A rakshasa (Sanskrit: राक्षस, rākṣasa) is a humanoid being in Hindu mythology. As this mythology influenced other religions, the rakshasa was later incorporated into Buddhism. Rakshasas are also called "man-eaters" (nri-chakshas, kravyads). A female rakshasa is known as a rakshasi. A female rakshasa in human form is a rakshesha. The terms asura and rakshasa are sometimes used interchangeably.
Rakshasas were believed to have been created from the breath of Brahma when he was asleep at the end of the Satya Yuga. As soon as they were created, they were so filled with bloodlust that they started eating Brahma himself. Brahma shouted "Rakshama!" (Sanskrit for "Protect me!") and Vishnu came to his aid, banishing to Earth all Rakshasas (named after Brahma's cry for help).
Their literary origins can be traced to Vedic sources through Hymn 87 of the tenth mandala of the Rigveda. They are classified amongst the Yatudhanas, mythological beings that consume raw flesh.
Rakshasas were most often depicted as ugly, fierce-looking and enormous creatures, with two fangs protruding from the top of the mouth and having sharp, claw-like fingernails. They are shown as being mean, growling like beasts, and as insatiable man-eaters that could smell the scent of human flesh. Some of the more ferocious ones were shown with flaming red eyes and hair, drinking blood with their palms or from a human skull (similar to representations of vampires in later Western mythology). Generally they could fly, vanish, and had Maya (magical powers of illusion), which enabled them to change size at will and assume the form of any creature. The female equivalent of rakshasa is rakshasi.
In the world of the Ramayana and Mahabharata, Rakshasas were a populous race. There were both good and evil rakshasas, and as warriors they fought alongside the armies of both good and evil. They were powerful warriors, expert magicians and illusionists. As shape-changers, they could assume different physical forms. As illusionists, they were capable of creating appearances which were real to those who believed in them or who failed to dispel them. Some of the rakshasas were said to be man-eaters, and made their gleeful appearance when the slaughter on a battlefield was at its worst. Occasionally they served as rank-and-file soldiers in the service of one or another warlord.
Aside from its treatment of unnamed rank-and-file Rakshasas, the epics tell the stories of certain members of the "race" who rose to prominence, some of them as heroes, most of them as villains.
Other Rakshasas that are featured in the Ramayana include Kabandha, Tataka (sometimes called Taraka), Shurpanakha, Maricha, Subahu, Khara, Prahasta, Akshayakumara, Atikaya, and Indrajit - the most powerful son of Ravana.
In the Mahabharata, Ghatotkacha was summoned by Bhima to fight on the Pandava side in the Kurukshetra War. Invoking his magical powers, he wrought great havoc in the Kaurava army. In particular, after the death of Jayadratha, when the battle continued on past sunset, his powers were at their most effective (at night). After performing many heroic deeds on the battlefield and fighting numerous duels with other great warriors (including the Rakshasa Alamvusha, the elephant-riding King Bhagadatta, and Aswatthaman, the son of Drona), Ghatotkacha encountered the human hero Karna. At this point in the battle, the Kaurava leader Duryodhana had appealed to his best fighter, Karna, to kill Ghatotkacha, as the entire Kaurava army was near annihilation due to his ceaseless strikes from the air. Karna possessed a divine weapon, Shakti, granted by the god Indra. It could be used only once and Karna had been saving it to use on his arch-enemy Arjuna, the best Pandava fighter. Unable to refuse Duryodhana, Karna used the Shakti against Ghatotkacha, killing him. This is considered to be the turning point of the war. After his death, the Pandava counselor Krishna smiled, as he considered the Pandava prince Arjuna to be saved from certain death, as Karna had used the Shakta divine weapon. A temple in Manali, Himachal Pradesh, honors Ghatotkacha; it is located near the Hidimba Devi Temple.
Chapter 26 of the Lotus Sutra includes a dialogue between the Buddha and a group of rakshasa daughters, who swear to uphold and protect the Lotus Sutra. They also teach magical dhāraṇīs to protect followers who also uphold the sutra. In Padmasambhava receives the nickname of "Rakshasa" during one of his wrathful conquests to subdue Buddhist heretics.The Lotus-Born: The Life Story of Padmasambhava, recorded by Yeshe Tsogyal,
Jain accounts vary from the Hindu accounts of Rakshasa. According to Jain literature, Rakshasa was a kingdom of civilized and vegetarian people belonging to the race of Vidyadhara, who were devotees of Tirthankara.
The artists of Angkor in Cambodia frequently depicted Ravana in stone sculpture and bas-relief. The "Nāga bridge" at the entrance to the 12th-century city of Angkor Thom is lined with large stone statues of Devas and Asuras engaged in churning the Ocean of Milk. The ten-headed Ravana is shown anchoring the line of Asuras.
A bas-relief at the 12th-century temple of Angkor Wat depicts the figures churning the ocean. It includes Ravana anchoring the line of Asuras that are pulling on the serpent's head. Scholars have speculated that one of the figures in the line of Devas is Ravana's brother Vibhishana. They pull on a serpent's tail to churn the Ocean of Milk. Another bas-relief at Angkor Wat shows a 20-armed Ravana shaking Mount Kailasa.
The artists of Angkor also depicted the Battle of Lanka between the Rakshasas under the command of Ravana and the Vanaras or monkeys under the command of Rama and Sugriva. The 12th-century Angkor Wat contains a dramatic bas-relief of the Battle of Lanka between Ravana's Rakshasas and Rama's monkeys. Ravana is depicted with ten heads and twenty arms, mounted on a chariot drawn by creatures that appear to be a mixture of horse, lion, and bird. Vibhishana is shown standing behind and aligned with Rama and his brother Lakshmana. Kumbhakarna, mounted on a similar chariot, is shown fighting Sugriva.
This battle is also depicted in a less refined bas-relief at the 12th-century temple of Preah Khan.
In Indonesian and Malay, raksasa now means "giant", "gigantic", "huge and strong", or "monster" in colloquial usage. Indonesian and Malay are closely related languages with significant Sanskrit influence.
In Bengali, rakh-khosh (রাক্ষস) is used as term for a person who eats incessantly and without need to stop. This derivation also occurs in Malay and Indonesian as rakus, and in Khasi as rakot, which means "greedy".