Dashavatara: Tracing Vishnu’s Ten Avatars Through Myth and Art

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By Zeel Sundhani

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    • Yadā yadā hi dharmasya glānir bhavati Bhārata,

    Abhyutthānam adharmasya tadātmānaṁ sṛjāmy aham. (4.7)

    Paritrāṇāya sādhūnāṁ vināśāya ca duṣkṛtām,

    Dharma-saṁsthāpanārthāya sambhavāmi yuge yuge. (4.8)

    The above verse is from the Bhagvad Gita, where Krishna explains to Arjuna, “Whenever righteousness declines, O Bharata and unrighteousness rises, at that time I manifest myself. For the protection of the virtuous, the destruction of the wicked and the establishment of dharma, I appear age after age.”

    This declaration beautifully encapsulates the purpose of the Dashavatara. Each incarnation of Vishnu arises as a response to the crisis of adharma, restoring balance in the universe and guiding humanity across the ages. The Dashavatara, beyond being stories of divine intervention, also symbolise the eternal principle of dharma, the cosmic order that must be restored whenever imbalance arises. Each of the ten avataras of Vishnu is also a timeless truth, that the divine continually adapts to protect creation and guide humanity. When seen together, the ten avatars narrate the journey of life itself, from the cosmic waters to the establishment of civilization, ethics and spiritual wisdom.

    The Dashavatara or the ten incarnations of Lord Vishnu, has been one of the most popular themes in Indian art, which is highly religious in nature. Mythological themes such as this painters, sculptors and temple architects for centuries. Each avatar of Vishnu, from the primal Matsya (fish) to the regal Kalki (the future horse-rider), embodies the divine intervention that restores cosmic balance in times of crisis. Artistic depictions of these avatars not only narrate mythological tales but also reflect the cultural, regional and stylistic diversity of India, which variations in beliefs of what the ten avataras actually are. Viewing the Dashavatara through traditional, folk and tribal art will thus open a window into how mythology, philosophy and aesthetics converge in the visual imagination of India. Through this blog, let’s delve into the story of each incarnation of Vishnu and its iconography and representation in traditional Indian art.

    Matysa 

    The first of Vishnu’s ten incarnations is Matsya, the great fish. As the legend goes, a pious king named Satyavrata was performing his daily prayers when a tiny fish swam into his hands, pleading for protection. The king placed it in a jar, but the fish grew so rapidly that it had to be moved to a pond, then to a river and finally to the ocean. Realizing this was no ordinary fish, Satyavrata bowed in devotion, when the fish revealed itself as Lord Vishnu. Matsya warned the king of an impending flood that would engulf the world and instructed him to build a large boat. When the flood came, Satyavrata, along with the seven sages, medicinal plants and seeds of life, boarded the vessel. Matsya, with a great horn, towed the boat safely through the stormy waters, ensuring the preservation of creation. After the flood subsided, Satyavrata was reborn as Vaivasvata Manu, the progenitor of humankind in the present age, entrusted with repopulating the earth and guiding the new cycle of life. 

    As shown in the below Mata ni Pachedi, Surpur, Mysore and Madhubani artworks, Matsya is depicted with the upper body of a human being, showing Vishnu holding his four attributes - Shankha (conch), chakra (discus), gada (mace) and padma (lotus) and the lower body of a fish. 


    Vishnu Matsya Avatar Mata Ni Pachedi By Dilip Chitara For Home Decor

    Vishnu in Matsya Form: Surpur Art by Krishna Prakash

    Aquatic Reverie: Matsya Avatar and Dancing Fish Mysore Painting by Hemalatha B

    Matsya Avatar of Vishnu, Madhubani Painting by Ambika Devi

    Kurma 

    The second incarnation of Vishnu is Kurma, the great tortoise, that came into being during the event of the Samudra manthana. When the gods (Devas) and demons (Asuras) sought the nectar of immortality, they churned the cosmic ocean of milk, (Ksheerasagara), using Mount Mandar as the churning rod and the serpent Vasuki as the rope. But as the mountain began to sink into the depths, the churning came to a halt. At that moment, Vishnu took the form of a gigantic tortoise and bore the mountain upon his sturdy back, providing a stable pivot for the great churning. Supported by Kurma, the ocean yielded many treasures, like Kamadhenu, the celestial cow; Uchchaihshravas, the divine horse; the goddess Lakshmi and finally amrita, the nectar of immortality. Through this act, Vishnu as Kurma ensured the continuation of cosmic balance by helping both gods and demons in their quest for immortality, though ultimately securing victory for the Devas.

    As seen in the below Kalamkari painting depicting the churning of the ocean, the Kurma avatara is painted at the center, as a tortoise shell with a human face, blue in color to represent Vishnu.

    Samudra Manthan: The Churning of the Cosmic Ocean in Kalamkari by Harinath N

    Varaha

    The third incarnation of Vishnu is Varaha, the mighty boar. According to legend, the demon Hiranyaksha dragged the earth goddess Bhudevi to the depths of the cosmic ocean, plunging the world into darkness and chaos. To restore balance, Vishnu assumed the form of a colossal boar and plunged into the waters. With his tusks, Varaha lifted the earth from the depths and carried her safely back to her place in the cosmos. A fierce battle followed, in which Varaha slew Hiranyaksha, re-establishing order and saving creation. 

    As seen in the below Kalamkari painting, the boar, Varaha, is seen rescuing the earth in the form of Bhudevi and crushing the defeated demon Hiranyaksha. He is depicted in the form of a human with a boar face with two tusks, that he uses to lift Bhudevi out from the depths of the ocean. 

    Varaha Avatar saving the Earth in Kalamkari by Kanukurthi Guna Sekhar Sai

    Narasimha

    The fourth incarnation of Vishnu is Narasimha, the fierce man-lion. The demon king Hiranyakashipu, brother of the slain Hiranyaksha, gained a boon that made him nearly invincible. According to the boon, he could not be killed by man or beast, inside or outside, during day or night, on earth or in the sky or by any weapon. Blinded by arrogance, he persecuted devotees of Vishnu, including his own son Prahlada, a boy of unwavering faith. To protect Prahlada and uphold dharma, Vishnu took the incarnation of Narasimha - half-man, half-lion. At twilight (neither day nor night), he emerged from a pillar in the palace, dragged Hiranyakashipu to the threshold (neither indoors nor outdoors), placed him on his lap (neither earth nor sky), and tore him apart with his claws (not a weapon). Through this terrifying form, Vishnu destroyed tyranny and protected his devotee, showing that divine justice always prevails.

    As seen in the below Kalighat Patua painting and Surpur artwork, Narasimha is shown in the form of a lion-faced human, with sharp claws and fierce expressions, with the demon Hiranyakshipu lying on his lap, and Narsimha tearing him apart with this claws. 

    Roaring Divinity: Kalighat Patua Painting Unleashes Narsimha's Power by Hasir Chitrakar

    Narsimha in Surpur Art by Krishna Prakash

    Vamana 

    The fifth incarnation of Vishnu is Vamana, the dwarf sage. The demon king Bali, grandson of Prahlada, gained immense power through devotion and sacrifice and conquered the three worlds. Though righteous in many ways, his growing ambition and greed threatened the cosmic balance. To curb this excess, Vishnu appeared as a humble Brahmin dwarf and approached Bali during a great sacrificial ritual. Vamana asked only for as much land as he could cover in three steps. Amused by the small request, Bali agreed. Suddenly, Vamana grew into the cosmic form of Trivikrama, and placed his three steps. With the first step he covered the heavens, with the second the earth. With nowhere left for the third step, Bali offered his own head. Pleased with his humility and devotion, Vishnu spared Bali and granted him rule over the underworld, while restoring balance to the cosmos.

    In art, Vamana is usually depicted as a diminutive Brahmin dwarf holding an umbrella and water pot, approaching King Bali during his sacrifice or his transformation into the cosmic Trivikrama, striding across the heavens with one raised leg spanning the universe, a powerful image of divine majesty. 

    The Story of Ravana and Lord Vamana: Divine Protection and Grace

    https://www.bhagavatam-katha.com/ravana-story-ravana-meet-vamana/

    Parashurama 

    The sixth avatara of Vishnu is Parashurama, the warrior sage. Born to sage Jamadagni and Renuka, he carried an axe (parashu) gifted by Shiva. At that time, the world was dominated by arrogant Kshatriya rulers who abused their power. To restore balance, Parashurama undertook a fearsome mission of ridding the earth of the oppressive kings twenty one times, ensuring the protection of dharma. Though fierce in battle, he remained a Brahmin sage, symbolising discipline, justice and divine wrath against tyranny.

    Parashurama is portrayed as a fierce Brahmin warrior with matted hair, carrying his signature axe (parashu) gifted by Shiva. He is often shown in battle with Kshatriya kings or in calmer depictions as a sage with a bow and axe, embodying both spiritual discipline and martial power. His imagery bridges the ascetic world of the sage and the heroic realm of the warrior, making him unique among Vishnu’s avatars.

    Parashurama 

    https://www.indiatodayne.in/visualstories/webstories/little-known-facts-about-lord-parashuram-93870-26-01-2024

    Rama

    The seventh incarnation is Rama, prince of Ayodhya and the hero of the Ramayana. Revered as Maryada Purushottam, the perfect man, Rama is remembered not only for his devotion to dharma but also for his role as an ideal son, brother, prince, husband, warrior and king. Exiled for fourteen years, he upheld his duty without question. After defeating the demon king Ravana and rescuing his wife Sita, Rama returned to Ayodhya and established Rama Rajya, an era of justice, prosperity and harmony where every subject was cared for and truth prevailed. His reign became the timeless ideal of righteous governance in India. He is celebrated as the model of a king who places duty, fairness and the welfare of his people above personal desire.

    In Indian art, Rama is often depicted with blue skin, symbolising his divine nature and shown as a prince holding a bow (Kodanda) and arrow, usually accompanied by Sita, Lakshmana and Hanuman. As seen in the below Kalamkari, Phad, Kalighat and Bengal Pattachitra paintings, he is commonly portrayed in exile, as a warrior or enthroned as the ideal king. His serene expression, regal posture and the presence of his companions emphasize his role as a devoted dharmic prince and a just ruler.

    Rama Ayodhya Kalamkari Painting by Harinath.N

    The Divine Darbar: Rama's Coronation in Kalamkari by Mannasamudram Viswanath Reddy


    Divine Devotion: Lord Rama and Lakshman with Lord Hanuman in Phad by Kalyan Joshi

    Serene Ramayana (Rama, Sita and Laxman) in Kalighat by Hasir Chitrakar

    Rama and Sita in Bengal Pattachitra by Manoranjan Chitrakar

    Krishna 

    The next incarnation is Krishna, one of the most beloved figures in Indian tradition. From his playful childhood in Gokul and Vrindavan, stealing butter and enchanting the gopis with his flute, to him as a cowherd, to his role as a king and the strategist and guide in the Mahabharata, Krishna’s life is filled with divine episodes. He killed demons and tyrants like Kansa, revealed the Bhagavad Gita to Arjuna on the battlefield of Kurukshetra and upheld dharma in times of chaos. Krishna symbolizes both divine play (leela) and cosmic wisdom.

    In Indian art, Krishna is depicted with blue or dark complexion, highlighting his divine and cosmic nature. He is commonly shown as a playful child (Bala Krishna) stealing butter, as a young cowherd (Gopala) with a flute surrounded by gopis, with Radha, as lifting the govardhan mountain, as a king, as Shreenathji, Dwarkadhish, as the charioteer and guide of Arjuna in the Mahabharata and much more. His iconography often includes a peacock feather in his hair, a flute in his hands and scenes of divine leela. 

    Radha-Krishna's Sacred Love in Kalighat Painting by Bapi Chitrakar

    Check out our collection of Krishna artworks here 

    Balarama 

    In certain regional traditions, especially within Vaishnavism, Balarama, the elder brother of Krishna, is regarded as the ninth avatar of Vishnu. Born to Vasudeva and Rohini, he embodies immense strength and is often depicted wielding the plough (hala) and the mace (gada). Balarama symbolizes both martial power and fertility of the land, linking divine strength with agricultural prosperity. He represents the force that upholds dharma through physical might and the nurturing of life.

    In art, he is typically shown beside Krishna, distinguishable by his fair complexion and agricultural emblems, marking him as a protector of both people and the earth, as seen in the below Pichwai paintings or as a child, with Yashoda and Krishna as seen in the Pattachitra painting. 

    The Grand Godhuli Aarti (Sandhya Aarti) in Pichwai by Naveen Soni

    Sandhya Aarti in Pichwai by Shehzaad Ali Sherani

    Story of Motherhood Unveiled The Bal Krishna Yashoda and Balram At Mandapa - Pattachitra Painting by Apindra Swain for Home Decor

    Daanleela in Pichwai painting by Jayesh Sharma

    Buddha 

    In many traditions, the ninth avatar is identified with Gautama Buddha, the enlightened one. Vishnu incarnated as Buddha to guide humanity away from violence and ritual sacrifice, turning them instead toward compassion, meditation and the path of truth. Through his teachings of the middle way (majjimapatipada), the Four Noble Truths (chatur-aarya-sacchani) and the Eightfold Path (asthangika-marga), Buddha offered a path to liberation rooted in inner awakening. This avatar represents the divine as the teacher of wisdom and non-violence.

    In Indian art, Buddha is typically depicted in a serene meditative posture, seated under the Bodhi tree or standing with elongated earlobes, a gentle smile and an ushnisha symbolising enlightenment. His hands are often shown in symbolic mudras like the dharmachakra (teaching) or abhaya (protection) gestures, reflecting compassion, wisdom and spiritual awakening. 

    Lord Buddha in Sikki Grass work by Suraj Kumar Sahu

    Check out our entire collection of Buddha paintings here 

    Read these blogs to know more about the depictions of Buddha in Indian art forms - 

    Kalki 

    The tenth and final incarnation, Kalki, is yet to appear. Described in the Puranas as a radiant warrior riding a white horse and wielding a blazing sword, Kalki will descend at the end of the present age of darkness, the Kali Yuga. He will destroy evil, cleanse the world of corruption and bring in a new cycle of truth and righteousness, the Satya Yuga. Kalki symbolizes the hope of renewal and the eternal cycle of cosmic time.

    Source - https://in.pinterest.com/pin/624030092132902123/ 

    Dashavatara and Evolutionary Theory

    Modern scholars often draw parallels between the sequence of Vishnu’s incarnations and Darwin’s theory of evolution. The avatars can be read as a metaphorical progression of life on earth: The Matsya (fish) shows that life begins in water. The Kurma (tortoise), represents the  transition from water to land. The Varaha (boar), shows the emergence of terrestrial animals, while the Narasimha (man-lion) highlights the evolution of early primates, bridging beast and man. Vamana (dwarf), shows the rise of early humans, small yet intelligent. Parashurama symbolises humans mastering tools and weapons like the axe and Rama ushers in the age of a complex society with concepts of kingship, law and social order.Krishna and Balarama show the pastoral and agricultural nature of society, along with development of philosophy, culture and the complexities of human society. Buddha symbolises spiritual awakening, compassion and wisdom, while Kalki, in the future, shows humanity’s renewal, a symbolic hope for transformation and higher evolution. This can also be compared to other folk and tribal versions of creation myths in India, as well as creation and destruction myths all over the world, as well as their artistic representations. 

    Through this lens, the Dashavatara can be seen as both myth and metaphor, a sacred framework that encodes not only the cycles of cosmic time but also the stages of life and civilization. It bridges mythology, philosophy and even modern science, offering a universal vision of growth, struggle and renewal. These ideas can be seen in different traditional Indian artforms in the depictions of the Dashavatara as a whole, as highlighted in the below Kalamkari,Pattachitra, Madhubani, Mata ni Pachedi, Phad and Kavad paintings. 

    Dashavatara Kalamkari Painting by Siva Reddy

    Dashavatar - Pattachitra Painting by Apindra Swain for Home Decor

    Dasha Avatar of Vishnu in Madhubani by Ambika Devi

    Vishnu Avatar Mata Ni Pachedi By Dilip Chitara For Home Decor

    Dashavatar, Phad painting by Kalyan Joshi

    Vishnu Ji: Kavad Painting by Dwarka Prasad

    Thus, the concept of Dashavatara is more than a sequence of mythological tales, it is a living philosophy that is woven into Indian art. From Pattachitra scrolls and plates to , the ten incarnations of Vishnu embody the eternal cycle of decline and renewal, reminding us that the divine adapts to preserve cosmic balance. Whether understood as sacred narratives of dharma or as symbolic parallels to the evolution of life, the avatars continue to inspire reflection on humanity’s journey with its struggles, responsibilities and hopes for the future. In art, they are not merely images of gods but visual meditations on resilience, justice and transformation, eternal truths that remain as relevant today as in the ancient world. 

    To know more about Dashavtara in Indian art, give our other blog a read 

    References - 

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