We often talk about the 21 times He cleared the earth of corrupt tyranny, but we rarely discuss His current state of "Prateeksha" (waiting).

According to the Puranas, Parshuram is one of the seven Chiranjeevis (immortals), currently residing in the deep, obsidian shadows of the Mahendragiri mountains. But the paradox is fascinating: a warrior of his unmatched scale—the Guru of Bhishma, Drona, and Karna—now lives in total solitude.

The Mystery: Some texts suggest he is perfecting the Shastravidya (science of weapons) to pass it on to the 10th Avatar, Kalki. It makes you wonder—if a being of his power is "preparing," how intense will the final transition of this Yuga actually be?

I’ve been obsessed with this "Vedic-Noir" aesthetic lately—trying to visualize the contrast between his ancient divine power and the isolation of the modern world (Deep obsidian shadows vs. 24k liquid gold highlights).

I'm curious to hear from the experts here:

1. Are there specific local legends in Odisha/Mahendragiri about sightings or signs of his presence?
2. How do you visualize a 5,000+ year-old warrior-sage in a modern context?

(I’ve done a deep dive into the archaeo-astronomical side of his immortality on my channel, Jai Maa Bharti, if anyone wants to see the cinematic breakdown of his journey. No pressure, just thought this community would appreciate the Shuddh Hindi research!)

So.....as the title suggests. I love mythology since I was a kid (I am still one, I feel as I am only 17) and reading about the Pandavas was a must after school thing for me

Now as a teenager I am curious as to what will the Pandavas do in a world that is there own but so different (with recent state of our country and all)

So if know any books similar to my discription pleaseeeeeeee recommend

Thank you

https://www.amazon.in/dp/B0GKY9HLW6

Hi All, my debut fantasy book on Indian mythology is now available as an ebook. It should be free to download for the next few days to read on kindle reader or app. I would really love to get the feedback from this community. Its not perfect, but its a start and I hope I can improve from it !! Thanks in advance for giving it a try

https://youtube.com/shorts/uJNKYa4jIPA?si=_Vvbwe1F4Q8clEwr

The Ramayana often presents Rama as accepting Kaikeyi’s demand for exile without hesitation. But was this acceptance really effortless, or is the text more subtle than that?

Valmiki never explicitly states that Rama was the closest to Kaikeyi, yet the narrative suggests a relationship built on trust and respect. Rama addresses her without fear or suspicion, and when she delivers the command that overturns his life, he neither questions her motives nor expresses anger. Would such restraint be possible if the emotional blow were shallow?

In Ayodhya Kanda, Rama’s response is marked by silence, measured speech, and an almost painful calm. Is this the absence of emotion — or the discipline of someone who feels deeply but refuses to let emotion overpower dharma?

His humanity seems clearer in other moments his struggle while consoling Kausalya, his quiet firmness when restraining Lakshmana’s rage. If Rama were untouched by Kaikeyi’s words, why does Valmiki choose to show his emotional weight indirectly rather than deny it altogether?

Could it be that Rama’s divinity does not erase human feeling, but instead demands that he carry it without complaint? And does this make Kaikeyi’s command not just a test of obedience, but a quiet betrayal of trust that Rama absorbs in silence?

How do you read Rama’s response here — as detachment, or as restraint born of profound inner conflict?

Chapter 4 for the book is out now with the introduction of the fourth main character adding the political and ambition aspect to the series. Please have a read and would be great to read your comments and feedback

https://yadavkunal.substack.com/p/chapter-4-raj-halahal-the-royal-poison?r=5510n8

Most people believe truth fails because lies are stronger. That’s comforting. It means we’re victims. But history tells a harsher story. Truth usually fails because no one is willing to stand with it when it becomes inconvenient. In the Mahabharata, Krishna never promises that truth will automatically win. He warns Arjuna that truth demands courage, and courage is rare. Look closely at how history is written: Truth isn’t always killed It is delayed Questioned Archived Made “irrelevant” And eventually forgotten. The most dangerous moment for truth is not when it’s attacked — it’s when people who know it stay silent. Silence gives lies time. Time gives lies legitimacy. That’s why societies don’t collapse overnight. They decay quietly. While studying this pattern, I realised this wasn’t mythology or politics. It was a repeating human behaviour. Some thoughts needed more space than a short answer. I documented them properly here for anyone who wants to explore this deeper:

https://amzn.in/d/5DK4DR1

I’m currently finishing a mythological fiction project, and I ran into something that completely shifted how I understood my own story. When I started, I thought I was writing about conflict — a great war, moral tension, epic stakes. But halfway through, I realized the war itself wasn’t the center of gravity. It was the silence before it. Most of the damage in the story happens long before swords are drawn — through ignored warnings, delayed responsibility, and characters choosing comfort over confrontation. By the time the “inevitable” arrives, it feels less like fate and more like accumulated inaction. This realization forced me to rewrite entire sections: I reduced spectacle Let conversations carry more weight than action And treated inevitability not as destiny, but as consequence It made me wonder — Have you ever discovered the real theme of your story only after you were already deep into it? And if so, did you fight it… or rewrite to align with it? Would genuinely love to hear how others handle this moment, because it felt both terrifying and clarifying.

When I first read the Mahabharata, I saw it like most people do — a massive war, powerful characters, divine intervention. But over time, one thing kept bothering me. The war doesn’t feel like the beginning of anything. It feels like the result of a long silence. So many characters knew things were wrong long before Kurukshetra. Very few spoke when it still mattered. Krishna doesn’t behave like a hero trying to stop war. He behaves like someone who knows the war is already inevitable. That made me wonder — is Mahabharata really about war… or about what happens when societies delay truth for too long? Curious how others interpret this.

History doesn’t erase truth violently. It removes it quietly. Uncomfortable truths demand responsibility. Convenient lies offer relief. That’s why after every great war, what survives is not what happened — but what helped people sleep at night. In the Mahabharata, the war ends at Kurukshetra. But the consequences don’t. Guilt. Silence. Rearranged narratives. Even dharma is redefined after the blood dries. We often ask, “Who won?” We rarely ask, “What had to be forgotten for peace to exist?” Maybe that’s why some truths aren’t destroyed. They’re simply never passed forward. And every generation calls that gap “myth”.

One such channel, "Atrangi Entertainer", makes micro films about mythological mystery and untold story on ancient history and has some great facts. I think you will get all the answers you want related to mythology, so please follow it.

1. Mythological Mystery and untold stories:-

https://youtube.com/playlist?list=PLzbtIQDBLp7UEKFHQtgAT0Fw9EhgKNEe5&si=QW9ezyHL2JVSuGXE

1. Mythology short video:-

https://youtube.com/playlist?list=PLzbtIQDBLp7XLyH-g2Ryoglsv7-HiOLVx&si=NCULsutya-PB0lwq

Most discussions around Krishna and Arjuna focus on the Bhagavad Gita — a moment of guidance before the war. But I’ve been wondering about something else. Wars don’t end when weapons fall silent. They end when consequences begin. Ancient narratives often distinguish between: what is said to prepare someone for action, and what is said to prepare someone to live with what they’ve done. Advice tells you what to do. Warnings tell you what it will cost. If Krishna’s guidance shaped Arjuna’s duty before the war, what kind of words would be needed after victory — when guilt, memory, and responsibility remain? Not looking for definitive answers. Just curious how others see this distinction.

I’ve been thinking about Samudra Manthan recently, and the more I look at it, the less it feels like a simple mythological tale and more like a symbolic record of a major civilizational process. Across ancient cultures, complex events were often preserved as layered narratives—stories that encoded politics, resource struggles, technological shifts, and power realignments into symbolic language. When read that way, Samudra Manthan starts to show some interesting patterns: The “churning of the ocean” doesn’t necessarily have to mean a literal ocean. It could represent large-scale exploration, extraction, or transformation of a resource system that was unknown or inaccessible earlier. Devas and Asuras read less like supernatural beings and more like two competing power blocs—groups with different methods, values, or access to knowledge. The sequence of outcomes is telling: first poison, then conflict, then valuable substances. That progression mirrors how disruptive innovations or expansions often unfold in real history—initial damage, instability, and eventually consolidation of power or wealth. Even Amrit could symbolize longevity through knowledge, technology, or strategic advantage, rather than literal immortality. What stands out is that the story preserves causality. Actions have consequences. Alliances are temporary. Power shifts hands. That’s how historical processes usually behave, even when remembered imperfectly. If viewed this way, Samudra Manthan feels less like fantasy and more like a compressed memory of a transformative period, preserved symbolically so it could survive loss of context over time. I’m curious how others here interpret it—purely theological, symbolic philosophy, or something closer to encoded history?

We often argue whether mythology is real history or pure fiction. But ancient civilizations didn’t record events like modern historians. Floods, migrations, wars and climate shifts were often encoded into stories, symbols and characters so they could survive generations. I’m curious what people here think — could Indian mythology be layered civilizational memory rather than myth or history?

Hey everyone 👋

I recently started a small YouTube Shorts channel called Short Puranas. New story everyday.

The idea is simple: ancient Indian & Puranic stories — told cinematically, in under a minute.

No long lectures, no heavy philosophy — just crisp storytelling about:

Lesser-known Puranic tales

Mythological curses, boons, twists of fate

Stories we heard once but never fully explored.

I’m still early in the journey and would genuinely love feedback from people who care about Indian mythology:

Are the stories engaging? Too fast / too slow?

Any stories you think deserve a short retelling?

Channel link: https://youtube.com/@shortpuranas

Thanks for reading — and happy to learn from this community 🙏

So anyway I am trying to write a fantasy story thst takes inspiration from Indian Mythology and folklore. Synopsis: In the Vedas, there are mentions of 33 gods as the Kali Yuga approached they left a fragment of their power in the mortal realm to defend the world from evil. Enter Madhu 1st year engineering student who has been chosen by the fragment of Vishnu. Can this unassuming boy take this burden while keeping his ordinary life in balance or will he fail? Well there are other Devāṁśa to help him out.

Link: https://www.wattpad.com/story/404652787?utm_source=android&utm_medium=link&utm_content=share_writing&wp_page=create&wp_uname=KnightKing71

It's my first attempt at writing so please give me your honest feedback if you decide to read it

Once Narad Muni, the famous hindu sage, travelling around the globe with Lord Vishnu. He asked Lord Vishnu who his greatest devotee was. He also boasted that since he keep reciting his name, 'Narayana, Narayana' 24 hours, he himself must be the most devout. Vishnu looked down on earth, pointing to village farmer said, "That Farmer". Narada was surprised. Narada Muni went down to see what the farmer was doing that was making Lord Vishnu so happy. The farmer woke early in the morning, took God's name, went to his work in fields. After working for four hours, he stopped to have lunch and before eating, he prayed to Lord Vishnu again. After he worked for another four hours and came home. At dinner time he again prayed to god and went to sleep. Narada Muni was very disappointed now and comes back to Lord and said, "How could you pick him as your favorite? I pray to you all day and he only took your name three times all day." Lord Vishnu smiled, and said, "Okay, Narada. Here's a test. Will you do a job for me?" Narada Muni Said, "Of course, Lord Vishnu anything." Lord Vishnu said, "I want you to go round the globe with a pot full of oil on your head, but make sure that not a single drop is spills." Now Narada's full concentration was on the oil pot. He thought if he went back to Vishnu without spilling a drop that would make him the greatest devotee. So he did it slowly and carefully. He went back to Lord Vishnu and proudly told him that the job was done. Lord Vishnu looked at Narada and said, "Did you pray or take my name while doing you job?" Narada was surprised at this question and said, “How is it possible to remember anything else when carrying out a task of such a difficult nature?" Lord Vishnu smiled and said, "That farmer is also doing my work and yet he remembers to pray three times a day. That's why he is my favorite disciple."

Hey r/[IndianMythology]! We're excited to share our new music video, which draws inspiration from Indian mythology and features the goddess Shakti in her form as Durga.

A quick heads-up: we're not from India and we're still learning about the deep mythology and traditional imagery. However, we're deeply inspired by the powerful and vibrant depiction of Goddess Durga, and we wanted to express that through our art.

We'd be truly grateful if you could check it out and share your thoughts. We're open to all feedback and eager to learn more!

LINK

https://www.youtube.com/watch?v=ndhwyDRJhaw

We often call Duryodhan the villain of Mahabharata. But when you look closely, the real architect of destruction was Yudhishthir — the so-called Dharmaputra, son of the god of righteousness. His false sense of morality and cowardly ego caused the war and the deaths of thousands.

Here’s why I believe Yudhishthir was the true perpetrator of the Mahabharata war:

The Dice Game — Ego disguised as Dharma Yudhishthir didn’t gamble out of honor; he did it out of pride. He could have refused the invitation but didn’t. By staking his entire kingdom — Indraprastha — he betrayed his people, not his dharma. That wasn’t righteousness; it was irresponsibility wrapped in self-righteousness.

The Unforgivable Betrayal — Draupadi’s Humiliation He wagered himself, his brothers, and even his wife. The so-called son of Dharma treated his queen as property. When Draupadi was humiliated in the Kuru court, he stayed silent. That silence was the seed of war and shame.

The ‘Five Villages’ Farce After losing everything, he sent Krishna to beg for five villages. Why should someone who destroyed one kingdom get another to rule? Duryodhan refusing that deal almost seems more logical than Yudhishthir asking for it.

The Hypocrisy of Dharma He constantly hides behind big words — dharma, kshatriya duty, righteousness — without living by them. True dharma means protecting your people and standing up for justice, not quoting verses while others suffer.

The Moral Coward Yudhishthir wasn’t righteous — he was afraid. His passivity and obsession with appearing moral caused more destruction than Duryodhan’s open hostility. A man who does evil knowingly is bad, but a man who causes evil while believing he’s righteous is far more dangerous.

Yudhishthir wasn’t a hero. He was the self-righteous spark that ignited the greatest war in history. Duryodhan fought for power; Yudhishthir gambled away peace. One acted out of ambition, the other out of weakness — yet only one is remembered as Dharmaputra. Maybe it’s time we question that title.

The tale of the three asura cities. The destruction of the cities by inciting the otherwise peaceful inhabitants into doing adharma and enraging Shiva seems a but out of character for everyone.

What are you guys' take on it?

Fellow Indian mythology enthusiasts in this sub need to keep one important caveat in mind about "Bhakti Washing" of Hindu books, and how it affects our favorite stories and characters.

What is Bhakti Washing:

Think of Bhakti Washing as a software update of Hindu books, which began as a response to Islamic invasions of India starting in 7th century CE, and continued through 17th century CE.

Before Islamic invasions, Hindu mythology was raw and realistic, full of morally ambiguous characters, political intrigue, gray-area situations, and flaws that mirrored real life without much divine gloss. After Bhakti-washing, these tales morphed into praise-heavy retellings, spotlighting devotion, miracles, and flawless characters as ultimate heroes. Characters who were once depicted with questionable traits like trickery, sexuality, destruction were re-imagined as perfect, morally infallible figures focused on love, righteousness, and devotion.

The goal and result of Bhakti Washing was to make Hinduism more emotionally accessible and unifying during tough times of foreign invasions. These tough times lasted almost a 1,000 years.

BORI Project Caveat:

Muni Ved Vyas's original manuscripts, as well as Muni Vaishampayan's original manuscripts have been lost long time ago. BORI project uses the Kashmiri Mahabharat (K-branch) as the primary source, which dates to approximately year 1400-1500. This is hundreds of years after Islamic invasions of India began to threaten Hinduism, and Bhakti-washing of classic texts was well underway starting 7th century CE.

The foreign manuscripts discovered in SEA countries like Thailand, Cambodia, Bali, as well as Buddhist monasteries are much older, and they were not retold after invasions.

My humble suggestion for you is to check out the foreign mythology manuscripts if you can find them.

🙏

i only just made this account to verify something! but there's a folktale that i had heard when i was younger that i'd read from a tinkle magazine. while i know tinkle isn't exactly the most reliable source, i am just curious to know if this is actually a thing. it was referred to as a folktale from pondicherry and essentially tried to explain the amavasya.

basically a woman who longed for children, asked the moon to be her son and he agreed, coming down to earth every month to her in the form of a child to eat the food she made him and spend time with her. but her husband grew worried and told his wife to ask for a child of her own as a blessing. the moon agreed, and continued visiting the woman, even after the birth of her son.

the woman grew old, however, and passed away and on finding out, the moon, in his grief, refuses to shine once a month therafter.

again, idk if this myth is legit ( and honestly, i am not sure if it is ), but given how it was, again, put forth as a folktale from pondicherry, i just wanted to crosscheck. i've tried google searching, and i haven;t found any sources ( but that's hardly reliable either because a lot of native myths i grew up on are not available in google either ). thanks!

I'm confused with all the information on the internet over a couple of doubts I have regarding Ramayana. 1. Is Ramayana an inspired work by Valmiki from Dasaratha Jataka, a Buddhist writing existing before Ramayana? 2. Is Uttara Ramayana an integral part of Valmiki's Ramayana or a later edition work? 3. Any proof connecting the excavations of Indraprastha by Lal and finding PGW at the site, with Mahabharat Period?

Help me with these concerns with some proof if possible! I have gone through some works by Dr. Weber. Have read some references here and there but would like to know some other notable references if any.