Vana was the king of Daityas, a class of demons.

Because of his earnest prayers and

tapasya he had won a boon from Lord Shiva that he would remain invincible to all,
both on heaven and earth. Whats more, Lord Shiva promised to protect Vana himself,
should the need ever arise. Totally secure and sure of his safety, Vana gradually
grew wild and started misusing his powers to trouble others. Everyone knew about
the boon Lord Shiva had granted him. Some were wary of him and tried to avoid him
since it was impossible to conquer him. The others accepted his supremacy. So Vana
was left with no one to fight with. He soon began to feel that life was flat and
dull since there was no one left to conquer.

Vana had a beautiful daughter named Usha. Her great friend and constant companion
was Chitralekha, the daughter of her fathers minister. Chitralekha was a very
talented artist and could draw anyones portrait most accurately. As Usha grew up
she began to wonder who her husband would be. She did not like any of the Daitya
princes or her fathers young friends.

Then one night something strange happened, something that changed Ushas life for
ever. She dreamed of a wonderfully handsome prince who sat beside her and smiled at
her, looking deep into her eyes. Usha fell in love with him instantly and woke up
to find that it was only a dream. But something deep within her told her that this
dream meant something significant and that such a prince must exist somewhere.

Usha was no longer her old self. Her love for the dream prince was so real and so
all pervasive that she could think of nothing and no one else. She went around in a
kind of trance, longing for him and missing him with all her heart. Her friends
teased her about it. More so, when they realized that she had no idea who he was
and had merely seen him in her dream.

Come on, Usha, wake up! said her friends. You cant take a dream that
seriously.

I cant help it. I can think of nothing else said Usha looking miserable, I know
he must exist somewhere. I also know that I cannot live without him, whoever he
is.

But thats the whole point! You dont know who he is. You dont know his name, the
family he belongs to or where he lives said her friends. How on earth will you
ever find him? Where will you begin? You know absolutely nothing!

I know all that. Nevertheless, I have to find him. I have already accepted him in
my heart as my husband and shall wed no other said Usha in a determined voice.

The others laughed and thought she had gone crazy. But Chitralekha realized how
serious Usha was and decided to make an attempt to find out if such a person really
existed.

If I were to draw portraits of all the young kings and princes, and if your dream
prince happens to be one of them, would you recognize him from my portrait? asked
Chitralekha.

Of course said Usha without any hesitation. I remember him so clearly. But can
you really draw portraits of all the princes? There must be so many of them!

I must try said Chitralekha. Its the only way to find out if he is real or just
a dream.

Then please do said Usha. I shall be eternally grateful to you if you can find
him for me.

Chitralekha got busy from the very next day, drawing portraits of one king after
another. At night she would take the entire lot to Usha. Usha looked at them
eagerly but turned them all down with a heavy heart. Again Chitralakha got busy
drawing the next lot. Then one night, as Chitralekha took up the portraits she had
been drawing all day, Usha picked up the first portrait listlessly. Then she sat up
eagerly and looked at it again. Who is this? she asked Chitralakha. It is not my
prince but it reminds me of someone.

It is Krishna, the prince of Dwarka said Chitralekha, People say that he is the
reincarnation of Lord Vishnu.

Show me the next one said Usha. Chitralakha handed it to her.

Usha frowned, trying to recall something. Strange! This person reminds me of

someone too. Who is he?

It is Pradyumna, Krishnas son.

It is not my prince though he does remind me of him. I wonder why said Usha.

How about this one? asked Chitralekha handing her yet another portrait.

Usha looked at the portrait and stood as still as a statue.

Well? asked Chitralekha looking at her curiously.

Who . is . he? whispered Usha hardly able to speak.

It is Aniruddha, Pradymnas son. He is the grandson of Krishna said Chitralekha.

He is the prince of my dreams cried Usha.

Are you quite sure? asked Chitralekha.

As sure as I am alive. I remember these very eyes looking at me, these very lips
smiling at me, these very hands holding my own. It is he, Chitralekha, the one I
have been waiting for all my life said Usha. Now that I know that he really
exists, I shall die if I cannot marry him. Please, I beg of you, bring him to me.

Chitralekha frowned as she walked up and down. She knew how impossible it was to
meet Aniruddha and more impossible still to bring him here. Dwaraka, where
Aniruddha dwelt with his father and grandfather, was surrounded by hills and deep
moats. Anyone wishing to go there secretly would have to scale seven steep walls
and conquer a regular army of guards. Over and above all these, there was the
invincible chakra of Krishna revolving across the skies of Dwarka destroying all
that came across it. It was absolutely certain that anyone coming from the land of
daityas would not be admitted to the hallowed kingdom of Dwaraka. Chitralekha told
Usha all about it but Usha was not convinced. I dont care how tough it is. If you
love me and are my true friend, then bring him to me here.

I shall try. But I dont have much hope of success. I fail to see how I can ever
get inside the city walls of Dwaraka remarked Chitralekha.

But true to her promise, Chitralekha started on her hazardous journey keeping her
friends happiness in mind. She was just wondering how she should go about it when
something unexpected happened. Something that made her task not just possible but
really easy. She caught sight of sage Narada passing by, veena in hand, singing the
glories of lord Vishnu. Chitralekha rushed to him and fell at his feet.

Narada blessed her and asked where she was going and that too all alone.
Chitralekha told him the whole story and begged for his help. Narada smiled and
told her, So be it. I shall grant you a special power that will enable you to
reach not just Dwaraka but the place where Aniruddha is at the moment. You will not
only be able to tell him about your friend Usha but also bring him back to your own
kingdom with you.

Chitralekha touched his feet again, this time in heartfelt gratitude. Narada went
away playing on his celestial veena. A smile still lurked on his lips. As you may
remember, Narada had a naughty streak in him which enjoyed watching people getting
into a fight. He realized that all this was going to bring on a real tough fight
between the Yadavas and the Daityas. And it was going to entertain him no end!

Chitralekha soon found herself within the gates of Dwaraka, just as Narada had said
and found to her surprise that no one made the slightest attempt to stop her. She
also heard people mention and point out in which palace prince Aniruddha was to be
found. It was already evening and the grand hall was gorgeously decorated. A group
of musicians played exquisite music while a beautiful dancer performed at the
centre. Prince Aniruddha sat in front, watching the performance listlessly. He
looked unhappy and his thoughts seemed to be wandering. Chitralekha walked up to
him and told him in a whisper who she was and where she had come from. She also
told him about Ushas strange dream and that she was here at Ushas request.

Aniruddhas face lit up. Is she real, then? The beautiful princess of my dreams? I
had seen that dream too and I have been able to think of nothing else ever since.

She is just as real as you are said Chitralekha laughing, And whats more, she
says she will wed no one but you. That is why I have come to take you to her.

Can you really take me to Usha? I have no idea about where your kingdom lies said
Aniruddha looking worried.

Neither of us need to worry about that said Chitralekha, thanks to Sage Naradas
blessings, we shall reach there as soon as you are ready to leave.

Then let it be this very moment said Aniruddha eagerly, I cant wait to see her
again.

Chitralekha closed her eyes and prayed once again for sage Naradas help and true
to his promise, they soon found themselves right inside Ushas palace.

In the mean time, Usha had been feeling both sad and worried. She had no real hope
of Chitralekha actually making it to Dwaraka or of finding her prince. She blamed
herself bitterly for having made her go and feared that she might be in danger now.
She could hardly believe her eyes when she saw Chitralekha walking into her room
with prince Aniruddha.

At last! said Aniruddha smiling at her.

At last! said Usha looking into his eyes.

Go and fetch the garlands. Blow the conch-shell said Chitralekha to her other
friends, We must see to the wedding of Usha and Aniruddha since her father might
not consent to her marrying him. Everyone rushed round getting things ready
quietly. Usha and Aniruddha exchanged garlands and went through a gandharva
wedding where no priest is necessary.

But Usha and Aniruddhas happiness was short-lived because the news that there was
a strange man in the palace of princess Usha soon reached her fathers ears. Vana
was quite mad with rage and ordered his soldiers to go and capture him at once. But
like his father Pradyumna and grandfather Krishna, Aniruddha was also a great
fighter. When challenged to face the soldiers of Vana, Aniruddha soon defeated them
single-handed. The soldiers of Vana fell like ninepins and soon there was no one
left to fight him. On getting the news Vana appeared himself at the battlefield.
But Aniruddha faced him bravely and wounded him so severely that Vana soon
realized that there was no way he could defeat Aniruddha. At least not in straight
and open warfare. So he resorted to a trick and got snakes to bind up his hands,
feet and his entire body so that Aniruddha could not move at all.

In the mean time, Narada went to Dwaraka and informed the Yadavas what had
happened. Both Krishna and Pradyumna had been worried by the sudden disappearance
of Aniruddha. Knowing that he was the prisoner of Vana they set forth to fight him
and release Aniruddha. Once they reached the kingdom of Vana a great battle raged
between the two sides. Lord Shiva, who had granted Vana his power, came to assist
him along with Kartikeya. The fight was now between Lord Shiva and Krishna, the
incarnation of Lord Vishnu.

Krishna set off a magic missile that made Lord Shiva yawn so much that he was
hardly able to hold his weapon in his hand. And Garuda bit Kartikeya so badly that
he too was unable wield his weapon and was forced to leave the battlefield.
Balarama, Krishnas elder brother, pitched in with his plough, setting armies of
daityas slumping down in pain. Pradyumna, Aniruddhas father fought steadily at
another end.

When Vana saw that there was hardly any soldier left to fight for him he came to
fight Krishna himself, holding all his powerful arms in his hundred hands. Each of
them tried the most lethal weapons in their collection and the fight soon took on
an alarming dimension. Finally Krishna let off his invincible Sudarshan Chakra. It
could not kill Vana as Lord Shiva himself had granted him life, but the chakra cut
off Vanas hundred arms before returning to Sri Krishna.

Seeing Vana stripped off all his power, Lord Shiva walked up to Krishna and took
his hands in his.

Krishna, do forgive Vana. After all, it was I who had granted him the boon that he
could conquer everyone on earth. That is why he got so wild and unruly. But I think
he has now learned his lesson. Please forgive him for my sake

Krishna smiled and said, Very well, it shall be as you wish. Since Vana has been
enjoying your blessings and protection all this while, he shall enjoy mine as
well.

As Krishna walked up to the place where Aniruddha lay in a swoon strangled by

snakes, Garuda followed him there. The snakes left Aniruddha and fled in fear at
the sight of Garuda. Aniruddha sat up and opened his eyes. He was amazed to see his
grandfather and father who embraced him tenderly.

Vana came to them soon after and begged Krishnas pardon and Pradyumnas too. In a
moment all hatred was forgotten and all bitterness, swept aside. Everyone merrily
joined in the celebration where Usha and Aniruddha were married once again with
great pomp and splendour. After that the entire party left for Dwaraka with the
newly wed bride and groom, where a great welcome awaited them

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https://accessunderline.wordpress.com/2014/04/30/nemiraj-shetty-usha-aniruddha-
myth-and-depiction/

The myth of Usha-Aniruddha, one of the most enticing love stories has figured in
most of the Puranas with minor variations in each. The earliest account of this
myth is found in the Vishnu Purana. This legend is always been a source of
inspiration for the writers and poets in different languages of not only our
country but also the nations of south-east Asia. It is said that this legend
reached Indonesia in the 6th century AD. The Tep Pranam inscription of
Yashovarman datable to 889-900 AD refers to this episode.one of the bas-reliefs of
the famous Angkor Wat temple in Kampuchea depicting this story is the earliest
sculptural representation (dated to the 12th century AD) available.

This legend forms the subject of elegant miniature paintings, of which an abundant
collection is found in the Pahari ones. One such series of 18th century drawings in
the style of Kangra kalam, is housed in the Kasturibhai Lalbhai Museum, Ahmedabad.
Further, a series of eight paintings of Kangra School (1830 AD) is possessed by the
Baroda Museum. Quite a few unfinished paintings and drawings on this theme are
reproduced in the Boston Museum Catalogue. The reputed art historian, Karl J
Khandalawala noticed another series from Chamba (c 1850AD)painted by Ramlal. A few
paintings in the early Kangra style painted by Ram Sahai (1770-75 AD) can be in
Bhuri Singh Museum, Chamba. Raja Kelkar Museum of Pune preserves a set of folk
paintings called Paithan Chitrakathas of the 19th century. The Jaipur museum owns a
few earliest illustrations of this story which is found in Razm Nama of the Mughal
period dated to 1585 AD.
The myth narrates as below:

The Dashama Skanda of the Bhagawata Purana, a comparatively later text speaks of
Lord Krishna having 16,108 wives. Rukmini, one of the eight principal queens has a
son Pradyumna the eldest among nine others who marries Rukmavati, the princess of
Rukmi.

Aniruddha, son of Pradyumna and Rukmavati, marries Usha, daughter of Banasura, the
king of Sonitapura and a devotee of Shiva. On the occasion of Ushas marriage with
Aniruddha a terrible combat took place between Hari and Hara in which Banasura lost
his thousand arms.

Banasura was the eldest of the hundred sons of Bali, a descendent of Brahma. He was
generous, intelligent, true of word and firm in observance of vows and pleased his
God playing on musical instruments while Shiva performed the tandava nritya. By
pleasing Shiva he wanted to acquire all the three worlds. Shiva found it stupid and
cursed him: when your flag staff (with peacock ensign) shall be broken down
automatically, a combat with someone equal to me will take place and it will
humiliate your pride.

Usha, a virgin who was in her early teens, having seen Parvati sporting with Shiva
wished for a similar dalliance. The beautiful Gauri knowing Ushas intention said
to Usha he who shall appear to you, in a dream in the twelfth lunation of the
light half of Vaisakha will be your husband. In the Shiva Purana, Usha intends to
assume the form of Parvati to sport with Shiva. Visually, the Chamba artists give a
clear picture of these events.

As said by Gauri on the twelfth day of the bright half of Visakha, a young man, who
Usha had never seen or heard of enjoyed sexual pleasure with her in her dream. As
described in the Shiva Purana, Aniruddha was sent to the palace of Bana by Parvati
while Usha was fast asleep. After an intercourse with Usha, he was forcibly carried
back to Dwaraka, the capital city of Lord Krishna by the attendants of Parvati by
means of their power.

In Brahmavairavata Purana Parvati caused Aniruddha to crave for Usha by sending her
a dream vision. Chitralekha, Ushas sakhi was the daughter of Kubanda, a minister
of Bana. In the episode Usha suddenly woke up from her dream world bewildered and
murmurs: where are you my beloved lord? and Chitralekha questions her knowing
that she did not have any suitors till that day. Then Usha narrates her dream to
her trustful sakhi that she has seen an unknown man of dark complexion, lotus-eyed,
endowed with long arms wearing a yellow garment, captivating the hearts of women.
She continued that she had been seeking the man who had thrown her to the sea of
misery.

By the help of the description of Usha Chitralekha being an artist and endowed with
yogic power drew the portraits of gods, celestial beings and princes. Out of them
she drew vrishnis: Ugrasena, Vasudeva, Balarama and Krishna. When Usha came across
the picture of Krishna, she was delighted. When she saw the face of Pradyumna she
felt embarrassed and at last when she found the portrait of Aniruddha she exclaimed
with great enthusiasm that he was the man of her dream.

In the process of hunting for Aniruddha, Chitralekha described the difficulties I

reaching Dwaraka. By the time Usha refers to the magical powers of her friend,
Pradyumna mentioned that Chtralekha was Mayavati who went to Dwaravati where she
met Narada and by the help of Narada she bore sleeping Aniruddha and brought him to
Sonitapura as a present to her beloved friend.
Usha lost her virginity. Bana was informed by his servants that Usha had cast a
stain on his family. In Brhmavaivarta Purana, the guards of the hero inform about
Ushas pregnancy. But in Shiva Purana, Bana himself goes to the palace of Usha to
meet her where he finds Aniruddha playing dice with his beloved daughter.

In the Laotian verstion of the myth, Usha-Aniruddha, Prince of Pa Rot (Aniruddha)

was transported asleep to the palace of Usha by the guardian deities of the forest
and after having lived for seven days he is carried back by the gods to the tree
under which he was found sleeping. Here, the Laotian version agrees with the Shiva
Purana according to which Parvatis attendants carry him back to Dwaraka.

He Laotin myth says that having observed certain changes in Ushas body the guards
of the palace suspect that she is pregnant. This event is parallel to the one in
the Bhagawata Purana. And according to Vishnu Purana and Harivamsa Purana, the
presence of a young man in Ushas chamber was reported to the demon king by the
guards of the spies of palace.

On seeing pretty daughter chatting with a stranger, Bana became arrogant. He sent
his soldiers to beat him up. Seeing the fierce looking soldiers and angry Bana,
Aniruddha could not hold his emotions. He attacked them with an iron-bat. When the
powerful Bana himself could not control Aniruddha he bound him down with nagapasha
or serpent noose and kept in cage.

The Sabhaparvan of Mahabharat with details similar to Harivamsa Purana refers to

Bana, the votary of Shiva who oppressed all the gods. Aniruddha became unconscious
because of the torture in prison.

In Harivamsa Purana, Bana spared the life of Aniruddha on the advice of Kubhanda;
whereas in Shiva Purana as a result of Aniruddhas prayer goddess Kali broke the
cage with blows form her fists and reduced the serpenting arrows as ashes. Thereby,
Aniruddha gained access to the palace of his beloved.

The Padma Purana says that Aniruddha killed the soldiers with pillar of the palace
which he had uprooted in his defence. One late 18th century Chamba painting agrees
with Padma Purana description. But in this painting Aniruddha holds a spear instead
of a pillar while Usha watched the fight from a window of her palace.

After four months of the incident Krishna learnt from the reports of Narada about
Aniruddhas valorous fight and imprisonment.

Krishna marched against Sonitapura with his army on his vahana, Garuda. Balarama
and Pradhymna followed him armed with their exclusive weapons. Narada played a
mediators role in showing the way to Krishnas army.

Bana resisted against an equally strong army. Shiva also appeared there surrounded
by pramathas and accompanied by his son Skanda riding his big bull and fought
against Balarama and Krishna for the sake of his devotee. The combat that raged
between Pradyumna and Kartikeya was tumultuous, astounding and horrifying. There
was an encounter between Balarama with Kubhanda and Kupakarna and duel between
Saamba and the son of Bana and between Bana and Satyaki. The Gods and the celestial
beings came in their aerial car to witness the wonderful battle. Shiva discharged
various kinds of missiles against Krishna and Krishna neutralised each. At last
Krishna stupefied Shiva by making Sankara yawn and lethargic with Jrumbhanastra and
slaughtered Banas army. Skanda being pierced by all sides lay enraged, by the
streams of arrows discharged by Pradyumna, bleeding in every part of the body
retreats from the battle on the back of his peacock. Noticing his army shattered
and scattered, Bana became extremely enraged, left his combatant Satyaki and
attacked Krishna. Krishna simultaneously snapped all Banas bows killed his
charioteer and blew the victory conch.
The Razm Nama illustrates the war between Banasura and Krishna in which Banasura is
carried in chariot puled by horses. A similar scene is depicted in the early
Kangra miniature.

Banas deity Kotara with desire to protect the life of her son, appears completely
naked in front of Krishna with locks of her hair dishevelled. Unable to look at
her, Krishna turns his face. Meanwhile Banas chariot is broken and depleted. When
the chariot of Bana broke all the army of bhutas of Bana flew away. The mighty
jvara (fever) of Shiva having three heads and three feet appeard in the battle
front before Krishna. On seeing the jvara of Shiva, Krishna let loose his own
jvara. Both the Shaivite jvara and Vaishnavite jvara fought with each other. The
Shaivite jvara lost himself and sought refuge with Krishna.

Bana continued the fight. While Bana discharged his missiles, Krishna amputated Baa
with the Sudhrshan Chakra. The arms of Bana, except two fell like the branches of
the tree.

Shiva liberated himself from the influence of jrumbhanastra, approached Krishna

having accepted his own defeat and requested him to protect Bana just as Vishnu did
in the case of Prahlada. To curb Banas arrogance Krishna chopped his hand leaving
only four and the army was annihilated because it was a burden to the earth.

In the Shiva Purana due to the Shaivite orientation in the war between Hari and
Hara, Krishna was defeated in the battle along with his fever. After his defeat
Krishna bowed to Shiva saying: O, Lord it is your bidding that I have come here to
cut off the hands of Bana. This haughty Bana is cursed by you then, on the
suggestion of Shiva, Krishna overpowered Shiva by using the jrumbhanastra where he
cut all the arms of Bana except four.

The Brahmavaivarta Purana describes the final march of Bana with Skanda, Ganesha
and others; attempts of Shiva-Parvati to dissuade Bana; arrival of Bali, the votary
of Vishnu to request Krishna to spare the life of Bana.

In Harivamsa Purana, there is a description of battles of Krishna and Bana which is

similar to Vishnu Purana and Bhagawata Purana. Two additional details given in this
are Garudas fights with Mayura, the vahana of Bana but in this fight Mayura is
defeated by Garuda. It can be seen in a Chamba painting. According the some
versions of Harivamsa Krishna made Bana two armed.

The Padma Purana gives a fight between tapa-jwara of Shiva and sita-jwara of
Krishna. Instead of the yawning weapon, Krishna used mohanastra against Shiva.
After cutting the thousand arms Krishna spared his life on the request of Shiva an
Parvati.

After the war ended as described in the Bhagawata Purana, Bana brings Aniruddha
along with bride Usha out of nagapasha. In the Vishnu Purana Krishna meets
Aniruddha where he is confined. The snakes that bound were destroyed by the breath
of Garuda. Then Krishna placed Aniruddha along with Usha upon the celestial bird
and returned to Dwaraka with all his men.

The citizens of Dwaraka received them warm heartedly. In the conclusion of the
legend, the Shiva Purana mentions several boons granted by Shiva to Bana.

The Agni Purana giving a brief account of this legend, mentions that Bana became a
son of Shiva by his penance and the story is similar to Harivamsa Purana. And some
of the versions of Harvamsa state that Krishna offered the kingdom of Banasura to
Kubhanda and performed the wedding of Usha and Aniruddha at Sonitapura.
In general, the Puranas do not mention any successor of Bana. But the Shiva Purana
refers to the son of his daughter as his successor. In a Kangra painting of 1830
they are at the end of their journey to Dwaraja. Usha, Chitralekha and the other
paricharikas of Usha are carried by Mayura and Aniruddha with Krishna, and Balarama
following them mounted on Garuda. The ladies of the place including Rukmini and
Satyabhama received them while the Gods and celestial beings watched from heaven.

In the Laotian version of the myth, the whole genealogy is altogether different. A
16th century text, Brah Kuttd Brah Ban or the story of Banasraoffers us a new
source material for the study of diffusion and transformation of the Brahminical
culture in Laos.

In the version, there is no mention of Shiva and Krishnas fight, instead, Krishna
or Kutd Naray kills the eight-headed Bana. Here, Indra and Sujata take birth as
Aniruddha and Usha on the earth and play their respective roles in the destruction
of the wicked Bana, who committed adultery with Sujata.

This myth is also seen in the literary works of other parts of South-East Asia. The
19th century Hindi poet Jivanla Nagar provides a new background to the birth of
Usha. In his view Usha was the daughter of Parvati who was born out of the dirt of
her left limb and Ganesha as her brother came out of the dirt of right limb. There
Usha was the adopted child of Bana who created havoc.

Generally in the Vaishnavite text, Krishna is the winner and if it is a Shaivaite

text, Shiva the winner. But the artists took their own freedom while narrating the
story and built up the environments which they had visualised. It is also obvious
that from the Razm Nama onwards, in all the miniature paintings, artists portrayed
the people of Bana as beasts with their teeth coming out or sometimes with horns.
Somehow this story has often affected the people trying to create the supremacy
according to their own inclination towards the particular cult