CHAUBIS AVTAR, a collection of twenty-four legendary tales of twenty-four incarnations of the god Visnu, forms a part of Bachitra Natak, in Guru Gobind Singh`s Dasam Granth. The complete work contains a total of 4,371 verse units of which 3,356 are accounted for by Ramavtar and Krishnavtar. The shortest is Baudh Avatar comprising three quatrains, and the longest is Krishnavtar, with 2,492 verseunits, mostly quatrains. The introductory thirty-eight chaupais or quatrains refer to the Supreme Being as unborn, invisible but certainly immanent in all objects.
Whenever evil predominates, saviours of the humanity or avatars emerge by His hukam, i.e. order, to reestablish righteousness. They fulfil His will and purpose. Kal Purash who creates them ultimately subsumes them all in himself. The poet asserts his monotheistic belief here and while enumerating the avatars discountenances any possibility of their being accepted as the Supreme Being, i.e. Akal Purakh. In the epilogue to one of the episodes in Krishnavtar occurs a statement repudiating the worship of popular deities like Ganesa, Krsna and Visnu (verses 43440).
The Supreme Being, called in the Guru`s authentic idiom, Mahakal (the Supreme Lord of Time) is acknowledged as the Succourer to whom prayer is made to keep operative the defensive might (tegh) and dispensing of charity (deg). Thus is set forth the basic principle of the Sikh faith amid a long literary exercise. The poet asserts that he, having descended from the martial Ksatriyas, cannot think of adopting the attitude of a recluse towards the disturbed conditions of his time. The greater part of the tales of Ramavtar and Kn`sAnavtar are taken up with battle scenes evoked through many alliterative devices with the clash and clang of arms constantly reproduced.
At the close of Krishnavtar, in a kind of postscript, is proclaimed the crusader`s creed, which is ever “to remember God, to contemplate holy war; and, unmindful of the destruction of the perishable body, to embark the boat of noble repute.” The poet has thus extracted the element of heroism from the prevalent stories without projecting the attitude of a worshipper, with the sole purpose of inspiring his followers with the resolve to fight for Dharma, i.e. to uphold righteousness. Chaubis Autar does not appear to be the work of one period. It was a long project which was in execution for a decade or more.
While Krishnavtar is stated in verse 2,490-91 to have been composed in Samvat 1745/AD 1688 at Paonta when Guru Gobind Singh was residing there, Ramavtar, according to verses 86061 was composed at Anandpur in Samvat 1755/AD 1698 near the temple of Nainadevi, close to the bank of the River Sutlej. Another component of the Chaubis Autar is Nihkalankavtar which is a sustained expression of appearance of Nihkalank who would destroy evil and establish righteousness. An interesting phenomenon observable in Krishnavtar is the sliding of the poet from Krsna`s mythical career into his own contemporary scene.Among the heroes mentioned some bear medieval Rajput names (Gaj Singh, Dhan Singh, Surat Singh); some Muslim like Nahar Khan, Tahir Khan, and Sher Khan.
In verse 1602 malechh which was the pejorative term used for Muslims is used. The name of the city of Delhi appears, which is an anachronism. Such anachronisms indicate how the poet`s consciousness was touched by the turmoil in contemporary Mughal times. The texture of the language is neoclassical Braj. The poet has employed a variety of metres, and made them responsive to the passing moods or emotions and changing situations.
The metres are alternately short and long in consonance with the increasing and lessening of the fury of battle. Blank verse in Punjabi has been inserted for the first time by the poet in the SirkhandT metre (Ramavtar, verses 46770). Punjabi words keep cropping up as in the heading of a Krishnavtar episode lukmichan (hide and seek) and in referring to a king condemned to be incarnated as a lizard (kiria, in Punjabi). At one place in Ramavtar (verse 65768) Persian words are blended with Hindi to make rekhta: the language that was the precursor of modern Urdu. The range of vocabulary thus becomes vast and varied.
References :
1. Loehlin, C.H., The Granth of Guru Gobind Singh and the Khalsa Brotherhood. Lucknow, 1971
2. Ashta, Dharam Pal, The Poetry of the Dasam Granth. Delhi, 1959
3. Jaggi, Ratan Singh, Dasam Granth Parichaya. Delhi, 1990
Historical and Literary Context
- Canonical Placement:
The Chaubis Avtar is a notable section of the Dasam Granth—a scripture attributed to Guru Gobind Singh—that recounts the divine incarnations in vivid heroic terms. In this narrative, twenty‐four (chaubis) avatars are presented as manifestations of the cosmic force that appears to restore cosmic order and curb unrighteousness. - Authorship and Purpose:
Attributed to Guru Gobind Singh, the text reinterprets popular Puranic mythological accounts into a dynamic narrative that speaks to a Sikh vision of cosmic intervention. While many traditional lists emphasize ten major incarnations, the Chaubis Avtar not only incorporates these well‐known forms but also expands upon them with additional, often lesser‐known manifestations. This broader enumeration reinforces the idea that divine intervention is both multifaceted and continuous—a call for both spiritual awakening and martial readiness.
Structure and Literary Form
- Epic Narrative Style:
Written in classical North Indian poetic meters, the text of Chaubis Avtar employs vigorous imagery, rhythmic cadences, and dynamic dialogues typical of epic ballads. These literary tools not only recount historical cosmic battles but also serve as an allegorical blueprint for the inner struggles that every seeker must overcome. - Interwoven Storylines:
While the narrative is primarily a recountal of the divine incarnations, it weaves together episodes from different avatars to create a holistic vision of cosmic renewal. The poetic style and intertextual references to earlier Sanskrit works—reinterpreted in a language that resonates with the Sikh community—enhance the epic’s martial and devotional impact.
The Heroic Vibes and the List of Avatars
Central to the Chaubis Avtar narrative is its detailed portrayal of twenty‐four incarnations. Although various textual traditions may present slight variations, a commonly accepted list includes the following key avatars:
- Matsya – the fish incarnation, representing the salvific force in times of universal deluge.
- Kurma – the tortoise incarnation, symbolizing the stabilizing power during cosmic churn.
- Varaha – the boar incarnation, which rescued the Earth from the clutches of darkness.
- Narasimha – the half-man, half-lion form, born to vanquish overwhelming evil.
- Vamana – the dwarf incarnation, whose humble guise belied divine power to subdue oppressive rulers.
- Parashurama – the warrior with an axe, incarnated to purge the world of corrupt and unrighteous forces.
- Rama – the ideal king and embodiment of dharma, whose life exemplified righteousness.
- Krishna – the divine statesman and lover, whose teachings continue to inspire the path of devotion.
- Balarama – often considered alongside Krishna, representing strength and moral fortitude.
- Buddha – the enlightened one, symbolizing the victory of inner awakening over ignorance.
- Kalki – the prophesied future savior who is destined to appear at the end of the current age to restore cosmic order.
Beyond these widely recognized incarnations, the Chaubis Avtar narrative expands to include additional avatars—lesser-known yet symbolically powerful manifestations. These extra forms (which bring the total to twenty-four) are understood to represent various facets of the divine, such as preserving the balance between creation and dissolution, enacting cosmic justice, and empowering the human spirit against vice and oppression.
This comprehensive list signifies not only the wide range of divine interventions but also the continuous nature of divine grace, reminding the devotee that every aspect of cosmic life—from the grand battles of gods to the quiet struggles within the heart—revolves around the eternal cycle of creation, protection, and renewal.
Symbolism and Thematic Essence
- Cosmic Battles as Metaphor for Inner Conflict:
The epic recounts how each avatar manifests to quash the forces of chaos, symbolizing the inner battles—against ego, greed, and moral degradation—that every human must face. The narratives encourage the devotee to harness the divine warrior spirit within. - Divine Intervention and Transformation:
Each incarnation, whether it appears as a fierce warrior like Narasimha or as the sagacious king Rama, embodies the principle that divine energy consistently intervenes to restore dharma (righteousness). This reinforces a vision of divinity that is both immediate and practical. - The Khalsa Spirit and Martial Ethos:
Beyond its mythic retelling, the heroic exploits in Chaubis Avtar have historically nurtured the martial sentiment of the Sikh community. The avatars serve as metaphors for the Khalsa’s call to courage, sacrifice, and the relentless pursuit of justice—even when faced with overwhelming odds.
Contemporary Relevance
- Devotional Recitation:
Passages from Chaubis Avtar continue to be a potent part of Sikh kirtan (devotional singing), where their stirring cadence and vivid imagery invoke a sense of martial inspiration and spiritual resilience. - Inspiration for Personal and Collective Transformation:
The epic’s portrayal of divine intervention remains relevant as an allegory for overcoming personal demons and for mobilizing collective strength in the face of societal injustice. - Legacy in Sikh Cultural Memory:
The multifaceted depiction of the divine—from celebrated avatars like Rama and Krishna to the transformative promise of Kalki—reaffirms the belief that the cosmic struggle for justice is eternal and that every individual can embody the divine spark. Concluding Thoughts
The Chaubis Avtar section in the Dasam Granth is more than a retelling of ancient myth; it is a vibrant epic that fuses martial prowess, spiritual allegory, and cosmic vision. By enumerating the names and deeds of twenty-four avatars—including widely revered figures such as Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki, along with additional divine manifestations—Guru Gobind Singh invites devotees to see the eternal battle between light and darkness as unfolding both on the cosmic stage and within the heart of every individual.
This epic narrative not only bolsters the martial ethos of the Khalsa but also offers a timeless reminder that divine grace is ever-present, ready to inspire, transform, and empower those who dare to stand for truth and justice.
