Following the Pandavas' victory in the war, she and her unborn son were attacked by Ashwatthama, and were saved by the divine intervention of Krishna.

Her son Parikshit saved the Kuru lineage from extinction, and became a well-known monarch celebrated in both the Mahabharata and the Bhagavata Purana.

[3] The Mahabharata manuscripts exist in numerous versions, wherein the specifics and details of major characters and episodes vary, often significantly.

Except for the sections containing the Bhagavad Gita which is remarkably consistent between the numerous manuscripts, the rest of the epic exists in many versions.

The third Pandava Arjuna lived as a eunuch named Brihannala, and was appointed as the tutor of Uttarā, teaching her the skills of dance, instrumental and vocal music that he had learned from the apsaras in heaven.

Virata immediately offered Uttarā's hand in marriage to Arjuna, but he refused, reasoning that the relation a teacher has with a student is like that of a parent to a child.

With approval from both sides, the marriage ceremony of Uttarā and Abhimanyu was held in the city of Upaplavya in presence of their relatives and allies.

[1][8] While residing in Upaplavya, the Pandavas were approached by a poor brahmin who, upon seeing Uttarā, prophesied that she would give birth to a son when the Kuru dynasty ends and for that reason he would be called Parikshit (lit.

Narada and Vyasa, revered sages of Hindu mythology, intervened and instructed both warriors to withdraw their celestial weapons.

[1] At the end of the epic, when the Pandavas finally renounced the world, Uttarā's mother-in-law, Subhadra, was entrusted to take care of the young Parikshit, who was installed as the new monarch of Hastinapur.

According to a popular narrative in the region of Braja and Rajasthan, Vajranabh—the great grandson of Krishna—desired to see Krishna's manifest form, as he succeeded to the throne of Dvaraka.

They enlisted the help of these eyewitnesses and prayed for divine manifestation, which resulted in appearance as a triad: Govind Dev, Gopinath, and Madan Mohan.

Despite their shortcomings, each of these images would henceforth become an important object of worship in its own right, although, they are believed to have disappeared for a long time before their rediscovery during the medieval period.

[18] According to mythologist Devdutt Pattnaik, a variation of the tale adds other important icons of Krishna—which were crafted based on Uttarā's description.