Varuna

For the possible dwarf planet, see 20000 Varuna. For other uses, see Varuna (disambiguation).

Varuna
God of Order, Truth, Water and the Sky (Vedic) God of Water, Lakes, Rivers and Oceans (Puranic)
Member of Adityas and Dikpala
Sculpture of Varuna at the 11th-century Rajarani Hindu temple.
Affiliation	Vedic: Asuras, Devas, Adityas Puranic: Devas, Adityas, Dikpalas
Abode	Ocean
Planet	Neptune
Mantra	Oṃ jala bimbāya vidmahe nīla puruṣāya dhīmahi tanno varuṇaḥ pracodayāt Oṃ Varunāya Namaḥ
Weapon	Noose, Varunastra, Gandiva
Mount	Makara
Genealogy
Parents	Kashyapa (father) Aditi (mother)
Spouse	Varunani (chief consort) Gauri Charshani Jyeshtha
Children	Sushena Vandin Dakshasavarni Manu Vasishtha Pushkara Bala Sura Andharmaka Kali (Jaya and Vijaya's father) Varuni (daughter)
Equivalents
Greek	Poseidon
Norse	Njörðr
Roman	Neptune

Varuna (/ˈvɜːrʊnə, ˈvɑːrə-/; Sanskrit: वरुण, IAST: Varuṇa) is one of the earliest diety in Hinduism, whose role underwent a significant transformation from the Vedic to the Puranic periods. In the early Vedic era, Varuna is seen as the god-sovereign, ruling the sky and embodying divine authority. He is also mentioned as the king of asuras, who gained the status of a deva, serving as the chief of the Adityas, a group of celestial deities. He maintains truth and ṛta, the cosmic and moral order, and was invoked as an omniscient ethical judge, with the stars symbolizing his watchful eyes or spies. Frequently paired with Mitra, Varuna represents the magical and speculative aspects of sovereignty, overseeing the relationship between gods and humans.

The transition from the Vedic to later periods saw Varuna's domain begin to shift from the firmament to waters. He became associated with celestial waters, marking the initial phase of his transformation. By the time of the Itihasa-Purana, Varuna had transformed into the lord of all waters, ruling over oceans, rivers, streams, and lakes. Depicted as residing in a magnificent underwater palace, akin to Poseidon in Greek mythology, he is attended by river goddesses like Ganga and Yamuna. Varuna’s earlier supremacy diminished, and he was relegated to a lesser role as a dikpala, or guardian of the western direction. He is depicted as a youthful man, mounted on Makara (crocodile-like creature) and holding a Pasha (noose, rope loop) and a pitcher in his hands. He is depicted having multiple wives and children, most notable of the latter being the sage Vasishtha.

Varuna is also mentioned in the Tamil grammar work Tolkāppiyam, as Kadalon the god of sea and rain. He is found in Japanese Buddhist mythology as Suiten. He is also found in Jainism.

Etymology

In Hindu tradition, the theonym Váruṇa (Devanagari: वरुण) is described as a derivation from the verbal root vṛ ("to surround, to cover" or "to restrain, bind") by means of a suffixal -uṇa-, for an interpretation of the name as "he who covers or binds", in reference to the cosmological ocean or river encircling the world, but also in reference to the "binding" by universal law or Ṛta.

Georges Dumézil (1934) made a cautious case for the identity of Varuna and the Greek god Ouranos at the earliest Indo-European cultural level. The etymological identification of the name Ouranos with the Sanskrit Varuṇa is based in the derivation of both names from the PIE root *ŭer with a sense of "binding" – the Indic king-god Varuṇa binds the wicked, the Greek king-god Ouranos binds the Cyclopes. This derivation of the Greek name is now widely rejected in favour of derivation from the root *wers- "to moisten, drip" (Sanskrit vṛṣ "to rain, pour").

In Vedic texts

Samhita

Rigveda

In the Rigveda, Varuna is portrayed as one of the most prominent deities, mentioned in many Rigvedic hymns, such as 7.86–88, 1.25, 2.27–30, 8.8, 9.73 and others, although he is the central focus of only ten hymns. His presence is characterized through four primary aspects: as a universal monarch and sovereign of the sky, as the upholder of ṛta (cosmic order), as associated with water (āpah), and as linked with māyā (cosmic illusion or power).

The Rigveda features Varuna as the god-king of the sky. He is described as a divine king with pure strength, abiding in the celestial firmament, where he sustains a radiant mass of light. He is credited with creating the sun’s path and is invoked to dispel suffering, liberate from sin, and shield from evil (nirṛti). His realm includes the movement of constellations and the moon, which obey his divine ordinances. His omniscience is central to his identity: he observes all actions through celestial spies, residing in a thousand-gated palace upon a golden throne—symbols of his pervasive awareness and authority.

In Rigveda 1.25, Varuṇa is praised as one who knows the path of birds in flight and the movement of ships, the flow of winds, and the secrets of time and space. His intimate knowledge of the world extends to both the sacred and the profane. He is described as sitting among the gods as a sovereign, guiding the world through his holy will and ensuring righteousness. Rig veda 10.123 says Hiranyapaksha (golden winged bird) as the messenger of Varuna. The golden winged messenger bird of Varuna may not be a mythical one but most probably flamingos because they have colourful wings and the sukta further describes Vulture as the messenger of Yama, the beaks of both these birds have similar morphology and flamingos are seen nearby seashores and marshlands.

Varuna’s most profound role is as the guardian of ṛta, the principle of cosmic and moral order. Rta governs the harmony of the universe, from the movement of celestial bodies to human ethics. Rgveda VII.11.1 reflects this: maham asyadhvarasya praketo na rte tvadamrtam madayante (“Great is his sacrifice’s beacon; without you, O Rta, the immortal gods do not rejoice”). Varuna enforces ṛta with vigilance, punishing those who violate it while offering mercy to the repentant. His hymns contain ethical injunctions against killing, cursing, gambling, or deceit (Rgveda VII.65.3, II.29.8), highlighting his role as a moral arbiter. The worshipper seeks his forgiveness for transgressions, aware of Varuna’s dual nature—wielding “weapons to destroy the sinner” yet possessing “a thousand remedies” (Rgveda I.41.8). His ordinances are said to be founded "as on a mountain—unshaken." The hymns speak of ṛta as divine law, truth, sacred custom, and cosmic order, similar to Confucian ideas of harmony and stability. This order is neither abstract nor impersonal but is actively maintained by Varuṇa through his divine insight and moral authority. Closely related to ṛta are the concepts of vrata and dharman. Vrata in the Varuna hymns includes both divine commands and ethical imperatives. It reflects the dual aspects of cosmic and human law, encompassing the realm of the gods and mortals. Dharma, often appearing in masculine or neuter forms in the Rigveda, is sometimes synonymous with sacrificial rites, religious law, or ethical conduct. In several instances, it becomes nearly indistinguishable from vrata, emphasizing fixed principles or codes of behavior. Together, ṛta, vrata, and dharman are intimately tied to Varuṇa’s theological role. He is described as Rivan, the guide of moral order, and Pūtadakṣa, the possessor of pure will. These elements combine to represent a fully developed concept of divine law and ethical accountability in early Vedic religion.

The hymns also explore the idea of sin (ṛṇa) as the transgression of Varuṇa's law. These wrongdoings are often attributed to human frailty rather than willful disobedience. Causes of sin include intoxication, anger, gambling, bad influences, and even dreams. In some hymns, individuals express remorse not only for personal sins but also for those committed by ancestors, indicating an early concept of inherited guilt. Despite his stern role as the enforcer of law, Varuṇa is also depicted as a compassionate deity. Worshippers appeal to his grace, seeking forgiveness and protection. Although he possesses weapons to punish sinners, he also holds a thousand remedies. Varuṇa is invoked to dispel fear, protect from inauspicious dreams, thieves, and wild animals, making him both a judge and a healer.

His relationship with water is mentioned in the Vedas as being both cosmological and symbolic. He is the presiding deity of Apah, the primeval waters that represent the cosmic matrix of creation. Rgveda VII.49.4 invokes these waters: yasa raja varuno yasa somo visve deva yasurja madanti…sta apo deviriha mamavanda (“May the divine waters, where Varuna, Soma, and all gods rejoice, protect me”). These waters are celestial, self-produced, and purifying, flowing toward the ocean or existing as the “hidden ocean” Varuna embodies (Rgveda VIII.41.8). In Vedic cosmology, Apah signifies the potentiality of becoming, and Varuna’s lordship over them underscores his role in creation and sustenance. He is also called sindhapati (lord of the sea) alongside Mitra (Rgveda VII.64.2), emphasizing his aquatic sovereignty. The Rigveda and later texts describe the primeval waters as the source of creation, containing the cosmic womb and generating the universe. Additionally, Varuna, as the presiding deity of these waters, represents the mysterious link between matter and spirit, the finite and the infinite. In later Vedic and Brāhmaṇic literature, Ap—the waters—are portrayed as Varuna’s consorts, representing prakṛti (primordial matter). The Gopatha Brāhmaṇa refers to Virāj as Varuṇa's wife. The waters are also addressed as devyāḥ, or divine energies, signifying their sacred role in the cosmos. This further explains why Varuṇa is sometimes called Asura, not in the later demonic sense, but as the possessor of māyā and vital force (asu).

Varuṇa’s association with māyā—the power of concealment and creation—is another profound dimension of his Vedic portrayal. In Vedic literature, māyā denotes the divine capacity to bring about transformation, often compared to magical or creative power. Varuṇa uses māyā to ordain ṛta, to shape the cosmos, and to sustain the laws of the universe. Hymns praise the great māyās of Varuṇa, describing him as the one who, residing in the mid-sky, measures the earth with the sun as a rod. Mandala VIII, Hymn 41, elaborates on this power, describing how Varuṇa embraces the night and supports the entire universe. Through māyā, Varuṇa becomes not only the enforcer of order but also the architect of creation.

Varuṇa is specifically associated with the western direction in Vedic rituals, and a black ram with one white foot is designated for his sacrifice, symbolizing his dominion over night and cosmic concealment.

Combined descriptions

The compound term Mitra-Varuṇa is frequently invoked in the Rigveda, reflecting the dual principles of moral and cosmic order. They are asked to sit together in the northern direction of the sacrifice, indicating their cooperative guardianship over law and ritual. Together, Mitra and Varuṇa bring rain, uphold ṛta, and ensure the continuity of natural cycles. Varuna and Mitra are the gods of the societal affairs including the oath, and are often twinned Mitra-Varuna. Both Mitra and Varuna are classified as Asuras in the Rigveda (e.g. RV 5.63.3), although they are also addressed as Devas as well (e.g. RV 7.60.12). Varuna, being the king of the Asuras, was adopted or made the change to a Deva after the structuring of the primordial cosmos, imposed by Indra after he defeats Vritra.

Mitra-Varuna are conceived as young, they wear glistening garments, are monarchs and guardians of the whole world and their palace is golden, with a thousand pillars and a thousand doors. They support (and are frequently invoked next to) heaven and earth, and the air between heaven and earth. They are lords of rivers and seas, and they send rain and refreshment from the sky. They wet the pastures with dew of clarified butter (ghee), and rain abounding in heavenly water comes from them. Their domain has streams that flow with honey, and their pastures have cattle that yield refreshment. They afflict those that disregard them with disease. They are asuras, and (like all asuras) wield their power through secret knowledge (māyā́), which empowers them to make the sun traverse the sky, and to obscure it with clouds. Their eye is the sun, and they mount their chariot in the highest heavens, which they drive with the rays of the sun as with arms. They have spies that are astute and undeceivable. They are maintainers of order (ṛtá, “truth”), they are barriers against falsehood, which they punish. They once both emitted their semen into a pitcher at the sight of nymph Urvashi, from which the sages Vashishtha and Agastya were born.

According to Doris Srinivasan, a professor of Indology focusing on religion, Varuna-Mitra pair is an ambiguous deity just like Rudra-Shiva pair. Both have wrathful-gracious aspects in Indian mythology. Both Varuna and Rudra are synonymous with "all comprehensive sight, knowledge", both were the guardian deity of the north in the Vedic texts (Varuna later gets associated with west), both can be offered "injured, ill offerings", all of which suggest that Varuna may have been conceptually overlapping with Rudra. Further, the Rigvedic hymn 5.70 calls Mitra-Varuna pair as rudra, states Srinivasan. According to Samuel Macey and other scholars, Varuna had been the more ancient Indo-Aryan deity in 2nd millennium BCE, who gave way to Rudra in the Hindu pantheon, and Rudra-Shiva became both "timeless and the god of time".

Yajuraveda

In the Yajurveda, Varuṇa retains an exalted position as the guardian of ṛta (cosmic order) and the sovereign of waters. He is portrayed as the moral overseer who casts his noose (pāśa) upon transgressors and is also invoked as a healer—specifically, the physician and lord of physicians. His association with herbs in the Ṛgveda expands here into a role closely aligned with health and medicine, a theme later developed in the Purāṇas and Ayurvedic tradition. In Vajasaneyi Samhita 21.40 (Yajurveda), Varuna is called the patron deity of physicians, one who has "a hundred, a thousand remedies". His capacity and association with "all comprehensive knowledge" is also found in the Atharvaveda (~1000 BCE).

Varuṇa dwells in the celestial waters, described as pure, nourishing, and referred to as “the best of mothers.” These waters represent not only physical elements but also the primeval matter (Mahatsalilam), linked to Aditi, the cosmic mother and embodiment of creative power. Varuṇa, as their lord, becomes a symbol of cosmic law, creation, and protection.

As in earlier texts, Varuṇa is invoked with reverence and fear—his noose symbolizing guilt and conscience. Devotees seek his forgiveness, praying to be released from sin and restored to harmony with ṛta. The Yajurveda also preserves the concept of his “three bonds,” which metaphorically bind sinners through natural forces like cloud, lightning, and thunder, corresponding to physical and moral suffering.

In Yajurveda it is said: "In fact Varuna is Vishnu and Vishnu is Varuna and hence the auspicious offering is to be made to these deities." || 8.59 ||

Samaveda

Though no original verses directly address Varuna in the Samaveda, Rgvedic hymns to him are adapted into Saman melodies, indicating his continued reverence in ritual worship.

Atharvaveda

The portrayal of Varuṇa in the Atharvaveda reflects both continuity and transformation of his earlier Vedic character. While some scholars such as A.A. Macdonell have remarked that in this Veda, Varuṇa appears "divested of his powers as a universal ruler," retaining mainly his association with waters, others state that this characterization is not entirely accurate. Rather than a decline, Varuṇa's role evolves—his dominion over waters (āpah) symbolizing a deeper metaphysical and moral presence, with the waters themselves retaining their function as primeval, generative, and purifying forces.

These āpah are described in the Atharvaveda as golden-hued, pure, and sacred. They serve not merely as physical elements, but as the cosmic substratum from which the gods emerge. They are the womb of creation—birthing Savitṛ and Agni—and act as the material cause through which divine agents operate in the heavens. Varuṇa’s presence amidst these waters signifies his continued sovereignty over the cosmic processes of Becoming and the law of the universe.

Among the most significant hymns dedicated to Varuṇa in the Atharvaveda is Book IV, Hymn 16. This hymn offers a powerful articulation of Varuṇa’s omniscience and moral surveillance, which vividly portrays Varuṇa as an ever-watchful deity, aware of all human actions, even the most secret. He is described as possessing spies with a thousand eyes, who descend from the skies to observe the world in its entirety. His vision encompasses not only earth and heaven but also regions beyond the sky. No being can escape his awareness or his grasp. The metaphor of Varuṇa controlling the cosmos like a gamester casting dice emphasizes his control over the rhythm and fate of creation. Here, Varuṇa's moral authority is reinforced by his role as enforcer of law through spiritual nooses (pāśa) cast upon the wicked. Scholars such as Roth and Winternitz consider these concluding verses to have a magical or imprecatory function, reflecting the Atharvaveda’s broader concern with ritual and protection. Yet they also reveal the theological depth of Varuṇa’s character: he punishes the immoral not out of vengeance, but as part of his cosmic mandate to uphold ṛta.

A further development in the Atharvavedic hymns is the emphasis on Varuṇa’s dual nature as both punisher of evil and forgiver of sins. In Book I, Hymn 10, a priest pleads with Varuṇa for the release of a sinner, offering prayers of intercession, which demonstrates Varuṇa’s willingness to grant forgiveness to those who seek it with sincerity. The idea that sin can result from falsehood and ignorance, and that such transgressions can be absolved through penance and divine grace, reveals a nuanced moral theology. The worshipper’s plea for protection—“Ward off from this side and from that, O Varuṇa, the deadly dart”—highlights the god’s role as both guardian and redeemer. Max Müller, reflecting on this duality, praised Varuṇa as one of the most sophisticated theological constructs in Vedic literature. Though rooted in the natural imagery of the sky, Müller noted, Varuṇa's transformation into a moral deity—who watches, judges, and forgives—marks a significant evolution in the religious thought of early India.

In the Atharvaveda, Varuṇa continues to be identified as Māyin—the master of māyā, or divine creative power. This reaffirms his position as the orchestrator of cosmic order, echoing his depiction in the Rigveda. He is also called Asura, a term originally denoting “lord” or “mighty one,” far removed from its later associations with demonic forces. In this context, Asura reflects Varuṇa’s possession of vital power (asu) and his role as the unseen force behind the visible world. Despite these metaphysical abstractions, Varuṇa’s identity as Apām Adhipati, the Lord of Waters, remains central in the Atharvaveda. His association with the waters reaffirms his place as the guardian of life, purity, and cosmic continuity. The waters are not only the medium of creation but are integral to ritual, healing, and philosophical speculation.

Upanishads

Varuna also finds a mention in the early Upanishads, where his role evolves. In verse 3.9.26 of the Brihadaranyaka Upanishad (~800 BCE), for example, he is stated to be the god of the western quarter, but one who is founded on "water" and dependent ultimately on "the heart" and the fire of soul. In the Katha Upanishad, Aditi is identified to be same as the goddess earth. She is stated in the Vedic texts to be the mother of Varuna and Mitra along with other Vedic gods, and in later Hindu mythology she as mother earth is stated to be mother of all gods.

Varuna, addressed as Varuni explained Brahman in Taittiriya Upanishad to sage Bhrigu. First six anuvakas of Bhrigu Valli are called Bhargavi Varuni Vidya, which means "the knowledge Bhrigu got from (his father) Varuni". It is in these anuvakas that sage Varuni advises Bhrigu with one of the oft-cited definition of Brahman, as "that from which beings originate, through which they live, and in which they re-enter after death, explore that because that is Brahman". This thematic, all encompassing, eternal nature of reality and existence develops as the basis for Bhrigu's emphasis on introspection, to help peel off the outer husks of knowledge, in order to reach and realize the innermost kernel of spiritual Self-knowledge.

In epic and Puranic texts

Mahabharata

Varuna with Varunani. Statue carved out of basalt, dates back to 8th century CE, discovered in Karnataka. On display at the Prince of Wales museum, Mumbai.

In the epic Mahabharata (c. 400 BCE - 400 CE), Varuna undergoes a notable transformation from his earlier Vedic portrayal. He is no longer depicted as the supreme sky god or an omnipotent sovereign administering cosmic order and morality, though his pairing with Mitra remains. The epic forgets his earlier associations with ṛta (cosmic order) and ethical oversight, emphasizing instead his role within a new mythological framework.

Varuna is still identified as the son of Aditi and fifth of the twelve Adityas, but his status is reduced as one of the Lokapalas, or guardians of the directions, specifically presiding over the western quarter—a symbolic alignment with the setting sun and perhaps with darkness and night. In this context, Kashyapa, Varuna's father, installed Varuna as Salileśvara, the sovereign of all forms of water, including rivers, lakes, and oceans.

As a water-god, Varuna is described being handsome, having the splendor of Lapis Lazuli. Unlike earlier texts where the waters (āpaḥ) held deep philosophical and metaphysical significance, the Mahabharata presents them in a more literal sense. Varuna resides beneath the waters, in a grand palace of pure white colour situated in Nagaloka, the oceanic realm (samudra), described vividly in the Udyoga Parva. There, adorned in radiant attire and gleaming jewels, he sits enthroned beside his queen, surrounded by aquatic beings, including nāgas, daityas, sādhyas, and river goddesses including Ganga and Yamuna. According to the Sabha Parva, Varuna also attends celestial assembly of the creator god, Brahma.

In the Mahabharata, Varuna's chief-queen is most commonly identified as Varunani or Varuni, who is depicted alongside him in his underwater palace. The Udyoga Parva also refers to his wife as Gauri, while the Adi Parva names his spouse as Jyeshtha Devi, the eldest daughter of Shukra. With Jyeshtha, Varuna is said to have fathered two sons: Bala and Sura. The Vanaparva further mentions Vandi as another of Varuna’s sons. Other figures described as his offspring include Pushkara and Shrutayudha. In the Udyoga Parva, Varuna is said to have granted Shrutayudha a divine mace in response to prayers by the warrior’s mother, Parnasha.

The Mahabharata also references Varuna’s iconic weapon, the pāśa (noose), though without the symbolic judicial weight it carried in the Vedic tradition. He is briefly mentioned as Pāśabhṛt, Ugrapāśa, Pāśin, and Pāśavān, with the noose appearing merely as one of his divine attributes.

Varuna appears in several narrative episodes throughout the epic. The Adi Parva recounts that during the burning of the Khandava forest, Varuna gifted Arjuna the celestial bow Gandiva, an inexhaustible quiver, and a monkey-bannered chariot, as well as the mace Kaumodaki to Krishna. Later, in the Mahaprasthanika Parva, Arjuna returned the Gandiva by casting it into the sea, effectively returning it to Varuna.

Another episode in the Adi Parva tells how Varuna abducted Bhadra, the wife of the sage Utathya. In response, Utathya dried up the ocean until Varuna returned her. The same text also narrates that when Kashyapa took Varuna’s sacred cow (homadhenu) for a sacrifice, Varuna and Brahma cursed him to be reborn as a cowherd. The Shalya Parva states that Varuna performed a rajasuya sacrifice at Yamunatirtha and later provided the war god Skanda with an elephant and two followers named Yama and Atiyama.

Other episodes include Varuna giving the sage Richika a thousand black-eared horses, testing King Nala alongside other deities, and granting Nala a boon that allowed him to assume any form, along with a garland of fragrant flowers. The Drona Parva also records that Varuna was once defeated in battle by Krishna, indicating the evolving hierarchy among deities in the epic tradition.

Ramayana

Rama vanquishing the pride of the ocean by Raja Ravi Varma. Varuna is depicted arising from the depth of the ocean and begging Rama for forgiveness.

As in the Mahabharata, in the other major epic, the Ramayana (300 BCE - 300 CE), Varuna is depicted primarily as a Dikpala, or guardian of a cardinal direction, and as a water deity appointed by Brahma. He is described as residing in both stagnant lakes and beneath the ocean, surrounded by various aquatic beings. Earlier in the epic, Varuna is noted for gifting King Dasharatha a pair of powerful bows. The main hero Rama interacts with Varuna in the Hindu epic Ramayana. For example, faced with the dilemma of how to cross the ocean to Lanka, where his abducted wife Sita is held captive by the demon king Ravana, Rama (an Avatar of Vishnu) performs a pravpavesha (prayer, tapasya) to Varuna, the Lord of Oceans, for three days and three nights, states Ramesh Menon. Varuna does not respond, and Rama arises on the fourth morning, enraged. He states to his brother Lakshamana that "even lords of the elements listen only to violence, Varuna does not respect gentleness, and peaceful prayers go unheard". With his bow and arrow, Rama prepares to attack the oceans to dry up the waters and create a bed of sand for his army of monkeys to cross and thus confront Ravana. Lakshmana appeals to Rama, translates Menon, that he should return to "peaceful paths of our fathers, you can win this war without laying waste the sea". Rama shoots his weapon sending the ocean into flames. As Rama increases the ferocity of his weapons, Varuna arises out of the oceans. He bows to Rama, stating that he himself did not know how to help Rama because the sea is deep, vast and he cannot change the nature of sea. Varuna asked Rama to remember that he is "the soul of peace and love, wrath does not suit him". Varuna promised to Rama that he will not disturb him or his army as they build a bridge and cross over to Lanka. Although, most of the sources claim it was Samudra, the god of the oceans who met Rama not the water god Varuna.

Puranas

Varuna on a Makara with attendants, gouache on paper, c. 1820

By the time of the Puranas (mostly composed between 300 CE and 1000 CE), ancient Vedic deities such as Indra and Varuna are often portrayed as having diminished in power and esteem. They are frequently shown as subordinate to other gods, particularly Vishnu, Krishna and Shiva, and are sometimes humiliated by the increasingly dominant and aggressive Asuras, the term which, unlike in the Vedas, now only denotes to malevolent beings. In the Puranas (mostly composed between 300 CE and 1000 CE), the portrayal of Varuna remains broadly consistent with his depiction in the epics, but his divine attributes and roles are further elaborated, sometimes alluding to his Vedic associations. He continues to be described as the regent of the western direction and the guardian of the water element.

Despite his decline in stature in later mythology, Varuna retains considerable moral authority in the Puranas, punishing transgressors and upholding truth and cosmic law. In one narrative, King Harishchandra, having failed to fulfill a vow to Varuna after receiving a boon for a son, is afflicted with Mahodara (abdominal swelling) until the debt is resolved through a substitute offering. Similarly, Varuna punishes Nanda for entering sacred waters at an inauspicious time, but releases him upon Krishna’s intervention, acknowledging Krishna’s superior authority. The Bhagavata Purana further portrays Varuna as a warrior subordinate to Krishna, participating in divine battles alongside Indra, equipped with nooses and a mace. In one episode, Varuna confronts Krishna after the latter retrieves the Parijata tree from Indra’s palace, only to retreat when defeated by Krishna’s mount, Garuda. Elsewhere, in battles against demons like Kalanemi, Varuna is rendered motionless, likened to a drained ocean, while against Kujambha, he binds the demon’s arms with his noose and subdues him with his mace. He is also credited with binding the asura king Bali.

Iconographically, Varuna is depicted as riding the mythical sea creature Makara and holding a noose (pasha) in his hand. He often appears adorned with a white umbrella—said to have emerged during the churning of the ocean—and is described as having a conch-like or crystalline complexion, wearing garlands and bracelets. The Matsya Purana devotes considerable detail to Varuna’s iconography. His idol is to be worshipped in rites such as Vastupasamanam before the construction of palaces, and he is invoked in the Graha Shanti rite through offerings of pearls, lotus flowers, and kusha grass. He is said to be propitiated with avabhritha baths and other ceremonial acts. In the Hayasirsha Pancharatra, Varuna is described as seated on a swan, with two arms—one offering protection and the other holding a serpent-noose—surrounded by aquatic beings. Varuna is revered as a deity responsible for ensuring good and timely rainfall. Varuna's abode is described as being situated in the western direction on the summit of Mount Manasa, near the divine lake of Sukhi (according to the Vayu Purana) or Sushila (in the Matsya Purana). This location lies on the Puskara island, beneath which the sun’s chariot rotates around Mount Meru. At midnight in Samyamani, the sun is said to set in Varuna’s city. The Devi Bhagavata Purana attests his capital city as Śraddhāvatī. Varuna's celestial garden, Ritumat, is described in the Puranas as a place of great beauty located on the Trikuta mountain. The garden is adorned with flowering trees and also features a resplendent lake filled with golden lotuses, lilies, and other aquatic flowers.

Regarding his family, the Bhagavata Purana names Charsani as Varuna’s beloved-wife and the mother of the sage Bhrigu. Other sources continue to name Varunani, Gauri or Jyeshtha as his consorts. Varuna's other children include Sushena, Vandi, Varuni, Bala, Sura, Adharmaka, Dakshasavarni (the ninth Manu), Pushkara, and Valmiki, the latter born from Varuna’s semen on a termite mound. Although much reduced, Varuna's Vedic pairing with Mitra persists, notably in the Puranas’ vivid depiction of their infatuation with the celestial apsara Urvashi, portraying sages Agastya and Vasistha here as their reborn sons, engendered through the seminal emission provoked by her presence. Varuna’s link to progeny is further emphasized in narratives like Vaivasvata Manu’s sacrifice invoking Mitra and Varuna for offspring, and Harishchandra’s prayer to Varuna for a son, which leads to the aforementioned vow and punishment.

Varuna’s broader mythological roles encompass divine benefaction and protection. He is associated with hidden treasures and performed a rajasuya sacrifice, a standard for Yudhishthira’s own in the Mahabharata. His gifts include a water-sprinkling white umbrella for King Prithu’s coronation, a thousand white horses with black ears for Sage Richika to wed Satyavati, Varuni wine for Balarama, and nagapasha for Shiva’s marriage to Parvati, where Varuna appears as a divine dignitary. In the churning of the ocean, Varuna plays a significant role, aligning with his aquatic dominion. The Bhagavata Purana credits him with protecting Kraumcha-dvipa, beyond Kusha-dvipa, surrounded by an ocean of milk. Its central mountain, Kraumcha, remains unscathed by Kartikeya’s weapons due to Varuna’s guardianship and the washing of its slopes by sacred waters.

In Tolkappiyam

The Tolkāppiyam, a Tamil grammar work from the 3rd century BCE divides the people of ancient Tamilakam into five Sangam landscape divisions: kurinji, mullai, paalai, marutham and neithal. Each landscape is designated with different gods. Neithal is described as a seashore landscape occupied by fishermen and seatraders, with the god of sea and rain, Varunan or Kadalōn. "Varuna" means water which denotes the ocean in the Tamil language.

Festivals

Main articles: Cheti Chand and Chalio

Cheti Chand

The Cheti Chand festival in the Hindu month of Chaitra marks the arrival of spring and harvest, but in Sindhi Hindu community, it also marks the mythical birth of Uderolal in the year 1007. Uderolal morphed into a warrior and old man who preached and reprimanded Mirkhshah that Muslims and Hindus deserve the same religious freedoms. He, as Jhulelal, became the saviour of the Sindhi Hindus, who according to this legend, celebrate the new year as Uderolal's birthday.

Chaliya saheb

Chalio or Chaliho, also called Chaliho Sahib, is a forty-day-long festival celebrated by Sindhi Hindus to express their gratitude to Jhulelal for saving them from their impending conversion to Islam. The festival is observed every year in the months of July to August; dates vary according to the Hindu calendar. It is a thanksgiving celebration in honor of Varuna Deva for listening to their prayers.

Narali Poornima

Main article: Narali Poornima

Nārali Poornima is a ceremonial day observed by Hindu fishing communities in Maharashtra, India particularly around Mumbai and the Konkan coast. It is held on the full-moon day of the Hindu month of Shravan which falls around July or August. On this day offerings such as rice, flowers and coconuts are offered to Lord Varuna, the god of ocean and waters.

Beyond Hinduism and India

Sri Lankan Tamils (Karaiyar caste)

Karaiyar is a Sri Lankan Tamils caste found mainly on the northern and eastern coastal areas of Sri Lanka, and globally among the Tamil diaspora. They are traditionally a seafaring community that is engaged in fishing, shipment and seaborne trade. They fish mostly in deep seas, and employ gillnet and seine fishing methods. The Karaiyars were the major maritime traders and boat owners who among other things, traded with pearls, chanks, tobacco, and shipped goods overseas to countries such as India, Myanmar and Indonesia. The community known for their maritime history, are also reputed as a warrior caste who contributed as army and navy soldiers of Tamil kings. They were noted as the army generals and navy captains of the Aryacakravarti dynasty. The Karaiyars emerged in the 1990s as strong representatives of Sri Lankan Tamil nationalism. The nuclear leadership of the Liberation Tigers of Tamil Eelam have background in the wealthier enterprising section of the Karaiyars.

The word "Karaiyar" is derived from the Tamil language words karai ("coast" or "shore") and yar ("people"). The term Kareoi mentioned by 2nd century CE writer Ptolemy, is identified with the Tamil word "Karaiyar". The Portuguese and Dutch sources mentions them under the term Careas, Careaz, or Carias, which are terms denoting "Karaiyar".

Kurukulam, Varunakulam and Arasakulam were historically one of the significant clans of the Karaiyars. Kurukulam, meaning "clan of the Kuru", may be a reference to their origin from Kurumandalam (meaning "realm of Kuru's") of Southern India. They attribute their origin myth from the Kuru Kingdom, mentioned in the Hindu epic Mahabharata. Some scholars derived Kurukulam from Kuru, the Tamil name for Jupiter. Varunakulam, meaning "clan of Varuna", is a reference to their maritime origin. Varuna is the god of sea and rain, mentioned in Vedic Literature, but also in Sangam literature as the principal deity of the Neithal Sangam landscape (i.e. littoral landscape). Arasakulam means "clan of kings". They used the Makara as emblem, the mount of their clan deity, the sea god Varuna, which was also seen on their flags.

Sindhi Hindus

Jhulelal is considered an incarnation of Varuna by Sindhi Hindus.

Jhulelal is believed by Sindhi Hindus to be an incarnation of Varuna. They celebrate the festival of Cheti Chand in his honor. The festival marks the arrival of spring and harvest, but in Sindhi community it also marks the birth of Uderolal in year 1007, after they prayed to Hindu god Varuna to save them from the persecution by tyrannical Muslim ruler named Mirkhshah. Uderolal morphed into a warrior and old man who preached and reprimanded Mirkhshah that Muslims and Hindus deserve the same religious freedoms. He, as Jhulelal, became the champion of the people in Sindh, from both religions. Among his Sufi Muslim followers, Jhulelal is known as "Khwaja Khizir" or "Sheikh Tahit". The Hindu Sindhi, according to this legend, celebrate the new year as Uderolal's birthday.

Buddhism

Theravada

The Pali Canon of the Theravada school recognizes Varuṇa (Sanskrit; Pali: Varuna) as a king of the devas and companion of Sakka, Pajāpati and Isāna. In the battle against the Asuras, the devas of Tāvatiṃsa were asked to look upon the banner of Varuna in order to have all their fears dispelled (S.i.219).

The Tevijja Sutta mentions him among Indra, Soma, Isāna, Pajāpati, Yama and Mahiddhi as gods that are invoked by the brahmins.

The Ātānātiya Sutta lists him among the Yakkha chiefs.

Buddhaghosa states (SA.i.262) that Varuna is equal in age and glory (vanna) with Sakka and takes the third seat in the assembly of devas.

Mahayana

Painting of Varuna (Kyoto, Japan)

In East Asian Buddhism, Varuna is a dharmapāla and often classed as one of the Twelve Devas (Japanese: Jūniten, 十二天). He presides over the western direction.

In Japan, he is called "Suiten" (水天 lit. "water deva"). He is included with the other eleven devas, which include Taishakuten (Śakra/Indra), Fūten (Vāyu), Emmaten (Yama), Rasetsuten (Nirṛti/Rākṣasa), Ishanaten (Īśāna), Bishamonten (Vaiśravaṇa/Kubera), Katen (Agni), Bonten (Brahmā), Jiten (Pṛthivī), Nitten (Sūrya/Āditya), and Gatten (Chandra).

Shinto

Suitengū (Tokyo) is a Shinto shrine to Varuna.

Varuna is also worshipped in Japan's Shinto religion. One of the Shinto shrines dedicated to him is the Suitengū ("Palace of Suiten") in Tokyo. After the Japanese emperor issued the Shinbutsu bunri, the separation of Shinto and Buddhist practices as part of the Meiji Restoration, Varuna/Suiten was identified with the Japanese supreme God, Amenominakanushi.

See also

Left: A Balinese Hindu offering prayers to Varuna on Indonesian beach;
Right: Vishnu avatar Parasurama, asking Varuna to create new land known as Parashuram Sristi.

• Ādityas
• Apam Napat
• Asura
• Guardians of the directions
• Hindu deities
• Mitra (Vedic)
• Mitra–Varuna
• Rigvedic deities
• Shukra
• The king and the god

External links

• Media related to Varuna at Wikimedia Commons
• Quotations related to Varuna at Wikiquote
• Asura Varuna, R. N. Dandekar (1939)
• Great Vayu and Greater Varuna, Mary Boyce (1993)