Hanuman (Chiranjivi)

The monkey god, devotee of Rama. One of the seven Chiranjivis. Known for his strength, devotion, courage, and selfless service. Represents the ideal devotee, the power of faith, and the ability to overcome any obstacle.

The name 'Hanuman' is of uncertain derivation. One traditional etymology, supported by the Puranic tale of his childhood attempt to swallow the sun, interprets it as 'one having a disfigured jaw' (Sanskrit: hanu = jaw, -man = possessing).

In this story, Indra strikes the infant with his vajra, dislocating his jaw. The name may also derive from the root 'han' (to kill) and 'ma' (measure), though this is less accepted.

Regional variants include Anuman (Tamil), Hanumantha (Kannada), and Hanumanthudu (Telugu). He is also known as Anjaneya (son of Anjana), Maruti (son of Maruta/Vayu), Bajrang Bali (the strong one with limbs like vajra), and Sankata Mochana (remover of dangers).

The Valmiki Ramayana uses the name Hanuman extensively, while later texts like the Shiva Purana associate him with Shiva, calling him an avatar of Rudra.

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 figure is not explicitly identified with Hanuman. Hanuman first appears as a central character in the Valmiki Ramayana (likely composed between 500 BCE and 100 BCE), where he is the minister and devoted servant of Sugriva and later Rama.

His role expands in the Mahabharata, where he appears as a wise figure in the Aranya Parva (Book of the Forest), teaching Bhima about humility and the nature of the self. The Puranas, such as the Shiva Purana and Skanda Purana, elevate him further: the Shiva Purana (circa 10th-14th century CE) explicitly declares Hanuman an incarnation of Shiva, while the Skanda Purana recounts his birth and exploits.

Hanuman's prominence as a devotional deity surged during the medieval Bhakti movement, particularly in the works of Tulsidas (16th century CE), whose Hanuman Chalisa and Ramcharitmanas cemented his status as a beloved god. Earlier texts like the Agni Purana also mention his iconography and mantras.

Hanuman is typically depicted as a strong, muscular vanara (monkey) with a reddish-orange or golden complexion, symbolizing his fiery devotion and connection to the sun. He often stands in a dynamic posture (pratyalidha) or kneels in devotion (anjali hasta). His face is red, and he has a long tail.

He commonly carries a gada (mace) in one hand, representing strength, and a mountain or a medicinal herb in the other. He wears a loincloth (kaupina) and sometimes a sacred thread (yajnopavita). In South Indian bronzes, he is shown with a serene expression, while North Indian miniature paintings emphasize his heroic and fierce aspects.

The dhyana-shloka from the Hanuman Chalisa describes him as 'kanchana varana viraja' (golden-complexioned) and 'kundalini kara' (wearing earrings). The Agni Purana (chapter 50) prescribes his iconography: four-armed, holding a mace and a thunderbolt, with a monkey face. Regional variations include the Panchamukhi Hanuman (five-faced) form, where he has faces of Hanuman, Narasimha, Garuda, Varaha, and Hayagriva, each facing a cardinal direction.

In Advaita Vedanta, Hanuman represents the jiva (individual soul) who realizes its identity with Brahman through devotion and service. His complete surrender to Rama exemplifies the path of bhakti leading to liberation.

In Vishishtadvaita, he is the ideal devotee (prapanna) who relies solely on the grace of the Lord (Rama). The Dvaita school of Madhvacharya elevates Hanuman to the status of Mukhya Prana (the chief life-force), an incarnation of Vayu, who serves as the intermediary between Vishnu and the jivas.

Madhvacharya identifies Hanuman as one of the three incarnations of Vayu (along with Bhima and Madhva) who assist Vishnu in his avatars. In Shaiva traditions, Hanuman is considered an incarnation of Shiva himself, as stated in the Shiva Purana, emphasizing his role as the perfect devotee who embodies both Shakti (power) and Bhakti (devotion).

Tantric texts like the Hanuman Kavacham and the Panchamukhi Hanuman worship focus on his protective and martial aspects, invoking him to remove obstacles and grant siddhis. The Hanuman Chalisa, composed by Tulsidas, encapsulates his theology as the servant of Rama, the remover of sorrows, and the bestower of strength and wisdom.

Hanuman is a central figure in Indian performing arts. In Bharatanatyam and Kathakali, the 'Hanuman dance' (Hanuman Nritya) depicts his leaping and heroic exploits. Odissi includes the 'Hanuman Chalisa' as a popular composition.

Carnatic music features numerous kritis on Hanuman, such as Muthuswami Dikshitar's 'Hanuman Anjaneyam' and Tyagaraja's 'Hanuman Anjaneya'. Hindustani compositions include Tulsidas's Hanuman Chalisa, widely recited. In painting, Hanuman appears in Pahari miniatures (e.g., the 'Hanuman carrying the mountain' theme), Mughal manuscripts (e.g., the Razmnama), and Tanjore paintings with gold leaf.

Folk traditions include the 'Hanuman Garhi' temple in Ayodhya and the 'Hanuman Jayanti' festival. Pan-Asian spread: Hanuman appears in Balinese Ramayana dance (Kecak), Cambodian shadow puppetry (Sbek Thom), Thai Ramakien (as Hanuman), and Japanese Buddhist art (as the monkey god). He is also venerated in Jainism and Sikhism.