Skip to main content



PURĀAS are extensive compendiums of the mytho-history of Bhāratvara (the earlier name of the Indian subcontinent). They participate in the same mythological milieu as epic (itihāsa ) and poetic (kāvya ) works, but they are structured as exhaustive amalgams of epic lore seen through particular (some would say sectarian) perspectives. The Purāas may be thought of as core texts of Hindu religiosity; some have become cornerstones of particular devotional traditions, and others have served as templates for institutions, social observances, and traditions of secular knowledge.

The word purāa itself means "ancient," and a good deal of Purāic lore may have coexisted with the Vedas themselves. Purāa appears in the gveda (where it means "ancient") and is used in a sacrificial context in the Atharvaveda and the Śatapatha Brāhmaa, leading scholars such as R. C. Hazra (1940) to suggest that the Purāas originated as narrative portions of the Vedic sacrifice. In early Upaniads, Purāas are spoken of along with the Vedas as texts of divine origin and are also referred to (with the epic narratives) as a type of fifth Veda. Along with the epics, they gradually came to form a vast textual base of sacred cultural memory.

On a textual-critical level, the enormity and diversity of these narratives, the extensive oral tradition from which they derive, the layering of variant materials through time, and the sectarian claims made on specific works have made the Purāic materials difficult to fully catalog or comprehend. The effort by the All-India Kashiraj Trust to publish critical editions of the eighteen principal Purāas has proven daunting. Issues of textual criticism are further complicated by the lack of agreement as to what a Purāa actually is, because numerous works bear the said name, and none of the conventional classifications of these texts can be called definitive. An early datable definition is found in the sixth-century lexicon Amarakośa, which identifies purāa as that which has five characteristics (pañcalakaa ): sarga (creation); pratisarga (re-creation of the universe after its dissolution); vaśa (genealogies of gods, sages, kings, and patriarchs); manvantara (cyclic ages of humanity presided over by Manu, the father of humanity); and vaśānucaritam (royal dynastic histories). Although the Purāas all contain variations on these themes, none of them literally follows this definition, because the pañcalakaa materials only make up a small percentage of their volume. Other topics covered include the puruārthas or "aims of humanity" (dharma, "sacred duty"; artha "material power"; kāma, "pleasure"; and moka, "ultimate freedom"), religious observances, pilgrimage, charitable offerings, rites for the dead, the glorification of various divinities, descriptions of cycles of time, cosmographies of space (including graphic images of heavens and hells), philosophy and doctrinal expositions, sacraments, and social duties as well as treatises on yoga, sacrifice, and other spiritual practices.

A list of eighteen Mahāpurāas (Great Purāas) existed in the time of the Arabian traveler al-Bīrūnī (9731048), who cites two somewhat different versions of it. The traditionally accepted list, often named after the principal narrator of the work, is as follows:

  1. Brahma (or di, first)
  2. Padma (Lotus)
  3. Viu ("all-pervading" deity)
  4. Vāyu (deity of the wind)
  5. Bhāgavata (Ka)
  6. Nārada (sage son of Brahmā)
  7. Mārkaeya (great sage)
  8. Agni (Vedic fire deity)
  9. Bhaviya (future)
  10. Brahmavaivarta (transformation of Brahmā)
  11. Liga (symbol of Śiva)
  12. Varāha (Viu as a boar)
  13. Skanda (god of war and son of Śiva)
  14. Vāmana (Viu as a brahman dwarf)
  15. Kūrma (Viu as a tortoise)
  16. Matsya (Viu as a fish)
  17. Garua (Viu's bird carrier)
  18. Brahmāa (the egg of Brahmā)

These eighteen Mahāpurāas, said to contain a total of 400,000 verses, are attributed to the divine sage Vyāsa, who is said have arranged the revealed material (along with the Vedas and epics) and transmitted them to disciples who further elaborated upon them.

This narrative of authorship, the occurrence of the word purāa in the singular in a number of early works, and the scholarly tradition of a search for origins led a number of scholars to promote the notion of there being an original purāa that gradually was expanded and elaborated upon. The Purāas themselves, however, contain numerous and variant versions of their authorship (divine and human) and seem to accommodate multiperspectives of origin and meaning. This would be consistent with their derivation from a vast oral tradition and would suggest that the very idea of their being "books," as Ludo Rocher (1986) has argued, may be more a product of manuscript codification between the fourth and tenth centuries and later textual critical traditions than Purāic ones.

Various traditions have classified and continue to classify Purāas in a number of ways: devotionally, according to the main deity they glorify; qualitatively, according to the said quality (gua ) of nature they participate in (sattva, "purity-being"; rajas, "passion"; tamas, "dark inertia"); chrono-logically; by subject; and by the number of major revisions, particularly from different doctrinal standpoints.

Along with various lists of Mahāpurāas, there are Upapurāas, or shorter Purāas of supposedly later composition and more particular focus. Another Purāic literature is called a Māhātmya, which is a text (usually attached to a Purāa) that glorifies a divinity, a place of pilgrimage, or a ritual offering. There are also works known as Sthalapurāas, which are connected with specific localities, giving rise to the idea that every place may have had a Purāa of its own, rich with legendary history, and which may or may not be written down. Vaśapurāas (sometimes called Caste Purāas) devote themselves to the history of a lineage or particular social group. And finally, an enormous number of Purāic translations and derivative works exist in regional languages. These too are Purāas, especially when one considers how the regional traditions, local legends, and sensibilities of one area can become absorbed, "brahamanized," and reconstituted as part of a Mahāpurāa.

PurĀic Narrative

The Sanskrit of the Purāas is similar to epic Sanskrit, but it shows a Prakrit influence and frequent grammatical irregularities, leading some scholars to speculate on their local origins and subsequent brahmanical appropriation. The Bhāgavata, as the most Sanskritized and literary-conscious Purāa, may be an exception here, or it may be the most obvious example of the above process.

Within the major Purāic literatures there is a significant diversity of style: Agni, Garua, and Nārada are primarily encyclopedic compendiums; Padma, Skanda, and Bhaviya deal largely with places of pilgrimage; Vāmana and Mārkaeya pay a good deal of attention to doctrinal concerns; and Vāyu and Brahmāa are concerned with history. Within this great variety, however, certain common narrative styles and sensibilities can be observed.

What kinds of stories do the Purāas tell? Not original ones, or ones set down by a single author; they are collections that have been passed down through the ages. These narratives often begin with a scene at the celebrated snake sacrifice of King Janamejaya, where sages have gathered in the Naimia forest. The sages ask a sūta or bard, who is spoken of as a "holder of knowledge of the ancient lore," to narrate what he has heard, and so begins a series of dialogues within dialogues, in which narrators refer to other narrations that took place in other times and places. This technique of multinarrative frames is significant in its free-associative mythopoetic sensibility. Information is always contextualized within a particular situation. Hence whereas a Purāa is an admittedly collaborative retelling of the epic past, it may be filled with variants, with different versions of a particular tale appearing in the same text. Looked at historically, one sees a developing tradition quite unlike that of the fixed Vedic mantras. Looked at through its own narrative logic, one may see this style as a most authentic mode of mythmaking, not "myth" in the sense of something false but as a sacred narrative that imaginatively transmits that which is most dear to a culture.

Significance of the PurĀas

Whether or not the Purāas can ultimately claim the same revelatory power or priestly status as the Vedas or whether they were arranged by Vyāsa or edited by priests in order to absorb local cults and practices under a normative brahmanical fold, their widespread influence and importance is undeniable. The Devībhāgavata puts it thus: "Śruti and smti are the two eyes of dharma but the Purāa is its heart" (XI.1.21).

This heart, however, was often ignored or debunked by nineteenth-century ideologues who saw them as a corruption of Vedic religion and by Western scholarship that devalued them as "pseudo-histories" displaying masses of superstitious contradictions. With the emergence of scholarship acknowledging the important psychological and cultural value of myth, however, the Purāic world is seen not only as a storehouse of information about the emergence of Hindu India but as the imagistic and narrative revelation of a profoundly imaginative and sophisticated worldview.

The importance of this body of discourse is thus manifold. In devotional religious terms, Purāas often champion the superiority of a particular divinity (although their devotion to one god does not necessarily exclude others). Moreover their eclectic and all-encompassing characters have allowed them to serve as a major medium for the transmission of customs and traditions, for long-held ideas around geography, politics, and social organization, and for the subjects of astronomy, medicine, grammar, metrics, architecture, poetics, divination, and a host of others. They are indispensable for understanding popular Hindu traditions and their formation and for the grand narratives that have shaped Indian religious sensibilities.

PurĀic History

Dating Purāas and seeking their origins have been preoccupations of Western orientalist scholarship, although their composite nature resists chronological specificity. Moreover the fluid Purāic notion of "textuality" presents problems, because texts were transmitted orally, frequently elaborated upon, and often changed. There have been numerous speculations about the existence of an original Purāa, which expanded into the others. One hypothesis attempted to chronologically date the Purāas in terms of increasing complexity, seeing their various layers of discourse like the rings of a tree, but the reverse hypothesis has also been offered. The Prākrit aspect of their language has caused some scholars to see them as originally non-brahman works, reappropriated in reaction to the heterodox schools of the Buddhists and Jains. Others have suggested that the Purāas appeared as a result of an effort to provide each Vedic school with a text of its own, whereas another view sees them as developing from many local works within specific parts of India.

The Purāic vision of narrating events that occurred in "the distant past" often takes the form of dynastic histories (Vāyu, Matsya, Viu, Brahma ), and although their history has been disparaged by many, some European scholars (Hermann Jacobi, for example) found a "genuine and valuable historical tradition" in the Purāas. F. E. Pargiter (1922) championed their historicity and attempted to reconstruct what he considered the "ancient Indian historical tradition" from Purāic sources. The issue as to whether or not such sources can be used to reconstruct ancient history is almost impossible to answer. What one can do, however, is work to understand the intrinsic sensibility of the Purāic "past" as a paradigm for the present that can provide cultural visions and ideals. Long-standing narratives, such as the churning of the milky ocean, the childhood pranks of Ka, the great Bhārata War, the exploits of the avatāras of Viu, the awesome influence of great places of pilgrimage, and the divinities, saintly kings, and sages whose lives shine through eons of time, are very much alive and well in the Hindu religious imagination.

Time and Space

In contrast to Western teleological sensibilities, Indian thinking as exemplified in the Purāas envisions time as cyclical. The four ages or yugas (kta or satya, treta, dvāpara, and kali ), whose names are the same as those of the throws of dice, are said to repeat themselves in declining order. The Bhāgavata Purāa speaks of the sacred law (dharma ) as a cow possessed of four feet (austerity, cleanliness, mercy, and truthfulness), losing one after another in each declining age. The duration of the yugas is said to be 4,800, 3,600, 2,400, and 1,200 years of the devas (gods), with a dawn and twilight preceding and following each age. These 12,000 divine years are converted into human years when multiplied by 360, so the kaliyuga, for example, would last for 432,000 earth years. While some texts speak of world dissolutions at the end of a cycle of four ages, the majority of Purāas depict a thousand successive yuga cycles composing a day of Brahmā, or a kalpa, followed by the dissolution of the world, and a night of Brahmā, which is as long as his day. This entire system of days and nights is repeated for the lifetime of Brahmā, which endures for a hundred years, followed by another dissolution and the beginning of a new cycle.

Alongside of this cyclic system is one of fourteen manvantaras, each presided over by a different Manu, who is the progenitor of humanity. Most Purāas set the length of a manvantara as seventy-one yuga s, which leaves unaccounted for time and hence the speculation that two separate traditions were grafted together. The present age is said to be that of the seventh Manu and is described in all the Purāas as one of chaos and confusion.

Purāas offer vast spatial as well as temporal cosmologies, such as the one of infinite universes expanding and contracting from the pores of the great breathing Viu, who rests upon Anantaśea, the endless world serpent. In some texts a world egg is said to be at the center of a greater universe, surrounded by the five elements (earth, water, fire, air, and space), containing seven continents and oceans (including oceans of milk, sugarcane juice, and wine), seven higher planetary systems, and seven lower ones arranged around a central axis, Mount Meru, along with a series of heavens and hells. This Purāic universe is populated by a vast array of beings, including animals, humans, demons of the netherworlds, and a variety of divine and semidivine beings, including tree spirits (yakas ), celestial musicians (gandharvas ), nymphs (āpsaras ), and subterranean serpents (nāgas ) with luminous jewels on their heads.

The Religion of the PurĀas

There is no single religion of the Purāas, just as there is no one religious tradition of India, but religiosity is a primary characteristic of Purāic tradition. The complex religious narratives and discussions in the Purāas serve as the basis for a large variety of rituals, devotional liturgies, sacred dramas and poems, and sādhanas or spiritual practices. Again there is no one philosophical position that the texts take, but they combine theistic and nontheistic perspectives, sakhya cosmologies in which the world is seen as a challenging combination of matter and consciousness, yogic and meditative practices, and bhakti or loving devotion toward a personal divinity.

While one finds devotion to a number of deities, including Brahmā, whose cults have disappeared, Viu, Śiva, and Devī dominate the tradition. Yoga and ascetic traditions are generally associated with Śaivism, whereas bhakti or devotional ones are associated with Vaiavism. Śākta traditions that worship the Goddess in a number of forms, as well as Tantric traditions of immanent awareness and working with the elements of the phenomenal world, are also found in the Purāas.


Śiva, known as Mahādeva, the "Great God," is described as the one with a thousand forms, whose breath causes creation, preservation, and destruction. In other texts Śiva is identified as the cause of all causes and as the one appearing in many forms, including one that is half male and half female (ardhanarīśvara ), and as manifest in twenty-eight specific forms. As the Lord of Yoga, Śiva sits forever rapt in meditation. He also maintains a household relationship with his consort, the goddess Pārvartī. This tension between his ascetic and erotic natures, as noted by Wendy Doniger (1993), is the subject of numerous narratives, as is the relatively antisocial nature of Śiva, who is covered in ash and draped with serpents. Many Purāas recount narratives of the births and activities of the divine children of Śiva and Pārvartī, Skanda, the god of war, and the elephant-headed Gaeśa, the lord of obstacles. Śiva's great sign is the liga, a primordial phallic-looking form that signifies potency and divine power. The Liga Purāa, a most important text for the workshop of Śiva, discusses the liga as a supreme symbol of absolute reality.


Śakti, the divine feminine force, invoked under 1,008 names in the Kūrma Purāa (1.11) is often associated with Śiva. In other texts (Devībhāgavata, Devīmāhātmya, Mārkaeya Purāa ), however, the Great Goddess is worshipped as the Supreme Being.

The supremacy of the Goddess, who is created from the combined potency of all the gods, is portrayed in the celebrated story of the defeat of the Buffalo Demon, Mahia. The Devīmāhātmya, the first full-scale Sanskrit account of this narrative, which extends through various modalities throughout India, is part of the Mārkaeya Purāa. Although the Goddess is one, she is known by many names that indicate her different aspects and qualities, including Caikā ("Angry"), Ambikā ("Mother"), Nārāyaī ("Resting Place of Men"), Kālī ("Dark"), Bhagavatī ("Beneficent"), Durgā ("Protectress"), Vaiavī ("Related to Viu"), Gaurī ("Golden"), Lakmī ("Fortune"), and Śakti ("Potency").

The Devībhāgavata propounds the Śākta polemic that unlike other mārgas, or spiritual paths that demand renunciation as a prerequisite for spiritual attainment, the goddess offers worldly enjoyment (bhukti ) along with liberation (mukti ). As the mother of all beings, the Goddess sees no reason to deprive her devotees of anything. Hence, through her grace, she offers both to devotees, who simply need to acknowledge her as the source of all.


Glorified as the Supreme Being and as Creator but usually as the preserver and sustainer of the universe, Viu is envisioned as the all-pervading spirit and is worshipped with devotion. One of the most striking features of the Purāas devoted to Viu is the notion of avatāras, incarnations of Viu who descended into the world to accomplish particular missions. The lists of the avatāras are many, as are the variant concepts about them. There is a generally accepted list of ten principal avatars. Matsya (fish) appeared to rescue Manu, the seven sages, and the seeds of all existing beings from the rising waters and in the Bhāgavata Purāa is said to have saved the Vedas after they had sunk into the ocean of dissolution. This particular story has attracted a good deal of scholarly attention due to similarities with flood narratives from other cultures.

The appearance of Kūrma, the tortoise incarnation, revolves around the major Purāic legend of the churning of the milky ocean in which devas and auras, gods and demons, use the serpent Vāsuki as a rope for a tug-of-war in which the great Mount Mandara is churned on the tortoise's back. As the ocean is churned, deadly poison emerges and is drunk by the god Śiva (who is hence called Nīlakaa or "the blue throated one"). A series of treasures then emerges from the ocean, culminating in an elixir of immortality, which is spirited away from the auras by Mohinī ("the beguiling one"), a female incarnation of Viu.

Varāha, the boar incarnation, appears to save the earth, which had been thrown down to the muddy bottom of the universe by the demon Hirayāka. The notion of Viu appearing in animal forms is believed by some scholars to indicate the incorporation of earlier cults, while others see this phenomenon as an evolutive progression, mirroring the development of an embryo in the womb.

Narasiha ("man-lion") delivers the world from the powerful demon Hirayakaśipu, who sought immortality by receiving boons from the gods to be neither killed indoors nor outdoors, by human nor beast, by day nor night, nor by any weapon. Viu, appearing in a man-lion form, kills the demon at twilight, on a porch and with his long nails, and rescues his devotee, Prahlāda, as Hirayakaśipu's son. As in many Purāic narratives, the demonic mentality is portrayed as being desirous of immortality through egotism and power, a project that ultimately fails.

The above incarnations are said to appear in the kta yuga. In the next age (treta ), Viu appears as the brahman dwarf, Vāmana, before the demon king Bali, who had acquired dominion over the three worlds, and asks Bali for a boon of three steps. Assuming a huge form, Vāmana covers the entire universe and deprives Bali of his sovereignty while restoring order to the world.

Paraśurāma (Rāma with an ax), a brutal avatar, rids the world of the errant katriya race twenty-one times over. Rāma, the epitome of righteousness, appears in Purāic narratives not as a human king but as a divine incarnation of Viu. The avatāra of Ka is celebrated in the Viu Purāa and Bhāgavata Purāa as the supreme cause of all causes. His eternal consort, Rādha, perhaps hinted at in the Bhāgavata, is present in the Brahmaivrta Purāa. The celebrated tenth book of the Bhāgavata Purāa recounts the childhood and youth of Ka in stories that have been canonized by bhakti traditions, serving as the bases for poems, plays, and stories in regional languages throughout the subcontinent.

The kali age is said to begin with Ka's disappearance. Buddha appears later in this period as an avatāra of Viu preaching "heresy" to delude atheists and end the slaughter of animals. The addition of Buddha, whose doctrines pitted him against the brahman class, to this list marks a process known as Sanskritization, through which various deities and regional traditions are absorbed into the normative one. The final avatar of Viu, Kalki, will appear on a horse, bearing a sword, and will destroy all the demonic elements that have taken over the earth at the end of the kali age.

Within the variety of Purāic narratives of the various forms of the divine is the idea that the entire physical manifestation is an illusion, an appearance that is ultimately unreal, for the one reality, the brahman alone, is real. This supreme brahman is identified with different gods (usually Śiva, Viu, or Devī) as well as with the self (ātman ) in all beings in different Purāic texts. In some Purāas brahman is envisioned in a more dualistic sense as substantively alike but qualitatively different from the individual self. Hence to say that the Purāas are monistic or dualistic are partial visions, leading a number of theologians to put forth the idea of "inconceivably one and many." Nevertheless the Purāas are not always tolerant of the "many," with Vaiava- and Śaivaite-based Purāas frequently criticizing one another in the most severe terms.

Along with discussions of yoga and meditative sādhanas, Purāic devotional tracts contain chapters discussing images of worship or mūrtis. The word mūrti means "embodiment," and the worship, consecration, and installation of divine images involve specific rules and procedures. The worship of images, hymns of praise to various gods, and the practices of hearing and remembering the līlās, or plays of gods on earth, are all aspects of the bhakti tradition that comes to the fore in the Purāas. Bhakti, or "loving devotion," develops strongly in the Purāas and may well reflect cultural and social changes in Hindu traditions that were reconfigurating their relationship with brahmanical ceremony and ritual.

Future of the PurĀas

Purāas continue to emerge through contemporary translations in regional languages, including English, through ritual recitations and public performances, and through new innovative forms that continue to shape Hindu traditions. Cultures evolve and change by reconsidering their pasts. And indeed this is what a Purāa is, in its largest sense. Rather than seeing Purāas only as relics of medieval culture, one can understand them as the matrix of myth that people return to again and again to find new meaning through stories that draw contemporary attention even as they speak of what happened long ago.

See Also

Avatāra; Indian Religions, article on Mythic Themes.


Critically edited texts of the Mahāpurāas are available through the All-India Kashiraj Trust, including the Garua, Kurma, Vāmana, and Varāha. Many texts and translations are also available through Motilal Banarsidass Indological Publishers in Delhi, including the Agni, Bhāgavata, Brahmāa, Brahmavaivarta, Liga, and Nārada. The Bhaviya, Brahmā, Mārkaeya, Matsya, Padma, Skanda, Vāyu, and Viu are all translated and available in older versions.

There are a number of valuable secondary sources and studies of Purāas available. These include Cheever Mackenzie Brown, The Triumph of the Goddess: The Canonical Models and Theological Visions of the Devī Bhāgavata Purāa (Albany, N.Y., 1990); Thomas Coburn, The Devī Māhātmya: The Crystallization of the Goddess Tradition (Delhi, 1988); V. R. Ramachandra Dikshitar, The Purana Index (Delhi, 1995); Cornelia Dimmitt and J. A. B. Van Buitenen, eds. and trans., Classical Hindu Mythology: A Reader in the Sanskrit Purāas (Philadelphia, 1978; reprint, Delhi, 1988); Wendy Doniger, ed., Purāa Perennis: Reciprocity and Transformation in Hindu and Jain texts (Albany, N.Y., 1993); R. C. Hazra, Studies in the Purāic Records on Hindu Rites and Customs (Dhaka, Bangladesh, 1940; reprint, Delhi, 1987); E. H. Rick Jarow, Tales for the Dying: The Death Narrative of the Bhāgavata-Purāa (Albany, N.Y., 2003); Willibald Kirfel, Das Purāa Pañcalakaa: Versuch einer Textgeschichte (Bonn, Germany, 1927); F. E. Pargiter, Ancient Indian Historical Tradition (London, 1922; reprint, Delhi, 1969); Ludo Rocher, The Purāas: A History of Indian Literature, vol. 2., fasc. 3 (Weisbaden, Germany, 1986); and P. Flam et al., eds., and Heinrich von Stietencrom et al., comps., Epic and Purāic Bibliography (up to 1985): Annotated and with Indexes (Weisbaden, Germany, 1992).

E. H. Rick Jarow (2005)

Cite this article
Pick a style below, and copy the text for your bibliography.

  • MLA
  • Chicago
  • APA

"Purāṇas." Encyclopedia of Religion. . 15 Aug. 2018 <>.

"Purāṇas." Encyclopedia of Religion. . (August 15, 2018).

"Purāṇas." Encyclopedia of Religion. . Retrieved August 15, 2018 from

Learn more about citation styles

Citation styles gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).

Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.

Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, cannot guarantee each citation it generates. Therefore, it’s best to use citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:

Modern Language Association

The Chicago Manual of Style

American Psychological Association

  • Most online reference entries and articles do not have page numbers. Therefore, that information is unavailable for most content. However, the date of retrieval is often important. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates.
  • In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list.