Anjaneya (Hanuman)

Anjaneya, more widely known as Hanuman, is a central deity in Hindu dharma, revered as the perfect devotee of Lord Rama. His origins are described in the Ramayana and the Puranas. According to the Valmiki Ramayana (Sundara Kanda), Hanuman was born to Anjana and Kesari, with Vayu, the wind god, as his spiritual father, granting him immense strength and speed. The Shiva Purana also identifies him as an incarnation of Lord Shiva, born to serve Rama.

Iconographically, Hanuman is depicted as a monkey-faced figure wielding a gada (mace), often carrying the Sanjeevani mountain, and smeared with sindoor (vermilion). The sindoor symbolizes his devotion: tradition holds that he applied it to please Rama. His fierce yet benevolent expression reflects his dual role as a warrior and a compassionate servant. Principal myths include his leap to Lanka to find Sita, his burning of Lanka with his tail, and his retrieval of the Sanjeevani herb to revive Lakshmana, as narrated in the Yuddha Kanda of the Ramayana.

The Mahabharata (Vana Parva) also mentions Hanuman meeting Bhima and teaching humility. Regional worship traditions are diverse: in Gujarat, he is worshipped as Kashtabhanjan (remover of sorrows); in North India, as Sankat Mochan (remover of troubles); in Tamil Nadu, as Veera Hanuman; and the Panchamukhi (five-faced) form is especially venerated in South India. The Hanuman Chalisa, composed by Tulsidas, is a widely recited hymn. In Hindu cosmology, Hanuman is a chiranjivi (immortal) who continues to reside on earth, protecting devotees.

His role exemplifies strength, devotion, courage, and selfless service, making him a beloved deity across all sects.

The name 'Hanuman' (Sanskrit: हनुमान्) is traditionally interpreted as 'one with a disfigured jaw' (hanu = jaw, man = prominent or disfigured). This etymology is supported by a Puranic tale where the infant Hanuman, mistaking the sun for a fruit, leaped to catch it, and was struck by Indra's vajra, dislocating his jaw.

Alternative readings include 'Hanumat' (nominative singular) and regional variants such as Anuman (Tamil), Hanumantha (Kannada), and Hanumanthudu (Telugu). The name 'Anjaneya' derives from his mother Anjana, meaning 'son of Anjana.' Other epithets include Maruti (son of Maruta/Vayu), Bajrang Bali (one with limbs strong as vajra), and Sankata Mochana (remover of troubles).

The root 'han' (to kill) combined with 'man' (mind) is also suggested, alluding to his role in slaying the mind's ego. The Nirukta and Amarakosha provide lexical support for these derivations.

The earliest textual reference to a divine monkey is in Rigveda 10.86, a dialogue between Indra, Indrani, and a monkey named Vrisakapi, though this is not directly Hanuman. Hanuman first appears prominently in the Valmiki Ramayana (c.

5th–4th century BCE), where he is a central figure in the Sundara Kanda and Yuddha Kanda. His role as Rama's devoted messenger and warrior is fully developed.

The Mahabharata (Vana Parva, chapters 146–148) recounts Hanuman's encounter with Bhima, where he teaches humility and reveals his cosmic form. The Puranas, especially the Shiva Purana (Rudra Samhita, Sati Khanda), identify Hanuman as an incarnation of Shiva, while the Skanda Purana and Brahmanda Purana elaborate on his birth and exploits.

Devotional worship of Hanuman as a primary deity emerged later, around the second millennium CE, with texts like the Hanuman Chalisa (Tulsidas, 16th century) and the Hanuman Bahuk (Tulsidas) solidifying his cult.

Hanuman is typically depicted as a monkey-faced (vanara) figure with a strong, muscular body, often in a dynamic posture. His complexion is described as golden or yellow (as per Dowson), though in South Indian bronzes he is often shown with a red face, symbolizing his fierce devotion.

He holds a gada (mace) in one hand, representing strength, and carries the Sanjeevani mountain in the other, or sometimes a banner. He is smeared with sindoor (vermilion), a practice explained in the Hanuman Chalisa: he applied sindoor to please Rama.

His vahana is not typically depicted, as he is self-moving. In dhyana-shlokas, he is described as 'Panchavaktra' (five-faced) in some traditions, with faces of Hanuman, Narasimha, Garuda, Varaha, and Hayagriva, each facing a cardinal direction.

Regional variations include the South Indian bronze tradition, where he is shown kneeling or flying, and North Indian miniature paintings, where he is often depicted in a heroic stance. The Shilpa Ratna and other Agamas prescribe specific proportions for his icon.

In Advaita Vedanta, Hanuman is seen as a jivanmukta (liberated soul) who realizes the identity of his self with Brahman, as exemplified by his statement in the Ramayana: 'I see no difference between Rama and myself.' In Vishishtadvaita, he is the perfect devotee (prapanna) who surrenders completely to Rama, embodying the ideal of bhakti. In Dvaita, Madhvacharya identifies Hanuman as an incarnation of Vayu, the cosmic life-force, and as Mukhya Prana (primordial life-giver), who serves Vishnu in every avatar.

The Shaiva tradition, as per the Shiva Purana, regards Hanuman as an avatar of Shiva, born to assist Rama. In Tantric traditions, Hanuman is associated with the Muladhara chakra and is worshipped for strength and protection.

The Hanuman Chalisa describes him as 'Gyaninam agranim' (foremost among the wise), highlighting his role as a scholar. Across traditions, he represents the synthesis of shakti (power) and bhakti (devotion), serving as a model for balancing strength with humility.

Hanuman is a ubiquitous figure in Indian performing arts. In Bharatanatyam and Odissi, the 'Hanuman Chalisa' and episodes from the Ramayana are frequently choreographed. Kathakali features elaborate performances of Hanuman's exploits.

In Carnatic music, compositions like 'Hanuman Janani' and 'Rama Nee Samanamevaru' praise him. Hindustani classical includes dhrupads and khyals dedicated to Hanuman. In painting, the Pahari and Mughal schools depict Hanuman in vibrant colors, while Tanjore paintings show him with gold leaf.

Folk forms like Yakshagana and Therukoothu dramatize his stories. Beyond India, Hanuman appears in Balinese Ramayana dance, Cambodian shadow puppetry, and Thai Ramakien, where he is a central character. In Japan, the monkey god is syncretized with local deities.

His image as a symbol of strength and devotion has inspired modern media, including television series and films.