which is believed to beguile the mind, or
to his ability to wield mayaor the power
of illusion, and thus cloud people’s
minds. See Krishna.
Mohenjo-Daro
Archeological site on the IndusRiver in
modern Pakistan, about two hundred
miles north of Karachi. Mohenjo-Daro is
one of the cities of the Indus Valley civi-
lization, a highly developed urban cul-
ture that flourished in the Indus Valley
region between the fourth and third mil-
lennia B.C.E.Harappa and Mohenjo-
Daro have been the most extensively
excavated of these cities, although
archeological work is proceeding at oth-
ers. Similarities at these different sites
reveal insights into this civilization’s
material culture. One of the features at
Mohenjo-Daro is the “Great Bath,” a
large water-tank built of brick and
sealed with pitch. Scholars speculate
that it was connected with ritual purity.
See also bath, Mohenjo-Daro.
Mohini
(“bewitching”) In Hindu mythology,
a rapturously beautiful, divine
enchantress, seen as a manifestation of
the god Vishnu. Vishnu takes this form
to trick the demonsinto giving her their
share of the amrta, the nectar of immor-
tality, which has been churned from the
Ocean of Milk. Through her charms,
Mohini succeeds in getting the amrta
from the demons; she gives it to the
gods, thus depriving the demons of their
chance at immortality.
In most versions, the story ends here,
but the charter myth for the southern
Indian god Aiyappaadds an interesting
twist. According to the story, when Shiva
sees the enchanting figure of Mohini, he
cannot resist her. The product of this
union is Aiyappa, who is considered the
son of Shiva and Vishnu. Yet Aiyappa’s
unusual parentage occurs with good
reason, as with most such stories in
Hindu mythology. Aiyappa is born to kill
a demon named Mahishi, who has
received the boon that she can only
be killed by a person not born from
the union of male and female.
Mohini’s “true” identity (Vishnu) satis-
fies this condition, and when Aiyappa
comes of age he kills the demon. See
also Tortoise avatar.Mohini Attam
The youngest form of classical Indian
dance, found mainly in the modern
state of Kerala. Mohini Attam was devel-
oped in the early eighteenth century
at the royal court in Travancore in
Kerala. This style of dance shows traits of
both Bharatanatyamand Kathakali, a
Keralan dance form. The dance is
named after the mythical enchantress
Mohini and projects a coquettish
sensuality. Some of the dance’s physical
poses are taken from Bharatanatyam,
whereas the stylized hand gestures
(mudras) come largely from Kathakali.
For further information see Mohan
Khokar, Traditions of Indian Classical
Dance, 1984.Mohini Ekadashi
Festival falling on the eleventh day
(ekadashi) of the bright, waxing half of
the lunar month of Baisakh (April–
May). The festival is dedicated to the
worshipof Vishnu in his avataras
Rama. Most Hindu festivals have certain
prescribed rites usually involving fasting
(upavasa) and worship, promising spe-
cific benefits for faithful performance;
observing this festival frees one from the
results of one’s evil acts.Moksha
In Indian philosophymoksha is one of
the four purusharthas, or aims of life;
the others are artha(wealth, power, and
prosperity), kama(desire), and dharma
(righteousness). Moksha literally means
“release”—the human soul’s (atman)
final liberation from the cycle of reincar-
nation (samsara). The quest for libera-
tion involves questioning and ultimately
detaching oneself from pursuits ofMoksha