Author: deepesh

India possesses a glorious maritime heritage that spans over five millennia. The seas, on the three sides of India, have served as natural protection while providing us with a gateway to go out and discover the world and explore. When we did explore, the long coastline and many islands shaped our art, culture, philosophy, economy, ideas, and more, while influencing the world. Take a look at some of the most astonishing facts about the Indian Navy. 

The mythology connect 

One can find numerous mentions of oceans in Indian mythology. Some of the most popular ones include the churning of the ocean milk, Hanuman’s leap to Lanka, and Saraswati’s Vadavagni deposit, among others. So what’s the connection with the Indian Navy? After Independence, the Indian Navy adopted the motto, Śaṃ no Varuṇaḥ. This is an ancient invocation to Lord Varuna from the Upanishads, meaning ‘May the Ocean God be auspicious unto us’. This chant is the motto of the Indian Navy to date. 

Did you know?

India is the only nation in the world to have an ocean named after her, the Indian Ocean. 

The world’s first tidal dock

Many places that are now inland were coastal centuries ago. Higher sea levels due to warm weather and long coastline gave rise to numerous trading centres. Lothal, in present-day Gujarat, was one such trading centre. It was an engineering marvel and boasted one of the world’s first tidal docks. It had clever mechanisms to maintain the water-levels despite the changing tides. Precious gemstones, ivory, and shells were exported by the Lothal merchants to places as far as Mesopotamia, present-day the area between the Euphrates and Tigris rivers.

Cultural influence 

Sea routes not only helped widen the economic horizons but also led to a spread and amalgamation of cultures and traditions. From the temple complex of Angkor Vat in Cambodia to the many versions of Ramayana to the festival of Boita Bandana celebrated in Odisha, this influence is clearly evident. 

In fact, around the 2nd century BCE, when the Mauryan Emperor Ashoka was horrified and disturbed after he witnessed the bloodshed of the Kalinga war, he gave up violence. Embarking on a new journey of life embracing Buddhism, he began sending missionaries across the ocean to spread the teaching of Buddha. Many Indian Buddhists settled in various countries for trade also helped this mission. Even today, Buddhism thrives in countries as far as Myanmar, South Korea, Japan, and Thailand.      

Read the fascinating naval history of India in our latest release ‘The Naval Journey of India Book  now available on the ACK Comics app.

Yubee-Lakpee which translates to “coconut-snatching”—is an exhilarating traditional game from Manipur, celebrated for its physical intensity and skill. Played primarily by able-bodied young men, the game revolves around a single, large coconut, thoroughly oiled to make it slippery and challenging to grip. The objective is simple yet demanding: carry the coconut past opponents to the goal while keeping it securely pressed against the chest.

The game’s resemblance to rugby lies in its rough, physical nature, but Yubee-Lakpee is considered even more challenging due to the added layer of complexity introduced by the greased coconut and the players’ slippery, oil-slicked bodies. This feature not only amplifies the difficulty but also showcases the players’ dexterity, strength, and agility.

Each team consists of seven players, and the gameplay demands not just physical prowess but also strategic planning and teamwork. As players dodge, sprint, and wrestle to secure the elusive coconut, the energy on the field is electric. The tension and excitement are heightened by the game’s high stakes and the pride associated with winning in this culturally significant sport.

Yubee-Lakpee is more than just a game; it is a testament to Manipur’s rich traditions and the community’s deep connection to their heritage. It reflects the athleticism and resilience of its participants, offering a thrilling spectacle for both players and spectators alike.

By Nainika Nambiar

The 19th century saw a lot of changes in Indian society. It was a time of reform and progress in areas like education, gender equality, caste equality and more. During this phase of promoting an equal society, Tarabai Shinde was one of the very few courageous women who stood up to advocate for equality between the sexes.

Birth and Background

Tarabai was born into an elite Maratha family in the Berar province of Buldana around 1850. Her father, Bapuji Hari Shinde, decided to educate his daughter since she was the only child he had. Therefore, Tarabai was taught Marathi, Sanskrit, and even English. Bapuji was also involved in Jyotirao Phule’s ‘Satyashodhak Samaj’ – otherwise known as the Truth-seeking Society, which was reformist in nature. 

Tarabai was eventually married off as a child bride. This was because child marriage was a prominent practice in 19th century India. Fortunately for her, unlike the traditional patrilocal marriages that took place, her wedding had a ‘ghar jamai’ wherein her husband came to live in her house (matrilocality).

Tarabai’s journey with her first and only piece of writing began when she heard of the Vijayalakshmi case in 1881. Vijayalakshmi was a Brahmin widow who had aborted her illegitimate child, and was convicted for the same. After repeated appeals, her death penalty was changed into a sentence of ‘transportation for life’ (banishment or exile). 

Soon after, a series of articles were published in the Pune Vaibhar, a prominent newspaper, which criticised and denounced women for having ‘loose morals’. Angered by such a response to the incident, Tarabai decided to write a book against it, called ‘Stri Purush Tulana’.

Stri Purush Tulana

“But do men not suffer from the same flaws that women are supposed to have?”

– Tarabai Shinde

‘Stri Purush Tulana’, written in Marathi, translates to ‘A Comparison between Women and Men’. It was one of India’s first feminist texts. It was published in 1882 but received a hostile response from the readers and was clamped down, remaining unknown for a long time. Eventually, S.G Malshe re-published it in 1975 and the author, Rosalind O’Hanlon, translated it to English in 1994.

The book discusses the maltreatment of women in India, highlighting the gender hierarchies stemming from patriarchy. Tarabai not only rejects this hierarchy, but also challenges it. We see this in the first choice she makes in this text – the title. By placing ‘Stri’ (woman) before ‘Purush’ (man), she has chosen to give women a primary position for a change.

Tarabai critiques how various religious texts have prescribed the ways in which a woman “must” think, act and behave. Her book begins with a paragraph that questions the Gods:

“Let me ask you something, Gods! You are supposed to be omnipotent and freely accessible to all. You are said to be completely impartial. What does that mean? That you have never been known to be partial. But wasn’t it you who created both men and women? Then why did you grant happiness only to men and brand women with nothing but agony? Your will was done! But poor women have had to suffer for it down the ages.”

Her language too is an important influence. Her critique is unfiltered and targets the male population as a major audience. While men called themselves “indestructible”, Tarabai pointed out that they are just as flawed as they consider women to be. 

We see an instance of this in how she chooses to point out that society regards adultery as the gravest sin that a woman could commit. Tarabai flips the narrative, holding husbands accountable for failing to keep their wives happy. She further argues that women deserve the right to choose their own husbands to prevent such cases from happening. 

The book also advocates for widow remarriage. Tarabai points out how men have been allowed to remarry upon the death of their wives but widows cannot choose to do the same. Seen as an “ill omen”, they are forced to lead an isolated life and abandon all desire to pursue any other romantic or sexual relationship. By being deprived of their ornaments, jewellery and hair, they have been stripped of their sense of “beauty”. When widows do not oblige as expected, they are openly ostracised from mainstream society. We thus see how Tarabai painted a picture of the ruthless double standards that were laid out by society. 

Tarabai also openly fights against child marriages as well as caste/income marriages, forced marriages and polygamy. Having lived in a society that has repetitively looked down on prostitutes, she is understanding of their plight. Her method in writing has been to expose the patriarchy, call out the important flaws of its strict rules and show possible solutions wherever applicable. 

Influence of Jyotirao Phule

Jyotirao Phule’s ideas had a good amount of influence on Tarabai’s expression of her own ideas. In the year 1854, the Phules began a shelter for upper caste widows who were forbidden from remarriage and ostracised from society. They later involved Tarabai in these initiatives and she became an active participant of the Satyashodhak Samaj.

After the publication of ‘Stri Purush Tulana’, she received harsh criticism. Orthodox communities were appalled and local newspapers published articles that mocked her work. Even Phule’s colleagues, Krishnarao Bhalekar and Narayanrao Lokhande, condemned Tarabai altogether. It was only Jyotirao Phule who took a stand and supported her publicly. He wrote an elaborate article in defence of her critique, which was published in the second issue of the magazine ‘Satsaar’. He addressed her as ‘Chiranjivi’ (daughter) and suggested to his colleagues that they carefully understand her arguments before responding. Phule was beyond proud of her courageous attempt to put forth her views and opinions. 

Read about more such inspiring women from Indian history in the title Women Path-Breakers!

 

By Sharanya Iyer

Everybody loves a good story, but only some have the true gift of storytelling. One such gifted individual was Anant Pai. So intense was his love for storytelling that he built his entire life around it. Known as the father of the Indian comic industry, Anant Pai was an immensely generous person who had a vision for the benefit of others and turned it into reality. 

A bright and gifted student from the very beginning, Anant Pai never backed down when met with challenges. After losing his parents at the age of two, and after the subsequent loss of his grandparents who raised him, Anant Pai moved to the big, bustling city of Mumbai, where he met the additional challenge of a language barrier. He didn’t speak any English, and it was a mark of how intelligent he was that he not only went on to study and learn in English-speaking institutions but came out at the very top at all these schools. 

Growing up, Anant Pai was a natural storyteller, entertaining his siblings with easy skill. As an adult, he wanted to regale children with the endless supply of mythological and historical stories that Indians possess, along with the vibrant varieties of folk tales and regional lore every state has. The most well-known incident in Anant Pai’s life is the time he watched Indian children on a quiz show. These children had ready knowledge of Greek gods but failed to deliver answers to well-known Indian mythological questions. This incident was the spark that gave birth to the still-burning flame of Amar Chitra Katha. 

A name synonymous with long journeys and summer holidays, Amar Chitra Katha has shaped the childhood of generation after generation of Indians. Our country’s cultural background is vast, and it is next to impossible to know each and every story and folk tale there is here. Through Anant Pai’s vision of making these stories readily available and well known amongst children, so many of these stories are now widely enjoyed and retold. Countless stories of our gods and goddesses, our kings and their queens, of the brave freedom fighters who fought for the freedom we enjoy today, of seldom-heard folk tales that old grandmothers have preserved and passed on, and everything in between, have all been beautifully illustrated and told to us by Amar Chitra Katha.  

Anant Pai saw his dream of children learning about Indian culture and heritage come true. He had stories and storytelling in his heart and soul, and he loved it so deeply that he was determined to make everybody around him love it too. He had complete faith in his dream and was convinced that it was important enough that it became reality. By turning stories into illustrated comics, he ensured that children read more books and knew more stories.  

Anant Pai singlehandedly took on the role of writer, art director and editor, working very hard to give children what they enjoyed. With his uniquely quirky, yet simple, way of presenting his characters and story, he and his team created something that everybody wanted more of. And when children repeatedly demanded more books and more stories, he took it a step further, added funny stories and characters, and created everybody’s beloved Tinkle comics! Even today, both old and new issues of Tinkle are widely enjoyed and treasured, each story urging children to find the hero within themselves. 

Both Amar Chitra Katha and Tinkle are equally iconic features in the lives of their old fans and in the lives of their fresh, young readers. For millions, the books will always be an incontestable part of their childhood. The readers have enjoyed a deep bond with the books along with a personal rapport with their creator, which is how Anant Pai fondly became known as ‘Uncle’ Pai. He was an expert at recognising the needs of children everywhere, along with possessing a keen eye for their interests. Today, all of us at Amar Chitra Katha work towards sustaining Uncle Pai’s legacy by maintaining the impeccable standard he set for educational story telling. 

Subscribe to the ACK Comics app to get access to all of Amar Chitra Katha’s latest releases, or shop for products on our website!

By Shakthi Bharathi

Did you know that the Mahabharata ends with a dog? (It also starts with one, but that story is for another day.) 

After years of prosperous rule, the Pandavas and Draupadi renounced the throne and embarked on their last great adventure. They crossed land and sea and came to a winding mountain, where a dog joined them. As they climbed higher, one by one they began to die, but the dog followed at Yudhisthira’s heels like a silent shadow. When the two finally reached heaven, Yudhishthira refused to enter unless his faithful companion was also allowed inside. 

This story is not unusual. In world mythologies, dogs have often been associated with death.  

Hunting parties led by kings always included hounds to fetch the fallen kill. A dog’s howl, especially in the middle of war, was considered an ill omen. And the gates of Yama’s realm, the Underworld, are guarded by two dogs—Shyama and Sabala.  

Shyama (meaning ‘dark’) and Sabala (meaning ‘spotted’) can be described as dusk and dawn. Only one of them can see at a time, so they each have two pairs of eyes. 

In some stories, they are kind—messengers sent by Yama to collect the souls of the dead and guide them through the afterlife. In other stories, they are fierce—standing watch over the gates that all must pass through to reach the hall of judgement.  

The origins of Shyama and Sabala are uncertain. One version says they are from a group of asuras, called Kalakanjas, who were building a stairway to heaven. As the structure grew taller and taller, Indra pulled out one of the bricks. The whole thing fell apart, sending the asuras tumbling down. Most of them turned into spiders, landing safely. However, the two asuras at the top turned into dogs and were cursed to guard Yama’s kingdom forever. Another version calls them ‘Sarameya’ or the children of Sarama, Indra’s dog, who is considered the goddess of intuition and the mother of wild animals.  

Wherever they may come from, Shyama and Sabala still hold a place in our rituals. They are given offerings of rice-balls and mentioned in prayers to Yama, dating as far back as the Rigveda, where a seer says: 

The legend of these dogs has crossed the borders of India with Tihar, a five-day Nepalese Hindu festival, to honour creatures associated with Yama. On the second day, Kukur Tihar, dogs are worshipped. 

Shyama and Sabala are also significant in astronomy, representing the Canis Minor and Canis Major constellations respectively. The Kailasanathar Temple at Kanchipuram includes two dogs in a depiction of Shiva bringing the river Ganga down to earth. This could be hinting at the Akasha Ganga (Milky Way) and its Canis constellations—Yama’s two watchdogs, eternally gracing the night sky. 

Read more such Mythology stories here.

By Kayva Gokhale  

The Indian epics – Ramayana and Mahabharata – are both fascinating studies of human behaviour. They are full of myriad characters with unique personalities and motivations, all trying to navigate through concepts like duty, honour, love, morality, loyalty and courage. Unlike a lot of other modern and ancient literature however, the epics focus equally on men as well as women, allowing both genders the same level of complexity, thus giving us some of the most well-rounded, balanced, and interesting female characters.  

Women in the Epics  

Often women like Sita, Savitri, Sati and Anasuya are named as ideals of purity and chastity. They are seen to be women with excellent moral fibre, women who choose death over dishonour to their husbands and families, women for whom duty and sacrifice come above all else. However, the epics also contain female characters that have shades of grey. They are intelligent, confident and duty-bound, but they also display pride, rage and thirst for revenge.  

Ahalya Draupadi Kunti Tara Mandodari tatha  

Panchakanya smaranityam mahapataka nashaka 

This age-old Sanskrit verse is an ode to five such complex women from the epics. Literally translated, the verse means “One should forever remember the five virgins, Ahalya, Draupadi, Kunti, Mandodari and Tara, who are destroyers of great sin.”  

The Virgins 

At first glance, these five women don’t appear to be ‘chaste’ or ‘virgins’ in the traditional sense of the word. After all, all these women had relations with more than one man and some of them have also had to bear shame, abuse and punishment because of that. So why does this verse laud them? If these women were unchaste, then why do married women often chant this verse every day during their morning prayers?  

To answer these questions, we must examine our understanding of words like ‘chaste’ or ‘virgin’. In the traditional sense, a chaste woman would refer to someone who puts her husband above all else. She is devoted to only one man, never even entertaining the thought of loving another. She obeys her husband even if that means going against her own wishes. She is ready to sacrifice everything, even her life, to this end. Sita walking through fire to prove her chastity or Savitri following Yama to win back her husband’s life, can be seen as classic examples.  

However, there is another way of looking at the word ‘virgin’. A virgin could mean to be a woman who belongs to no man. She is essentially self-contained in the spiritual sense. She is a woman that no man can control or shame or ‘sully’, because she allows no one that power over herself, not even her husband. In that way, she is like the ‘pure’ spiritual ascetics, who always remain true only to themselves, dependent on no one, come what may.  

Draupadi and Kunti  

Ahalya, Mandodari and Tara belong to the Ramayana, while Kunti and Draupadi are from the Mahabharata. Kunti, the mother of the Pandavas, and Draupadi, their shared wife, both have massive roles to play in the way the Mahabharata plays out. Both are shown as intelligent, shrewd women with a deep understanding of the human mind. They were the guides to the Pandavas, providing advice, support and help throughout their journey, allowing them to fulfil their destiny. Both women also bear heavy burdens. They go through immense loss, sorrow and suffering but show strength and resilience that far surpasses the men around them. 

Kunti, whose boon allows her to beget children from various gods, has a son, Karna, before her marriage. Her action is born out of curiosity and the courage to explore outside the bounds of traditional taboos around unmarried mothers. She is however, forced to abandon her first son – a decision that causes her much pain throughout her life. After her marriage to Pandu, she bears him three sons, all from different gods, as per his desire. She is generous enough to share her boon with Madri, Pandu’s other wife. When Pandu and Madri die, she does not crumble. She becomes the strong matriarch that her sons need and fights tooth and nail to ensure they get their rightful place in the court of Hastinapur.  

Draupadi, born to avenge her father’s insult at the hands of Drona, has a life full of suffering caused by the actions of others. She is made the common wife of the Pandavas against her wishes, and faces insults about this all her life. She is staked in a game of dice like chattel by her husband, who is supposed to protect her. She is disrobed and publicly insulted in a roomful of men who watch on, unable to help her. That is where she learns not to depend on men or her husbands to protect her. She channels her rage and grief into a weapon meant to spur on her husbands in their journey. She ensures her honour is restored and assumes her rightful place as the queen of Hastinapur in the end. 

Kunti and Draupadi are perfect examples of autonomous women, bound to no man. They are extraordinary in their abilities and are aware that they must shape their own destinies, rather than depend upon others. While doing so, they are more than simply wives or mothers or daughters, they are their own women.  

Ahalya, Mandodari and Tara 

Ahalya, the beautiful wife of Sage Gautama, was cursed when she was seduced by Indra, who came to her disguised as her husband. While different versions of this story exist, most agree that she recognised Indra, but followed her instinct and curiosity and allowed herself to be seduced. Hers is a unique case of a married woman having a liaison with another man, without it being adultery or rape.  

On the face of it, Ahalya can be seen as an immoral woman. But when one analyses further, one sees that she represents a primal, unbound, female energy that instinctually responds to Indra’s masculine energy. Married to an old sage, Ahalya is never given the opportunity to actualise her beauty and youth. By giving in to Indra, she allows herself to rise beyond her roles as mother and wife and becomes a lover – a woman. Throughout all, she remains true to herself, her instincts and her deepest feminine urges, making her an extraordinary woman.  

Tara, the wife of Vali and Mandodari, the wife of Ravana are similar in a lot of aspects. Both are married to strong, powerful men. However, they are confident, intelligent women who act as counsellors to their husbands, preventing tragedies and ensuring their kingdoms run smoothly. However, when their husbands don’t listen to their advice, it leads to Ravana and Vali both perishing due to Rama. Upon losing their husbands, these women don’t collapse. Tara marries her brother-in-law Sugriva, to ensure her son, Angada’s place on the throne. Mandodari marries Ravana’s youngest brother, Vibhishana, and rules by his side to keep the peace in her beloved Lanka. Tara and Mandodari are true queens. They refuse to be their husband’s shadow and do what is best for themselves and their kingdoms, showing their unparalleled determination and strength.  

Panchakanya as Shakti 

These five kanyas, while not chaste in the traditional sense, are true virgins in the spiritual sense. They are not bound to any man and are manifestations of feminine power. They go beyond their earthly roles of being mothers and wives and excel at being individuals, always true to themselves. While their autonomy, strength and intelligence are awe-inspiring, they also have to contend with loneliness, grief and suffering because of their extraordinary natures. Their ferocity in remaining true to their humanistic core makes these five maidens true representations of Shakti in our epics, and worthy of veneration.  

Did you know the legend behind how Lava and Kusha, Sita and Rama’s twin sons, were named?

The Uttara Kand in Valmiki’s Ramayana tells us the story of the twins’ naming. When Sita gave birth to her sons in Valmiki’s ashram, the other sages asked Valmiki to protect them from evil spirits, as was the custom in those days.

Valmiki then took Kusha grass and cut (lava) it into two parts. He then instructed that the elder child be cleaned with the upper part and be named Kusha, and the younger child be cleaned with the lower part and be called Lava. That is how Lava and Kusha got their names.

Read more Amar Chitra Katha stories about Ramayana

By Krishna Priya

The terms asura and rakshasa are associated with destruction and violence throughout Indian mythology. In the epics, like the Mahabharata and the Ramayana, they are seen as demonic figures – monstrous in form and nature. However, a closer look reveals that not all asuras were the same. A lot of the asuras were not only talented and skilled at various crafts and warfare, but they were also great devotees of gods and had virtues like loyalty, selflessness and even righteousness. 

To delve into these ‘noble’ asuras, we must first dispel this mist and recognise their unique identity, not merely as ‘villains’, but as a distinct group with their own complex history, lineage, and qualities. Through the course of this article, we will see unexpected facets of these mythical beings, revealing many virtues hidden beneath the imposing faces and fearsome roars.  

Kumbhakarna 

Kumbhakarna, the younger brother of King Ravana, stood out not only for his immense size and insatiable appetite but also for being a virtuous and formidable warrior. While the Ramayana revolves around characters like Rama, Sita, Ravana, and Hanuman, Kumbhakarna holds a unique place in this epic. 

According to the Bhagavad Purana, Kumbhakarna is believed to be the incarnation of Vijaya, a gatekeeper deity, along with his brother Jaya. The two brothers faced punishment for their misconduct while guarding Vishnu’s abode. They were granted three lifetimes as Vishnu’s adversaries, cursed to die at his hands before being welcomed back to Vaikuntha. In their second incarnation, Jaya became Ravana, and Vijaya took the form of Kumbhakarna. 

Ravana, humiliated by Rama and his army, sought aid during the war from Kumbhakarna. However, a divine boon from Brahma made waking Kumbhakarna a daunting task. Legend has it that he was roused only when a thousand elephants trod upon his colossal frame. Upon awakening, Kumbhakarna learned of what Ravana had done and, despite his best efforts to persuade Ravana to reconsider, Kumbhakarna’s advice fell on deaf ears due to Ravana’s pride. Driven by loyalty, Kumbhakarna reluctantly joined Ravana’s army, demonstrating his prowess on the battlefield by single-handedly defeating thousands of Vanaras. Kumbhakarna’s dedication to his brother, even in the face of his own reservations, exemplifies his familial loyalty. Even though he had his arms severed by powerful divine weapons during the confrontation with Rama, he continued to fight valiantly. Some versions of the Ramayana even depict him recognizing the divinity of Rama. 

Ultimately, this powerful warrior met his demise at the hands of Rama, while dutifully serving his brother. Additionally, his attempt to counsel Ravana against the impending conflict, showcases a deep understanding of divine truths and underscores his moral compass. All these qualities make Kumbhakarna a figure worthy of re-evaluation and respect, adding a nuanced layer to the epic narrative of the Ramayana. 

Maya  

Maya, the king of a demonic race called the Danavas, is renowned for his architectural prowess. Among his many creations, he is particularly known for building the Palace of Illusions in the Mahabharata.  

Indraprastha, the kingdom established by the Pandavas, began as the untamed forest named Khandavaprastha, situated along the banks of the Yamuna river. When Arjuna set fire to the forest to clear the land, Mayasura, who was visiting a friend there, found himself trapped. It was in this dire moment that Arjuna extended a benevolent hand, rescuing Mayasura from the fiery inferno. This selfless act forged an unbreakable bond, and the grateful Mayasura pledged to build the Pandavas a beautiful home.  

Thus, from the ashes of Khandava forest, rose the city of Indraprastha. Described by Veda Vyasa as a paradise, it became a model of organised governance. Constructed by Mayasura in just five years, the Indraprastha Palace, also known as the Maya Sabha, boasted sweeping lines, grand rooms made of crystal and gems, and an opulent design. The palace had floors made of reflective crystals, giving the illusion of pools, and clear still-water pools that resembled floors.  

Unaware of this illusion, a visiting Duryodhana who was filled with envy over the luxurious palace, walked through it, mistaking one of the pools for the floor. As he fell into it, the mishap sparked laughter and ridicule from Draupadi and her maids. Enraged by the humiliation, Duryodhana’s anger flared, escalating the tension that paved the way for the infamous game of dice and, ultimately, the Kurukshetra war. Hence, Mayasura’s structures were not only renowned for their beauty, but also, settings that held narrative significance.  

Ghatotkacha 

Ghatotkacha, from the Mahabharata, is the son of Bheema and Hidimbi. When the Pandavas were living out their exile in the forest, a rakshasi named Hidimbi crossed paths with Bheema and they fell in love and got married later. Their son, Ghatotkacha, was half-human and half-demon. Despite her own brother seeing Bheema as an enemy, Hidimbi’s choice to marry him reflects a desire to take charge of her own destiny by gracefully assuming the role of a single mother and raising her son.  

Ghatotkacha inherited both human and rakshasa qualities, making him a formidable warrior. During the Kurukshetra war, he readily came to help his father. His proficiency in magic turned the tide of the war in favour of the Pandavas during critical moments. He could change his form and size at will, growing to gigantic proportions that dwarfed even buildings, or shrink to become tiny and invisible. This ability often proved advantageous in battle, intimidating enemies and allowing him to navigate difficult terrain. He also had the power to levitate and soar through the air with ease, which he used while helping Vatsala, the daughter of Balarama, leave her palace to meet her husband, Abhimanyu.  

He was also skilled at creating illusions to deceive his enemies. During the battle, he created a magical mountain from which came a stream of weapons. He could conjure up mirages, cast spells, and even made a dark cloud which rained down stones during the war. His immense strength could send trees flying at his enemies, and he could duplicate himself to confuse and tackle them. In the end, Ghatotkacha sacrificed his life to deploy the potent “Rakshasa Astra” against the Kaurava forces. This selfless act, born out of his commitment to the Pandavas’ cause, showcases his valour and willingness to prioritise the greater good.  

The temple in Champawat, Uttarakhand, associated with the site where Ghatotkacha’s head is believed to have fallen, adds a local touch to the Mahabharata narrative. The presence of a Ghatotkacha Temple in the Dieng Temples complex in Central Java, Indonesia, further illustrates the spread of Hindu mythology beyond the Indian subcontinent. Also, nestled amidst a sacred cedar forest near the town of Dungri, at the lush base of the Himalayan mountains, the Hidimba Devi Temple stands as a sacred sanctuary to Ghatotkacha’s mother, Hidimbi, who is revered as a deity there. A short distance away from this temple, a shrine has been dedicated to Ghatotkacha as well.  

Read more about the devas and asuras, only on the ACK Comics app!