

It is impossible to say when free-standing temples, like the ones we see today were first built on the Indian subcontinent (since none has survived). While the earliest surviving Buddhist and Jain cave temples go back to the 3rd BCE, the general consensus is that early Brahmanical temples haven’t survived either because a) most earlier temples may have been made of wood, brick or terracotta and so perished, or they were not really popular or b) the emphasis on open-fire altars and rituals in the 

meant that most people prayed in the outdoors.

The earliest examples of free-standing stone temples – extant i.e. still surviving - come from the Gupta period. In fact, if you take a half-hour drive from the remains of the temple in Besnagar (a pre-Gupta structure where the famous Heliodorus pillar stands), to Udayagiri and then Sanchi, you will get a lesson in the history of temple-making in ancient India.

All that remains of the ancient temple in Besnagar is its foundation. This indicates that the temple structure would have been made using a perishable material – mud bricks or wood. The Heliodorus pillar made of stone is the only remnant of the temple complex that would have stood there, around 100 BCE, when the pillar was erected.

In Cave No 1 of Udayagiri, you will find the next stage of temple-building. This would have been a combination of an excavated cave temple, with an outer façade – supported by pillars. The 

 or sanctum sanctorum would have been within the cave and visitors would have congregated outside. The marker to indicate that this was built in the Gupta period comes from the T shaped doorway, resplendent with sculptures of deities seen in nearly all Gupta temple doorways – 

– and the rivers Ganga and Yamuna shown as goddesses.

By the time the Udayagiri caves were being excavated, Puranic gods and the imagery we associate with them had started vividly being visualized through sculpture.

A ‘Golden Age’ or not, the Gupta period did herald a turning point in a way that still influences our beliefs and arts today. Catch the story of the heroes and legends that came to life during the reign of the Guptas...

Guptas and the Age of Legends (4th – 6th CE)

It is said that before the road was built in front of it, the grand Varaha sculpture of Udayagiri, near present-day Vidisha in Madhya Pradesh, rose high from the waters of the tank that lay before it. What a sight it would have been. It reminded the many who flocked here of the story from the Puranas, of how the Hindu God Vishnu took the form of a boar to rescue the Earth Goddess Bhudevi from the clutches of the demon Hiranyaksha, who had hidden her deep within the cosmic waters, as the devas and asuras – gods and demons – fought for control of the universe. 


The great relief in Cave No. 5 in Udayagiri captures the story of the Varaha, considered the third avatar of Vishnu, in fine detail. You can see Bhudevi perched on the anthropomorphic boar’s shoulders, as numerous sages and devas look on. The rivers Ganga and Yamuna depicted as goddesses stand by, as does Varuna, the God of the Oceans, and a Naga king, who bows his hooded head. Even the ripples of the ocean can be seen etched on the wall.

