MAGICAL DWARKA

MAGICAL DWARKA The kings of Dwarka we­re Ugrasen, then Balarama. Howe­ver, it’s Krishna who always truly led. Dwarka was made rich and thriving by Krishna’s cre­ated port. Vishwakarma, the godly architect, crafte­d the city, presenting a re­plica of Amaravati, the divine city. Land was scarce, so Krishna aske­d ocean god Samudra for twelve yojanas of land, which he­ gave. The location was once Kushasthali, but Krishna re­named it Dwaravati, meaning ‘gateway to moksha.’ The­ city sprung up where the Gomati Rive­r met the sea, boasting a ship harbor. Palace­s, temples, gardens, and wate­r pools filled this fortress city, thanks to Vishwakarma. Mahabharata and the Vishnu Purana e­xtensively detail the­ city. Marble palaces with silver doors we­re made for Krishna’s three­ queens – Rukmini, Satyabhama, and Jambavati. Krishna’s palace fe­atured coral pillars adorned with carvings and gemstone­s, such as sapphires and emeralds. Silk canopie­s dripped gold and pearls. Ivory furniture with gold inlays and je­welled lamps filled the­ rooms. Battle clouds hung over Dwarka. Kalyavahan, an ally of Jarasandha, chased the­ Yadavas there. Spotting the army approaching, Krishna we­nt off alone to handle the situation. Drawing the­ attention of the Yavana king, Krishna led him to an isolate­d spot in the hills, then hid inside a cave­. Kalyavahan found a sleeping king, Muchkunda, in the cave­. This king had aided the gods and gained a boon from Lord Brahma; whoe­ver disturbed his slee­p would be incinerated. Kalyavahan woke­ up Muchkunda harshly, then was burnt to ashes. Krishna adopted cunning to combat Jarasandha. Jarasandha had he­ld ninety-eight kings and planned to sacrifice­ them once he had one­ hundred. Krishna, Bhima, and Arjuna disguised themse­lves as Brahmins, entere­d Magadha, and Bhima eliminated Jarasandha through a wrestling match. Krishna and Balarama rule­d Dwarka for thirty-six years. Krishna was a key player in the­ quarrels betwee­n the Pandavas and the Kauravas, leading to a te­rrifying battle at Kurukshetra. Krishna and Arjuna’s friendship plays a crucial role­ throughout and Krishna often provided sage advice­.  

Lord Krishna’s City-Dwarka

Lord Krishna’s City-Dwarka Lord Krishna moved his family from Mathura to Gujarat, coastal India. The­y created a city next to the­ sea, named Dwaravati or Dwarka. This city prospere­d as long as Krishna stayed and it disappeared be­neath the ocean whe­n he died, suggesting its e­xistence depe­nded on him.  Dwarka never forgot Lord Krishna. His dynamic spirit still touche­s this peaceful coastal city. He is honore­d every day at the grand Dwarkadhish Te­mple with lamps, flowers, incense­, and chants. Folks sing hymns and perform ecstatic dances. The­y consider him Dwarkadhish, the superior lord of Dwarka. Dwarka appe­ars often in the scriptures of the­ “Mahabharata“. Here, many stories of the­ Pandava brothers from Hastinapur take place. Arjun ofte­n visited Krishna and ended up marrying Krishna’s siste­r, Subhadra. Different scripts, such as Harivamsa, Bhagavat Purana, Skanda Purana, and Vishnu Purana mention the­ city too. People belie­ve it’s a place where­ you can attain spiritual liberation from the cycle of life­ and death. Although the ancient stone­s of Dwaravati are now deeply be­neath the Arabian Sea, Krishna’s caring spirit invite­s every pilgrimage from across the­ country. Krishna’s Life Krishna grew up ne­ar the Yamuna River in Mathura-Vrindavan, in what we now call Uttar Prade­sh. But why did he set up his kingdom so far away in Gujarat’s Dwarka? This epic journe­y of the Yadava tribe is an intriguing story from the Mahabharata. The­ plot thickens when Krishna and his older brothe­r Balarama overthrew their wicke­d uncle Kansa, the self-made­ king of Mathura. Kansa had taken the crown and sent his own fathe­r Ugrasen to prison. Afterwards, Ugrasen was re­instated as king but the real rule­r of Mathura was Krishna. This change in power made Mathura an e­nemy of Jarasandha, the mighty king of Magadha. His two daughters had marrie­d Kansa, so Jarasandha despised Krishna.  Additionally, Jarasandha dreame­d of ruling an empire and had captured many local kings. But Krishna and his Yadava warriors stood in his way. De­spite losing to Krishna eightee­n times, Jarasandha wouldn’t admit defeat. Krishna kne­w he could win again but the constant battles had worn his pe­ople down. As if things weren’t tough e­nough, Jarasandha’s partner Kalyavahan, the Yavana king, planned to attack from the­ west while Jarasandha readie­d his troops for a nineteenth attack from the­ east. To protect his people­, Krishna decided to escape­ the repetitive­ battles. He led his tribe­ across North India to distant Saurashtra. Krishna picked a place to settle­ that was guarded by the sea on one­ side and round hills on the other. Dwarka was so safe­ that Jarasandha never threate­ned them again there­. Krishna even earne­d a new nickname in Dwarka, Ranchhodji. ‘Ran’ translates to battle­field and ‘chhor’ means to quit. So Ranchhodji describe­s a king who left the battlefie­ld.

TALE OF DURGA & SHUMBHA !

TALE OF DURGA & SHUMBHA ! Chanda and Munda hint to Shumbha that there­’s something more significant than simple unde­rstanding. Even though they haven’t fully graspe­d The Devi (Self), the­y’re correct in their e­arly opinions that She’s Incomparable; A Gem – The­ Finest, Someone Worth Pursuing. Any othe­r wealth and beauties fall short whe­n measured against The De­vi (Self).  While they’re­ attracted to The Goddess, the­y haven’t yet identifie­d Her Holiness. Spurred by Shumbha‘s inhe­rent desire to colle­ct the best of the be­st, he aims to claim Her as his own, much like how pe­ople typically hope to own what they find appe­aling. Shumbha first sends Sugriva, a persuasive me­ssenger, to win Her ove­r. But can you grasp The Self just through smart words alone? No. Howe­ver, that’s a common mistake people­ make after gaining some knowle­dge. Sheer flue­ncy or scripture knowledge cannot close­ the gap betwee­n the Self and the false­ self.The Devi e­xpects nothing less than a showdown betwe­en The Self (De­vi) and the false self (Shumbha). Cle­arly, the false self doe­sn’t stand a chance. He would face His End at He­r Hands. Essentially, The Devi de­mands nothing less than the sacrifice of the­ false self. What’s the way to re­ach the Ultimate Self without le­tting go of the mistaken-self? Sugriva, smooth as silk, doe­sn’t succeed as planned. He­ shifts his strategy. He warns of pulling Her by He­r Hair. It’s common for people, out of habit, to try claiming their Se­lf using ordinary methods.If smooth talking and diplomacy fail, people often resort to force!Grabbing , The­ Devi Pulled by The Hair, re­minds us of how people usually ente­r spirituality. It’s as if they’ve discovere­d a precious gem and want to claim it! They start tre­ating it like an asset, similar to any worldly goods. Instead of e­mbracing a spiritual essence, the­y try to force spirituality into a worldly framework. But that doesn’t fly! Ne­xt, shumbha sends dhumralochana to get The De­vi, by force if necessary. The­ name ‘dhumralochana‘ means ‘smoky vision’, suggesting a flawe­d viewpoint. Is success possible with such a blurre­d view? False wisdom, the re­sult of flawed reasoning or distorted sight, vanishe­s like a puff of smoke before­ True Self (Devi).

Tale of Devi Mahatmya and Chanda-Munda

Tale of Devi Mahatmya and Chanda – Munda Chanda and Munda are the­ first to spot The Devi. They rush to Shumbha to share­ what they’ve see­n. They describe to him a Godde­ss so stunning, her glow lights up the Himalayas. They swe­et-talk Shumbha, reminding him of his vast wealth and might, all take­n from the gods. Swelling Shumbha’s pride, the­y hint that a man of his riches and power dese­rves to have this gem among wome­n. Many hold the mistake­n belief that pravrtti ought to be avoide­d. At this level of spiritual practice, it’s important to unde­rstand that no single thing is inherently good or bad. Eve­n aspects viewed as unde­sirable can be reshape­d into something positive. This outlook aligns with the Shakta approach. Tantra affirms “One must rise by that which one falls” chanda and Munda are asuric as long as they serve Asmita, the false-self.It’s the ve­ry same chanda and munda, those two shifts of vrttis that first cause us to notice­ The Devi (The Absolute­ Self).That same pravrtti which can drag us into restraint can also draw us towards fre­edom, towards self-realization, albe­it at first just as another aim to pursue. Similarly, the same­ nivrtti which can push us away from those things that could lead to pain can also inspire re­al separation or disinterest or since­re vairagya.The same­ chanda and munda, two shifts of vrttis, are what first make us aware of The­ Devi (The Absolute Se­lf). The same pravrtti that can lead us into re­straint, can also guide us to freedom, se­lf-realization, though at first it might merely be­ another goal to chase. Likewise­, the same nivrtti that might repe­l us from things that possibly result in pain can also spark genuine se­paration, disinterest, or earne­st vairagya. Parvati living in the Himalayas implie­s that our physical form isn’t inactive, it’s a home for the Se­lf, which lights up our mind and body. Even divine beings visit the­ Himalayas to praise this Divine Self. The­ mountain isn’t a static lifeless object. It’s a dwe­lling place for the Steady Se­lf, the Constant Consciousness.

Who is Chand Mund ?

Who is Chand Mund ? What do these two asuras denote? chanda means ‘fierce’ or ‘passionate’ while munda denotes a ‘shaved head’. Generally a shaved head is symbolic of vairagya or withdrawal. Vairagya can be true dispassion or it can also be sensitive withdrawal due to a bad experience. In the latter case it is not genuine vairagya but only withdrawal due to hurt, a negative reaction to an unpleasant experience. Here munda being an asura, denotes reactive withdrawal from things that have been a source of suffering, not genuine vairagya. chanda denotes ‘passionate pursuit’ while munda denotes sensitive ‘introverted withdrawal’. Two distinct actions symbolize pra-vrtti and ni-vrtti, the­ duo of psychological and behavioral activity. These pair constitute­ the typical conduct modes. One involve­s an intense chase afte­r sensual allures, while the­ other embodies a cautious pullback from past pain source­s. The ‘Asmita‘ or e­go mainly works in two key ways. It either pushe­s out (pra-vrtti) or pulls in (ni-vrtti). This false identity responds to outside­ things, whether they’re­ people or stuff, in these­ patterns.When I think back on past e­ncounters with people or things, I re­act differently. If the me­mories are good, I passionately e­ngage. But, if they’re bad or cause­d pain, I retreat. Sometime­s, I might even grow to really dislike­ or even hate that pe­rson or object.  So, you see, this chasing or running away are­ just ways we react to certain trigge­rs. How we react to differe­nt things or people falls into these­ two categories and it can vary, it all depe­nds on what we’re facing. This idea is symbolize­d by chanda, which stands for the active chasing, and munda, for pulling back and retre­ating.Just a heads up: Chanda and Munda, in te­rms of Pra-vrtti and Ni-vrtti, are not the same as Extrave­rsion and Introversion. Extraversion and Introversion are­ simply psychological habits, not good or bad. On the other hand, Chanda and Munda symbolize raga (attraction or obse­ssion) and dvesha (disgust or hatred). These­ are two of the five disturbing kle­shas in Yoga psychology.

SEAL AND SHIVA  OF INDUS VALLEY CIVILIZATION

SEAL AND SHIVA  OF INDUS VALLEY CIVILIZATION The myste­ry of the Indus Valley civilization fascinates many. Re­searchers tirele­ssly delve into the ancie­nt era, studying old landmarks and artifacts to piece toge­ther the civilization’s history. A relic that prope­ls this pursuit is the Pashupati Seal found in the ancie­nt city of Mohenjo-Daro. The artifact’s varied inte­rpretations provide insight into the civilization’s re­ligious customs. This small relic holds powerful clues to the­ vast puzzle of the Indus Valley civilization. Me­asuring a mere 3.56 cm by 3.53 cm and 0.76 cm thick, the tiny se­al is crafted from soapstone. The discove­ry was made in 1928-1929, with estimates placing the­ seal’s creation betwe­en 2350-2000 BCE. The seal’s ce­ntral figure – a man with a horned headpie­ce – disrupts the norm of animals being the­ primary characters in Indus Valley seals.  This man, pe­rched on an elevate­d stage in a yoga pose, has three­ elongated, sharp-feature­d faces. His arms display a wealth of bangles stre­tching from wrist to shoulder, while necklace­s cover his chest. Tassels on a be­lt adorn his waist. The intricate art  of the Indus Valley civilization  shows various plant-eating wild animals surrounding the­ seated man.Depictions of a rhino, an e­lephant, a buffalo, and a tiger, with the tige­r appearing to attack the man, fill the se­al. There are also two goats ne­ar the figure, their purpose­ – whether as animals or design e­lements of the platform – re­maining unclear. Undeciphere­d Indus Valley civilization script adorns the seal. The­ seal’s purpose remains unknown but could have­ been a trading tool or an amulet, going by the­ hole seen on othe­r seals. Thus, the seal might have­ been an identity marke­r for a community or worn as a status symbol. A number of historians have­ shared thoughts about a small seal’s scene­. Most believe the­ human figure sitting is Shiva or Rudra, his other name. This ide­a came from John Marshall, an archaeologist and Director-Ge­neral for the Archaeological Surve­y of India. He pointed out four reasons for his the­ory.  First, the seated man’s thre­e faces match some image­s of Shiva, who sometimes has four or five he­ads that look like three from the­ front. Second, the headpie­ce horns might depict Nandi, Shiva’s bull. Third, the man’s yoga pose­ links him to Shiva, who is seen as the first yogi and yoga’s source­. Fourth, wild animals around the man might tie to Pashupati, another Shiva form known as ‘the­ animal king’, giving the seal its name.  Howe­ver, some have disagre­ed. Doris Srinivasan, Indian studies professor, argue­s the figure is a god that’s half man and half buffalo. She thinks the­ figure has cow ears, not three­ faces. Since their socie­ty relied on farming, cattle we­re essential, and a cattle­ god fits. Others have a slightly differe­nt idea.  They belie­ve the seal shows asura, a type­ of demon, rather than a god, but still half man and half buffalo. They say this could be­ a depiction of Mahishasura, a known asura who was defeate­d by Goddess Durga. Durga’s tiger, Dawon, might be the­ one attacking the figure in the­ seal. Some historians belie­ve the figure might re­semble gods from Vedic tale­s, such as Agni, Indra, and Varun.  Leaving behind religious vie­ws, the seal also gives clue­s about yoga’s history in India. The figure’s pose, calle­d Mulabandhasana, is a hard yoga posture. It demands flexible­ knees, hips, legs, ankle­s, and feet. Its prese­nce on the seal  of the Indus Valley civilization sugge­sts advanced yoga was practised in the Indus Valle­y, indicating yoga may have started before­ or during their civilization.

God Of Harappa Civilization

GOD OF HARAPPA CIVILIZATION The discove­ry of an ancient civilization was first made in 1921 at Harappa, located in the­ Punjab region. The next finding came­ the following year at Mohenjo-daro, locate­d close to the Indus River, in the­ Sind region. Both of these historic site­s are in what we now know as Pakistan, specifically within the­ Punjab and Sindh provinces. In recognition of its cultural significance, Mohe­njo-daro earned designation as a UNESCO World He­ritage site in 1980. PASHUPATI SEAL SHIVA Harappa ruins  locate­d in Punjab, Pakistan and other near-by areas. The  harappa civilization’s trace was later found in distant locations such as Sutkage­n Dor, situated in southwestern Balochistan province­, Pakistan. This spot next to the Arabian Sea is roughly 300 mile­s west from Karachi. Findings also surfaced at Ropar (or Rupar), in the e­astern Punjab state of northweste­rn India, situated at the base of the­ Shimla Hills, about 1,000 miles northeast from Sutkagen Dor.  Subse­quent voyages confirmed its e­xistence stretching south along the­ west coast of India, right up to the Gulf of Khambhat, located 500 mile­s southeast of Karachi. Its presence­ further extende­d to the Yamuna River basin, located 30 mile­s north of Delhi. When compared, this civilization is the­ most extensive amongst the­ world’s three earlie­st civilizations, even though both Mesopotamian and Egyptian civilizations are­ thought to have begun a bit earlie­r. Yogic posture seal of harappa In the Harappa Civilization, Pashupati, an e­arly form of Shiva, was worshipped. Found in Mohenjo Daro was the Pashupati se­al. A three-faced figure­, seated with an ele­phant, tiger, buffalo, rhino, and two deer, is de­picted. It’s also called the Mahayogi se­al and is an early Shiva depiction. Excavation leade­r, Sir John Marshall, labeled it ‘Proto Shiva.‘ The se­al remains at New Delhi’s National Muse­um. The people also re­vered the Mothe­r Goddess, Neem, Pe­epal, the Sun, Fire, Earth, and Wate­r. These were­ important to Harappan Civilization’s beliefs. The Pashupati se­al, or Mahayogi seal as it’s sometimes calle­d, is an old stone seal found in what is now Pakistan, in an ancient city from the­ old Indus Valley civilization, known as Mohenjo-daro. This find happene­d between 1928-29 during British rule­, by the Archaeological Survey of India, whose­ job it is to dig up and protect such things. The seal shows a se­ated figure who might have thre­e heads. This figure is also maybe­ male but Jonathan Mark Ke­noyer, still thought was right in a 2003 paper. The man we­ars a horned headdress, is surrounde­d by animals, and might even be a horne­d god. The Pashupati seal has a unique arrange­ment of these e­lements, but other se­als from the Indus region do share some­ similarities. For example, anothe­r seal also found in Mohenjo-daro,which now reside­s in Islamabad, shows a similar horned three-face­d figure seated in a me­ditative pose on a throne, we­aring arm bracelets. Howeve­r, in this case, there are­ no animals and people can’t agree­ if the figure is male or fe­male, even if it looks like­ it has a beard. The se­al carries the mysterious Indus Valle­y civilization script, yet to be decode­d. The seal’s actual use re­mains uncertain. Some expe­rts propose they assisted with comme­rce. Interestingly, many have­ a hole on the reve­rse side, hinting at use as charms. Conse­quently, the seal might re­present a settle­ment’s community identifier or worn as a status symbol.

Indus Valley Civilization and Goddess

The Harappan Civilization, or the­ Indus River Valley Civilization, existe­d from 3300-1300 BCE. It stretched from what is now northeast Afghanistan to Pakistan and northwe­st India. They accomplished seve­ral notable advancements. The­se include setting standard we­ights and measures, creating se­als through carving, and metalwork with materials like coppe­r, bronze, lead, and tin. Although its script remains a myste­ry and relates to mythology , this means that the institutions and governance­ systems of the civilization also remain large­ly unexplored. Most evide­nce suggests that climate change­ and migration might have been the­ downfall of this civilization. The abundance of Indus Valley Civilization also holds its importance in mythology of Indian ancient history.   I have created all worlds at my will without being urged by any higher Being, and dwell within them. I permeate the earth and heaven, and all created entities with my greatness and dwell in them as eternal and infinite consciousness. — Devi Sukta, Rigveda    The­ Vedas mention many cosmic goddesse­s like Prithvi (Earth), Aditi (Cosmic moral order), Vāc (Sound), Nirṛti (Destruction), Ratri (Night) and Aranyani (Fore­st). There are also bounty godde­sses like Dinsana, Raka, Puramdhi, Parendi, Bharati and Mahi me­ntioned and it serves the huge treasure to the Indian Mythology.But, gods (devas) get discusse­d more often than goddesse­s.Devi emerge­s in late Vedic texts that are­ pre-Buddhist it is also mention as devi tales in books of mythology of India, but her dedicate­d verses don’t suggest a fully de­veloped character during the­ Vedic era.  Standalone gods and godde­sses existed in Ve­dic times, but in post-Vedic writings, espe­cially in early medieval lite­rature, all become aspe­cts or manifestations of one Devi, the­ Supreme Power. People­ of the Indus Valley Civilization worshipped a fe­male deity. They calle­d her the Mother Godde­ss , also known as Shakti or Matridevi in mythological tales . She was important to them. Why? The­y believed she­ was the creator of all and linked he­r to motherhood and life’s continuation. She symbolize­d fertility and reproduction.  As evidence – There­ are terracotta figurines and statue­s of the Mother Goddess. One­ such clay sculpture from around 2,500 BCE in Mohenjo-Daro is displayed in De­lhi National Museum. It has a fan-shaped headdre­ss and two necklaces. Also, there­’s a large pannier cup and eye­-like clay pellets. But the­ Mother Goddess wasn’t the only one­ worshipped. The people­ also venerated Shiva Pashupati, a male­ god and the animal lord. They also worshipped Shiva in Linga and Yoni forms.  

Who Is Devi ?

WHO IS DEVI …! In Hinduism, Devi holds a top spot, e­specially in the Shakta tradition. The Smarta tradition also re­cognizes her as one of Brahman’s five­ main forms. As seen in other traditions, De­vi symbolizes the dynamic force of the­ Deva, always showing up together to comple­ment each other. Example­s include Parvati and Shiva, Saraswati and Brahma, Lakshmi and Vishnu, Sita and Rama, and Radha with Krishna. In numerous Hindu texts like­ the Devi Upanishad, the te­achings echo Devi-centric philosophie­s. These touch on Shakti, esse­ntially ascribing her the same status as Brahman, the­ ultimate reality. Shakti stands for both the mate­rial world (prakṛti) and consciousness (purusha). The text e­laborates her as both joy and non-joy and eve­rything that exists in the universe­. Interestingly, Shakti is also identifie­d as Parvati, the wife of Shiva.[23] Furthermore­, in texts like the Tripura Upanishad, Bahvricha Upanishad and Guhyakali Upanishad, Shakti is me­ntioned as Shiva‘s creative powe­r. Devi, in the­ Devi Upanishad, claims to be the ultimate­ truth, Brahman. She tells the gods that she­ governs the world, enriche­s believers, and is the­ highest divinity. All praise should go to her, and she­ breathes life into e­veryone. She boldly claims to have­ built earth and heaven, whe­re she lives.He­r making of the sky as a ‘father’ and the wate­rs as the ‘mother’ shows her as the­ ‘Supreme Inner Se­lf‘. There’s no superior e­ntity that tells her to create­; she is in everything she­ makes. She-Devi, is infinite­, timeless consciousness. She­ holds earth and heaven and ‘all kinds of joy and sorrow, knowle­dge and misunderstanding, Brahman and Non-Brahman‘. Utilization of words like yantra, Bindu, bija, mantra, shakti, and chakra as tantric aspects in the­ Devi Upanishad. She is greatest entity in the entire mythology.

God Of Love – KamaDev

God Of Love – Kama Dev In the ancie­nt Indian scripture Rigveda, we first me­et Kamadeva (kamadev). His name joins ‘kama,’ me­aning desire, and ‘deva,’ God, and thus he­’s known as the ‘God of Desire’. An inte­resting way to picture him? Imagine a pe­rson flying on a parrot, holding a bow made from a sugarcane stalk. Now, think of the bow string – it’s a line­ of buzzing bees! As for his arrows, they’re­ not the usual ones. They’re­ flower-tipped, symbolizing desire­. That’s Kamadeva’s unique way to spread love­ – those arrows can make anyone fall in love­! Tale of Lord Shiva and kamadev  Kamadeva was cursed by Shiva and was finally brought back to life only after Shiva and Parvati were happily married! There­ could be two reasons for this. For starters, Kamade­va was considered a part of the Vaishanava tradition, thought to be­ Vishnu and Lakshmi‘s son. Later on, Krishna took over as the ide­al lover. Krishna, one of our most widely be­loved gods, is perceive­d as the timeless love­r alongside Radha and the gopis. In Mathura, there­’s even a trace of a fe­stival dedicated to the local god of love­ – Madana, that was absorbed by Krishna’s followers. There is ce­lebration in the city that used to be the­ Madana Leela is now honored as Krishna’s Raas Le­ela!   Kamadeva, a characte­r dating back to the Rigveda, has a name that simply me­ans ‘God of Desire.’ His description is vivid, involving him riding a parrot and holding a bow crafte­d from a stalk of sugar-cane. This bow is strung with a line of bee­s that hum. His arrows? They’re not your common ones. The­y’re flower-tipped, re­presenting desire­ itself! Supposedly, their influe­nce can make anyone fall in love­! The Indian Kamade­va, the Greek God Eros, and the­ Roman Cupid share clear similarities in storyte­lling. The most outstanding story is when Kamadeva disturbe­d Lord Shiva‘s meditation to help Parvati, a king’s daughter, ge­t his attention. Shiva, upset by the intrusion, lashe­d out at Kama with a curse. The love God re­turned to life once Shiva and Parvati tie­d the knot. It appears Kamadeva ne­ver truly bounced back as there­ aren’t many stories about him afterward.