Peacock

PEACOCK THE MYSTIC BIRD OF HINDUISM Featuring The Significance of Peacock Feather in Hinduism Dr Uday Dokras Ph D Stockholm, SWEDEN Introduction: The peacock is the national bird of India. It represents the succession of temporal cycles in Hindu cosmogony. In addition to this, it is believed that its feathers bring prosperity and, if they are kept inside the house, they keep flies out. It is also said that the peacock’s screech can warn people of possible danger. According to Hindu religious beliefs, the peacock was created from one of the feathers of the mythological bird Garuda. This was a huge majestic bird which carried Lord Vishnu on its back. Kartikeya (Sanskrit: Kārttikeya), also known as Skanda, Kumara, Murugan and Subrahmanya, is the Hindu god of war. He is the son of Parvati and Shiva, brother of Ganesha, and a god whose life story has many versions in Hinduism. An important deity around South Asia since ancient times, Kartikeya is particularly popular and predominantly worshipped in South India, Sri Lanka, Singapore and Malaysia as Murugan. The male peacock is a large pheasant (peafowl), usually blue or green and originally native to India. He is known for often being a big show off with his plumage and iridescent tail. Seasonally, he hopes that his long shimmering train will win over a female mate. People have been witness to this courtship dance for thousands of years. The ancients, in turn, fell in love with the peacock and worshipped it almost like a god. In its native home of India, peacocks played a part in various myths. Interestingly, for thousands of years it is said that the peacock graced Indian palaces and temples fighting off evil snakes. Further east in China, the peacock was considered a good omen that was able to ward off evil spirits. In Hindu mythology the peacock was worshipped as a symbol of the sun. The peacock also served as a mounted vehicle to many of the Hindu’s war gods including Brahma and Kama, and Kartikeya (below). 1 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors Kartikeya is an ancient god, traceable to th e Vedic era. Archaeological evidence from 1st-century CE and earlier, where he is found with Hindu god Agni (fire), suggest that he was a significant deity in early Hinduism. He is found in many medieval temples all over India, such as at the Ellora Caves and Elephanta Caves. The iconography of Kartikeya varies significantly; he is typically represented as an ever-youthful man, riding or near a peacock, dressed with weapons sometimes near a rooster. Most icons show him with one 2 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors head, but some show him with six heads reflecting the legend surrounding his birth. He grows up quickly into a philosopher-warrior, destroys evil in the form of demon Taraka, teaches the pursuit of ethical life and the theology of Shaiva Siddhanta. He has inspired many poet-saints, such as Arunagirinathar. Kartikeya is found as a primary deity in temples of the Tamil people - worldwide, particularly in Tamil Nadu, India, SriLanka, Mauritius, Indonesia, Malaysia, Singapore, South Africa . Three of the six richest and busiest temples in Tamil Nadu are dedicated to him. The Kataragama temple dedicated to him in Sri Lanka attracts Tamils, Sinhalese people and the Vedda people.[9] He is also found in other parts of India, sometimes as Skanda, but in a secondary role along with Ganesha, Parvati and Shiva. Mystic Animal The myth is that the peacock has angels’ feathers, a devil’s voice, and the walk of a thief. But Hindus believe it is not only the mount of Kartikeya, but also of Sarasvati, the goddess of wisdom and learning. It is also the vehicle of Lakshmi and Brahma. When mounted by kama, the god of love, it represents desire. Hindu gurus are fond of using peacock feathers during their discourses, so as to pass on their aura to their followers. Mayura is associated with a number of gods and deities of the Hindus including the following:  A story in the Uttara Ramayana elaborates on Indra, who unable to defeat Ravana, sheltered under the wing of a peacock and later blessed it with a "thousand eyes" and fearlessness from serpents. Another story has Indra who after being cursed with a thousand ulcers was transformed into a peacock with a thousand eyes.  Kaumari is generally depicted with a mayura and the mayura also serves as her conveyance.  The mayura named Paravani serves as the conveyance of the god Kartikeya.  Krishna is generally depicted with peacock feathers adorning his head.  Lakshmi, the consort of Vishnu, is the goddess of prosperity, luck and beauty; she is symbolized by the mayura.  Mayuresvara an incarnation of Ganesha, whose mount is a peacock (in the Ganesha Purana)  The mayura named Citramekhala is associated with Saraswati, a deity representing benevolence, patience, kindness, compassion and knowledge.  Sri Chanda Bhairavar, one of the Ashta Bhairava ("Eight Bhairavas"); whose mount is a peacock. 3 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors  Vikata (Vikaṭa) ("unusual form", "misshapen"), an avatar of Ganesha, whose mount is a peacock (in the Mudgala Purana). In general, feathers of mayura are considered sacred and are used to dust the religious images and implements of Hindus. In Asian folklore, especially in that of the Vedda of Sri Lanka the peacock deserves a charm of praise since this bird kills centipedes and snakes. Hindu mythology are narratives found in Hindu texts such as the Vedic literature, epics like Mahabharata and Ramayana, the Puranas, the regional literatures like Periya Puranam. Hindu mythology is also found in widely translated popular texts such as the Panchatantra and Hitopadesha, as well as Southeast Asian texts. Hindu mythology does not often have a consistent, monolithic structure. The same myth typically appears in various versions and can be represented differently across socio-religious traditions. These myths have also been noted to have been modified by various philosophical schools over time and particularly in the Hindu tradition. These myths are taken to have deeper, often symbolic, meaning, and have been given a complex range of interpretations. The Hindu Epic literature is found in genre of Hindu texts such as:    Vedic literature (1500-500 BCE) Puranas Vedas Many of these legends evolve across these texts, the character names change or the story is embellished with greater details, yet the central message and moral values remain the same. Hindu epic shares the creative principles and human values found in epic everywhere. However, the particular details vary and its diversity is immense, according to Doniger.[8] The Hindu legends embed the Indian thought about the nature of existence, the human condition and its aspirations through an interwoven contrast of characters, the good against the evil, the honest against the dishonest, the dharma-bound lover against the anti-dharma bully, the gentle and compassionate against the cruel and greedy. In these epics, everything is impermanent including matter, love and peace. Magic and miracles thrive, gods are defeated and fear for their existence, triggering wars or debates. Death threatens and re-threatens life, while life finds a way to creatively re-emerge thus conquering death. Eros persistently prevails over chaos. 4 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors The Hindu epics integrate in a wide range of subjects. They include stories about how and why cosmos originated (Hindu cosmology, cosmogony), how and why humans or all life forms originated (anthropogony) along with each's strengths and weaknesses, how gods originated along with each's strengths and weaknesses (theogony), the battle between good gods and bad demons (theomachy), human values and how humans can live together, resolve any disagreements (ethics, axiology), healthy goals in stages of life and the different ways in which each individual can live (householder, monk, purusartha), the meaning of all existence and means of personal liberation (soteriology) as well as legends about what causes suffering, chaos and the end of time with a restart of a new cycle (eschatology). A significant collection of Vaishnavism traditional reincarnations includes those related to the avatars of Vishnu in animal forms. The ten most common of these include: 1. Matsya: It narrates a great flood, similar to one found in many ancient cultures. The savior here is the Matsya (fish). The earliest accounts of Matsya mythology are found in the Vedic literature, which equate the fish saviour to the deity Prajapati. The fish-savior later merges with the identity of Brahma in post-Vedic era, and still later as an avatar of Vishnu. The legends associated with Matsya expand, evolve and vary in Hindu texts. These legends have embedded symbolism, where a small fish with Manu's protection grows to become a big fish, and the fish ultimately saves earthly existence. 2. Kurma: The earliest account of Kurma is found in the Shatapatha Brahmana (Yajur veda), where he is a form of Prajapati-Brahma and helps with the samudra manthan (churning of cosmic ocean). In the Epics and the Puranas, the legend expands and evolves into many versions, with Kurma becoming an avatar of Vishnu. He appears in the form of a tortoise or turtle to support the foundation for the cosmos and the cosmic churning stick (Mount Mandara). 3. Varaha: The earliest versions of the Varaha or boar legend are found in the Taittiriya Aranyaka and the Shatapatha Brahmana, both Vedic texts.[23] They narrate that the universe was primordial waters. The earth was the size of a hand and was trapped in it. The god Prajapati (Brahma) in the form of a boar (varaha) plunges into the waters and brings the earth out. In post-Vedic literature, particularly the Puranas, the boar mythology is reformulated through an avatar of god Vishnu and an evil demon named Hiranyaksha who persecutes people 5 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors and kidnaps goddess earth. Varaha-Vishnu fights the injustice, kills the demon and rescues earth. 4. Narasimha: The Narasimha mythology is about the man-lion avatar of Vishnu. He destroys an evil king (Hiranyakashyapu), ends religious persecution and calamity on Earth, saves his devotee (Prahlad) from the suffering caused by torments and punishments for pursuing his religious beliefs, and thereby Vishnu restores the Dharma. 5. Vamana 6. Parashurama: Parashurama is the sixth avatar of Vishnu in Hinduism. Born as a Brahmin, Parashurama carried traits of a Kshatriya and is often regarded as a Brahman Warrior, He carried a number of traits, which included aggression, warfare and valor; also, serenity, prudence and patience. Like other incarnations of Vishnu, he was foretold to appear at a time when overwhelming evil prevailed on the earth.The Kshatriya class, with weapons and power, had begun to abuse their power, take what belonged to others by force and tyrannize people. Parashurama corrects the cosmic equilibrium by destroying these Kshatriya warriors. 7. Rama: Rama or Ram, also known as Ramachandra, is a major deity of Hinduism. He is the seventh avatar of the god Vishnu, with Krishna, Parshurama, one and Gautama of his most Buddha. Jain popular Texts also incarnations along mentioned Rama as eighth balabhadra among the 63 salakapurusas. In Rama-centric traditions of Hinduism, he is considered the Supreme Being. 8. Krishna: Krishna is a major deity in Hinduism. He is worshipped as the eighth avatar of the god Vishnu and also as the supreme God in his own right. He is the god of compassion, tenderness, love and is one of the most popular and widely revered among Indian divinities. 9. Buddha: The Buddha was a philosopher, mendicant, meditator, spiritual teacher, and religious leader who lived in ancient India (c. 5th to 4th century BCE). He is revered as the founder of the world religion of Buddhism. Of the ten major avatars of Vishnu, Vaishnavites believe Gautama Buddha to be the ninth and most recent incarnation. He taught for around 45 years and built a large following, both monastic and lay. His teaching is based on his insight into duḥkha (typically translated as "suffering") and the end of dukkha – the state called Nibbāna or Nirvana. 6 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors 10. Kalki : Kalki, is the prophesied tenth avatar of Hindu god Vishnu who will take birth to end the Kalyuga, one of the four and the last era in the endless cycle of existence in Sanatan Dharma/Religion, and start a new cycle with Satya Yuga. The peacock or Mayura (Sanskrit:Mayūra) is however not a reincarnation but a vehicle of some of the supreme Gods of Hinduism. The popular God Ganesh for example, is sometimes shown with a peacock as his vehicle, although a peacock is the customary vehicle of his brother Kartikeya (also known as Murugan, Subramanya, Skanda and other names) as well as the vehicle sometimes associated with the goddess Saraswati. It is referred to in a number of Hindu scriptures. It is also a contemporary Hindu name used in many parts of India.The legend states that the Mayura was created from the feathers of Garuda, another semi-divine mythical birds of Hindu mythology. Garuda is believed to be a vahana (conveyance) of Vishnu, one of the Trimurti. In images of the mayura as a mythical bird, it is depicted as killing a snake, which according to a number of Hindu scriptures, is a symbol of cycle of time. Kartikeya –-Peacock Kartikeya, the god of war is seen in pictures as perched on a magnificent peacock. The prevailing myth is that the peacock doesn’t copulate with the peahen. Therefore it is regarded as a chaste bird. As the old wives’ tale goes the peacock is contented with its magnificent plumes but is deeply embarrassed by its unattractive legs. While it joyfully dances under a cloudy sky, when it glances at its legs, it is moved to tears. The peahen sips the tears and conceives. So, the message to all warriors is that they should forgo all sexual desires, if they wish to emerge victorious in war. The scientific truth however is that peacocks do have sexual intercourse. Importance: Mayura is associated with a number of gods and deities of the Hindus including the following:  A story in the Uttara Ramayana elaborates on Indra, who unable to defeat Ravana, sheltered under the wing of a peacock and later blessed it with a "thousand eyes" and fearlessness from serpents. Another story has Indra who after being cursed with a thousand ulcers was transformed into a peacock with a thousand eyes.  Kaumari is generally depicted with a mayura and the mayura also serves as her conveyance. 7 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors  The mayura named Paravani serves as the conveyance of the god Kartikeya.  Krishna is generally depicted with peacock feathers adorning his head.  Lakshmi, the consort of Vishnu, is the goddess of prosperity, luck and beauty; she is symbolized by the mayura.  Mayuresvara an incarnation of Ganesha, whose mount is a peacock (in the Ganesha Purana)  The mayura named Citramekhala is associated with Saraswati, a deity representing benevolence, patience, kindness, compassion and knowledge.  Sri Chanda Bhairavar, one of the Ashta Bhairava ("Eight Bhairavas"); whose mount is a peacock.  Vikata (Vikaṭa) ("unusual form", "misshapen"), an avatar of Ganesha, whose mount is a peacock (in the Mudgala Purana). In general, feathers of mayura are considered sacred and are used to dust the religious images and implements of Hindus. In Asian folklore, especially in that of the Vedda of Sri Lanka the peacock deserves a charm of praise since this bird kills centipedes and snakes. Vintage Brass statute Peacock feathers, or mor pankh, are regarded as an auspicious symbol in Hindu mythology because of their association with the peacock, a beautiful bird which is also the national bird of India. You may 8 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors have noticed that many people keep peacock feathers in their homes. It is believed that keeping peacock feathers at home brings good luck and prosperity into the house. The Secret of its Survival The peacock remains the oldest ornamental bird in the world. Have you ever wondered what could be the secret of its survival? You will be surprised to learn the myths surrounding the peacock’s survival. Here are some stories from Hindu mythology which substantiate the symbolism of the peacock and its feathers. Origin of the Peacock It is believed that the mayura, or the peacock, was created from one of the feathers of Garuda (a 9 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors mythical bird in Hindu mythology and a carrier of Lord Vishnu). It is depicted as a mythical bird which is killing a snake. According to a number of Hindu scriptures, it is a symbol of the cycle of time. The Beautiful Mor-Pankh Believe it or not, peacocks once had dull tail feathers. In a battle between Ravana and Lord Indra, the bird spread its feathers wide open, to allow Indra to hide behind them and thus wage a war. Indeed, it was able to save Indra, in return for which, the god made the peacock feathers iridescent. Incidentally, Indra is often depicted seated on a peacock throne. The Peacock Feather & Goddess Lakshmi The peacock is also identified with Lakshmi, the goddess of wealth. That is why people keep peacock feathers at home, believing that they will bring wealth and prosperity into the house. It is also believed that peacock feathers keep the house free from flies and other insects. Peacock Feathers in Hinduism The peacock feather is of great importance in Hinduism. Lord Krishna wears a peacock feather on his crown. Lord Karthikeya uses the peacock as his mode of conveyance. Peacock Feathers for Protection The peacock is considered to be a bird of protection and safe guarding. This bird is also valued as a protection for the psychic self. Thus, the peacock feather within a home is said to safeguard the energy in the environment. Peacock for Harmony The peacock brings harmony and joy to our mind. The peacock bird is majestic and proud, with much dramatic expression – the male bird dances for the sake of the female during courting, reminding us of the celebration in life. Cultural Motifs In Hinduism, when god Indra transforms himself into an animal, he becomes a peacock. In India, the peacock is believed to have a thousand eyes in its feathers. In Java, the peacock is associated with the Devil. In Mosul, northern Iraq, a sect of Yezidis hold that the Devil is not evil, and call him by the name Peacock Angel. Finally, one of the most common symbolism lies between a peacock and rain. The peacock is said to be 10 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors able to foretell rain, by dancing before it pours. And, if a peacock cries more than usual, it is said to foretell the death of someone in the family. Peafowl is a common name for three bird species in the genera Pavo and Afropavo of the family Phasianidae, the pheasants and their allies. Male peafowl are referred to as peacocks, and female peafowl as peahens, though peafowl of either sex are often referred to colloquially as "peacocks" The two Asiatic species are the blue or Indian peafowl originally of the Indian subcontinent, and the green peafowl of Southeast Asia; the one African species is the Congo peafowl, native only to the Congo Basin. Male peafowl are known for their piercing calls and their extravagant plumage. The latter is especially prominent in the Asiatic species, which have 11 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors an eye-spotted "tail" or "train" of covert feathers, which they display as part of a courtship ritual. The functions of the elaborate iridescent colouration and large "train" of peacocks have been the subject of extensive scientific debate. Charles Darwin suggested that they served to attract females, and the showy features of the males had evolved by sexual selection. More recently, Amotz Zahavi proposed in his handicap theory that these features acted as honest signals of the males' fitness, since less-fit males would be disadvantaged by the difficulty of surviving with such large and conspicuous structures. The Indian peacock has iridescent blue and green plumage, mostly metallic blue and green, but the green peacock has green and bronze body feathers. In both species, females are as big as males, but lack the train and the head ornament.[2] The peacock "tail", known as a "train", consists not of tail quill feathers, but highly elongated upper tail coverts. These feathers are marked with eyespots in their adult plumage. Occasionally, peafowl appear with white plumage. Although albino peafowl do exist, this is quite rare, and almost all white peafowl are not albinos; they have a genetic condition called leucism, which causes pigment cells to fail to migrate from the neural crest during development. Leucistic peafowl can produce pigment but not deposit the pigment to their feathers, resulting in their blue-grey eye colour and the complete lack of colouration in their plumage. Pied peafowl are affected by partial leucism, where only some pigment cells fail to migrate, resulting in birds that have colour but also have patches absent of all colour; they, too, have blue-grey eyes. By contrast, true albino peafowl would have a complete lack of melanin, resulting in irises that look red or pink. Leucistic peachicks are born yellow and become fully white as they mature. 12 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors Iridescence Iridescence (also known as goniochromism) is the phenomenon of certain surfaces that appear to gradually change color as the angle of view or the angle of illumination changes. Examples of iridescence include soap bubbles, feathers, butterfly wings and seashell nacre, as well as certain minerals. It is often created by structural coloration (microstructures that interfere with light). Pearlescence is a related effect where some or all of the reflected light is white, where iridescent effects produce only other colours. The term pearlescent is used to describe certain paint finishes, usually in the automotive industry, which actually produce iridescent effects. As with many birds, vibrant iridescent plumage colours are not primarily pigments, but structural colouration. Optical interference Bragg reflections, based on regular, periodic nanostructures of the barbules (fiber-like components) of the feathers, produce the peacock's colours. Slight changes to the spacing of these barbules result in different colours. Brown feathers are a mixture of red and blue: one colour is created by the periodic structure and the other is created by a Fabry–Pérot interference peak from reflections from the outer and inner boundaries. Such structural colouration causes the iridescence of the peacock's hues. Interference effects depend on light angle rather than actual pigments. Evolution and sexual selection Charles Darwin suggested in On the Origin of Species that the peafowl's plumage had evolved through sexual selection. He expanded upon this in his second book, The Descent of Man and Selection in Relation to Sex. The sexual struggle is of two kinds; in the one it is between individuals of the same sex, generally the males, in order to drive away or kill their rivals, the females remaining passive; whilst in the other, the struggle is likewise between the individuals of the same sex, in order to excite or charm those of the opposite sex, generally the females, which no longer remain passive, but select the more agreeable partners. Sexual selection is the ability of male and female organisms to exert selective forces on each other with regard to mating activity. The strongest driver of sexual selection is gamete size. In general, eggs are bigger than sperm, and females produce fewer gametes than males. This leads to eggs being a bigger 13 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors investment, so to females being choosy about the traits that will be passed on to her offspring by males. The peahen's reproductive success and the likelihood of survival of her chicks is partly dependent on the genotype of the mate. Females generally have more to lose when mating with an inferior male due to her gametes being more costly than the male's. Female choice Peacock (seen from behind) displaying to attract peahen in foreground. Multiple hypotheses attempt to explain the evolution of female choice. Some of these suggest direct benefits to females, such as protection, shelter, or nuptial gifts that sway the female's choice of mate. Another hypothesis is that females choose mates with good genes. Males with more exaggerated secondary sexual characteristics, such as bigger, brighter peacock trains, tend to have better genes in the peahen's eyes. These better genes directly benefit her offspring, as well as her fitness and reproductive success. Runaway selection also seeks to clarify the evolution of the peacock's train. In runaway sexual selection, linked genes in males and females code for sexually dimorphic traits in males, and preference for those traits in females. The close spatial association of alleles for loci involved in the train in males, and for preference for more exuberant trains in females, on the chromosome (linkage disequilibrium) causes a positive feedback loop that exaggerates both the male traits and the female preferences. Another hypothesis is sensory bias, in which females have a preference for a trait in a nonmating context that becomes transferred to mating. Multiple causality for the evolution of female choice is also possible. Work concerning female behaviour in many species of animals has sought to confirm Darwin's basic idea of female preference for males with certain characteristics as a major force in the evolution of species.[9] Females have often been shown to distinguish small differences between potential mates, and to prefer mating with individuals bearing the most exaggerated characters. In some cases, those males 14 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors have been shown to be more healthy and vigorous, suggesting that the ornaments serve as markers indicating the males' abilities to survive, and thus their genetic qualities. The peacock's train and iridescent plumage are perhaps the best-known example of traits believed to have arisen through sexual selection, though with some controversy. Male peafowl erect their trains to form a shimmering fan in their display to females. Marion Petrie tested whether or not these displays signalled a male's genetic quality by studying a feral population of peafowl in Whipsnade Wildlife Park in southern England. The number of eyespots in the train predicted a male's mating success. She was able to manipulate this success by cutting the eyespots off some of the males' tails:[12] females lost interest in pruned males and became attracted to untrimmed ones. Males with fewer eyespots, thus with lower mating success, suffered from greater predation. She allowed females to mate with males with differing numbers of eyespots, and reared the offspring in a communal incubator to control for differences in maternal care. Chicks fathered by more ornamented males weighed more than those fathered by less ornamented males, an attribute generally associated with better survival rate in birds. These chicks were released into the park and recaptured one year later. Those with heavily ornamented feathers were better able to avoid predators and survive in natural conditions. Thus, Petrie's work has shown correlations between tail ornamentation, mating success, and increased survival ability in both the ornamented males and their offspring. Furthermore, peafowl and their sexual characteristics have been used in the discussion of the causes for sexual traits. Amotz Zahavi used the excessive tail plumes of male peafowls as evidence for his "handicap principle". Since these trains are likely to be deleterious to an individual's survival (as their brilliance makes them more visible to predators and their length hinders escape from danger), Zahavi argued that only the fittest males could survive the handicap of a large train. Thus, a brilliant train serves as an honest indicator for females that these highly ornamented males are good at surviving for other reasons, so are preferable mates. This theory may be contrasted with Ronald Fisher's theory (and Darwin's hypothesis) that male sexual traits are the result of initially arbitrary aesthetic selection by females. In contrast to Petrie's findings, a seven-year Japanese study of free-ranging peafowl concluded that female peafowl do not select mates solely on the basis of their trains. Mariko Takahashi found no evidence that peahens preferred peacocks with more elaborate trains (such as with more eyespots), a more symmetrical arrangement, or a greater length. Takahashi determined that the peacock's train was 15 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors not the universal target of female mate choice, showed little variance across male populations, and did not correlate with male physiological condition. Adeline Loyau and her colleagues responded that alternative and possibly central explanations for these results had been overlooked. They concluded that female choice might indeed vary in different ecological conditions. Food courtship theory Merle Jacobs' food-courtship theory states that peahens are attracted to peacocks for the resemblance of their eye spots to blue berries. Natural selection It has been suggested that a peacock's train, loud call, and fearless behaviour have been formed by natural selection (not sexual selection), and served as an aposematic display to intimidate predators and rivals. Plumage colours as attractants Miniature painting showing eyespots on peacock feathers Eyespot on a peacock's train feather. 16 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors A peacock's copulation success rate depends on the colours of his eyespots (ocelli) and the angle at which they are displayed. The angle at which the ocelli are displayed during courtship is more important in a peahen's choice of males than train size or number of ocelli. Peahens pay careful attention to the different parts of a peacock's train during his display. The lower train is usually evaluated during closeup courtship, while the upper train is more of a long-distance attraction signal. Actions such as train rattling and wing shaking also kept the peahens' attention. Redundant signal hypothesis Although an intricate display catches a peahen's attention, the redundant signal hypothesis also plays a crucial role in keeping this attention on the peacock's display. The redundant signal hypothesis explains that whilst each signal that a male projects is about the same quality, the addition of multiple signals enhances the reliability of that mate. This idea also suggests that the success of multiple signalling is not only due to the repetitiveness of the signal, but also of multiple receivers of the signal. In the peacock species, males congregate a communal display during breeding season and the peahens observe. Peacocks first defend their territory through intra-sexual behaviour, defending their areas from intruders. They fight for areas within the congregation to display a strong front for the peahens. Central positions are usually taken by older, dominant males, which influences mating success. Certain morphological and behavioural traits come in to play during inter and intra-sexual selection, which include train length for territory acquisition and visual and vocal displays involved in mate choice by peahens. Vocalisation: In courtship, vocalisation stands to be a primary way for peacocks to attract peahens. Some studies suggest that the intricacy of the "song" produced by displaying peacocks proved to be impressive to peafowl. Singing in peacocks usually occurs just before, just after, or sometimes during copulation. Sex shifts from peahen to peafowl have been recorded since the 1930s. Though an explanation for these instances hasn't yet been provided, it is speculated that it might be a form of bilateral gynandromorphism. Peafowl are forest birds that nest on the ground, but roost in trees. They are terrestrial feeders. All species of peafowl are believed to be polygamous. In common with other members of the Galliformes, the males possess metatarsal spurs or "thorns" on their legs used during intraspecific territorial fights with some other members of their kind. Diet Peafowl are omnivores and eat mostly plants, flower petals, seed heads, insects and other arthropods, reptiles, and amphibians. Wild peafowl look for their food scratching around in leaf 17 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors litter either early in the morning or at dusk. They retreat to the shade and security of the woods for the hottest portion of the day. These birds are not picky and will eat almost anything they can fit in their beak and digest. They actively hunt insects like ants, crickets and termites; millipedes; and other arthropods and small mammals. Indian peafowl also eat small snakes. Domesticated peafowl may also eat bread and cracked grain such as oats and corn, cheese, cooked rice and sometimes cat food. It has been noticed by keepers that peafowl enjoy protein-rich food including larvae that infest granaries, different kinds of meat and fruit, as well as vegetables including dark leafy greens, broccoli, carrots, beans, beets, and peas. peacock don’t mate physically because male peacock doesn’t have physical male sex organ to mate, that’s what mentioned in the epic’s it says sperm as liquid content but apart from that its true peacocks do not do sex physically but it still completes the natural law of sex without any physical sex organ involvement. As per epics peacock does get pregnant still the sex is not achieved by Kamodvega (Emotional attachment to the physical organs of women) where the female is less attractive than male if u see but still male continuous to do process without looking at bueaty but to fulfill the nature’s process and sthreesoukyam( which is the physical sex organs contact for long time which provocates the brain with different chemical reactions. Thats why peacock is special animal praised by our epics now you should have understand sex provocated by beauty and comfort is different than sex to continue the law of nature that’s what we need to learn from the epics. Lord krishna infers to say like this “ If you are cooking the flame ignites the material in the container but the spatula you use is not affected by that it will not melt unless u r plastic(Evil minded) :) ppl will also bring this into point that’s why explained. Same way peacock do participate in sex but just for the process not with kamodvega and sthreesoukyam these will be the handles for invocation of unethical feelings on other women's . Refer to this scientific explanation as well: These birds do not have a male intromittent organ (penis), so the male transfers sperm to the female by mounting her and pressing his cloaca (the opening through which feces, nitrogenous waste (uric acid) and reproductive cells leave the body) to hers. Sperm enter the female's cloaca, travel up to her ovaries, and fertilize the eggs before the female forms a shell around them. If you are trying to find a way to say this "gently" to your fourth graders, you could maybe say that the male peafowl stands on top of the female's back, then reaches down and gives her a special touch called 18 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors a "cloacal kiss". This means that the male and female openings of the birds touch each other so that the male's seed can enter the female's body and fertilize her eggs. For all the romanticism for the peacock’s spectacular ‘rain dance’, peahens actually do not care much about those five-foot tall male displays. In a paper published in the Journal of Experimental Biology in 2013, Jessica Yorzinski of Purdue University found that the peahen’s gaze rarely fell at or above the peacock’s heads. “Of the small portion of time spent looking at the males, females looked longest at the legs and lower portion of the train,” the study claimed. The upper portion of the display, however, do have a purpose. It helps peahens spot peacocks across long distances over forest foliage. If the peahen is satisfied after a closer scrutiny of what really matters, she will crouch on the ground. His advances accepted, the peacock will now perform a ‘hoot’ — a single, ecstatic and loud call while making a short dash towards the peahen. Strutting over, the peacock will mount the peahen and align his cloaca — a common orifice for the digestive, reproductive and urinary tracts— with hers to transfer sperm in what is known as a ‘cloacal kiss’. It’s over in a matter of seconds. The birds part ways, with the male looking for his next partner. The strongly independent peahen is no saint either. Given a chance, she will prefer a lek to choose and pick partners. In her definite guide to evolutionary biology of sex — Dr Tatiana’s Sex Advice to all species — biologist Olivia Judson explained the lek system “where females want nothing from males but their sperm”. Leks are common in species like the peacock which belongs to the order of Galliformes, heavy-bodied ground-feeding birds. A lek is a group of males — among peacocks, often the ones with relatively less impressive feathers — displaying together. “By definition, leks are not organised around food or nesting sites or anything else a male could usefully defend. Instead, a female visits a lek to compare and contrast, to see who’s the hottest of them all. Having selected, she mates and goes away again. For a girl this is a great system. She gets to have sex 19 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors with the guy she likes best — and doesn’t even have to see him in the morning,” wrote Judson, conceding that it’s tough on boys. “Being judged means you have to compete. That’s why lekking species produce some of the most astounding show of talents, the most bodacious beauty contests on earth,” she wrote in her mock advice to a lousy peacock looking to impress peahens. “If you can’t make it on your own, gangs are often the solution.” While some males are always less endowed than the rest, none really lack in intent. That is why all peacocks perform a ‘hoot’ before the actual act. It confounded biologists as to why they would spend so much energy by making that really loud call which may even attract predators during a very vulnerable situation. A peacock in a flask, "representing the stage in the alchemical process when the substance breaks out into many colours" from the Splendor Solis (1582). 20 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors Indian peafowl The peafowl is native to India, while also displaying significance in its culture. In Hinduism, the Indian peacock is the mount of the God of war, Lord Kartikeya, the Warrior Goddess Kaumari, and is also depicted around Goddess Santoshi. During a war with Asuras, Karthikeya split the demon king Surapadman in half. Out of respect for his adversary's prowess in battle, the God converted the two halves as an integral part of himself. One half became a peacock serving as his mount, and the other a rooster adorning his flag. The peacock displays the divine shape of Omkara when it spreads its magnificent plumes into a full-blown circular form. Peacock feathers also adorn the crest of Lord Krishna, an avatar of Lord Vishnu, one of the trimurti. Chandragupta Maurya, the founder of the Mauryan Empire, was born an orphan and raised by a family farming peacocks. When establishing his empire with the aid of Chanakya, Chandragupta ascribed its name as Maurya , translating to "peacock- ness". After conquering the Nanda Empire and defeating the Seleucid Empire, Chandragupta established the uncontested power of its time. Its royal emblem remained the peacock until Emperor Ashoka changed it to Lions, as seen in the Lion Capital of Ashoka, as well in his edicts. The peacocks significance of elegance and royalty pertained in India during medieval times, as it was the Mughal seat of power called the Peacock Throne. The peacock is represented in both the Burmese and Sinhalese zodiacs. To the Sinhalese people, the peacock is the third animal of the zodiac of Sri Lanka. Peacocks (often a symbol of pride and vanity) were believed to deliberately consume poisonous substances in order to become immune to them, as well as to make the colours of their resplendent plumage all the more vibrant – seeing as so many poisonous flora and fauna are so colourful due to aposematism, this idea appears to have merit. The Buddhist deity Mahamayuri is depicted seated on a peacock. Peacocks are seen supporting the throne of Amitabha, the ruby red sunset coloured archetypal Buddha of Infinite Light. India adopted the peacock as its national bird in 1963 and it is one of the national symbols of India.[ 21 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors International Symbolism In Persia and Babylonia, the peacock is seen as a guardian to royalty and is often engraved upon royal thrones. Nonetheless, using the peacock as the symbol of royalty has an old and distinguished pedigree in India too. Stone from Mingachevir Church Complex. Melek Taus the "Peacock Angel", is the Yazidi name for the central figure of their faith. The Yazidi consider Tawûsê Melek an emanation of God and a benevolent angel who has redeemed himself from his fall and has become a demiurge who created the cosmos from the cosmic egg. After he repented, he wept for 7,000 years, his tears filling seven jars, which then quenched the fires of hell. In art and sculpture, Tawûsê Melek is depicted as a peacock. Ancient Greeks believed that the flesh of peafowl did not decay after death, so it became a symbol of immortality. In Hellenistic imagery, the Greek goddess Hera's chariot was pulled by peacocks, birds not known to Greeks before the conquests of Alexander. Alexander's tutor, Aristotle, refers to it as "the Persian bird". Alexander was so amazed of their beauty, when he saw the birds in India, that he threatened the severest penalties for any man who slew one. Claudius Aelianus writes that there were Peacocks in India, larger than anywhere else. One myth states that Hera's servant, the hundred-eyed Argus Panoptes, was instructed to guard the woman-turned-cow, Io. Hera had transformed Io into a cow after learning of Zeus's interest in her. Zeus had the messenger of the gods, Hermes, kill Argus through eternal sleep and free Io. According to Ovid, to commemorate her faithful watchman, Hera had the hundred eyes of Argus preserved forever, in the peacock's tail. The peacock is also thought to promote good mental health because looking at it can mentally calm an individual down. There are also many legends regarding peacocks. For example, it is 22 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors said that the god Indra turned himself into a peacock once and the god Krishna always carried a peacock feather in his crown. Roundel with five-clawed dragon design, Qing-dynasty China, late 17th century. Individual peacock feather barbules were placed, among silk and metal threads, to highlight the scales of the dragon. Met museum, NYC. The symbolism was adopted by early Christianity, thus many early Christian paintings and mosaics show the peacock. The peacock is still used in the Easter season, especially in the east. [38] The 'eyes' in the peacock's tail feathers symbolise the all-seeing Christian God and – in some interpretations – the Church. A peacock drinking from a vase is used as a symbol of a Christian believer drinking from the waters of eternal life. The peacock can also symbolise the cosmos if one interprets its tail with its many 'eyes' as the vault of heaven dotted by the sun, moon, and stars. By Christian adoption of old Persian and Babylonian symbolism, in which the peacock was associated with Paradise and the Tree of Life, the bird is again associated with immortality. In Christian iconography, the peacock is often depicted next to the Tree of Life. Among Ashkenazi Jews, the golden peacock is a symbol for joy and creativity, with quills from the bird's feathers being a metaphor for a writer's inspiration.. The peacock motif was revived in the Renaissance iconography that unified Hera and Juno, and on which European painters focused. In 1956, John J. Graham created an abstraction of an 11-feathered peacock logo for American broadcaster NBC. This brightly hued peacock was adopted due to the increase in colour programming. NBC's first colour broadcasts showed only a still frame of the colourful peacock. The emblem made its first on-air appearance on 22 May 1956. The current, six-feathered logo debuted on May 12, 1986. A group of peacocks is called an "ostentation" or a "muster" 23 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors 1. Lord Kartikeya with his wives on his peacock mout 2. "Peacock" by Merab Abramishvili. 3. In the 1486 painting Annunciation with St. Emidius by Carlo Crivelli, a peacock is sitting on the roof above the praying Virgin Mary. 1. Common Pea Fowl, John Gould, c.1880 Brooklyn Museum. 2. Syrian Bowl with Peacock Motif, c. 1200 Brooklyn Museum. 3. Peacock sculpture at Golingeshwara temple complex in Biccavole, India. Gastronomy in Europe: During the Medieval period, various types of fowl were consumed as food, with the poorer populations (such as serfs) consuming more common birds, such as chicken. However, the more wealthy gentry were privileged to eat less usual foods, such as swan, and even peafowl were consumed. On a king's table, a peacock would be for ostentatious display as much as for culinary consumption. 24 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors The peacock’s arrival west of India to Persia or the Middle East is often linked to King Solomon. Biblical stories recall accounts how he brought the peacock back to Jerusalem on board his trading ships. However, we should take this account with a grain of salt, but not wholly dismiss its notion as the peacock has been in this region particularly ancient Persia for a long time. (The peacock was once a great symbol of royalty and power in Persian culture.) When Alexander the Great conquered northwest India he came face to face with this sacred bird. It is believed that he took the peacock back with him during his return journey. Though this story contradicts some other sources that have the peacock in Greece by the fifth century well before Alexander through Babylon and Persia. Interestingly, Aristotle once referred to the peacock as a Persian bird, giving us reason to believe that the peacock came via Persian routes. Some scholars believe the ancient Greek settlement on the Island of Samos was the first place the peacock was revered and in time dedicated to the Greek goddess Hera, the wife of Zeus. In Greek mythology, Hera created the Peacock from her trusted watchman, the hundred-eyed giant Argus. When Argus was killed by Hermes at Zeus request, Hera mourned his death and placed his eyes on the tail of a peacock, as a lasting tribute of her gratitude for his loyalty and service. 25 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors In Peter Paul Ruben’s depiction of ‘Juno and Argus’ circa 1611, Juno (Hera) is removing the eyes of the decapitated Argus and setting them into the tail of her peacocks. The peacock has also been subject of other various myths and legends including those of religious significance. In Christian mythology, it is believed that the peacock, who declined to eat the forbidden fruit in the Garden of Eden, was rewarded for its abstinence, whereby its flesh would never decay after death. It is through Christian and Byzantine art, that the peacock then became associated as a symbol of resurrection and paradise. Naturally though, the peacock is also known to shed and replaces his feathers every year, and as such, added to the legend of the peacock as a symbol of rebirth or renewal for Christ. There are also other interesting legends associated with the peacock about its tail feathers, its ghastly voice and even its feet. According to a popular Islamic tale, the peacock got its ghastly voice after it fell from grace and was cast out of Paradise. The tale describes how the peacock was seduced by Satan, with the promise to teach the peacock, three important words to save him from ill-health, old age and death. 26 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors Satan would only teach the peacock these three words if only he was let to pass through the gates of Paradise. Truly mesmerised by the possibility of immortality, the peacock agreed to help Satan and schemed with the aid of the serpent to let Satan enter Paradise. When Satan later seduced Eve, God became angry and cast out of Paradise Satan, the serpent and the peacock. For added measure God took away from the peacock his beautiful voice. The peacock and the parrot The parrot is to play with- the peacock eaten. Iznik, Ottoman dish with peacocks and flowers, c.1575(right) It is well documented that apart from adorning the walls and floors of mosaics in churches, medieval Christian manuscripts were often decorated with beautiful illustration of varies birds including peacocks with meticulous detail. Some were accurately drawn, but most were generally stylized for effective. The peacock was also once prominent in painstakingly produced art. For example, during the 17th century Golden Age of Dutch and Flemish painting, the peacock was often depicted in rural settings and gardens. Jan Bruegel the Elder even painted a peacock being served in full plumage (above), in 1618. Peacocks were also portrayed on decorative pieces such as pottery and ceramic plates. They are only a handful of examples of magnificent Ottoman dishes from Iznik that illustrate the handsome qualities of the peacock. These plates were produced in western Anatolia (in Iznik) between the 15th and 27 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors 17th centuries. It is often commented on how surprisingly rare images of peacocks are on Ottoman pottery, considering their association with Ottoman royalty. But perhaps, the peacock is arguably best viewed as a quintessential symbol of royalty and wealth. A magnificent jewelled peacock throne was thought to have once existed in Northern India during the early part of the seventeenth century, as the greatest example of the peacocks power and status. (It was apparently later plundered in the eighteenth century, as part of a substantial war booty by a Persian king, but subsequently lost forever.) In other examples of its symbol of royalty and wealth, the peacock is often found on the reserve side of Roman coins that feature the Empress. Its feathers were also personal adornments of men’s helmets and other heraldic devices. Even Marie Antoinette was known to wear ostrich and peacock plumes in her hair. During the Byzantine era, peacocks occasionally decorated the gardens of wealthy Byzantines where they allowed them to roam freely as living exhibits on estates. Finally, although not in the spirit of veneration, wealthy Romans particular liked the peacock as one of their favourite delicacies. I’m not sure whether people today, unlike our Roman friends, would still see this beautiful bird as a culinary delicacy? He is protected by law in many countries today, including in its native habitat of India. In fact, many Indian communities today still regard the peacock as a sacred bird. It is no wonder it became India’s official national bird in 1963. When all is said and done, it’s not difficult to see why the peacock has been fussed over as a sacred and revered bird throughout history. Those wonderful feather have always been its best feature, particular when he extends and fans its long train of feathers in the throes of courtship. Biology:Peafowl is a common name for three bird species in the genera Pavo and Afropavo of the family Phasianidae, the pheasants and their allies. Male peafowl are referred to as peacocks, and female peafowl as peahens, though peafowl of either sex are often referred to colloquially as "peacocks" The two Asiatic species are the blue or Indian peafowl originally of the Indian subcontinent,and the green peafowl of Southeast Asia; the one African species is the Congo peafowl, native only to the Congo Basin. Male peafowl are known for their piercing calls and their extravagant plumage. The latter is especially prominent in the Asiatic species, which have an eye-spotted "tail" or "train" of covert feathers, which they display as part of a courtship ritual.The functions of the elaborate iridescent colouration and large "train" of peacocks have been the subject of extensive 28 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors scientific debate. Charles Darwin suggested that they served to attract females, and the showy features of the males had evolved by sexual selection. More recently, Amotz Zahavi proposed in his handicap theory that these features acted as honest signals of the males' fitness, since less-fit males would be disadvantaged by the difficulty of surviving with such large and conspicuous structures. The Indian peacock has iridescent blue and green plumage, mostly metallic blue and green, but the green peacock has green and bronze body feathers. In both species, females are as big as males, but lack the train and the head ornament.[2] The peacock "tail", known as a "train", consists not of tail quill feathers, but highly elongated upper tail coverts. These feathers are marked with eyespots, best seen when a peacock fans his tail. Both sexes of all species have a crest atop the head. The Indian peahen has a mixture of dull grey, brown, and green in her plumage. The female also displays her plumage to ward off female competition or signal danger to her young. Green peafowl differ from Indian peafowl in that the male has green and gold plumage and black wings with a sheen of blue. Unlike Indian peafowl, the green peahen is similar to the male, but has shorter upper tail coverts, a more coppery neck, and overall less iridescence. The Congo peacock male does not display his covert feathers, but uses his actual tail feathers during courtship displays. These feathers are much shorter than those of the Indian and green species, and the ocelli are much less pronounced. Females of the Indian and African species are dull grey and/or brown. Chicks of both sexes in all the species are cryptically coloured. They vary between yellow and tawny, usually with patches of darker brown or light tan and "dirty white" ivory. Colour and pattern variations- SPADLINGS Hybrids between Indian peafowl and Green peafowl are called Spaldings, after the first person to successfully hybridise them, Mrs. Keith Spalding. Unlike many hybrids, spaldings are fertile and generally benefit from hybrid vigor; spaldings with a high-green phenotype do much better in cold 29 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors temperatures than the cold-intolerant green peafowl while still looking like their green parents. Plumage varies between individual spaldings, with some looking far more like green peafowl and some looking far more like blue peafowl, though most visually carry traits of both. In addition to the wild-type "blue" colouration, several hundred variations in colour and pattern are recognised as separate morphs of the Indian Blue among peafowl breeders. Pattern variations include solid-wing/black shoulder (the black and brown stripes on the wing are instead one solid colour), pied, white-eye (the ocelli in a male's eye feathers have white spots instead of black), and silver pied (a mostly white bird with small patches of colour). Colour variations include white, purple, Buford bronze, opal, midnight, charcoal, jade, and taupe, as well as the sex-linked colours purple, cameo, peach, and Sonja's Violeta. Additional colour and pattern variations are first approved by the United Peafowl Association to become officially recognised as a morph among breeders. Alternately-coloured peafowl are born differently coloured than wild-type peafowl, and though each colour is recognisable at hatch, their peachick plumage does not necessarily match their adult plumage. 30 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors 31 Indo Nordic Author’s Collective, Stockholm, Gurugram, Tamperefors