Press, 1978); E. Washburn Hopkins, Epic Mythology
(Delhi: Motilal Banarsidass, 1986); T. G. Gopinatha
Rao, Elements of Hindu Iconography, 4 vols. (Delhi:
Motilal Banarsidass, 1997); Margaret Stutley, An Illus-
trated Dictionary of Hindu Iconography (Boston: Rout-
ledge & Kegan Paul, 1985).
Aishtanemi See NEMINATHA.
Aitareya Upanishad
Aitareya is a matronymic or patronymic deriving
from the SANSKRIT root itara. It means “son of
itara” (either masculine or feminine), who would
be his mother or father. This is an ancient RIG
VEDIC sage who also goes by the name of Mahi-
dasa. Credited to him are the Aitareya Brahmana,
the Aitareya Aranyaka, and the Aitareya Upani-
shad, all texts attached to the RIG VEDA. The Aita-
reya Upanishad is found in the Aitareya Aranyaka,
constituting chapters 4 to 6 of that work.
The Aitareya Upanishad begins with cosmo-
logical verses showing how the ultimate being,
the ATMAN or Self, created the worlds, the ele-
ments, and human beings. Important here is the
connection between each of the elements of the
divine PURUSHA, which is the template Person, and
the elements of nature aspects of the cosmos and
the human being. From the original Person fire,
air, Sun, the quarters of space, the Moon, death,
and water emerge. All of these elements again go
into making up the human being. Once this takes
place the Self enters into the human being that has
emerged as the result of his creation. This then
makes clear that the self of a human being is the
Ultimate Self, which is the source of everything.
Further reading: S. N. Dasgupta, A History of Indian
Philosophy, Vol. 1 (Delhi: Motilal Banarsidass, 1975);
Arthur B. Keith, The Aitareya Aranyaka (Oxford:
Clarendon Press, 1909); Swami Nikhilananda, trans.,
The Upanishads, Vol. 3 (New York: Ramakrishna-Vive-
kananda Center, 1975); S. Radhakrishnan, The Princi-
pal Upanishads (Atlantic Highlands, N.J.: Humanities
Press, 1994).Aiyanar
Aiyanar is a demigod represented as a warrior
mounted on a horse who is the night guardian
in Tamil Nadu. He is sometimes accompanied in
iconography or painted representation by other
martial figures and dogs. He patrols the boundar-
ies of fields, chasing away evil forces. Figurines
of horses and elephants are found in his shrines.
Horses in Tamil Nadu will be devoted to Aiyanar.
He is regarded as a local son of SHIVA.Further reading: R. Srinivasan, Aiyanar’s Domain: Politi-
cal and Social Conditions and Attitudes in Tamil Folk Lit-
erature (Bombay: Research Book Centre, 1993); Henry
Whitehead, The Village Gods of South India (Delhi:
SumitPublications, 1976).Ajanta
At Ajanta in the Aurangabad District of Maha-
rashtra are some of the most famous ancient
caves of India. Here are preserved some of India’s
most beautiful ancient painting and sculpturing.
The caves date from the second century B.C.E. to
seventh century C.E. There are 29 caves at Ajanta,
which are carved into solid stone halfway up a
large hill that curves gently away, to the left of the
visitor. In the middle of the steep incline is a walk-
way, which appears made on a natural cliff.
All of the caves at Ajanta were done by the
Buddhists. Some were clearly used as monastic
dwellings, and others were chaityas or shrine
rooms. Some of the caves have beautiful frescoes
depicting scenes from the Buddhist Jatakas (tales
of the life of the BUDDHA). The frescoes of Ajanta
show a development of nearly 1,000 years of
fresco art. Other caves have impressive figures of
the Buddha in high relief.Further reading: Benoy K. Behl, The Ajanta Caves:
Ancient Paintings of Buddhist India (New York: ThamesAjanta 19 J