The depiction of Bhumi sitting atop a globe-shaped Earth began primarily in the 20th century and followed a century of indoctrination in the 19th century by the British Imperialists via their education system which had been introduced through-out the whole of India. Prior to that, Bhumi was never depicted with a globe as her pedestal, rather in classical Indian sculpture and art we always find that the physical form of the Earth is presented as a flat base, and never as a globe. In the previous parts to this paper we saw many beautiful paintings of Bhumi-devi seated on the flat Earth; in the images below we shall likewise see a variety of sculptures wherein Bhumi is seen seated on a flat lotus-like pedestal representing the Earth.

A section of the Vishnudharmottara Purana presents a Vedic treatise on how to properly depict the Supreme Personality of Godhead and His various expansions through the medium of art and sculpture. The discussion involves questions and answers between King Vajra and Markandeya Rsi. Vajra was the great grandson of Krishna born of Aniruddha and Usha. Vajra established many Deities of Sri-Krishna in the Mathura area, and thus the discussion about how to make the deity form of Sri-Krishna and His avatars is particularly relevant to Vaishnavas. All of the following translations are from the Vishnudharmottara translated by Stella Kramrisch, and published by the Calcutta University Press (1928). The treatise begins with the following question by Vajra:

"Vajra said: Oh sinless one, tell me how to make the image of a deity, so that the image made in accordance with the Sastras may always be near.

Markandeya said: Oh king, listen to me while I relate (the process) of making the image of a deity." (Part III, Ch. 44, Verses 1-2)

Here Vajra asks how to make a deity according to shastra (scripture).Through-out the text Markandeya Rsi states that he is only giving general guidelines as there are too many details to articulate in full, and therefore the artist is required to use their intelligence with proper understanding of the shastra:

"In this treatise only suggestions are given, (oh king), for (the subject) can never be described in detail even in many hundred of years". (Vishnudharmottara, Part 3, chapter 43)

"Oh king, the manifestations of Vishnu, the (great) God of gods, are (scarcely) capable of being narrated in detail. By the learned they should be represented (by) looking at the Sastras properly and by the exercise of intelligence." (Vishnudharmottara, Part 3, chapter 85, verse 78-79)

Since this section of the Vishnudharmottara is only a general treatise on how to make Deities of Varaha, Bhumi, Ananta-sesha, etc., the stipulation by Markandeya Rsi to follow shastra whilst exercising one's intelligence is certainly relevant when it comes to depictions of Varaha lifting the Earth or Ananata-sesha holding the Earth. References to shastra and use of intelligence are required because when Markandeya Rsi mentions, for example, how to make a Deity of Ananta-sesha holding the Earth on His hoods, he doesn't provide any details of what the Earth looks like; rather one is expected to know what the shastras say in this regard, and thus use one's 'intelligence' to depict the Earth in a manner that is consistent with shastra. Likewise when Markandeya Rsi describes how to make a Deity of Varaha holding the Earth, the depiction of Earth in question must obviously be consistent with the description of the Earth as it is revealed in shastra.

Since the story of Varaha lifting the Earth is found in Srimad Bhagavatam and other Puranas, one must look to the relevant cosmological sections of the Puranas in order to ascertain and correctly depict the shape, size, and other characteristics of the Earth as it is described therein. One cannot justify a painting of Varaha lifting the so-called Earth globe with reference to the words of India astronomers such as Bhaskara or Aryabhata. Astronomical treatises by Bhaskara, etc., are not shastra. The idea that Surya-siddhanta describes the Earth as a globe is another mistake that we will presently rectify in our forthcoming series of papers on Surya-siddhanta. In any case, the Srimad Bhagavatam describes that Varaha lifted the entire Bhu-mandala on the edge of his tusk: rupam idam ca saukaram bhu-mandalenatha data dhrtena te (SB 3.13.41). The Bhu-mandala is described in chapters 16-26 of the Fifth Canto of Srimad Bhagavatam. Bhu-mandala has seven islands and seven oceans in the form of gigantic concentric circles which cover an area of hundreds of millions of miles. The description informs us that the Earth is an enormous circular horizontal plane held by Ananta-sesha, not a globe-shaped planet that floats in space.

In the following verses Markandeya Rsi states the blessings that follow by installing a painting or deity that is correctly made in accordance with shastra; he also warns of the misfortune that follows by depicting a deity in a manner that does not follow shastric descriptions. Markandeya Rsi says:

"Even when (duly) invoked by the best of Brahmins, the gods never enter images short of (shastric) measurements and devoid of the marks (lakshanas of divine form); (but) demons, ghosts and hobgoblins always enter into them, and so a great care should be taken to avoid shortness of measurements. (An image) possessed of all the beautiful marks is said to be excellent from every point of view. It adds to wealth, crops, fame and the length of life, yet when, devoid of (those) marks, it destroys wealth and crops, (oh) best of kings; the gods always should be made beautiful, having gaits (like one of the following) animals, (viz.,) the lion, the bull, the elephant and the swan. Blessed is a work of art (endowed) with all (the Sastric) marks, (as it brings luck) to the country, to the king and the maker, (and is as the gods) long for it. An image, therefore, should be properly made by all men with great care, (endowed) with all (the shastric) marks." (Vishnudharmottara, part 3, chapter 38, verses 21-28)

Again:

"A painting in which everything is drawn in an acceptable (form) in its proper position, in its proper time and age, becomes excellent, while in the opposite case it becomes (quite) different." (Vishnudharmottara, part 3, chapter 42, verse 82-83)

Again:

"An intelligent artist paints what looks probable (lit. what commands trust), but never what transcends it. (Oh) lord of men, a painting (by) the skilled, the righteous and those (who are) versed in the shastras brings on prosperity and removes adversity very soon. A painting cleanses and curbs anxiety, augments future good, causes unequalled and pure delight, kills the evils of bad dreams, and pleases the household deity. The place where a picture is firmly placed does not look empty... Oh lord of men, the same rules as applied to painting also refer to carving in iron, gold, silver, copper and other metals, and also (to) images made of iron, stone and wood." (Vishnudharmottara, part 3, chapter 43, verses 22-31)

In Part 6 of this paper we will return to Markandeya Rsi's ominous warning against preparing a deity that violates shastric injunctions. For the moment let us look at Markandeya Rsi's instructions for making the Deity of Bhu-Varaha.

DESCRIPTION OF HOW TO MAKE A MURTI OF BHU-VARAHA

The following is Markandeya Rsi's instructions to Vajra on how to make the Deity of Bhu-Varaha:

"Varaha, (is) the glorious Hari, in whom (is) centred (all the) wealth (aisvarya) and he holds Earth by the tip of his tusk through the power of his aisvarya (i.e., greatness). Or the Human-boar, the Lord should be placed on Sesha. Sesha should be represented with four hands, with beautiful jewelled hoods, with eyes wide open and beaming with wonder and engaged in, looking at the God. Oh descendant of Yadu, in his hands should be placed the plough and the mace (or club). (He) should further be shown with hands joined in the anjali pose and with snake ornaments.

Bhagavan should be on his back standing in the alidha posture. Clinging to (his) left arm Earth should be represented as a woman engaged in respectful salutation, beautiful and with two hands. In that hand which supports the goddess (Earth) there should be the conch and his other hands should be rendered carrying the lotus, the wheel and the mace.

Or Bhagavan; should be with Hiranyaksha (standing) in front with raised spear, (his own) hand with the wheel (being) ready to cut off the head of Hiranyaksha. The learned know Hiranyaksha to be Absence of power incarnate. He, the destroyer of foes, was destroyed by Varaha through (his) aisvarya (power).

Or (He) should be represented with two hands about to carry the earth. With the form of an entire boar amidst numerous Danavas in (the act of) supporting the earth (He) should be shown (either as) a Nr-varaha (Human-boar) (or merely as a) boar. The glorious Aniruddha should be Varaha who rescued the entire earth through (his) power (aisvarya) and contemplation (yoga). His power, the dispeller of all sins (as he is), oh king, was not arrested in any place." (Vishnudharmottara, part 3, chapter 79, verses 1-11, translated by Stella Kramrisch, Calcutta University Press, 1928)

The Agni Purana confirms as follows:

"The terrestrial boar (manifestation) should have a human body; and as carrying a mace and other (weapons ) in the right hand, and the conch, (the goddess) Laksmi or a lotus in the left. Or (the goddess) (is represented) as resting on the left elbow, and the Earth and (the serpent) Ananta at the feet. The installation of the figure secures for a person a kingdom and (such a person) gets across the ocean of mundane existence." (Agni Purana, 49.2-3)

The above passage from Markandeya Rsi mentions some of the various forms in which Varaha can be depicted. He can be shown, for example, as having a human form with a boars head and four arms to represent the Vishnu murti; or He can be shown merely as a boar without paraphernalia. The Earth can be presented both as landscape and as a female Goddess.

In the image below we can see how all of the features of Bhu-Varaha as mentioned By Markandeya Rsi are depicted in this sculpture at the Badami caves in Karnataka, India.

Bhu-Varaha, Cave 2, Badami, Karnataka, circa 7th century

In the above image Varaha is holding the Goddess of the Earth who stands on a flat-lotus-like pedestal. What does the lotus represent? Although at different points in his discourse Markandeya Rsi ascribes various meanings to the lotus (according to the context), in the verse below Markendaya Rsi informs Vajra that the lotus is also a symbol for the Earth:

"Thus has been narrated to you the nature of the lotus. The whole of the Earth is symbolized by the lotus. And on it the gods should be worshiped; being worshiped on it, they become propitious." (Vishnudharmottara, Part 3, Chapter 45, Verse 9)

The Earth is symbolized as a lotus because the Earth-circle originally expands from the lotus that emerges from the naval of Garbhodakasayi Vishnu at the start of creation (see appendix). Accepting that the lotus is the symbol for the Earth, it is hugely significant that the above image shows Bhumi-devi situated on a flat-lotus-like pedestal. When Varaha lifts the Earth, He simultaneously lifts both the goddess of the Earth as well as the physical landscape of the Earth; the goddess is represented as the female and the physical form of the Earth is represented by the lotus. In the Vedic understanding the Goddess is non-different from the Earth itself, and thus she stands on the lotus representing her physical form as Bhu-mandala. The Srimad Bhagavatam states:

"The planetary system known as Bhu-mandala resembles a lotus flower, and its seven islands resemble the whorl of that flower." (SB 5.16.5)

A similar sculpture of Bhu-Varaha is found at another of the Bhadami Caves in Karnataka, and once again shows Bhumi standing on the lotus.

Note also in the above image (and images that will follow) how Varaha is shown to be depicted with his foot on the head of a serpent. The serpent in question is Ananta-sesha who is shown in adoration pose at the lotus feet of Lord Varaha. Although Varaha is shown with his head on the foot of a serpent, this should not be interpreted to mean that the serpent represents something evil as is often the case in Christian iconography. In the image below, for example, we see Mother Mary crushing a serpent (representing Satan) with her foot.

Unlike Christian teaching, the serpent in Vedic literature is not always perceived as a symbol of evil; on the contrary the great serpent Ananta-sesha is the incarnation of the Supreme Personality of Godhead who holds the Earth on His head. The presence of Ananta-sesha in a painting or Deity of Bhu-varaha gives us another valuable insight into the Vedic cosmological world-view; Ananta-sesha is present in the picture for the reason being that Ananta-sesha is the original holder of the Earth; after Varaha lifts the Earth from the Garbhodaka Ocean, He replaces the Earth on the head of Ananta-sesha. We have included Markandeya Rsi's description of how to make a Deity of Ananta-sesha holding the Earth on his head in the appendix to this paper.

In the image below we see a depiction of Bhu-Varaha with Bhumi-devi resting on the left arm of Varaha. We can note again that Bhumi is seated on the lotus-like pedestal.

Again in the image below we see Bhu-devi resting on the arm of Varaha, and seated on a flat pedestal.

Again in this magnificent deity of Bhu-Varaha we see Bhu-devi situated on a flat lotus-like pedestal

Varaha, Orissa, circa 1200 British Museum

There are many other examples that can be looked at, but we will never find in classical Indian sculpture that the personified Earth Goddess is standing on a globe-shaped platform representing the physical form of the Earth. Generally the Earth is simply held in the arms of Varaha, but if a base is include it will be flat, not globe-shaped. As with Indian classical painting, the above sculptures indicate that the ancient Vedic culture of India did not propagate the idea that the Earth lifted by Varaha is globe-shaped.

The sculptures of Varaha lifting the Earth represented in the form of an impersonal globe is an entirely 20th century invention as can be seen from the selection of Varaha Murti's that are now available.

In the above murti of Varaha both Bhu-devi and her lotus pedestal have disappeared, and have been replaced with an impersonalized Earth globe. We cannot agree that this is even a Bhu-Varaha Deity as Bhu-devi is completely absent, and the globe-shaped Earth represents neither Bhu-mandala or Bharata-varsha as they are described in Srimad Bhagavatam. Again in the murti below, Bhudevi has completely disappeared.

In the above murti we get no idea whatsoever that the Earth is a sentient being like Lord Varaha Himself. The murti of Bhu-Varaha is meant to show the love between Varaha and Bhu-devi, and the protective concern that the Lord has for the Earth, but this sentiment is entirely absent when the Earth is represented as an impersonal sphere. In the murti below, for example, we see a victorious Varaha posed just like a chivalrous knight rescuing a helpless damsel. We also see Bhumi-devi's adoration and praise for her rescuer and protector.

Since Bhumi is literally Mother Earth, the depiction of the Lord's affection and concern for Bhu-devi also symbolizes the Lord's fatherly concern for all the living beings who live upon the Earth. In the Bhagavad-gita, Sri Krishna says: pitaham asya jagato mata dhata pitamahah—I am the father of this universe, the mother, the support and the grandsire (Bg 9.17). Sri-Krishna is the support (dhata) of all. Sri-Krishna is the well-wisher of all living entities—suhrdam sarva-bhutanam (Bg 5.29). Sri-Krishna is su-hrt—the most intimate friend (Bg 9.8). In the murti below we see Varaha with the Earth on His knee giving assurance to Bhu-devi who has just been rescued from the demon Hiranyaksha. It's almost like the Lord is asking, "Are you OK? Is your fear gone?"

Such representations of the mood and personality of Bhu-Varaha cannot be conveyed when Bhumi is represented as an impersonal sphere. Those interested in science may contend that whilst it's important for sculptures to depict Lord Varaha's affection and protective concern for the Earth, the inclusion of the globe informs the viewer about the real shape of the Earth's landscape. However, the globe is not a factual representation of the physical form of the Earth as it is described in Vedic literature, and as it is depicted in classical Vedic art and sculpture. As already mentioned, the ancient sculptures show Bhu-devi seated on the flat-lotus like pedestal. Those who know what the symbol represents will understand this is a depiction of the flat-Earth concept. In the modern Varaha murtis, Bhu-devi either disappears altogether, or else she is shown on top of a globe as seen in the images below.

In the image below, Bhumi-devi is represented, but again the form of the Earth is not the form described in shastra.

Notice the dramatic change between the older depictions of the Earth as a person seated on a flat-lotus like landscape, to the modern depictions of the Earth as an impersonal globe. The modern depiction of the Earth as a globe shape deviates from shastra because the Earth lifted by Varaha is a circular plane with a diameter of 500 million yojanas. The globe does not represent Bhu-mandala, nor does it represent Bharata-varsha which is just one small part on the surface of the Bhu-mandala.

If it was the case that ancient Indians believed the Earth was a globe it would be reflected in descriptions of the Earth as found in the books of Vedic education (the Puranas), as well as in the art and sculpture which depict said Earth. But that is not the case; instead we find that up until the 20th the Earth is always depicted in personified form, or as a flat landscape and never as a globe.

GLOBES IN INDIAN CULTURE

One may contend that there are other instances of globes among the historical artifacts from India. Whilst certainly there are instances here and there of local attempts to merge Bhu-mandala with the globe idea, on closer investigation such instances can be seen to be a result of the foreign influence upon traditional cosmological ideas, and not something indigenous to Vedic culture which describes the Earth in a radically different way.

On closer inspection, the images that are routinely presented as evidence of a globe-shaped-Earth from ancient India are merely super-impositions of the modern conception of the Earth-globe onto the original Vedic teaching which describes the Earth as flat and circular. A case in point is the ridiculous attempt to map Jambudvipa and the circular islands and oceans of Bhu-mandala onto the northern and southern hemisphere of a globe as presented by Sadaputa dasa in his video Mysteries of the Sacred Universe, and shown in the image below.

The above image is not a factual depiction of what some devotees may be consider to be some 'far-out', 'multi-dimensional' merge of Bhu-mandala with the modern globe, it is simply a speculation that can be easily refuted by anyone who takes seriously the description of the names (nama) form (rupa), measurements (manah) and characteristics (laksanatah) of the Earth-circle (Bhu-gola) as they are described by Sukadeva Goswami in Srimad Bhagavatam.

If ancient Indians had believed the Earth was spherical they would have certainly designed spheres and painted images (like their western counterparts) showing the continents of our local Earth in the northern and southern hemisphere. But we do not find that such images are indigenous to the Indian culture. Modern globes depicting continents with Sanskrit or Hindi writing on them, only began to appear as a result of the interaction with the foreign Western powers who began to introduce this concept of the Earth through-out India. When the Western powers arrived in India they did not leave reports expressing their surprise that Indians also believed in a spherical Earth, rather all the reports tell us that the Indians believed in a flat-Earth.

As we shall see in our review of the book Terrestrial Lessons by Sumathi Ramaswami, even until the late 19th century, the brahmanas were insisting that Bhu-mandala is a flat-Earth and that the Westerners were wrong in their understanding. It is very clear from Sumathi Ramaswamy's research that a globe-shaped Earth was a novel concept to the Indian mind. The Indians learned about the globe idea from Europeans; it was not that Europeans learned about the globe from the Indians. This does not mean that the Europeans had the superior understanding, indeed empirical demonstrations prove the Earth to be a continuous level plane (as opposed to the presentation of mere image of a globe that presents an entirely different idea to the mind). Although Sumathi Ramaswamy brings up the point that some of the followers of the the jyoti-shastra had engaged in abstract discussions regarding this idea that the Earth is spherical, it never manifested in any wide-spread belief among the brahmanas and the mass of the population who followed the teachings of the Puranas. Srila Vyasadeva did not write books describing a globe-shaped Earth, nor did the followers of Vyasa's teachings produce globes or paintings with the continents of the Earth mapped onto it. We shall demonstrate in later papers that (contrary to popular understanding), the Surya-siddhanta also teaches the same flat-Earth concept originally expounded by Srila Vyasadeva.

The appearance of the globe in India is unquestionably a product of the relatively modern non-Vedic influence of the European countries in India. We shall look at a number of these globe artifacts in a later paper in order to clearly show that they are of relatively modern invention and indicate an entirely unsuccessful attempt to harmonize the Puranic teachings with the Western understanding of the Earth. Apart from some rare examples of Indian globes such as that shown in the above image, it is not until the 20th century that paintings and sculptures begin to emerge showing Varaha lifting a globe.

ISKCON'S RESPONSIBILITY TO THE VEDIC COMMUNITY

It should not be thought that depictions of Varaha lifting the globe emerged in the 20th century because modern science had eventually proven the Earth to be spherical, and thus the Indians were merely adopting their Deities to modern scientific discoveries. On the contrary, the Vedic flat-Earth concept was replaced by the globe because the Hindus like everyone else in the world were overcome by the fake science and deception which left everyone thinking they live on a ball floating in space. The alarming aspect of all this is that brahmanas are now installing and worshiping the form of Varaha lifting the Earth in the form of an impersonal globe, despite the fact that shastra specifies for Bhumi to be depicted in her female form, and that the Vedic Earth (represented by Bhumi's lotus pedestal) is circular not globular. The globe in the image of Varaha below does not represent Bhumi in either her form as a goddess or in her form as Bhu-mandala.

One may question what difference does it make if Varaha is shown to be holding the Earth in the form of a globe? We noted earlier how Markandeya Rsi warned of the inauspicious outcome of creating deities that deviate from shastra; in Part 6 of this paper we shall explain the negative spiritual effects of this Earth conception to the Vedic world-view. In pointing out this irregularity we mean no disrespect to the brahmanas who are presently engaged in worshiping such forms of Varaha; we wish only to share our own realization that Varaha Swamy will be delighted with His brahmana servants when Bhu-devi is properly presented beside Him in her female form as shastra stipulates. We shall also discuss ISKCON's responsibility to explain the proper conclusion on this subject, and to redress the misconceptions that have been put out to the world-wide community. We shall hear a discussion from 1977 wherein Srila Prabhupada accepted the conclusion that Varaha lifted Bhu-mandala, not an Earth globe. ISKCON has yet to address this correction, and thus most members continue with the false idea that Varaha lifted an Earth globe. The depiction of Varaha lifting an Earth-globe not only reinforces the non-Vedic world-view, but also instills a false idea of the true shape and size of the Earth to all who see it. Again in saying this we mean to disrespect to those wonderful ISKCON artists who have hitherto portrayed Varaha in this manner. ISKCON's images of Varaha produced under the auspices of His Divine Grace AC Bhaktivedanta Swami Prabhupada remain transcendental masterpieces that inspire devotion to Sri-Varaha. Nonetheless, we encourage followers of Srila Prabhupada to create all future paintings or Deities of Bhu-Varaha in a manner that is in alignment with Markandeya Rsi's instruction to Vraja, as well as in accordance with Srimad Bhagavatam's description of the Earth in question.

APPENDIX

We mentioned earlier that Ananta-sesha is included in the murti of Bhu-Varaha in order to indicate Ananta-sesha's role as the original holder of the Earth. That Ananta-sesha holds the Earth is confirmed in all of the Puranas, and specifically by Markandeya Rsi in the Vishnudharmottara. The following instructions on how to make the Deity of Ananta-sesha holding the Earth are from Markandeya Rsi to King Vajra:

DESCRIPTION OF HOW TO MAKE A MURTI OF ANANTA-SESHA

"Vajra said: Oh (sage) born of gods, tell me the process of making the image of Ananta, the supporter of the Earth, of Sesha, Vishnu, of unmeasurable prowess. Markandeya replied: (One should) make (Ananta) of the colour of the moon, with a blue garment and four hands, wearing all (suitable) ornaments and having hoods bright as jewels. Many hoods should be done and on) that (hood) which is the middle one, the beautiful earth goddess, should be placed, oh delighter of Yadus. Lotus with a mace should be placed in the right hands of the god and the plough and the conch in the left. In his hand is the sea of liquor, and the tola tree is said to be the entire universe, oh strong-armed one. Oh supporter of the race of the Yadus, the vanamala has been mentioned by me before.

By him is supported the Earth with mountains, forests and woods. So the Earth-goddess should be shown on the middle hood of him, hidden, i.e., all surrounded by hoods. By her, let your desire of fame be (satisfied), oh chief of the race of the Yadavas. Thus has been verily described to you by me the form of the unthinkable great god Vishnu." (Vishnudharmottara, Part III, Ch. 65, Verses 1-8, translated by Stella Kramrisch, Calcutta University Press, 1928)

Here it affirms that Ananta-sesha is the holder of the Earth, and that an image of Ananta-sesha should contain a depiction of the Earth resting on one of His hoods. Perhaps someone can confirm if the word 'hidden' is used. If the physical form of the Earth is not to be overtly depicted, it may explain why there are so few paintings and sculptures of Ananta holding the Bhu-mandala. In classical Indian sculpture and painting we mostly see Ananta-sesha depicted at the start of creation. The classical scene shows Vishnu resting on Ananta-sesha along with the four-headed Brahma who is seated on the lotus coming from the navel of Vishnu. Lakshmi is also shown massaging the feet of the Lord.

Vishnu and Lakshmi on Shesha Naga, circa 1870

The above scene shows Brahma on the lotus at the start of the creation. The lotus upon which Brahma is seated later manifests as the great Earth circle (Bhu-mandala). This is explained in the Padma Purana as follows:

"Pulastya said:

Then the lord, created Brahma, the best among those endowed with yoga, of a great lustre, the creator of all worlds and having faces in all directions, in that golden lotus, extending over many yojanas, having all qualities of lustre and covered over with (i.e. having ) earthly characteristics. The great sages say that that excellent lotus formed in olden times, and of the nature of the Earth, sprang from Narayana. What that lotus is, is said to be that goddess Earth.

They know that the principal pollen in the lotus are the divine mountains: Himavan, Nila, Meru, Nishadha, the mountain Kailasa, the mountain Gandhamadana, and the auspicious Trisikhara ( i.e. Trikuta ) and the beautiful Mandara; also Udara, Pinjara and Vindhya and the Astacala. These mountains only are the shelters of the great-souled Ganas (i. e. Siva's attendants) and Siddhas having religious merit and they satisfy all desires. In between them is said to lie Jambudvipa. That is the position of Jambudvipa where sacrificial rites are performed. The water that flows from it, is like divine nectar. Everywhere hundreds of the lovely streams of that divine holy (water) are said (to flow ); and those which were the filaments of that lotus, became the innumerable mountains on the earth; and those which were formerly the many petals of the lotus are said to be the Mleccha countries difficult of access and full of mountains; and 0 king, those that were the petals on the lower portion (of the lotus) became the abodes of gods, demons and serpents according to their share. The distance between them is called Rasatala, where human beings committing great sins sink. In the four directions are said to exist the four oceans. Thus on account of Narayana the earth has come up from the lotus." (Padma Purana, 1.40,1-14)

Srimad Bhagavatam also says:

"Thereafter he saw that the lotus on which he was situated was spread throughout the universe, and he contemplated how to create all the planets, which were previously merged in that very same lotus.

Thus engaged in the service of the Supreme Personality of Godhead, Lord Brahma entered into the whorl of the lotus, and as it spread all over the universe he divided it into three divisions of worlds and later into fourteen divisions." (SB 3.10.7-8)

In the Garuda Purana it is said:

"Out of his navel there grew up a golden lotus which became the substratum of the world. The lotus was constituted of matter of which the Earth was the presiding deity." (Garuda Purana, III.11.19)

In the Varaha Purana it is said:

"Taking the original indefinite form of Earth as a lotus, Meru may be considered as its pericarp, and from it to have evolved the four major (outer) petals and the definite form with five qualities...He [Narayana] is all-pervading and bears all forms because of his being a yogi and the great Master. Because of him there arose in the world the great lotus. In that great lotus arose the great lord, the four-faced (Brahma). He is the chief of the creators and the overlord of the whole world. The seeds of creation have arisen from him. The creation is now explained in detail. That water full of gems is the body of Visnu. The Earth arose in the form of the lotus with forests and lakes. It is this world lotus that expanded itself." (Varaha Purana chapter 75, verses 41-49)

In the Mahabharata, Srila Vyasadeva teaches that at some point Brahma requested Ananta-sesha to hold the Earth-circle on His hoods.

"Brahman said, 'O Sesha, I am exceedingly gratified with this thy self-denial and love of peace. But, at my command, let this act be done by thee for the good of my creatures. Bear thou, O Sesha, properly and well this Earth so unsteady with her mountains and forests, her seas and towns and retreats, so that she may be steady.'

"Sesha said, 'O divine Lord of all creatures, O bestower of boons, O lord of the Earth, lord of every created thing, lord of the universe, I will, even as thou sayest hold the Earth steady. Therefore, O lord of all creatures, place her on my head.'

"Brahman said, 'O best of snakes, go underneath the Earth. She will herself give thee a crevice to pass through. And, O Sesha, by holding the Earth, thou shalt certainly do what is prized by me very greatly.'

"Sauti continued, 'Then the elder brother of the king of the snakes, entering a hole, passed to the other side of the Earth, and holding her, supported with his head that goddess with her belt of seas passing all round.'

"Brahman said, 'O Sesha, O best of snakes, thou art the god Dharma, because alone, with thy huge body, thou supportest the Earth with everything on her, even as I myself, or Valavit (Indra), can.'

"Sauti continued, 'The snake, Sesha, the lord Ananta, of great prowess, lives underneath the Earth, alone supporting the world at the command of Brahman. And the illustrious Grandsire, the best of the immortals, then gave unto Ananta the bird of fair feathers, viz., the son of Vinata, for Ananta's help.'" (Mahabharata, Adi parva, Astika parva, xxxvi)

Again in the Vishnu Purana it is said:

"Shesha bears the entire world, like a diadem, upon his head, and he is the foundation on which the seven Patalas rest. His power, his glory, his form, his nature, cannot be described, cannot he comprehended by the gods themselves. Who shall recount his might, who wears this whole Earth, like a garland of flowers, tinged of a purple dye by the radiance of the jewels of his crests. When Ananta, his eyes rolling with intoxication, yawns, then Earth, with all her woods, and mountains, and seas, and rivers, trembles...The Earth, sustained upon the head of this sovereign serpent, supports in its turn the garland of the spheres, along with their inhabitants, men, demons, and gods." (Vishnu Purana, Book 2, chapter 5)

Despite the prevalence of paintings and sculpture that depict Ananta-sesha in the above scene, there are a few surviving or available images of Ananta holding the Earth such as the one below which help us understand that people in India certainly accepted the idea that Ananta-sesha holds the Earth on His Head:

The above painting shows Kurma on the Garbhodaka Ocean supporting Ananta-sesha who in turns holds the Earth on His Hoods. Notice again the flat-Earth concept with all the places on the Earth situated on the same horizontal surface. That the Earth is placed on the head of Ananta-sesha confirms that the Vedic Earth is not floating in space like the other planets, but is held in a stationary position on the hoods of Ananta-sesha. Ananta-sesha is included in the Deity of Varaha lifting the Earth, in order to inform or remind all that Ananta-sesha is the Lord's incarnation who originally holds the Earth on His head. After Varaha killed the demon Hiranyaksha, He replaced the Earth on the head of Ananta-sesha:

"Seeing the Earth fallen (from the demon's head), He lifted it with his fang [tusk], and putting it on Sesha's head as before, took up the form of a Tortoise. Seeing great Vishnu of the form of the hog, all deities and sages, with their bodies bowed with devotion, praised him." (See Padma Purana, Vl.237.11-19)

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