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PEACOCK THE MYSTIC BIRD OF HINDUISM
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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).
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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
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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.
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 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.
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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
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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, one of his most popular incarnations along
with Krishna, Parshurama, and Gautama Buddha. Jain Texts also 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.
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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
 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
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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
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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
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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
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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.
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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
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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
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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
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.
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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 close-
up 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
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
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
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
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
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
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
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
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
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
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
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
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
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
31
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PEACOCK THE MYSTIC BIRD OF HINDUISM

Article · August 2020

Uday Vasant Dokras

Book Release of Hindu Temples of South East Asia View project

Theme Park Design and Architecture View project

The user has requested enhancement of the downloaded file.

Dr Uday Dokras Ph D Stockholm, SWEDEN

The iconography of Kartikeya varies significantly; he is typically represented as an ever-youthful man,

 Vedic literature (1500-500 BCE)

Vintage Brass statute

The Secret of its Survival

Origin of the Peacock

The Beautiful Mor-Pankh

The Peacock Feather & Goddess Lakshmi

with such large and conspicuous structures.

Evolution and sexual selection

Peacock (seen from behind) displaying to attract peahen in foreground.

Food courtship theory

Plumage colours as attractants

Miniature painting showing eyespots on peacock feathers

Eyespot on a peacock's train feather.

Redundant signal hypothesis

Stone from Mingachevir Church Complex.

A group of peacocks is called an "ostentation" or a "muster"

1. Common Pea Fowl, John Gould, c.1880 Brooklyn Museum.

away from the peacock his beautiful voice.

The peacock and the parrot

Colour and pattern variations- SPADLINGS

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