Upanayana – Yajñopavīta (The Sacred Thread)

This article is part 11 of 15 in the series Upanayana

After tying the mekhalā, the boy was invested with the yajñopavīta (sacred thread).[1] While the yajñopavīta as a ‘sacred thread’ was largely unknown in ancient times[2], it became the focus of the upanayana saṃskāra in later years.[3] In later times, the young vaṭu was given the yajñopavīta and made to recite the well-known mantra, “The yajñopavīta is supremely sacred.”[4]

The yajñopavīta is prepared from threads that are spun by an unmarried Brāhmaṇa girl. The threads are twisted by a Brāhmaṇa, and the number of knots introduced in the yajñopavīta depends upon the number of pravaras (eminent ancestors) in the gotra (lineage) of the boy who was to wear it. The yajñopavīta has three threads of nine strands well-twisted (for each thread).[5] The nine devatās (deities) of the nine tantus (strands) are Omkāra, Agni, Nāga, Soma, Pitṛs, Prajāpati, Vāyu, Sūrya, and Viśvedevas.[6] While performing certain iṣṭis and yajñas, the number of strands and threads varied.[7]

There is a certain symbolism in the manner in which the yajñopavīta is prepared. Ideally it was custom-made for the one who was to wear it. The length was ninety-six times the breadth of the four-fingers of the hand of the one who was to wear it. The four fingers represented the four states of consciousness – jāgarita (the wakeful state), svapna (the dream state), suṣupti (the deep sleep state), and turīya (all-pervading state of knowing one’s true Self).

The three folds of the cord represent the three guṇas – sattva (benign goodness), rajas (relentless activity), and tamas (deluded lethargy). The twist of the thread is upward to signify that sattva should predominate over the other two.

The three cords also remind the wearer of the yajñopavīta to pay the three ṛṇas (cosmic debts) that he owes to the i. ṛṣis (seers), ii. devas (deities), and iii. pitṛs (ancestors). There is a famous passage from the Vedas[8] that refers to the three ṛṇas and includes the words ‘brahmacārī’ and ‘brahmacarya’ – “Every brāhmaṇa when born is indebted in three ṛṇas: in brahmacarya to the ṛṣis, in yajña to the devas, and in offspring to the pitṛs; one becomes free from ṛṇas when he lives with his ācārya as a brahmacārī, when he performs yajña, and when he has a son.”[9]

The three cords are tied together by a knot called ‘brahmagranthi,’ which symbolises Brahmā, Viṣṇu, and Śiva.

When the ācārya gives the yajñopavīta to the boy, he recites a mantra praying for strength, long-life, and vigour for the boy;[10] in the mean-time, the boy is supposed to look at the sun. During the upanayana, the brahmacārī is given one set of the yajñopavīta (with three cords). A gṛhastha (householder) is given the privilege to wear two sets (typically given to him during his vivāha).

Depending upon the occasion, the yajñopavīta is worn differently. While answering the calls of nature, carrying a corpse, during sexual intercourse, while offering ṛṣi-tarpaṇa, during some of the saṃskāras performed for one’s children, and while doing those actions that are meant only for men, the sacred thread is worn in the nivīta manner (hung from the neck).[11] During an auspicious religious rite—and during normal days—the sacred thread is worn in the upavīta manner (slung from the left shoulder across the body). While performing the antyeṣṭi or during the śrāddha, the sacred thread is worn in the prācīnāvīta manner (slung from the right shoulder going across to the other side).

In other words, when performing actions within the realm of humans alone, he is a nivītī; when performing actions for the deities, he is an upavītī; and when performing actions for the ancestors, he is a prācīnāvītī.[12]

To describe it graphically, if the yajñopavīta is worn around the neck like a garland, one becomes a nivītī. One puts his right arm into the yajñopavīta, lifts it over his head, and suspends the cord over his left shoulder in such a way that it hangs down on his right side to become an upavītī. If one puts his left arm into the yajñopavīta, puts it over his head, and suspends it over his right shoulder so that it hangs down along his left side, he becomes a prācīnāvītī; this is done only during the rituals offered to ancestors.[13]

In ancient times, a strip of kṛṣṇājina or a cloth was used as the yajñopavīta.[14] It was believed that whatever ritual was undertaken by one wearing the yajñopavīta would become prosperous, while that would not be the case for one who didn’t wear the kṛṣṇājina (or cloth). Whatever a brāhmaṇa studied while wearing the yajñopavīta was as good as performing yajña. However, it is noteworthy that the word yajñopavīta is not used to refer to any thread or cord; it refers merely to the skin of a black antelope or a piece of cloth. The gṛhastha was generally expected to wear an uttarīya and over the course of time, it was sufficient if he wore just the sacred thread instead of deer-skin or a cloth.[15]

Apart from the fact that many gṛhya-sūtras are entirely silent about giving or wearing a yajñopavīta, we also don’t find Vedic mantras to accompany the act of giving the yajñopavīta;[16] but several mantras from the Vedas are available for many of the other components of the Upanayana saṃskāra. It is quite possible that the sacred thread was not used in older times at all. The uttarīya was used for certain rituals and over the course of time a cord of threads came to be used as a replacement for it.

To be continued…

Thanks to Pradeep Chakravarthy for getting me to write this essay. Śatāvadhāni Dr. R Ganesh and Dr. Koti Sreekrishna, who have always supported and encouraged me, were kind enough to go through the essay and give their detailed feedback. Shashi Kiran B N, a young scholar-poet went through the essay and offered valuable suggestions. Yet another scholar-poet, Arjun Bharadwaj, helped me with getting some of the reference books needed for this essay. My heartfelt gratitude to all of them.



Achari, Sri Rama Ramanuja. Saskāras: The Hindu Sacraments. Srimatham, 2015 <http://www.srimatham.com/uploads/5/5/4/9/5549439/hindu_samskaras.pdf>

Devuḍu. Mahādarśana. Bangalore: Devuḍu Pratiṣṭhāna, 2009

H H Sri Rangapriya Swami’s lecture on the Gāyatrī mantra

Harshananda, Swami. Upanayana: Sandhyāvandana and Gāyatrīmantrajapa. Chennai: Sri Ramakrishna Math.

Harshananda, Swami. A Concise Encyclopaedia of Hinduism. Volume 3. R-Z. Bangalore: Ramakrishna Math, 2008

Kane, Pandurang Vaman. History of Dharmaśāstra. Vol. II, Part I. Poona: Bhandarkar Oriental Research Institute, 1941

Pandey, Rajbali. Hindu Saskāras: Socio-Religious Study of the Hindu Sacraments. New Delhi: Motilal Banarasidass, 1969

Ṛgvedasaṃhitā. Vol. 17. Ed. Rao, H. P. Venkata. Mysore: Sri Jayachamarajendra Vedaratnamala, 1948-62

Śatāvadhāni Dr. R Ganesh’s seven-part lecture series in Kannada titled Ṣoḍaśa-saṃskāragaḻu at Gokhale Institute of Public Affairs (GIPA) in December 2005

The Sixteen Samskaras <http://cincinnatitemple.com/articles/SixteenSamskaras.pdf>


[1] HDS, p. 284, 287-92 and HS, pp. 131-33

[2] Āśvalāyana, Āpastamba and several other sūtrakāras do not say a word about the yajñopavīta

[3] According to Karka and Harihara (on Pāraskara) the ācārya gives the yajñopavīta to the boy after tying the mekhalā. The Saṃskāra-tattva (p. 934) says the same thing. Hiraṇyakeśi-gṛhya-sūtra 1.2.6, Bhāradvāja-gṛhya-sūtra 1.3, Mānava-gṛhya-sūtra 1.22.2, and the Saṃskāra-ratnamālā (p. 202) mention that the boy already wore the yajñopavīta before the homa began. Sudarśana comments on Āpastamba-gṛhya-sūtra 10. 5 saying that the boy wears the yajñopavīta with the mantra before he takes his meal (according to some) or (according to others) before he puts the samidh (fuel-sticks) into the fire

[4] Snātaṃ śucivāsasaṃ baddhaśikhaṃ yajñopavītaṃ pratimuñcan vācayati “Yajñopavītaṃ paramaṃ pavitraṃ prajāpateryatsahajaṃ purastāt. Āyuṣyamagriyaṃ pratimuñca śubhraṃ yajñopavītaṃ balamastu tejaḥ.” iti. Yajñopavītinamapa ācamayyātha devayajanamudānayati. – Baudhāyana-gṛhya-sūtra 2.5.7–8; the verse ‘Yajñopavītaṃ…’ quoted as from Gṛhya-pariśiṣṭa in Smṛti-candrika (I, p. 31). This mantra occurs in some manuscripts of Pāraskara-gṛhya-sūtra but it is an interpolation, for Harihara says, “Yadhyāpa sūtrakāreṇa yajñopavītadhāraṇaṃ na sūtrinam

[5] Kauśaṃ sautraṃ vā tristrivṛdyajñopavītam. Ā nābheḥ. – Baudhāyana-dharma-sūtra 1.5.5-6

[6] See Devala quoted in the Smṛti-candrikā.

[7] Medhātithi on Manu-smṛti 11.44 says that in iṣṭis, paśu-yajñas, and soma-yajñas, the yajñopavīta was to have only one thread of three tantus, but it was three-fold in three classes of ahīna, ekāha, and sattra yāgas since they require three fires. In the seven soma-saṃsthās, it was seven-fold while it was five-fold when viewed with reference to the three savanas and two sandhyās.

[8] Jāyamāno vai brāhmaṇastribhirṛṇavā jāyate brahmacaryeṇarṣibhyo yajñena devebhyaḥ prajayā pitṛbhya eṣa vā anṛṇo yaḥ putrī yajvā brahmacārivāsīTaittirīya-saṃhitā

[9] HDS, p. 270

[10] Yajñopavītaṃ paramaṃ pavitraṃ prajāpateryatsa hajaṃ purastāt. Āyuṣyamagryaṃ pratimuñca śubhraṃ yajñopavītaṃ balamastu tejaḥ...Pāraskara-gṛhya-sūtra 2.2.11

[11] See Baudhāyana-gṛhya-paribhāṣā-sūtra 2.2.3

[12] Nivītaṃ manuṣyāṇām. Prācīnāvītaṃ pitṛṇām. Upavītaṃ devānām. Upa vyayate. Devalakṣmam eva tat kurute. – Taittirīya-saṃhitā

Incidentally, this is one of the earliest references to yajñopavīta.

[13] Dakṣiṇaṃ bāhumuddhṛtya śiro’vadhāya savyeṃse pratiṣṭhāpayati dakṣiṇaṃ kakṣamanavavalambaṃ bhavatyevaṃ yajñopavītī bhavati. Savyaṃ bāhumuddhṛtya śiro’vadhāya dakṣiṇeṃse pratiṣṭhāpayati savyaṃ kakṣamanvavalambaṃ bhavatyevaṃ prācīnāvītī bhavati. Pitṛyajñe tveva prācīnāvītī bhavati. – Gobhila-gṛhya-sūtra 1.2.2-4

[14] Prasṛto ha vai yajñoparvātino yajño’prasṛto’nupavītino yatkiṃ ca brāhmaṇo yajñopavītyadhīte yajata eva tat. Tasmādyajñpavītyevādhīyati yājayedyajeta vā yañjasya prasṛtyai. Ajinaṃ vāso vā dakṣiṇata upavīya dakṣiṇaṃ bāhumuddharate’vadhatte savyamiti yajñopavītametadeva viparītaṃ prācīmāvītaṃ saṃvītaṃ mānuṣam. – Taittirīya-āraṇyaka 2.1. This passage is quoted as from the Kāṭhaka in the Tantra-vārtika on Pūrva-mīmāṃsā-sūtra 1.3.7 (p. 201)

[15] Āpastamba-dharma-sūtra says that a gṛhastha should always wear an uttarīya; the sacred thread may serve the purpose of an uttarīya. Originally the yajñopavīta referred to the uttarīya and not merely a cord of threads. Āpastamba-dharma-sūtra says that a person who partakes of śrāddha dinner should eat covered with an uttarīya slung over the left shoulder and passing under the right arm.

[16] The mantraYajñopavītaṃ paramaṃ pavitraṃ…yajñopavītaṃ balamastu tejaḥ’ is cited only in Baudhāyana-gṛhya-sūtra 2.5.7 and Vaikhānasa-smārta-sūtra 2.5. Dr. Kane says about this mantra, “This has certainly a comparatively modern ring about it and is not cited in any well-known ancient work.”



Hari is an author, translator, editor, designer, and violinist with a deep interest in philosophy, education pedagogy, literature, and films. He has (co-)written/translated and (co-)edited some forty books, mostly related to Indian culture.

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மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
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इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।


इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।


इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।


अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...


ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...


“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...