Hindu epics in the context of "Vayu"

The Gupta Empire was an Indian empire during the classical period of the Indian subcontinent which existed from the mid 3rd century to mid 6th century CE. At its zenith, the dynasty ruled over an empire that spanned much of the northern Indian subcontinent. This period has been considered as the Golden Age of India by some historians, although this characterisation has been disputed by others. The ruling dynasty of the empire was founded by Gupta.

The high points of this period are the great cultural developments which took place primarily during the reigns of Samudragupta, Chandragupta II and Kumaragupta I. Many Hindu epics and literary sources, such as the Mahabharata and Ramayana, were canonised during this period. The Gupta period produced scholars such as Kalidasa, Aryabhata, Varahamihira and Vatsyayana, who made significant advancements in many academic fields. Science and political administration reached new heights during the Gupta era. The period, sometimes described as Pax Gupta, gave rise to achievements in architecture, sculpture, and painting that "set standards of form and taste [that] determined the whole subsequent course of art, not only in India but far beyond her borders". Strong trade ties also made the region an important cultural centre and established the region as a base that would influence nearby kingdoms and regions in India and Southeast Asia. The Puranas, earlier long poems on a variety of subjects, are also thought to have been committed to written texts around this period. Hinduism was followed by the rulers and the Brahmins flourished in the Gupta empire but the Guptas were tolerant towards people of other faiths as well.

Depending on the methods of counting, as many as three hundred versions of the Indian Hindu epic poem, the Ramayana, are known to exist. The oldest version is generally recognized to be the Sanskrit version attributed to sage Narada, the Mula Ramayana. Narada passed on the knowledge to Valmiki, who authored Valmiki Ramayana, the present oldest available version of Ramayana.

The Ramayana has spread to many Asian countries outside of India, including Burma, Indonesia, Cambodia, Laos, Philippines, Sri Lanka, Nepal, Thailand, Singapore, Malaysia, Japan, Mongolia, Vietnam and China. The original Valmiki version has been adapted or translated into various regional languages, which have often been marked more or less by plot twists and thematic adaptations. Some of the important adaptations of the classic tale include the 12th-century Tamil language Ramavataram, 12th-century Kannada Ramachandra Charitapurana or Pampa Ramayana by Nagachandra, 13th-century Telugu language Sri Ranganatha Ramayanam, 14th or 15th-century Assamese Saptakanda Ramayana, 15th-century Bengali Krittivasi Ramayana, 16th-century Awadhi Ramcharitmanas, 17th-century Malayalam language Adhyathmaramayanam Kilippattu, the Khmer Reamker, the Old Javanese Kakawin Ramayana, and the Thai Ramakien, the Lao Phra Lak Phra Lam, and the Burmese Yama Zatdaw.

Kathak is one of the eight major forms of Indian classical dance. Its origin is attributed to the traveling bards in ancient northern India known as Kathakar ("storyteller"), who communicated stories from the Hindu epics through dance, songs, and music. Its name derives from the Sanskrit word katha which means "story", and kathakar which means "the one who tells a story" or "to do with stories". 'Katha kahe so kathak kahave' - Kathak is the dance of story tellers. Stories are narrated through the medium of the body, face, hands, and feet in sync with the tabla and lehra.

Kathak dancers tell various stories utilizing hand movements and extensive footwork, their body movements, and flexibility, as well as their facial expressions. Kathak often has a strong beat and can be danced in many taals. While proto-Kathak elements can be seen long before, Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of the Hindu deity Krishna, as well as independently in the courts of north Indian kingdoms. During the period of Mughal rule, the emperors were patrons of Kathak dance and actively promoted it in their royal courts. Kathak performances include Urdu ghazal and commonly used instruments brought during the Mughal period. As a result, it is the only Indian classical dance form to feature Persian elements.

Urvashi (Sanskrit: उर्वशी, IAST: Urvaśī) is the most prominent apsara mentioned in the Hindu scriptures like the Vedas, the epics Ramayana and Mahabharata, as well as the Puranas. She is regarded as the most beautiful of all the apsaras, and an expert dancer.

Urvashi has been featured in many mythological events. She emerged out of the thigh of sage Narayana and occupies a special place in the court of Indra, the king of the gods and ruler of svarga. She is famous for her marriage with Pururavas, the first king of the legendary Chandravansha, whom she later abandoned. She also plays a significant part in the birth of Vashishtha and Agastya, two of the most revered sages in Hinduism. Urvashi's story has been an inspiration for various arts, performances and literature. The poet Kalidasa (fl. 4th -5th century CE) has adapted Urvashi and Pururavas as the main characters in his play Vikramorvashiyam.

Vamana (Sanskrit: वामन, lit. 'Dwarf', IAST: Vāmana), also known as Trivikrama (lit. 'three steps'), Urukrama (lit. 'far-stepping'), Upendra (lit. 'Indra’s younger brother'), Dadhivamana (Sanskrit: दधिवामन, lit. 'milk-dwarf', IAST: Dadhivāmana), and Balibandhana (lit. 'binder or killer of Bali'), is an avatar of the Hindu deity Vishnu. He is the fifth avatar of Vishnu and the first Dashavatara in the Treta Yuga, after Narasimha.

First mentioned in the Vedas, Vamana is most commonly associated in the Hindu epics and Puranas with the story of taking back the three worlds (collectively referred to as the Trailokya) from the daitya-king Mahabali by taking three steps to restore the cosmic order and push Mahabali into the netherworld. He is the youngest among the adityas, the sons of Aditi and the sage Kashyapa.