Elements of Hindu Iconography 1

31

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ELEMENTS OF HINDU ICONOGRAPHY.

ELEMENTS OF

HINDU ICONOGRAPHY BY T. A.

GOPINATHA RAO,

M.A.

SUPERINTENDENT OF ARCH/EOLOGY, TRAVANCORE STATE.

Published under the patronage of the Government of His Highness the Maharaja of Travancore.

Vol.

I— Part

I.

THE LAW PRINTING HOUSE MOUNT ROAD MADRAS ::

::

1914 All Rights Reserved.

PRINTED AT THE LAW PRINTING HOUSE, MOUNT ROAD, MADRAS.

DEDICATED WITH KIND PERMISSION

To

HIS HIGHNESS SIR RAMAVARMA. Sri

Padmanabhadasa, Vanchipala, Kulasekhara

Kiritapati,

Manney Sultan Maharaja Raja Ramaraja Bahadur, Shamsher Jang, G.C.S.I., G.C.I. E.,

MAHARAJA OF TRAVANCORE. Member

of the

Royal Asiatic Society, London,

Fellow of the Geographical Society, London,

Fellow of the Madras University, Officer de

L' Instruction Publique.

By HIS HIGHNESS' S

HUMBLE SERVANT

THE AUTHOR.

PEEFACE. The the

tall spire first

Hindu temple

of the

objects

to

arrest

is

one

of

the attention of the

observant foreigner and excite his curiosity as he

On

travels through India.

he meets with a number

going into the temple, of

what may perhaps

appear to him to be grim and meaningless images, in stone

and bronze and other materials, some with

two, others with four or more variety of weapons

and other more

him on enquiry

or less curious

The man on the

articles in their hands. tell

arms, holding a

spot

that one of those images

figure of Vishnu, the

may

is

the

god of protection, another

that of Siva, the god of destruction, and so on, about

the innumerable gods and goddesses

comprised

within the tolerant and all-inclusive fold of the

Hindu

religion.

Some such

than others of his kind,

is

foreigner,

more curious

sometimes tempted to

study these images somewhat carefully, find out their

number and

characteristics,

legends relating to

and gather the

them from the PurSnas and vu

HINDU lOONOGEAPHY. from the learned natives

other sources, as also of the

country well versed in their religious and

mythological

lore.

Then

out with his volume on the

at

Hindu

mythology and other kindred most

fact are

of the

he

last

may come

gods, on

subjects.

Hindu

Such

in

books that have been written

hitherto by foreign authors on topics relating to

Hindu Iconography. It is exactly balg, the

two hundred years since Ziegen-

famous Danish missionary

of

Tranquebar,

wrote his work on the " Genealogy of the South Indian Gods," with the aid of the information he gathered from some people of the Tamil land. the year 1785 the book

known

as

the Mythology and Customs of the

brought out by George Foster.

Pantheon

",

Hindus

Moore's "

with illustrations, was

In

" Sketches of

first

"

was

Hindu

printed in

1810, and then reprinted by Messrs. Higginbotham

& Co., of

Madras, in 1864, with notes from the pen

of the Eev.

Mythology

W.O. Simpson. ",

"Ancient and Hindu

a work written sympathetically and in

defence of the views of the Hindus,

with a large

number of extracts from the Puranas and other Hindu scriptural sources, was thereafter brought out by Col. Vans Kennedy in 1831. Another work

named logy "

"

A

Hindu Mythowas published by John Dowson in 1879. Classical Dictionary of

VUl

PEEFAOB.

The last among such works is W. J. Wilkins' " Hindu Mythology ", illustrated with pictures, and explained with reference

Puranas and

to the

other religious writings of the Hindus.

books dealing with

It will thus be seen that

Hindu images and Hindu mythology

are not alto-

gether wanting. Nevertheless, Fergusson,

who is an

eminent authority on Eastern and Indian architecture,

has justly remarked

— " Whenever

" will seriously undertake to write

" sculpture

in India,

the history of

he will find the materials

" abundant and the sequence by no " to follow "

;

;

abundant

"

much

ideas regarding

must remain

branch

them and ;

it is

those

the

so entangled,

obtain any clear

difficult to

so, until

of

less tangible or

and have become

extremely

is

for this

but they are of

" satisfactory nature, it

difficult

It cannot, however, be said that the

is different.

" enquiry also

'

means

but, with regard to mythology, the case

" materials are not

" that

any one

to be feared they

who

investigate the

subject will condescend to study the architecture "

and sculpture

"

The

of the

country as well as

latter contain a

"contain " subject

all ;

the

good

what

" give precision

is built

on the

to be steadied

and con-

or carved,

and substance IX

II

books.

but they do not

available

information

and they require

" firmed by

deal,

its

to

which alone can

what

is

written

HINDU ICONOGEAPHY. " It is

remarkable that, with

" activity in every

branch

all

the present day

of Sanskrit research,

" very httle has been done for the " mythology, " the

whole

which

is

so

illustration of

so intimately connected with

literature. It

would be a legitimate part

" of the duty of the Archaelogical Surveys to collect " materials

"

on a systematic plan

and the production of illustrations has now become

" so easy

and inexpensive that photographs from

" original materials " readily

satisfactory class

a

of

might

be published to supply this mostpressing

" desideratum.

" symbols "

for this object

The the

of

pantheon could

" delineations,

details of the

numerous

emblems and

divinities

also be collected, along

the

of

with the

by those familiar with such symbols.

" All this could easily be " consequently

hoped

accomplished,

may

it

before

and

it

long

is

be

" attempted." It

has to be said that the books by European

authors referred to above do not contain the infor-

mation, which

is

available in

works on Iconography

;

indigenous Sanskrit

nor do they give pictorial

representations of the sculptures that are actually

found in this vast country.

some be well

of those

On

the other hand,

authors have given

understood

to be

Hindu mythology, and

in

their

what might

own

version

of

their descriptions of

PREFACE.

Hindu images, with

here

and there a pungent

remark about what they consider an uncouth representation or an immoral legend, they seem to have

cared to study neither the symbolism underlying the mythical

stories

meaning

nor the

A

images illustrating them.

of

the

book on the model

suggested by Fergusson has indeed been a great desideratum.

The

first

attempt to supply this want to some

made by

extent was

that

many-sided Bengali

scholar and author, Mr. Nagendranath Vasu, in his interesting

volume on the Archaeological Survey

of

Mayarabhanja. Some years ago the idea occurred to

me

that I might

the subject of

try to bring out a

Hindu Iconography

book on

to supply as far

as I could, the desideratum noted by Fergusson.

was

originally under the impression that

be done without

pressing

much

it

I

could

into service the

information contained in original Sanskrit works of authority

on the subject, even

which I was not then

fully

of the existence of

aware.

Soon,

the

bewildering variety of images that were found in

and the same god convinced me

relation

to one

that to

get at the details of their

mythological

meaning and moral aim without the help of the Sanskrit works bearing on them was almost an impossible task.

Luckily, while touring in North xi

HINDU ICONOGEAPHY. Travancore, I had on one occasion the good fortune

manuscript work entitled

to get hold of a small

Silparatna

;

and on deciphering

able difficulty, I found

yalam verse

it

small

came

my hands later

into

to be a synopsis in

fragmentary on,

manuscript,

was found

I

Anisumadbheddga77ia.

Some

which

to be,

the colophons at the end of the chapters, an csAled.

Mala-

the same name.

of a bigger treatise of

Another

with consider-

it

from

agama

years previously,

had purchased eight or nine works on Saivagama

but,

owing

to

the trouble to this

want

of time, I

had not even taken

know what they

contained.

About

time I begaa to look into them, and what a

mine

wealth they revealed themselves to be

of

They contained chapter on chapter

of

minute

most Saiva images and

descriptions relating to

some Vaishnava images

My

as well.

more d,gamas and tantras resulted

to

search for

in the collection

number of them, which in fact belong to From the materials the various Hindu sects.

of a large all

thus acquired, I began

first to

pick up merely the

descriptions of images, as they are given in them.

The agamas topics

thus, I

generally

deal

with

than simple iconography.

went on improving

collection

of

at the

many

other

While engaged

same time

my

photographs of the sculptures and

castings representing the various xu

Hindu

divinities.

PREFACE. In the middle

of 1912, I

of writing out

images, and

actually began the task

a systematic

deities.

After having proceeded so

the chief difficulty in the

my

the

of

soon finished the description of a

number of minor

of

description

far, it

struck

me that

way of the accomplishment

undertaking was in securing the required

The work required

financial aid for its publication.

photo-mechanical reproductions of a large number of images, the cost of

to scare

matter

me away

of fact, I

which alone was quite enough

should really have been compelled,

howsoever reluctantly, to abandon object,

but

As a

from the undertaking.

for the

my

cherished

opportune help and encourage-

ment most generously

by the enlightened

offered

His Highness the Maharaja of

Q-overnment

of

Travancore.

The Dewan, Mr. Eajagopalaoharya,

readily perceived the

and promised

value of the undertaking,

to sanction the

the publication of the

amount required

work.

for

The sympathetic

attitude of this highly cultured gentleman at the

head

of

affairs

Travancore

in

stimulus and induced

vigour and texts were

me

to

earnestness.

all

quickly

afforded a

new

work with redoubled

The

required

Sanskrit

gathered, but the growth of

the collection of the needed photographs did not

proceed

apace.

I

then approached the xiii

Dewan

HINDU ICONOGEAPHY. with the request that I should be permitted to go out on

to places

tour

Mysore

also in the

to obtain

State,

The tour was sanctioned

these places not only enriched collection, but

value various

was

me.

to

;

and

my

the photo-

my visit

also of a very highly educative

me

enabled

It

iconographic

to

study

ing.

I

amateur kuowledge

of

frequently took pen

and occasionally

full-sized

the

emblems

and

symbols

photographing was impossible,

my

to

photographic

Wherever

directly from the sculptures themselves.

upon

in

State,

and the Bombay Presidencies and

the Madras

graphs.

the

outside

indented

there 1

drawing and paint-

and

ink sketches,

coloured drawings

of

mural paintings, although this latter work was extremely tedious. I

consider

High

Court,

many photographs

visits

from

my

friend, the

who

secured for

Vakil of

my work

as he could take during his

to various outside stations in the

Presidency business,

on professional and

and thereby

considerably.

Mr.

well read scholar, to

I received

Mr. M. K. Narayanasami Ayyar,

the Madras as

a duty to refer here to the un-

which

stinted help late

it

facilitated

other kinds

my

of

work very

Narayanasami Ayyar

was

a

and philosopher, and was this work a learned article

critic

have contributed to

Madras

XIV

PEEFAOE. on Devi-worship.

hand

of

however,

Unfortunately,

death deprived vae

on a sudden

all

the

of the

further help to which I had been looking forward result is that this

work

has had to lose the advantage of an erudite

and

with high hope

and the

;

complete account

Devi-worship from the pen of

of

a profound scholar well versed in the Sakta and other religious schools

known

to the sacred litera-

ture of the Hindus.

am

I

only too well aware of the several defects

which abound in at the

this production of

mine, but

feel

same time somehow confident that scholars

will look

upon them indulgently by taking into con-

sideration the vastness of the material to be collect-

ed and digested, and also the fact that duties in Travancore have leave

little

time for

much

first

work

extra

attempt of

not profess to be anything

official

been so heavy as to

Moreover, I have to state that this

one respect the

my

like a

is

of this kind.

in

more than

its kind,

and does

complete presenta-

tion of the subject. I shall certainly consider myself

under the circumstances to be amply rewarded this

humble work

of

simply breaking the

mine serves the purpose ground

and

I take

of

induces abler

scholars to deal with the subject in a fuller and satisfactory

if

more

manner. this opportunity XV

of again

expressing

HINDU lOONOGEAPHY.

my of

deep gratitude to the liberal Grovernment of

H. H. the Maharaja

Travancore

of

for

their

having made the publication of this work possible

and personally

Bahadur for the

has

all

P.

I

am

highly indebted

Eajagopalacharya

to

m.a.,

Dewan

b.l.,

c.i.e.,

enlightened and encouraging interest he

along taken in the production of this work. I

cannot sufficiently thank Pandit V. Srinivasa Sastri, Smritivisarada, but for whose willing co-operation

and unceasing industry very

difficult for

best

thanks are

Sastri,

me

would indeed have been

it

My

to bring out this work.

due also

to

Pandit T. Ganapati

Curator of the Sanskrit Manuscripts Library,

Trivandram, for his readily helping

me

with

all

the

manuscripts I applied for from time to tiroe in connection with this work. Mr. D. E. Bhandarkar, M.A.,

Superintendent

Archaeology,

of

showed me great kindness

Circle,

Western

in lending

me

his

copy of Bupa-mandana, which seems to be a comparatively

have,

work on Hindu Iconography. say that I cannot

in conclusion, to

ciently to

late

my

express

my

respected master,

M. Eahgacharya, Madras,

gratitude

for the

M.A., of

I

suffi-

and indebtedness

Eao Bahadur

Prof.

the Presidency College,

very great interest, which he has

throughout evinced in the work and the parental care with

which

he

has guided

me

at every

PREFACE. stage of

its

invaluable

He was

progress.

suggestions, and

failing source of

ever ready with his

was

inspiration

me

to

and encouragement.

I therefore respectfully beg to tender

my

most grateful thanks

has taken on

my

for

a never-

all

to

him here

the trouble he

behalf.

T. A. G. Teiplicane, Madras. September, 1914.

)

)

xvu III

CONTENTS. PAGES. Preface

...

General Introduction

...

...

...

...

...

...

vii

— xvii — 59

1

1

— 32

Ganapati

..

...

...

...

36

— 67

Vishnu

...

...

...

...

69—279

(a)

Dhruva-beras or Fixed Images

...

71

{b)

Dasavataras or the Ten Incarnations

(c)

Chaturvimsati-miirtayah

of certain technical terms.

Explanatory description

Vishnu

...

W) Minor Forms Purusha,

of Vishriu

Kapila,

Dhanvantarin,

— 115

of

117—223

...

...

...

...

225

...

245—279

:—

— 244

Yajfiamurti, Vyasa,

Dattatreya,

Hari-bara-

pitamaha, Vaikuritha, Trailokya-mohana Ananta, Visvarupa, Lakshmi-Naraya^a,

Hayagriva, Adimurti, Jalasayin, Dharma, Varadaraja,

Vithoba,

Rahganatha,

Jagannatha,

and Manmatha. Ayudha-purushas and Garuda Adityas, including the Nava-grahas

Devi:—

...

Venkatesa,

Nara-Naraya^a,

...

...

281

...

297

...

325—400

...

Srichakra, Devi, Durga, Nilakanthi, Kshemankari,

Harasiddhi, Eudramsa-Durga, Vana-Darga,

Agni-Durga,

Jaya-Durga, XIX

— 296 — 323

... ...

Vindhyavasi

HINDU ICONOGRAPHY. PAGES. Durga,

Eipumari-Durga,

Mahishasura-

marddani or Katyayani, Ghandika, Nanda, Nava-Durgas, Bhadrakali, Mahakali,

Amba, Ambika, Mangala, Kalaratri,

Eambha, palakas

Sarvamangala,

Uma,

Gaurl,

Lalita,

Parvati,

Totala, Tripura, the eight Dvaraof the

Gaurl temple, Bhutamata,

Yoganidra, Vama, Jyeshtha, Eaudri, Kali, Kalavikarnika, Balavikarnika, thani,

Balaprama-

Manonmani, Eakta-Chamunda,

Sarvabhutadamani,

Varuril-Chamarida, Sivaduti,

Yogesvari,

Bhau-avi,

Kshama, Vijaya,

Siva,

Eiddhi,

Siddhi,

Dipti, Eati, Svefca,

Bhadra, Jaya,

Ghantakarni, Jayanti,

Kali,

Arundhati,

Tripura-

Bhairavl,

Kirti,

Surabhi,

Aparajita,

Diti,

Krishria,

Indrakshi, Annapiarna, Tulasidevi,

Asvarii-

dhadevi, Bhuvanesvari, Bala, Eajamatarigi,

Lakshmi,

Sri,

Mahalakshmi,

Bbumidevi,

Saraswati, Sapta-matrikas and Jyeshthadevi.

Appendix A

—A

disposition

description of the plan of

temple of seven a-yanlnas

Appendix

B— A

and

of the

parivdradevatas in a Vishnu detailed

...

description

...

of

1—45

the

Uttama-dasa-idla measure to be used in the

making Appendix C

of

images

— Sanskrit

...

...

1

— 7]

1

— 160

Texts relied upon for the

description of the images

XX

...

...

LIST OF ILLUSTEATIONS.* TO FACE PAGE.

PLATE A.- -Yantras

A Eama made group

:

of

Salagramas and

an

salagrama.

11

... and Sankaracharya, Kaladi ... C- -Bust of Ohennakesava, Belur. D.- -Vishnu bathing Kachohhapesvara, Conjee... varam (A. S. M.) E.- — Sarabhamurti, Tribhuvanam (A. S. M.) ...

32

image

of

of a piece of

B.- -Saradadevi

P.-

-Trimurti with Siva as the

central

Tiruvottiyur.

36

43 45

figure, ...

45

Trimurti with Vishnu as the central figure,

Nagalapuram I-

—Weapons

held by images

Do.

II-

by images IV- •Headgears and ornaments of images V- -Hand-poses of images III- -Other objects held

VI- -Seats

of

images

VII- -Head-gears and hair knots Do. VIIIDo. IX-

*

of

T, 8.

A = Trivandrain School

Madras.

A.

8.

Arts

;

images

A. 8.

Survey

45

...

4

...

6

...

8

...

12

...

14

...

18

...

28

...

29

...

32

M. Aroh^ologioal Survey of Mysore; A. 8. Bo =

Bombay A, 8. I = ArphEeological Survey of India M.=India Museum. The photographs and dravyings whiohare not followed

Arohseologioal Survey of I,

of

My = Aroh»ologioal

of

...

by any

of the abbreviations given

;

;

above belong to the author's oolleotion.

XXI

HINDU ICONOGBAPHY. PAGES. Durga,

Mahishasura-

Eipumari-Durga,

marddani or Katyayani, Chandika, Nanda, Nava-Durgas, Mahakali, Bhadrakali,

Amba, Ambika, Mangala, Kalaratrl,

Eambha,

Lalita,

Sarvamangala,

Uma,

Gauri,

Parvati,

Totala, Tripura, the eight Dvara-

palakas of the Gauri temple, Bhutamata, Yoganidra, Varna, Jyeshtha, Eaudri, Kali, Kalavikarnika, Balavikarnika,

Balaprama-

Manonmani, Sarvabhutadamani, Varurii-Ghamunda, Eakta-Charounda,

thani,

Yogas vari,

Sivaduti,

Bhairavi,

Kshama, Vijaya,

Eiddhi,

Siddhi,

Dipti, Eati, Sveta,

Bhadra, Jaya,

Ghantakarni, Jayanti,

Kali,

Arundhati,

Tripura

Bhairavi,

Kirti,

Siva,

Surabhi,

Aparajita,

Diti,

Krishija,

Icdrakshi, AnDapiJirna, Tulasidevi,

Asvarii-

dhadevi, Bhuvanelvari, Bala, Eaiamatangi,

Lakshmi,

Sri,

Mahalakshmi,

Bhiimidevi,

Saraswati, Sapta-mafcrikas and Jyashthadevi.

Appendix A

—A

disposition

description of the plan of

temple of seven fwarore as

Appendix

B— A

and

of the

parivaradevatds in a Vishnu detailed

...

description

...

of

1

—45

1

— 71

1

— 160

the

Uttama-dasa-tdla measure to be used in the

making Appendix C

of

images

— Sanskrit

...

...

Texts relied upon for the

description of the images

xs

...

...

LIST OF ILLUSTRATIONS.* TO PACE PAGE.

PLATE A.

— Yantras image

:

of

A group of Salagramas and an Rama made of a piece of salagrama.

— Saradadevi and Saiikaracharya, Kaladi — Bust Chennakesava, BeMr. D. — Vishnu bathing Kachchhapesvara, Conjee-

B.

of

C.

varam

(A. S.

B.— Sarabhamurti, F.

—Trimurti

M.)

Tribhuvanam

(A. S.

central

with Siva as the

Tiruvottiyur.

M.)

11

...

32

...

36

...

43

...

45

figure, ...

45

Trimurti with Viabnu as the central figure,

Nagalapuram I

— Weapons held by images

II—

Do.

— Other objects held by images images IV — Headgears and ornaments V — Hand-poses images images VI — Seats images VII — Head-gears and hair knots III

ot

of

of

...

45

...

4

...

6

...

8

...

12

...

14

...

18

...

28

VIII—

Do.

...

29

IX—

Do.

...

32

of

A = Tcivanclram School

M.

Arohreologioal Survey Mysore; A. 8. Bo = A. 8. I = Arohfeological Survey of India Atohaeologioal Survey of Bombay I, M,=India Museum. The photographs and drawings which are not followed *

of

T. S.

Madras.

A.

8.

of

Arts

My = Arohseologioal

;

A, 8.

Survey

of

;

by any

ot the abbreviations given

;

above belong to the author's ooUeotion.

XXI

HINDU ICONOGRAPHY. TO PACE PAGE.

PLATE

X — Fig.

Unmatfea-uohohhishta-Ganapati, Ka-

1.

ladi.

X—

49

"

Fig. 2. Kevala-Ganapati,

Tiivandram

XI— Fig. 1. Laljshmi-Ganapati,

49

(T.S.A.).

Tenkasi (A.S.M.)...

53

Uchchhisbta-Ganapati, Kumbhakonam — — do. Nanjangodu XIII — Heramba-Ganapati, front view, Negapafcam

XI XII

...

54

...

56

(A.S.M.) ... 1. Prasanna-Ganapati, P a 1 1 1 s varam (A.S.M.) ...

57

(A. S. M.)

XIV— XV — Fig.

XV— Fig.

back view.

Do.

Trivaadram XVI— Nritta-Ganapati, Halebidu

XVII

53

Fig, 2.

Do.

2.

(T. S. A.)

58

...

58

...

59 80

— MadhyamaYogastliaDakamurti, Mahabalipuram

XVIII— Bhogastbaaakamurti, Madras Museum ... XIX — Adhama Bhogasfcbanakamiirti, Tiruvottiyfir. .

XX— Bhogasthaaakamurtii, XXI — Sfcbaaakamiirci,

(A. S. M.)

Tadpafcri

Mafchura

Museum

...

(A. S. I.)...

81

82 83

Between

pages 84 and 85

XXII

— Bbogastbanakamurti, Madras

Museum

...

84-85

XXIII--MadhyamaBhogaathanakamiarti, Madras Museum 84-85

XXIV— Yogasanamurti, Bagali (A. XXV — Bhogasanamiirti, Badami XXVI — Madhyama

S.

M.)

1.

2.

87 88

Bh6ga?anamurti,

Conjeevaram Between pages 88 and 89

Do XXVII— XXVIII— Bbogasanamurti, Dadikkombu

XXIX— Fig. XXIX— Fig,

... ...

Do.

Trivandram

Ellora (A.

S.

...

M.)

(T. S. A.)

... ...

Yogasayanamiirti, Trivandram (T.S.A.)

XXX— AdbamaVirasanamurti; XXXI — Madbyama

Aibole (A.S.Bo.)

Yogasayanamuirti,

puram

XXXII — Madhyama

M ah aba

...

(I.M.)

90

90 88-89 91

D e o g a r h, ...

xxu

88-89

1 i-

...

Bhogasayanamiirti,

88-89

no

LIST OF ILLUSTEATIONS. PLATE

TO FACE PAGE

XXXIII — Madhyama

Yogasayanamurti,

Aihole,

(A.S.Bo.)

...

XXXIV — Uttama

Bhogasayanamurti putana (A.S.Bo.) The ten Avataras of Vishnu

XXXV—

XXXVI — Varaha

panel,

(T.S.A.)

Mahabalipuram

XXXVII — Bhuvarahamurthi, Badami XXXVIII — Varaha, Eajim, Raipur district, Varaha, Nagalapuram

1,

XXXIX— Fig.

(A.S.Bo.)

Museum (A,S Madras Museum

Do. Calcutta

3,

XL—

Do.

Lakshml-Narasimha, XLI — Fig. 1, Museum

XLI— Fig.

2,

XLI — Fig.

3,

—

XLII XLIII

Bo.)

i38

...

140

...

141

...

141

...

141

...

141

...

142 143

...

143

Lakshmi-Narasirhha Madras Mesum. Kevala-Narasirnha, Halebidu ...

143

figure

of

XLV—

Do,

XLVI—

Do.

150

Kevala-Narasimha,

Badami

—

...

...

XLIV — Sthau9a-Nara3iraba, Ellora

XLVIII

123

Madras

Varaha, Belur

— Standing

XLVII—

93

...

Phalodi, Jodhpur district,

Do.

2,

Marwar

...

CeD. Prov.,

(A.S.Bo.)

XXXIX— Fig. XXXIX— Fig.

92

Eaja-

...

155

...

156

Dadikkombu (A.8.M.) Do.

Madras Do. Tnvikrama, Rajim, Raipur

(A.S.M.)

Museum

...

157 158 159

Dt., Cen. Prov., ...

169

XLIX—

Do.

Mahabalipuram

...

170

L—

Do.

Badami

...

172

LI—

Do.

Ellora

...

174

Do.

Chatsu,

(A.S.Bo.)

LII— Fig.

1,

Marwar LII

— Fig.

LII— Fig. LIII—

Jaipur

Db., ...

175

2,

Do.

Nagalapuram

...

175

3,

Do.

Belur

...

175

Do.

NuggehaHi (A.S.My.)

...

177

(A.S.Bo.)

xxui

HINDU ICONOGEAPHY, TO FACE PAGE,

PLATE

LIV— Eaghu-Eama,

Shermadevi, (A.S.M.)

LV—

Do.

LVI—

Do.

Eamesvaram, (A.S.M.) Mahabalipuram

LVII—

Do.

(T.SA.)

LVIII^Kriahna and Rukmini, Madras Museum

LIX— LX — Fig.

Navanita-nrittamurti,

191

...

195

...

205 206

Madras

Museum

LX— Fig.

193

...

Shermadevi, (A.S.M.),..

Do. 1,

189

...

...

206

...

Madras

Do.

2,

Museum

LXI— Gana-Gopala,

Halebidu Gana-Gopala, (T. Do. (A.

...

206

...

208 209

LXII— Fig. 1. S, A.) ... LXII— Fig. 2, S. M.) ... LXIII— Madana-Gopala, Tenliasi ... LXIV— Kaliyahimardaka Krishna, Madras Museum.

209

,

LXV— Govarddhana-dhara (A. S.

LXVI— LXVIT— Fig. LXVII— Fig.

2,

'

Halebidu

Balakrishna Do.

LXVII — Fig. 3, Vatapatrasayin LXVIII— Buddha, Borobudor, (Dr.

LXIX — ChennakesavasvamiD,

LXX— Fig.

1,

1,

2,

Beliir

Madhava, Belur

Hari-hara-pitamaha, Halebidu Dattatreya (A. S, Bo,;

LXXIII — Dattatreya, Badami

LXXIV — Hari-hara-pitamaha,

.'..

2U

...

214

...

215

...

215

...

215

A,K., Thcosophist).

LXX — Fig. 2, Govinda, Belijr LXX — Fig. 3, Madhusiidana, Beliir LXXI— Fig. 1, Hari, Beliir LXX I— Fig. 2, Sri Krishna, BeliJr LXXII— Fig, LXXII— Fig.

Ajmere,

Museum Badami

XXIV

221

...

228

...

229

...

229

...

229

...

231

...

231

...

252

...

252

...

254

Eajaputana _

253

...

256

_

LXXV — Vaikuritbanatha,

213

Nuggehalli,

My.)

Do, 1,

Krishna,

210

LIST OF ILLUSTRATIONS. TO FACE PAGE.

PLATE

LXXVI — Lak8bmi-Narayana, Beliir LXXVII— Hayagriva, Nuggehalli, (A. LXXVIII-Adimurfci, Nuggehalli,

LXXIX— .Talaaayin,

LXXX— Fig. LXXX— Fig.

...

Halebidu Do.

2,

,

261 262

...

(A. S. My.)

264

...

Varadaraja, (A. S.

1,

259

...

My.)

S.

My)

268 268

...

Dadikkombu, (A.S.M.),

LXXXI — Vifchoba and Rukmabayi, Pandharipura LXXXII— Fig. 1, Manmatha and Rati, Halebidu, Do. Angur, (A. LXXXII— Fig. 2, ...

273

...

277

...

277

,

S.M.)

LXXXIII— Fig.

Do,

1,

,

Nuggehalli

(A.S.My.)

LXXXIII— Fig.

Manmatha, Tenkasi

2,

Do. LXXXIV— Garuda l,Garuda, Palur LXXXV— Fig. Sudarsana-Chakra, Fig. LXXXV— '2,

LXXXV. A.—

,

fA.S.M.)

and

Obverse

Do.

Badami

LXXXVI— Surya, Gudimallam LXXXVII— Do. Meioheri 1,

Madras Museum Do.

2,

Ellora,

3,

LXXXIX— Surya,

XC— Surya, XCI— Surya, XCII— S5rya,

278

...

287

...

288 288

...

...

291

...

312

...

311

...

313

{Gave temples of

India)

LXXXVIII— Fig.

278

...

Reverse,

Dadikkombu, (A.S.M.)

LXXXVIII— Fig. LXXXVIII— Fig.

...

...

313

Sarya, Rupnagar, (A. S. Bo.)

...

313

Ohitorgarh, (A. S. Bo.)

...

314

...

314

...

Ajmere, etc, (A. Haveri, (A.

S.

Bo.)

Bo.)

Nuggehalli, (A. S, My.)

...

315 316

Madeyur

...

316

...

316

S.

XCIII— Fig.

1.

Surya,

XCIII--Fig.

2.

Surya, Ajmere, (A. S. Bo.)

XOIV— Fig. 1. Suryanarayana, Belur XGIV— Fig, 2. Surya, Madras Museum XCV — Torana of a Siirya temple, .Junagarh Museum,

(A. S. Bo.)

sxy IV

...

316

...

316

...

317

HINDU ICONOGRAPHY. TO FACE PAGE.

PLATE

XOVI— The

Nava-Grahaa, Suryanarkoyil,

(A. S.

M.)

XOVII— Sricbakra XCVIII— Do.

Hatha

...

323

...

330

...

331

...

341

... Do. Mahabalipuram ... Mahabalipuram 01 Durga panel, Mahabalipuram ... Oil Fig. ]. Katyayani or Mahisbasura-marddani, Madras Museum ... Oil— Fig. 2. Durga, Conjeevaram OIII Katyayani or Mahisbasura-marddani, Gah-

341 342 343

XCIX— Fig. XOIX— Fig.

Sringeri

Durga, Opakkur

1.

2.

C— Durga,

— —

.

.

344 344

—

gaikondasolapuram,

OIV—

Do.

CV—

(A. S.

M.)

BUora, (A.S.Bo.)

Mahabalipuram

Do.

OVI — Standing

Bhadrakali, turai, (A. S. M.)

CVII— Fig, CVII— Fig. CVIII— Fig.

1.

figure

of

Do.

1. Parvatii,

Madras Museum BUora

OVIII— Fig. 2. AnnapiJrna, Trivandram, OIX Sridevi, Mahabalipuram

(T

OX—

Do. BUora, (A.

-Fig.

S. A.)

OXI— Fig.

S. Bo.)

Lakshmi, Madeyijr

1.

2. Sridevi,

CXII— KoUapnra

Trivandram, (T.S.A.)

Mahalakshmi Gadag (A. S. Bo.)

CXIII.— Sarasvati, CXIV. Sarasvati, Garigaikondaaolapuram

—

CXV.— Sarasvati, OXVI.

—Fig.

CXYI.—Fig. GXVII.— Fig. QXVII.— Fig.

...

347

...

357

...

358

...

358 360

...

—

CXI

345 345

Tiruppalat-

Mahakali, Madeyiir

2.

... ...

...

360

...

372

...

373

...

37.3

...

373

... ...

375 377

(AS.M.)...

377

...

377

Bagali (A.S.M.)

1.

Sarasvati with a Vina, Halebidu

...

377

2.

Sarasvati dancing, Halebidu

...

377

1,

s'aradadevi,

Trivandram

...

378

2.

Varahi and Vaishnavi.

Tirunandi-

kkarai

CXYIII.— Fig.

1.

The Saptamatvika Group, BUora *«»\^

Bhogasthanakamurti [To face page 81.]

:

Bronze: Madras Museum.

VISHNU. of the central shrine so as to face the south.

should have four arms to rest

deer

on the

;

one of the

It

arms has

left

hip, while the other has to carry a

the raised right hand has to hold a parasu,

;

and the other right hand being held

On the south wall

pose.

of

;

abhaya

the central shrine facing

the north, a standing image of sculptured with four arms

in the

two

Brahma of the

should be

hands should

carry respectively the asJihamala and the

kaman-

while the third hand has to be held up so as

daJtt,

to represent

Brahma

in the act of praising Vishnu,

the fourth being placed on the hip in the katya-

Vishnu

valamhita pose. deities

and

rishis

in association with the

mentioned above

understood to

is

be the Yogasthanakamurti of the w^^ama class. the subordinate images of

Brahma and

to be wanting in the group, then the

Vishnu

image

of

class

;

and

if

the

group

is

is

the

held

Siva happen

main

said to be of the

Pujakamunis are to

belong

central

maclhyama

also omitted,

the

to

If

aclhama

class.

This

is

also a standing

image

four arms. ^^°e:asthanaka-

cliakra

hands.

of

The image

and hahkha

The

Vishnu having carries the

in the

front right

two back

hand

the abhaya or the varada pose, while the front

hand hangs by the

side so as to rest 81

11

is

in

left

upon the hip

HINDU ICONOGRAPHY. or

is

made

The

to be in the kataha pose.

colour of

The

the Bhogasthanahamiirti has also to be dark. figure of Sridevi should be

made

to stand

on the

right side of Vishnu, with her right leg placed firmly

on the ground and the right

hand

flower, freely

and the

by her

left

hand should be allowed

The

side.

On

the

should be the

colour has to be dark.

be

made

In the

slightly bent.

of this goddess there should be a lotus

golden yellow. there

left

hang

to

colour of Sridevi has to be left of

the figure of Vishnu,

image

of

In her

left

whose

Bhudevi,

hand she should

to hold the blue water-lily,

and her right

hand should be made

to

On

Vishnu respectively Bhrigu

the right and

left of

hang

freely

by her

side.

and Purana, obviously meaning Markandeya, have to

be kneeling

on one knee, or

titJattiJcasana posture.

sitting

Above the central

Vishnu there should be the images

the

in

figure of

of the goddesses

Maya, Samhladini, Kamini and Vyajani, of the divine musicians Tumburu and Narada, of a pair of Kinnaras, of a Yaksha, a Vidyadhara, the

risJiis

Sanaka, Sanatkumara and the luminaries Surya (sun)

and Chandra (moon\

south walls

On

the north and the

of the central shrine the figures of

and Brahma have

to be respectively

in the case of Yogasthanahamurti.

worked out as

The image

Vishnu, in association^ with ^the group 82

Siva

of

of gods.

PLATE XIX

Adhama Bhogasthanakamurti Stone

;

:

Tiruvottiyur.

[To face page 82

]

PLiTS XX

Bhogasthanakamurti [To lace page 83.]

:

Stone: Tarlpatri.

VISHNU. goddesses and devotees as described above, to constitute a Bhogasthanakamiu-ti of the class.

is

said

uttama

the figures of the Yaksha, the Vidyadhara,

If

Narada and Tumburu be absent from the group, the image will belong to the madhyama class. If, of

in addition, the figures of Sanaka,

Surya,

Chandra and

Sanatkumara,

Pujakamunis be

the

also

absent from the group, the central image of Vishnu

adhama

will belong to the

In

this,

class.

as in the previous

central figure of

^'"^muru.*^*"

Vishnu.

cliakra

is

instances,

the

a standing image

He Carries in

his

hands

and sankha as usual.

The

Sanskrit texts do not mention for what purpose the

other hands are to be used. of

Surrounding the figure

Vishnu, the following images have to be sculp-

tured,

namely, those of Brahma, Siva, Bhrigu,

Markandeya Kishkindha, Sundara, Sanaka, Sanatkumara, Surya and Chandra.

make out who

are

referred

Kishkindha and Sundara here.

It is

not easy to

names In company with by

to

the

such a group of images the standing figure of

Vishnu happens

to be the

the uttuma class.

Kishkindha, absent, further,

it

If,

Ylrasthana'kamurti of

however,

Sundara, Sanaka,

will belong to the

the images of

the

images

Sanatkumara

madhyama

class.

of

be If,

Surya, Chandra and the 83

HINDU ICONOGEAPHY. Pujakamunis* be

also absent,

will be

it

known

as

belonging to the adliavia class.

This type among the images of Vishnu has either four or Bthanakamu^rti.

^^ ^^"^^

faded

two arms, has

to be

complexion and possess a This

countenance.

should be clothed in black, and

is

image

not to be sur-

rounded by any divine beings or human votaries as in the previous cases.

If

a temple for this type of

Vishnu has

it

is

to be built,

said that there should

be no beauty or symmetry in that

it

construction

should be situated in the quarter

the paisachajjadaA

'^

its

The ceremony

The Pujakamunis mentioned

the aspects of

Vishnu appear

in

to refer to

of

=Er3Eisrf^i%*rTJt

^reg»iprf^

g sri^^i^g^

84

known

as

installing

the description of

all

Bhrigu and Markan-

deya.

•^^tti^cr^n^rft^

and

^ft

i

ii

PLATE

SthanakaoQurti

:

Scooe

;

Mathura Museum.

[Between pages 81 and 85.]

XXI.

PLATE XXII

Bhogasthanakamurti

:

Bronze: Madras Museum.

[Between pages 84 and 85.]

PLATE

^^^ .s^

Madhyama Bhoi:;Sthanakamu! ti BroDze :

Bctwten pase; Si and

55.

:

Madras AJuseum.

XXIII.

VISHNU. the abhicharikamurtis should be conducted in the

dark half of the month under such inauspicious asterisms as the Ardra iiaksJiatra and at night in

a chararasi month.

This

a seated figure of Vishnu with four

is

and should have a white

arms, Yogasanamurti.

,

.

,

.

complexion

on

;

,

,

head

its

there

should be ?bjatamaJiuta, and the asana on which seated should be

is

hrahmasana which

the

synonymous with the padniasana.

^?ir^^

If

a village

outermost one

rrm

called the

paiiachapada

Vishnu and the Saptamatrikas must be

Or the

village

front

ii

:

the

temples for Siva,

built in this

division.

might he conceived as divided into sixty- four

squares by two sets of nine lines drawn at right angles.

space covered by the four central squares

is

the

circuit

of

surrounding this daivika-pada

and the outer-most

twenty squares is

called

The

called the brahrna-

pada, the next outer circuit of twenty squares daivika-pada,

is

hands

divided into five (concentric) divisions,

is is

wit- sTrrwiTS^RRT^

The

it

is

called the

immediately

the vianusha-pada

circuit of twenty-eight squares is

called

the paisacha-pada. * Chara-rdsi is the

be

'

same

as chara-bhavanam this ;

the varying signs of the zodiac,

and tenth

'

i.e.,

the

first,

is

said to

fourth, seventh

which are Mesha, Earkataka, Tula and Makara. 85

HINDU IGONOGEAPHY. of this

pose.

Vishnu image are

to be in the

yoga-mudra

mentioned that sanJcJia and

It is distinctly

chahra ought not to be put into the hands

The

image.

of this

colour of the underwear of this deity

has to be yellow and that of the upper cloth has to

The image

be white.

shown

is

as wearing a yajTib-

pavlta on the body, kitndalas in the ears, keyuras

on the arms and a hara round the neck. have to be slightly

On

closed.

Its eyes

the north wall of

the shrine of the Yogasanamurti the figure of Siva in the sitting posture should be sculptured,

on the south wall that

On

posture.

of

Brahma

the back wall, which

in

is

and

the same

the western

one, there are to be the figures of Chandra, Barya,

Sanaka and Sanatkumara. On either side of the central Vishnu image Bhrigu and Markandeya or

Markandeya and Bhumidevi have

A

grouping in

essential

of deities

relation

Yogasanamurti ra,

of

to be represented.

and votaries such to

as this

is

the iittama class of the

Vishnu.

If

the images of Chand-

to be Surya, Sanaka and Sanatkumara happen belong to the in the group the image would

omitted

madlujama class,

if

class

;

it

would belong

to the adliama

Bhrigu and Markandeya be

also

wanting

in addition.

The

of following slightly different description

the Yogesvara form of the image of Vishnu 86

is

found

PLATE XXI Y.

Yogaaanamurti [To face page 87.]

:

Stone

:

Bagali.

VISHNU. the

in

Sidclhartha-samhita

According

Vachaspatya-kosa

Vishnu has

quoted

as

to be sculptured

this

to

the

in

authority-

as seated

upon the

paclmasana with the eyes slightly closed and the

upon the

vision fixed

of the nose.

tip

The two

front hands should be kept on the crossed legs in

On

the yogamudra pose. figure

gada are

either side of the seated

have to be carved a padma and a large sized In the two other hands which

respectively.

somewhat

raised there should be the sudarsana-

chahra and the panchajanya-hanTilia. of

Vishnu

is

souls from the bondage of birth

therefore specially

with his

sides respectively.

in one of the

Lakshmi and

consorts

The colour

He

to be dark.

is

seated on a simliasana,

is

Bhumidevi on the

'

Vishnu has

and death, and

worshipped by yogins.

to be

fit

In this aspect Vishnu °^

This aspect

conceived to bestow the salvation of

right

and

this

form

of

left

of

should have four arms,

two right hands the chaJcra has

to

be held, while the other has to be in the varada or ahliaya pose.

Of the

left

hands one has to carry

the sanhha and the other has to rest on the hip or

upon the

lap or kept in the simhaJcarna pose.

To

the [right of Vishnu there should be, as already said, the image of Lakshmi.

should be folded and

made 87

to rest

we have Her left leg

on the

seat,

HINDU ICONOGRAPHY. while the right one has to be hanging. Similarly

Bhumidevi, who has to be on the

Vishnu

left of

should have her right leg folded and resting on the seat, the

one being

left

left

should carry a lotus in her

Lakshmi hand, and Bhumi-

hanging.

left

devi a nllotpala in her right hand; their other hands are to rest

upon the slmliasana or

to be kept

on

On

the

their laps or to be held in the liataha pose.

south wall of the shrine of Bhogasanamurti there

should be the image of

Brahma and on

the north

wall that of Siva, both these images being in the

Markandeya and Bhrigu have to The rest of be kneeling with one knee on the floor.

sitting posture.

the details are exactly similar to those given in the

On

description of the Yogrisanamarti.

the back

wall of the shrine immediately behind the central figure of

Vishnu there should be the images

goddesses

Narada,

Maya and of

a pair of Kinnaras,

Vidyadhara, the

and

of

Samhladini, of

risliis

a

of the

Tumburu and Yaksha and a

Sanaka and Sanatkumara

Chandra and Surya.

tree should also be sculptured

The

celestial

on the

wall.

halpaha

A

group-

ing such as this constitutes the ntfama class of

Bhogasanamurti.

If

the Kinnaras,

Tumburu and

the Narada, the Yaksha and the Vidyadhara happen to be absent, the

image

of

Mshnu would

ed to belong to the inadhijauia class; 88

if

be considerfurther the

PLATE XXV

Bhogasaoamurti

:

Stone

:

Badaoni. [To face page 89.]

PLATE XXVI.

B

> c

o

o a

o

a Id

lO

s

•-a

[Between pages 88 ani 89

'

PLATE XXYII.

*

•'r-''-f''**t.

^1

adlu ania

l->ho;:as:in,v.nuirtii

:

S(,ono

:

l-iUova.

PLATE XXVIII

^.

VT^

f

*

'

.»



'

o

c

o 03

S cS

[To (ace page 89.]

VISHNU. images

of

Saaaka and Sanatkumara, Surya and

Chandra and the Pujakamunis be wanting, belong to the adliama

This variety

it

would,

is

repre-

class.

image

of the

Vishnu

of

sented as seated upon the simhasana Virasanamurti.

with the

somewhat

left leg

bent and the right

Lakshmi and Bhumidevi

extended.

should be shown in association with

as kneeling

it

on the floor on one knee in the positions generally occupied by the sages Markandeya and Bhrigu.

This image

of

Vishnu should be draped

in black

clothing, while the colour of the figure itself has to

be coral-red.

In one

of the right

hands the chak-

ra should be held and the other hand should be in the

abhaya pose.

One

of the left

hold the saiikha and the other in the sirhha-Jiarna figure of

pose.

Vishnu there

left

On

Two

hand should be

the right of the

are to be the images of

Brahma and Markandeya, and on and Bhrigu.

hands has to

the

celestial damsels,

left of

Siva

Kamini and

Vyajani, should be shown as waving chamaras on

both the

sides,

and there should

also be the following

figures surrounding the central image, namely, those of

Sanaka, Sanatkumara, Tumburu, Narada, Surya

and Chandra.

Such a group

of

images

is

repre-

sentative of the Virasanamurti of the uttama class. If

Tumburu, Narada, Kamini, Vyajani, Sanaka and 89

13

HINDU ICONOGEAPHY. Sanatkumara be absent from the group, then the image

of

Vishnu would belong

And if the

class of the Virasana variety.

Brahma,

Siva,

rnadhyama

to the

figures of

Lakshmi, BhOmidevi and Surya and

Chandra be absent

it

would belong

to the

aclhama

class.

This

also a seated

is

image with either two or

The

four hands. Abhicharikasanamurti.

.1

is

tt'

seat

known

upon which

•

1

image ot Vishnu

^'^^^

is

r

•

-1

IS

made

as the vedikasana,

,

to sit

which

an unadorned pedestal meant to be used

minor

deities.

The

AWiicliarihasanaiiiurti

for

must

have an ill-looking face suggestive of viciousness or ta iiias'a-guna.

form

of

The complexion

Vishnu has

garment should be

to be blue

black.

of the figure of this

and the colour

The eyes must be upHfted

there should be no attendant deities around. installation of this kind of

in

what

tithl

is

of the

The

image should take place

called a chara-rasi

month, on the Ashtami

in the dark fortnight, and under such inauspi-

cious asterisms as the Ardra nahshatra.

The shrine

should be situated in the paisacha-pada

and should

face the direction of the

This

is

a

enemy who is

recumbent image

two hands ^°^S,i!^^'

;

of

to be injured.

Vishnu with only

about a fourth of the

body should be somewhat

raised,

and the remaining three-fourths 90

t»L,ATB

(Fig. 1.)

(Pig. 2.)

Bhogasanamurti

Yogasayanamiirti

Ivory

:

:

Ivory

XXIX

Trivandram.

:

:

Trivandram. [To face page 90.

PLATE XXXI.

3 a.

a

o GQ

Id

a ca

lO

a

M>.

[To face page 91.]

VISHNU. should be lying right

upon the serpent

flat

to touch the hirlta

;

hand may be made

has to be stretched out, while the

The image The

figure

left,

right leg

should be

should be adorned

itself

colour of the image should be

By the

a mixture of black and yellow.

recumbent

The

body

The eyes must be some-

with various ornaments.

what opened.

Or, this

to be parallel to the

so as sometimes to touch the thigh.

slightly bent.

so as

the other hand, bent at the

elbow, should be held in the liataha pose. left

The

bed.

hand should be placed near the pillow

side of this

should be Bhrigu

there

Markandeya, and near the

feet,

the demons

and

Madhu

and Kaitabha, while on the lotus issuing from the

On

navel there should be Brahma.

the back wall of

the shrine and above the level of the image of

Vishnu should be sculptured the images Ayudha-purushas,

of

Gavuda,

of the Sapta-rishis, all

the

anjali pose.

On

of

Vishvaksena, and

standing with their hands in the

south wall should be

shown Brahma, and on the north wall Such a group in the sitting posture. the uttama

class

figures of the

of

the

of

Siva,

constitutes

Yogasayanamurti.

Sapta-rishis and

absent, the group belongs to the

— both If

the

Vishvaksena are

madhyama

class

;

if

the Pujakamunis and Madhu and Kaitabha are also absent,

it is

conceived to belong to the arlhama 91

class.

HINDU ICONOGEAPHY. This type of the image of Vishnu should be of dark colour and have two or four

^ Bhogasayana-

^^^^

^

^^^^

^^^

^^^^_

^^^-j^

jj.

should be recumbent, with a fourth of the

body slightly raised and the remaining three-

fourths lying flat upon the serpent-bed. right hands should be

made

stretched out towards the

hands

is

as to rest

made

to be

One

to touch the JcirUa or be

One

head.

of the left

to lie parallel to the

upon the thigh.

Nothing

is

The

straight laid

and the

down

body so

mentioned

about the other two hands, when the image four of them.

of the

is

given

right leg should be stretched out

left

should be slightly bent.

It is

that the distance between the two legs

should be twenty angulas, that between the ankles four angulas, and that between the knees fourteen

angulas.

The

face of the

image should be deflected

from the medial \iia.e(brahmasutra) by three angulas.

On

recumbent

the head-side of this

Vishnu there should be the

figure of

figure

of

Lakshmi seated

so as to be in contact with the shoulders of Vishnu.

This goddess should have in her right hand a lotus

and hold her

left

hand

In another manuscript

in the JcataJca pose.

it is

stated

body should be raised and the other the serpent-bed.

The whole body

posture should resemble a bow.

92

of

that one half half

Vishnu

of the

should rest upon in this

recumbent

PLATE XXXIII

a

o

lO

^^m

[To fane page 92.]

PLATE XXXIY

i'*:*

VISHNU.

Bhumidevi should be shown seated on the foot-side of Vishnu so as to make her touch the the recumbent Vishnu.

left foot of

This goddess should hold a nllotpala flower in her right hand

and keep the

left

hand

in the hataka pose.

On

the

right side of the hautula-bera there should be the

image

seated to

on the

it

Bhrigu.

On

both

there should be the image of

left,

the south wall should be sculptured

Brahma and on

the figure of Siva,

Markandeya, and corresponding

of

them being

of

the north wall that of the sitting posture.

in

Again, on the south (apparently outside the shrine

and

in niches provided for

should be the figure that of Durga. of

of

them

in the wall), there

Ganesa, and on the north

Near the

feet of the central

image

Vishnu the demons Madhu and Kaitabha should

be worked out in a ferocious attitude indicating their tendency to legs

rush into violent action, their

below the knees being hidden within the waves

of the ocean.

to be

They should both be made

to appear

suffering from the scorching effect of

the

poisonous breath of Adisesha, the serpent upon

which Vishnu

is

reclining.

Brahma

should be

seated on the lotus which issues from the navel of

Vishnu

;

on his right there ought to be the

Ayudha-purushas and Garuda. of

Garuda on

Above the

five

figure

his right there should be the figure of 93

HINDU lOONOGRAPHY. sun-god Surya.

the

on the

Similarly

of

left

Brahma should be shown the Tumburu and Narada, represented

Asvini-devatas,

Chandra the moon.

Besides these

ren,

and

also

as

young

child-

should also be the guardian deities of the

there

eight quarters, the DiJc-palakas as they are called,

and Apsaras damsels waving chamaras. tion of gods

A

collec-

and votaries as described above makes

the central Bhogasaijanamurti belong to the utiama

Tumburu and Narada and

the figures of

class.

If

of the

Dikpalakas be absent,

the

madhyama

class

;

and

if

it

would belong

the figures

to

the

of

Piijakamunis and the Apsaras damsels be further

wanting

in the group,

it

would then belong

to the

aclliama class.

This

is

a

also

colour

its

head, while the

other

similarly one of the

there

has also

On

should be

and Bhumidevi.

to

if

be

;

dark.

left

should hold the cliahra hands, carries the

;

saiiklia,

parallel

the sides of the feet of Vishnu seated

the goddesses

Lakshmi

The demons Madhu and Kaitabha

should be holding the feet of Vishnu

hands as

Vishnu

of

hand being stretched out

left

to the body.

figure

^^^ °^ '^® right arms should be made to serve as a pillow for the

murtT^*^*^*'

the other

reclining

in the act of 94

supplication.

in

Ou

their

the

VISHNU. and

right

the Jiautaka-befa there should be

left of

the sages Markandeya and Bhrigu respectively, and

Brahma

should be seated on the lotus issuing from

the navel of the recumbent image of Vishnu. five

The

Ayudha-purushas, Garuda, Chandra and Surya,

the seven rishis and

eleven

the twelve Adityas and the

Tumburu and

Apsaras damsels,

Rudras,

Narada, two Kinnaras, Sanaka and Sanatkumara,

and Brahma

and Siva should

(?)

the wall at the back of the shrine. of

Vishnu would belong

sayanamurti.

Vishnu

The

also be

Then

shown on the image

to the icttama class of Vlra-

well-known weapons

five

of

are,

the chaJcra, gacla, saiikha, dhanus and

If

the Rudras, the Adityas, the Apsaras

hhadga.

damsels and the seven

rishis be absent

from the

group, the image of Vishnu would belong to the

viadhyafna class Kinnaras,

munis be

;

and

if,

in

addition to these, the

Sanaka, Sanatkumara and the Pujaka-

also absent,

it

would belong

to the

adhama

class of Vlrasayanamurti.

In this case the image

of

Vishnu should be

lying on the floor, the bed consis-

satanim^L^'

ti^g 0^ the serpent Adisesha with

a

hood having only two heads and

The hood of high. The com-

with the body coiled into two turns. the serpent should not be raised

plexion of the Vishnu image should be blue 95

;

and it

HINDU ICONOGRAPHY.

may have two

or four arms,

to be in full slumber flat

and should be shown

and therefore lying completely

on the serpent.

The

as to present a faded appearance,

must be clad no attendant

in

Such a

and the image

There should be

black clothing.

deities.

made

face should be so

figure

is

conceived

to belong to the idtataa class of the Ahhicharika-

murtl-

the serpent has one head and has

If

body coiled only into one turn, the image lying thereon would belong to the

Again, is

if

made

of

on the bare

to be lying fiat

belong to the adhaiiia

Vishnu

madJiyama

the image has no serpent-bed at

its

class.

all

floor, it

and

would

class.

In illustration of the standing, sitting and reclining images of Vishnu, figures prepared from

photographs of nineteen such actual images belonging to the various parts of India are given herein.

Plate

XVII

represents an image found in

Maha-

balipuram and belongs to the inadhyaiiia class

Resting on one knee are

the Ydgasthd)iakainTirti.

found on the right and of

is

left of

Bhrigu and Markandeya.

their

hands

Vishnu the images

They have one

of

in the pose of praising, while the other

seen resting upon the hip.

jatainaknta, which general.

of

is

Tlieir

heads carry

a characteristic of rishis in

Above these images

kandeya there are the images 96

of

of

Bhrigu and Martwo dwarfs, who

VISHNU. the Aijnclha-punishas

are very probably to

the

Chakra and Sankha

both these images

;

one of the hands in the

are also seen to have

The

pose of praising.

relating

central

figure

of

Vishnu

wears the hirlta-makuta and carries in one of right

hands the chakra and in one

the sankha

pose while the other

upon the hip

left

hand

is

is

in the ahhaija

seen to be resting

in the katyavalambita pose.

the chest and passing over the front right

yajnopavita

round the neck the hara

;

hands

of the left

the other rigiit hand

;

its

the udara-handha goes round the

is

Across

arm

the

is

worn, and

abdomen

;

and

there are keyuras on the arms and katakas on the wrists.

This image

padma-pitha.

It

of

may

Vishnu

standing on the

is

be assigned to the seventh

or at the latest to the eighth century A.D.,

as all

the works of sculpture found in Mahabalipuram

were executed in the palmy days of Pallava rule

and prosperity Plate

in

XVIII

South India. represents a bronze statuette of

the Bhogasthanakarnurti preserved in the Central

Museum at

Madras.

in the earth

face

It

appears to have lain buried

and discovered as a treasure-trove

and portions

of its chest

verdigris, but in other respects

state of preservation.

in its back right

and

it is

of

in

an excellent

Vishnu carries

hands the chakra and the 97

18

its

are covered with

This figure left

;

HINDU ICONOGRAPHY. miikha respectively, while the front right hand is held in the ahhaya pose and the front left hand is

made

to rest

upon the gada.

The image

is

adorned with the hirlta-mahuta on the head, with inaliara-hmidcdas in the ears, with haras round the neck, with the yajnopavlta smdudara-bandha round

the body, with keyuras on the arms and katakas on

The

the wrist. pltha,

figure

which has on

strut to fix

stands

upon the padma-

either side a vertical metallic

the prabhavali on.

From

noticeable in the workmanship and

may

be assigned to tbe

the features

its

details,

it

tenth or the eleventh

century A.D.

The is

figure of

Vishnu reproduced on Plate

XIX

seen set up in a niche on the west wall of a

shrine in the large Siva temple at Tiruvottiyur near

Madras.

This shrine was, according to an inscrip-

on a wall therein, constructed

tion found fifth

year of the reign of Rajakesarivarman Vira-

rajendradeva (A.D. 1067-8.) of

Vishnu shown on Plate

up about

this period

XIX must

Being placed

position as an attendant deity,

and has no

with

itself

:

it

have been

set

it is

in its present

naturally isolat-

and votaries in association

deities

should

Bhogasthdnakamarti

Therefore the image

and must be nearly eight and

a half centuries old.

ed,

in the

therefore be

classed as a

of the adJiavia class.

98

VISHNU.

The photograph

the standing figure of

of

XX

Vishnu reproduced on Plate

an

represents

to the highly

image from Tadpatri which belongs

degenerated later period of the Hoysala school of sculpture in South

Marked

India.

features

of

degeneration in the art are prominently visible in the long inartistic nose of the image,

in its very

small chin and disproportionately broad shoulders.

Like the figure shown on Plate XIX, the image of

Vishnu sankha

this case

in

back hands

in the

holds the chal-ra and

also ;

the front right hand

in the varada pose, while the front left

the

central

on

On

katyavalamhifa pose.

Vishnu there

the left that of

goddesses

is

up

is

left

the image of Lakshmi and

knee

The height

hand, and Bhumidevi has a

In the light

conventional art of image-making this

is

is

not without merit

;

Muttra,

XXI.

is

It

hand the the front

in

of

the

piece of

but otherwise

The stone statuette the Mathura Museum

certainly disappointing.

Vishnu preserved

of these

Vishnu, as required

of

nllotpala in her right hand.

sculpture

in

The goddess Lakshmi holds

by some authorities. a lotus in her

is

the right of this

Bhumidevi.

to the

hand

is

it

of

at

reproduced from a photograph on Plate

may

be seen to carry in

gacla, in the left

back

left

its

hand the

hand the sahhha, and 99

back right cliakra, in

in the front

HINDU lOONOGEAPHY. hand a full-blown

right

which

A

lotus.

'Vishnu-image,

carries the chakra, kmllta, gacla Siud

in the

manner

in

present instance,

Trivikrama. in this

is

The

padma

which they are carried in the considered to be a special form of

chief peculiarities

image are the curious cut

The

the shape of the klnta.

which is characteristic

worth noticing

and

of the face

face

is of

of the sculptures in

the type

Northern

India generally, and more especially in Bengal. Its oblique eyes, thin lips

and pointed chin

indicate the Mangoloid features. told

clearly

This type, we are

by Mr. Abanindranath Tagore,

is

known

Bengal as the pan or leaf-shaped type, and

in is

characteristic of the Bengal-Orissa school of sculpture.

The group

of the

three

bronze figures of

Vishnu, Lakshmi and Bhumidevi pictured on Plate

XXII As

is

found in the Central

in the

case of the

XVIII, the central

Museum

figure

figure of

at

Madras.

pictured on

Vishnu

Plate

carries in the

two back hands the chakra and the sankha, while the two front hands are in the abhaya and the

front

The gadd which must hand is however wanting

gada made

separately used to be insert-

kataka poses respectively. be under the evidently a

left

;

ed under this hand whenever required, and

it

is

likely

that this separate piece of casting has been

lost.

As usual the goddesses Lakshmi and Bhumi100

VISHNU. devi are on the right and

Vishnu and are

and a nllotpala respectively.

also carrying a lotus

One special point worth

who

left of

noticing

is

that the goddess,

stands on the right of Vishnu or of any other

deity such as

Subrahmanya,

is

shown

to be

the liucha-handha, while the goddess

on the

left is

shown

to be

without

it.

peculiarity

is

is

who

stands

This general

The

expla-

not apparent.

This

rule is followed in this instance also.

nation of this observed fact

wearing

perhaps connected with the right-hand

and left-hand manner

of

worshipping

(dalxsliinci-

From

chara and vamachara) the Devi goddess.

the size and form of the Ivnta-mahita of Vishnu

and karanda-makuta

of

the goddesses,

from the

peculiar curvature of the pose of the hands of the

goddesses and the formation of the faces of three figures,

may

it

all

the

be surmised that they cannot

be older than the twelfth or the thirteenth century

The original of the photograph reproduced on Plate XXIII is a very pretty little piece of workmanship of the conventional style of art. The whole height of this group of images is not more than ten A. D.

inches. In the centre

with the

clialira

is

and the saiikha

the front right hand

while the front

a standing figure of Vishnu

left

is

hand

in its

back liands

;

held in the varada pose, is

in the hatyavalamhitu pose. 101

kept resting on the hip

On the

right

and

left

HINDU ICONOGEAPHY. of

Vishnu are the images

and Bhumidevi. left

The former holds

hand and the

On

hand.

the

goddesses

of the

a lotus in her

/fdotjyala in her right

latter a

right

Lakshmi

and

respectively

left

of

Lakshmi and Bhumidevi stand Jaya and Vijaya, the two door-keepers of Vishnu with chakra, saiiklia

and

g'acla in

one

is

three of their hands, while the fourth

Surrounding the

held in the abliaya pose.

images

of

Vishnu and others

which are worked out

the prabhavali in

is

the ten incarnations

of

Vishnu,

of

whom Buddha

and

of

the prabhavali respectively are sculp-

left

is

one.

On

the right

tured Vishnu's characteristic symbols the chalra

and the sanMa, immediately above the mythical Below the simhasana, is seen Graruda vialiciras. kneeling on the right knee and keeping both the

palms the

hands open as

of his

feet of

Vishnu

;

if

a cobra

to receive in is

them

thrown upon

shoulders in the fashion of a garland.

To

his

indicate

that the seat on which Vishnu and others stand

is

a simhas'ana, two lions are sculptured on either side of

This piece

Garuda.

older than

We

two

or three centuries at the most.

now come

figures of Vishnu.

graph

of sculpture is probably not

to the illustrations of the seated

Plate

XXIV

of a Ydgasariamurti,

Ydgesamurfi.

It is

found 102

gives the photo-

othexwiaeknovfu also as in the Kallesvara

temple

VISHNU. at Bagali in the Bellary

and belongs

Presidency, It

period.

mudra

to the

Madras

Chalukya

later

conforms in every detail to the descrip-

tion of such

an image given in the Sidclhartlia-

The two

samJuta.

district of the

pose,

front

hands are in the yoga-

and the padma and gada, which would

otherwise be held in these hands, are sculptured separately

on the right and

left

back hands carry the cliahra and the

image

itself

is

ornaments, such as knndala, keyura,

adorned

is

kataka,

liara

inner margin

it is

is

various

and yajnopavlta.

a prahliamandala with

is

radial rays proceeding outwards.

concentrically with

with

in the

kirUa-makuta, makara-

the

Surrounding the head

its

sao'iJcha.

seated on the ixuhvlisana

yogasana posture, and

The The

respectively.

Outside this and

seen a prahliavali also.

creeper-ornamentation, in each circle of which be

seen

sculptured

avatdras of Vishnu. that,

when

In

the characteristically pretty

from

right

It is also

to

an item

left

of

the

may ten

convention

the central figure in any piece of sculp-

ture happens to be standing, those that surround it

should also be standing

;

they

may

be seated or

when the central figure is seated or reclinThey should also be in the same posture as ing. the central figure, when it is in the yoga attitude. standing

This

last rule is followed in

103

this case,

as also in

HINDU ICONOGEAPHY. Badami shown

case of the figure of Dattatreya of

elsewhere in this volume.

The next

XXV

Plate

gives a representation of

the figure of Vishnu found in Cave III at Badami,

The

the ancient capital of the Chalukyas.

cut shrine, in which

rock-

sculptured, was brought

it is

into existence in A.D. 678 by the king Mangalisa

and the sculpture

of the

image

fore at least a century older

to

Conjeevaram, which

In this piece is

Vishnu

of

is

than the one belonging

shown on the next

is

there-

plate.

found at Badami Vishnu

of sculpture

represented as seated upon the serpent Adisesha

with a hood consisting

of five

body coiled into three

Vishnu

is

folded

serpent, while the right leg

of the

image

to rest is

vertically.

on the

On

rests the right front

left

left

flat

leg

the right thigh

hand held in the hand

is

made

In the back right and

thigh.

of

upon the

also folded but rests

caracla pose while the front left rest

The

turns.

and made

upon the serpent

heads and with the

to

left

hands the cl/alia and the sahkha are respectively held

the figures of two celestial damsels, one on

;

each

side,

mara. tured

are seen standing, each carrying a cha-

The

Lakshmiis

sculp-

and Garuda, the

bird-

figure of the goddess

on the

left

servant of Vishnu

is

wall

;

shown seated on the

the image of Vishnu.

Lakshmi holds 104

right of

a lotus in

VISHNU. her right hand, and Garuda

is

hands folded and crossed against

upon the body

himself leaning

Below the

may This

instruments.

be seen, some of

is

them engaged

The

one

of the

and serene

calm

most remarkable

belonging to the mediieval

sculpture

of

Vishnu

the serpent.

of

and others playing on various musical

in dancing

pieces

chest and

his

seat the figures of dwarfs representing

the deva-ganas

period.

with his

sitting

countenance

in striking contrast with the free

is

attitude of Garuda,

and the hood

of

and easy

of the serpent is

indeed chiselled in a masterly manner.

XXVI

Plate

represents a piece of sculpture

found in the Kailasanathasvamin temple at Conjeevaram.

image

In the centre

is

seen the

hands are

and the

left

folded and

made

to

Though the back right and left held aloft as when they carry the sahkha

on the

and the

the group

Vishnu seated upon a simliasana with the

of

right leg hanging rest

of

seat.

cliahra,

those hands.

these are not actually found in

They

are

however borne by two

small attendant figures, the Ayudha-purushas of

Sankha and Ghakra, who also carry each a chamara resting on the shoulder. The front right hand of the image of Vishnu is held in the ahliaya pose, while the front

left

one

is

made

to rest with the

showing upwards on the folded

u

105

leg.

On

palm

the right

HINDU lOONOGKAPHY. of

Vishuu

seated the figure of Lakslimi, with

is

the right leg hanging and the

made

to rest

goddess rests of

upon the

is in

on the

is

seat.

The

upon the

panel

is

of this

of the

image

the figure of BhumidevI whose

hanging and the right leg right

hand

while the

IritaJia pose,

rest

On the left

upon the siihhasana.

left leg is

hand

left

the luitaha pose and the right hand

Vishnu there

the

The

seat.

and

leg bent

left

rests supported

of this left

hand

The temple

seat.

goddess

in

is

is

in

made

to

which

this

seen sculptured was erected by the Pallava

king Narasimhavarman II in the last quarter of the

seventh century A.D. representation

what may be

of

Bhogasanamurti

Therefore this sculptural

luadhyama

of the

probably twelve centuries PI.

XXVII

Mud.

most

old.

14, locally

known

In this the figure

with both legs bent, the

broken and therefore articles they carried

;

left

of

it is

as the

Vishnu

Bavana

is

seated

lying horizontal

Both the

the right one vertical.

if

class is

represents a finely sculptured panel

found in Cave No. liCb

Vishnu's

called

front

and

hands are

not possible to say what

the back hands are raised as

they were meant to hold the sanJcha and chalcra.

The

figure of

Vishnu

niandcda, Idnta, right

and

left of

is

adorned with a pyabha-

hara, and yajnopHvlta.

On

the

the central Vishnu are the figures 106

VISHNU. of the goddesses ively.

tied

up

The

Lakshmi and Bhamidevi

hah' on the heads of these figures

in the

form

crown (dhammilla)

of a

goddesses are decked with

Lakshmi appears

figure of

respect-

in the right hand,

which

is

the

The

ornaments.

all

;

is

have held a flower

to

however broken.

On

the back wall are sculptured the figures of Kamini

and Vyajani each carrying

a cliamara in her

hand

;

besides these there are two other celestial damsels

carrying flower garlands and other offerings. Below

the seat are seen sculptured jnirushas and

the

five

Ayudha-

These, as also the four

G-aruda.

female figures at the back of the central figure, are

shown with a prabhdmandala ture, like all the rest in Ellora,

at the

hands

The tion of an

the

has suffered damage

of the iconoclastic

figure

on Plate

image which

Mussalmans.

XXVIII

is

This sculp-

each.

is

the representa-

sculptured on a pillar in

Varadarajapperumal temple

at

Dadikkombu

near Dindigul in the Madura district of the Madras Presidency.

This image belongs to the period of

the Nayakas of Madura, and

than three centuries.

is

perhaps not older

In this sculpture, Vishnu

seated upon Adisesha, whose body

coiled into

is

three turns, with the right leg hanging

the

left

serpent.

leg

folded

and made

to

In the back right and 107

rest left

is

down and upon the hands the

HINDU ICONOGEAPHY. chakra and the §anhha are held and in the front

and

right

left

hands there are the gada and the

An image

padiJia.

manner

is

Vishnu executed

of

said to be that of Vasudeva.

the seat and slightly to the

left

Vishnu there

of

is

figure

a

of the

this

in

Below

image

of

Garuda standing

with the hands folded and held in the anjali pose.

The by

pretty ivory image of Vishnu represented

on Plate

fig. 1

XXIX,

is

one

of the

most recent

productions of Indian art having been carved in the

School of Arts at Trivandram. in

most

of its details to the

almost similar

It is

Dadikkombu

sculpture

represented on the previous plate.

An Vishnu

example is

among

available

found in the temple photograph

of

held,

the

is

is

In the panel, the

reproduced on Plate

left leg is

left

bent and

hand there

made

is

the sahJcha

The

right

stretched and thrown upon the right knee,

and the thigh.

;

leg is also bent

but rests vertically upon the same seat. is

clial;ra is

to rest horizontally

on the serpent-seat, while the right

arm

XXX,

seen seated upon the serpent

In the back right hand the

and in the back

of

the sculptures to be

at Aihole.

which

the figure of Vishnu

Adisesha.

Virasanamurti image

of the

left

hand

is

placed in ease upon the

left

The goddesses Lakshmi and Bhiimidevi 108

VISHNU. are of

shown

as flying in the air

Vishnu, while two

on the right and

somewhat below.

are figured

shown

also

rishis,

left

as flying,

This group repre-

sents the adliama class of Virasanamurti.

Five Plates are given in illustration of the

Of these the figure on

reclining images of Vishnu.

Plate

one

XXXI

represents a large panel sculptured on

of the walls of a rock-cut

cave in Mahabali-

puram. In this admirable piece

of sculpture there is

a central image of Vishnu reclining upon the serpent

Adisesha near the ;

and Kaitabha

;

feet there are the

above are the Ayudha-purushas

Chakra and Gada looking

demons

;

demons Madhu

in the direction of the

below the serpent-bed the

risliis

deya and Bhrigu are shown kneeling goddess Bhumidevi

is

of

;

Markanand the

This reclin-

also just there.

ing figure of Vishnu has the fourth of the body

towards the head slightly raised, while the remaining three-fourths thereof

The

bed. left

arm

is

right

arm

Vishnu

mahuta, hara,

is

right leg

leg

is fully

somewhat

is

upon the

in knots

stretched

bent.

This

further adorned with the kirlta-

Jiundala

and

ijajnopavlta.

demons Madhu and Kaitabha have up

flat

taken near the head and the

The

out, while the left of

stretched

bent at the elbow with the hand held in

the latalM

Trivikrama

:

Panel-Stone

:

Ellora.

[To face page 174.]

PLATE

LII.

*

•.''-;^?w"-\*^*lj

DASAVATARAS OP VISHNU.

of

on the right

this objectionable behaviour,

For

Sukra

the panel,

caught hold

of

fist

by Garuda.

to

the middle

upraised leg

is

shown

is

having

as

side

been

by the hair and belaboured with the

may

This sculpture of the

be assigned

century A.

8th

The

D.

here also lifted considerably above

the navel.

The

fifth illustration (fig.

of a sculpture

cutta.

The

down

LII)

PI,

is

that

found in the Indian Museum, Cal-

was evidently badly wanting

sculptor

in artistic skill laid

1,

;

nor did he follow the instructions

in the Sanskrit

works offering guidance

The face of the image is much larger than is demanded by true art or suggested by the agamas and the body is disThe out-stretched leg looks proportionately small.

to persons of his profession.

;

almost

like

an atrophied limb, and

is

too short for

the size of the image taken as a whole. This figure of

Trivikrama carries in three

of

the hands the

gada, chaJcra and sahJcha, and a lotus

hand that it is

in

rests

upon the thigh.

is

held in the

In this respect

agreement with the sculptures

of

Mysore

belonging to the later Chalukya-Hoysala type. the right of the planted leg of Trivikrama dess carrying a vlnd to ascertain posal.

;

who

she

is, it is

is

a god-

not possible

from the Sanskrit authorities at our

Below the

left leg is

175

To

dis-

worked out the scene

HINDU ICONOGRAPHY. wherein Vaniana

Bah who

is

Behind BaU stands

it.

is

ing the gada. just

his

Over

(luru.

lifted

the disc of the sun, and the

moon is seen Brahma is

crescent of the

his

immediately below the

just

Trivikrama

padmasana

as begging a gift from

Sukracharya,

also

and

this group leg of

granting

and

queen,

shown

is

above the

near the hand carryseen

left

on his

seated

foot of Trivikrama.

In addition to these we see immediately below the right foot

seem

Trivikrama some sculptures, which

of

to depict Bali

and

his

queen as they appeared

at the conclusion of the Trivikramavatara

and a queen with hands

in

the

sculptured at the bottom in the are perhaps

meant

ment adjoining

to the

queen are seen, there This

is

anjali pose

left

to represent Bali

residing in the Patala-loka.

— a king are

corner.

These

and

queen

his

In another compart-

one in which Bali and his is

a horse tied to a post.

probably the horse which was meant to be

the victim in the great sacrifice which Bali was celebrating.

The

artists of the

sculptor of this piece has, like the

Hoysala kingdom, followed

work the description relation

to

the

of

in his

Trivikrama as given

in

Ghaturoimsafi-murtayah, or the

twenty-four images of Vishnu beginning with that of

Kesava.

All

the

images in

this

group

of

twenty-four forming a class are standing figures of 176

PLATE LIU

fn^'

6:1 ..H-

y-

;

-H*t^,

it Trivikrama

[To face page 177.]

:

Stoue

:

Nuggaballi.

DASAVATAEAS OF VISHNU.

The

Vishnu with four arms.

various images are

distinguished from one another by the arrangement of their saiikha, chaJcra,

Among

gada and padma.

these images, that which holds the

gadd

back right hand, the chakra in the back the sankJia in the front

left

in the

left

hand and the padma

in the front right hand, is declared to be the of

Trivikrama.

The

hand,

image

rule regarding the different

arrangements of the four above noted

articles is

intended to be observed only in relation to the class of

images which are called Chaturvimsati-

murtayah is

therefore a real Trivikrama figure

;

which

outside this class, need not be in accordance

with that

rule.

Somehow

the mistake has been

committed by

this artist, as

of artists, of

applying the rule to a Trivikrama

image not belonging

by the Hoysala school

to the class of the

'

twenty-

four images'. Fig.

PI.

3,

two pieces

LII and

of sculpture

which belong

to the

PI.

of the

Hoysala

LIII

illustrate

Trivikramavatara,

period.

The

smaller

picture represents the image to be found in

Chennakesavasvamin temple larger

at Belur,

one represents an image

the

while the

at Nuggehalli, both

these places being in the Mysore State.

These

sculptures are types of the extremely florid and

highly decorated art of this period. 177 23

The images

HINDU ICONOGRAPHY. are,

however, accurate in proportion and natural

and

in pose

workmanship details is

the

ornamental

The

critic.

designs of the sanklia,

and other weapons are admirable.

his skill

of

such as to extort the admiration of even

was Euvari Nandiyabba so

elaborateness

in all the richness of their

the most adverse chaJcra,

The

attitude.

.

the

ta,

artist,

proud

of

name on the pedestal might know it and remember it.

and engraved

that posterity

.

Justly

his

Practically speaking there

between the two pieces one, however, the

is

almost no difference

In the Belur

of sculpture.

figure

Trivikrama

of

is

made

to stand on

the

one which

stretched out to measure the upper

regions.

is

The

and

leg,

In this respect

the Silparatna. of the

left

it

it

is

the right

follows the authority of

peculiarity in the arrangement

weapons wielded has already been noticed.

Over the right

foot of

Trivikrama

Brahma washing

long bearded

the celestial Gahga, which

down therefrom

in the

is

it

sits

with the water of

shown

form of a

the hoary,

to be flowing

river.

The

suggested in the sculpture by the

the river

is

tortoise,

etc.,

which are shown

in

it.

idea of fishes,

Below the

right leg of Trivikrama stands G-aruda with his

hands

in the anjali pose

ahdhasana. usual

fine!}'

and himself being

Over the head

of

Trivikrama

in the is

the

carved creeper design, which perhaps

DASAVATARAS OF VISHNU. stands,

in

instance,

this

for

the

hilpaJca

tree

required to be worked out in compliance with the

which

descriptions

given in

are

In the

books.

Nuggehalli sculpture however, the Jcalpaha tree

is

not represented in this conventional manner but

is

worked out exactly

like

an ordinary

On

tree.

this

the disc of the sun and the crescent of the

tree,

moon

are

shown

image

left of this

figure

as

if

of

shining from above.

two images

of

the

is

a male

out.

These

Trivikrama there

whose identity cannot be made

On

Trivikrama, as also the one which

is

found in the Calcutta Museum, have their uplifted leg going

The

up

to the level of the navel.

last illustration, fig. 2, PI.

LII, represents

the image found in the Vishnu temple at Nagala-

puram

in the

Presidency.

North Arcot This temple

district of the is

known

built in the reign of the great

to

Madras

have been

Vijayanagara king

Krishnadevaraya, and the sculpture also belongs to

the

also,

two

period of the reign of the king.

the of

image

Trivikrama has four arms,

which carry the

while the third leg

of

is

Here

saiiJiha

and the

chaJcra,

stretched parallel to the uplifted

and the fourth

is

held in the varada pose.

Brahma is shown as washing the foot of Trivikrama the water flowing down therefrom forms a vigorous river, in which a few fishes are made to be visible. 179

HINDU ICONOGRAPHY. This furiously descending river Ganga fall

on the jata

of Siva,

who

river

made

The

Kailasa.

Siva receiving the descending celestial

Ganga on

his

head

is

brought into association

with the incident of Brahma washing the

Vishnu

to

seated in the yoga

mount

posture on the top of the story of

is

is

Trivikrama incarnation.

in the

feet of

There

is

authorityfor this in th.eBhagavata-pu7"ana*' ; and the

mixing up to

of the

two events

show that the water

foot

of

superiority of

by washing the

sanctified

It

argued from this that the

is

Vishnu over Siva

is

disclosed by Siva

Here we have an instance

prejudice altering the usual tures, to

evidently intended

Vishnu was devoutly received by Siva

on his head.

himself.

is

which

the General

sectarian

composition of sculp-

fact attention has

The

Introduction.

of

been drawn in lean

body, the

characteristically sharp nose, the erect Jcirlta

and

the mechanically arranged folds and the creases in

* Bhag. Pur.

Bk. VIII,

held OH the crown of his

water with which Hari'a

ch. 18.

"

And

the righteous Bali

head that auspicious and sacred feet

had been washed, and which

capable of destroying the sins of one's race,

which was held on

his

head

god of gods Girisa (Siva)

ornament) on his forehead.

180

water)

profound reverence by that

in

who

— (that

is

is

wearing the moon

(as

an

DASAVATARAS OF VISHNU. the clothing of this image of Trivikrama

mark

it

out to be a comparatively late production.

The reason why Vishnu became incarnated as Parasurama is given in the Agnipurana thus

:

— " Observing,

sub-

sequently, that the Kshatriyas oppressed the earth,

Hari assumed a mortal form, in order to protect the

Brahmans and mankind, and was born as the son of Eenuka and Jamadagni, the son of Bhrigu.* At this time there was a king named gods, the

Kartavirya, who, through the favour of Dattatreya,

had obtained a thousand arms, and who excelled in

valour and every

he had gone

that

warlike quality.

to

One day

he was invited to

hunt,

refresh himself from his fatigue by Jamadagni,

who

sumptuously entertained him and his attendants by means

of the

was wished

virtues of this

given to

was

him

slain

cow

Sabala, which granted

all

that

the king, noticing the extraordinary

;

;

cow requested that

but,

this should be

on this being refused, Jamadagni

by the son

of Kartavirya,

and the king

returned home. During this occurrence

Eama had

gone to the woods, and on his return having found his father slain, he,

on

this account, delivered the

* It should be " of the race

father

was Richika and not Bhrigu, 181

of

Bhrigu."

Jamadagni'a

HINDU ICONOGRAPHY. earth from twenty-one generations of Kshatriyas.

He then

performed expiatory ceremonies at Kuru-

kshetra, and, having bestowed the world on

and

Brahmanas,

the

Mahendra."

of

retired

to

Kasyapa

the mountain

*

The Vishnu-pitrana also contains an account the birth of Parasurama and how he, though a

Brahmana, took

to the

" In the lineage of

who engaged

ways

of the Kshatriyas.

Pururavas was born Kusamba,

himself in devout penances with the

object of having a son equal to Indra.

Beholding

the intensity of his devotions, Indra himself took as his son lest

birth

a prince

him might be born. born as Gadhi or Kausika.

like

called Satyavatl. of

peevish

to a

him

He was

accordingly

Gadhi had

a daughter

Eichika, one of the descendants

Bhrigu wanted her

was reluctant

equally powerful

in

The king

marriage.

to

give his daughter in marriage

old

Brahmana, and wanted from

as the bridal present a

thousand

fleet

steeds,

whose colour should be white, with one black

Having

propitiated

Eichika

obtained

called after

Varuna, the god

from him,

at

the

Ahatlrtha a thousand such giving

them

to

the

of

horses.

And

king he married his

Hindu Mythology," 182

ocean,

holy place

daughter. * Vans Kennedy's "

ear.

p,

434.

DASAVATAEAS OF VISHNU. "

In order to have a son he prepared a dish

of

barley and pulse, with butter and milk, for

rice,

And

his wife to eat.

made a

being requested by her he

similar mixture for her

mother by partak-

ing of which she should give birth to a martial prince

;

keeping both the dishes with his wife, and

giving her instructions as to which dish was intend-

ed for her and which for her mother, the

went

to the forest.

her mother said

At the time

— to Satyavati

sage

of taking the food '

Daughter, every

one wants to have a son gifted with great qualities,

and no body wishes of his for

to be excelled

mother's brother.

me

you to give

by the

qualities

It is therefore desirable

the food which your husband

has set apart for you and to partake of that intended for

me

;

for

the world.

my

What

son shall be the sovereign of is

the use of wealth, strength

Brahmin ?' Being thus addressed Satyavati gave her own food to her mother. " When the sage came back from the forest and saw Satyavati, he said to her Sinful woman, and prowess

for a

—

'

what hast thou done fearful to

?

Your body appears

as very

me. Surely thou hast taken the food which

was intended for thy mother. Thou hast committed a wrong. That food I had consecrated with the

properties

of power,

strength and heroism

whereas your food was consecrated with the 183

quali-

HINDU ICONOGEAPHY. a Brahmaua,

of

ties

resignation.

— gentleness,

knowledge and

As you have exchanged messes, your and use

son shall follow a warrior's propensities

weapons, and fight and slay

;

your mother's son

Brahmin and

shall be born with the desires of a

shall be devoted to peace

Satyavati

fell

at

propitiated so that I

'

So be "

my

this,

— and said

'

I

Be thou

ignorance.

not have such a son.

my

grand-son be such, not

Being thus addressed the sage said

'.

it

Hearing

may

If this is inevitable let

son

'.

her husband's feet

have done this through

my

and piety

'.

Thereupon she gave

birth to

Jamadagni and

her mother brought forth Visvamitra.

Jamadagni

afterwards became the river Kausiki.

married Eenuka, the daughter

of

Satyavati

Eenu, born in the

race of Ikshvaku, and begot on her a son, Parasu-

rama, the destroyer

was a

of the

Kshatriya

who

race,

portion of Narayana, the preceptor of

the

universe."*

Parasurama had four

when Kenuka the mother

of

elder brothers.

Parasurama, was bath-

she saw Chitraratha, the beautiful

ing,

Once,

king of

Marttikavata also bathing with his wife at a

*

DuW*

Vishnu Purana, Part IV, Sec. VII. Translation.

Ibi

dist-

Manmafchanath

DASAVATAEAS OP VISHNU. ance and

felt filled

with desire for his company. As

home Jamadagni,

soon as she returned

learning the

cause of the delay in her returning home, ordered successively his first four sons to

but they refused to do

so,

for

kill

their

mother

which Jamadagni

cursed them, so that they lost their senses and thereafter behaved like beasts

ordered

Eama to

do

it

:

and

birds.

Then he

and he immediately severed

her head with an axe, and then prevailed upon his

him the boons that Eenuka might life and not remember that she had

father to grant

be restored to

been

slain, that

by this

sin,

he himself might not be affected

that his brothers might recover their

former state, and that he himself might be unrivalled

on the

of battle

field

and obtain a long

life.*

The same of

story regarding the birth

Parasurama

purdna

also.

is

and deeds

found recorded in the Bhagavata-

He

is

described therein, as in the

V-ishm-ptirdna, as an incarnation of Narayana and

the terminator of the race of Haihayas said that he

was clad with the skin

deer and had matted

hair,

that

;

and

it

is

of the black

his

body was

resplendent as the sun, and that he carried a

bow

and arrows, and an axe and other weapons

war

*

Mahabhdrata,

III.

115

;

10167

185 21

H

of

HINDU ICONOGRAPHY.

By

in his hands.

his

power he secured

his

for

father a place in the constellation of the Sapta-

Parasurama

in the sky.

(great bear)

rishis,

is,

according to the Bhagavata-purana, supposed to

be living even

now on

the

mount Mahendra.

In sculptures, the rule

is

that the figure of

Parasurama should be worked out according madliyama-dasa-tal a measure, that

is, it

to the

should be

of 120 ahgidas in height, and possess only two

hands

;

and the

hand the parasu should be

in the right left

hand should be in the

On

pointing to something). be the jata-malaita

:

sTicJd

The

clothing should be white. states

hands

that

carrying

of

ornaments. ;

and

Agni-'piirana,

his

how-

Parasurama should have four the

dJtanus; and the

if

and the yajnopavlta should

colour of Parasurama should be red

ever,

pose (as

the head there should

adorn the body, as also a number

The

held,

paraki, hliadga,

bana and

Vishnudharmottara adds that he

should be shown

as wearing the deer skin.

JiautuJca-bera of

Parasurama may be made either

The

according to the description given above, or be an ordinary figure of Vishnu with four hands.

Eama, Sri-Eama

or

Kamachandra, the

ideal

hero of the Hindus in every res-

Baghava-Bama.

pect and the husband of Sita, the perfect

model

of

Hindu womanhood, was born 186

of

DASAVATARAS OF VISHNU. Dasaratha

of the race of

The whole

Eaghu.

of

Rama

is

given in the famous epic

story

from his birth up to his ascent to heaven

Even

poem

of

Valmiki known

as the

Ramayana.

poem

will enable all persons capable of appreciat-

ing of

its

a cursory study of that

poetry to understand the exalted character

Rama's righteousness and valorous heroism

well as of Sita's noble

life of

faithful devotion

as

and

womanly self-surrender to her fate and to her lord. The story of Rama's banishment to the forest of Ravana carrying away from there by stealth his wife Sita to Lanka of Rama trying suffering and

;

;

thereupon entering into alliance with Sugriva, the chief of the monkey-tribe,

ing through

Hanuman,

whereabouts

of Sita

and with his aid learn-

the monkey-messenger, the

and her lonely suffering and

longing to be delivered by

Rama

;

of

Rama

then

going to Lanka with an army of monkeys to punish

Ravana and of the bridge

relieve Sita

;

of the

wonderful building

from India to Lanka

;

of the fight in

Lanka between Rama and Ravana supported by their respective armies

;

of the final destruction of

Ravana and the whole host of the Rakshasas in Lanka; of Rama's return thereafter along with Sita and his own brother Lakshmana, who had out of his personal love

and attachment accompanied

him

and then

to the forest

;

187

of

Rama's

installa-

HINDU ICONOGRAPHY. tion

ill

Ayodhya

righteous

full

for

detail in

of

Ayodhya and

his

are

all

years

long the

Uttarakanda narrates how, out

books of

six

first

The seventh book

Ramayana.

the

king

therein

rule

portrayed in

as

called

deference to a

of

falsely censorious public opinion, he, as

king

felt it

necessary to banish his dear and long tried

companion,

Sita, to the forest

of delivery

there she was taken care of by Valmiki and

gave birth to her twin sons Kusa and Lava the sage Valmiki

educated them

brought these up

how

;

in the

round the horse designed

these boys

meanwhile for

how

;

at last

subdue them his

own

how

and

duly

Rama

sent

forthcoming

;

which they showed themselves ;

his

;

how this horse was detained by how in consequence a battle arose in

horse-sacrifice

able

life-

even at the time she

was big with child and nearing the time

how

the

;

sons

to be

Rama himself had to

unconqueroffer fight to

how then he made them out and took them away with him

thereafter Sita ^vith a sense of security

to be ;

how

and relieved

anxiety passed away into the bosom of her mother

Earth to

;

his

and how sons,

leaving behind

human the

life

at last

he made over his kingdom

and himself ascended

to

heaven,

him the hallowing memory

that was in every

Utbarakanda narrates 188

way

all

of a

really divine

these

things.

— It

{•liATE lilV

i^'P/v

a ID

CO

^r^-^. ^fi

[Tolaoe paga 189/

DASAVATAEAS OF VISHNU is

no wonder that

upon

human

as a

surprising that

upon the

this

Earn a has come to be looked

those, who,

all

more

were

earth,

God

incarnation of

in

or

nor

;

his

life

is it

time

intimately

less

associated with him, are also looked

upon

gifted specially with divine power.

In fact there

are very good reasons to explain is

that

Eama

country as one

as being

how and why

it

has long been recognized in this of the ten avatcbtaH of

The image

of

Raghava-Eama

Vishnu.

is,

like that of

Parasurama, to be worked out in the ijiadhyamadasa-tala measure

of

120 ahgulas

in

hand the hcma

the

image

left

of

height.

than two arms

should never have more right

in

in the

;

or arrow should be held,

hand the dhaniis

Sri-Eama, which

is

or

Raghava-Eama should be a standing three bends in the body

:

name

has to

it

be a standing image of the tribhanga variety.

and

it

Eama

for

one, with

in other words,

colour of such an image of

and

The

the bow.

another

It

The

has to be black,

should be dressed in red clothes.

On

the

head there should be the hirlta-mahuta, in evidence of the fact that

Eama was

the son of an emperor

:

otherwise also the image should be fully adorned.

The

figure of Sita should be placed

right side of to the

Rama, and should

navdrdha

(or

be

on the

made according

nine and a half) tala measure 189

;

HINDU ICONOGRAPHY. it

should be so high as to reach the shoulder of the

image

shown in

Rama

of

:

and no bend

in the figure.

in the

It should

body need be

be golden-yellow

and should be draped in parrot-green

colour,

clothings and

be adorned with

all

the necessary

ornaments.

The

up

and a Imranda-mahuta should adorn

in a knot,

hair of the head should be tied

In the

the head.

hand there should be a

and the right hand should be

flower

7illdtpala

left

hanging down freely.

It should be so sculptured as

to appear to be looking at

Rama

with a supreme

sense of happiness.

On

the

left

of

standing figure of

Rama

should be shown the

Lakshmana made

with the dasa-tala measure height ear of

of

in accordance

116 ahgulas

;

in

should go up to the shoulders or to the

it

Rama.

Adorned with

all

ornaments,

and

dressed in black clothing the golden-yellow image

Lakshmana should in all other respects be like that of Rama. Moreover, Hanumau, the faithful monkeymessenger, should be shown as standing a little in front and also to the right of Rama, and should of

be only so high as to reach the chest, the navel or the hip of

be

Rama.

The

figure of

sculptured in accordance

measure

of

84 angulas.

Hanuman

should

with the saptatala

It should be represented

190

DASAVATABAS OF VISHNU. two hands, the right

as having only

which

of

is

mouth in token of loyalty and the hang down so as to reach the knees

placed upon the left is

made

to

for this is the attitude

which has

to be

servants in the presence of their look and posture of the image of

assumed by

The

masters.

Hanuman

should

be such as to evoke compassion and to bring into

prominence the ever-ready willingness ful

messenger to carry out the orders

The Vishnudharmoftara of

of his master.

says that the figures

Bharata and Satrughna should

ed with that of Eama, but that well as the figure of

of this faith-

also be associat-

these figures as

Lakshmana should not have

the Tiirlta-maTiuta on the head.

The

shrine of

Eama

is

required to be built in

the south-east corner in a Vishnu temple.

In the

shrine, so situated, the standing figures of

Kama,

Sita,

Lakshmana, Bharata, Satrughna and Hanu-

man

should

heads of

all

Sita, should

the top. of

all

be set up as described before.

the images except those of

have only the knot

Bharata,

Eama, might

and arrows,

Eama

of hair

who should stand

and

shown on

to the right

be represented as carrying a

or as carrying a sword

The

and

bow

a shield.

Like Eama, he should also have the Snvatsa mark

and wear the Jcaustubha

jewel.

His complexion

has to be black, and the colour of his clothes should 191

HINDU ICONOGEAPHY. Satrughna should be made to stand on the

be red.

He

left.

is

to be

should wear a red cloth

;

in all other respects, he

The Vaihhanasa-

should resemble Lakshmana.

gama, which has been followed throughout image

descriptions, states that the

shown

as standing

and

golden-yellow colour,

of

of Sita

in these

must be

with the right leg erect and

firmly planted on the ground and the

left

slightly

bent.

of

The group of bronze Eama, Lakshmana,

photograph whereof

is

figures, consisting of those

Hanuman

Sita and

reproduced on

PL LIV,

the be-

long to Shermadevi in the Tinnevelly district of the

The

Madras Presidency.

first

in the

body and

the injage of

Rama has

mentioned have each three bends are of the trihliahga variety its

hand lowered and

right

elbow and held as the

left

arm

the top of the all

if

The

while

feet of

;

m

Rama,

the group rest

has the

like

those of

wgonpadma-

Lakshmana is similar in that of Rama. The image of hand hanging down and the left

image

of

held in the kataka pose.

Hanuman

it,

the

bow the

Sita has the right is

an arrow in

at

up and bent so as to hold

every respect to

hand

to receive

slightly bent

is lifted

the other images

sana.

;

three figures

left

and the right hand

hand resting is

The figure of upon the thigh,

placed upon the mouth. 192

PliATE

liV.

^^

DASAVATARAS OF VISHNU.

The image

Rama

of

is

adorned with the

Lakshmana has the

maliuta, that of

kirlta-

shown

hair

as tied up in a knot on the crown of the head,

while those of Sita and

are seen with

From

on the head.

Jcaranda-mahuta

the

Hanuman

features of the images and the details of ship, they

may

the

workman-

be taken to belong to the twelfth

or the thirteenth century A. D.

The

on PL

figures

period and

may

LV

all

worked out

Bama

bow

the

in exactly the

The

the figures on PI. LIV. of

to the left of

They

earliest.

same postures as

uplifted left

and Lakshmana are made

as usual.

later

be assigned to the sixteenth or

the seventeenth century at are

much

belong to a

hands

to hold the

The figure of Sita is made to stand Rama, and has bends in the body in

the direction opposite to the bends in the body of

Rama

;

the

arm

left

of this

goddess

down, and the right hand lotus flower in

made

it.

is

made

to

hang

held up carrying a

The image

to carry in both the

is

of

Hanuman

is

hands two cylindrical

The when Rama reached Ramesvaram

bodies which probably represent two lihgas. tradition

is

that

he decided to Siva

;

for this

fetch one from

man

set

up a linga there

purpose he deputed

some sacred

of

Hanuman

to

Before Hanu-

returned, however, the auspicious 193

26

place.

honour

in

moment

HINDU ICONOGRAPHY. for setting

upon

Rama

and

liiiga arrived,

there-

installed there a locally obtained linga at the

Hanuman, who

moment.

proper late

up the

with two lihgas

returned too

here represented thus. This

is

The larger image of Hanuman printed on the same plate belongs also to Eamesvaram. Here Hanugroup

man

of

images belongs

Eamesvaram.

to

stands in the attitude of ready obedience to

receive the

commands

of

Eama

mouth and

placed in front of the

made to hang down and The stone images

of

the photograph whereof

is

are to be seen in the

This piece

puram.

;

rest

the

hand

left

upon the

Eama

hand

his right

and Hanuman,

reproduced on

Vishnu temple

of sculpture is a

at

PL LVI,

Mahabali-

comparatively

might be noticed the

The

or

two

Just behind the right shoulder of

centuries old.

arrows.

is

thigh.

modern work, being most probably one

Eama

is

figure of

quiver

Hanuman

to

contain

has the hands in

the anjali pose. PI.

LVII

represents a complete group consist-

Eama, Lakshmana, Bharata, Satrughna, Sita and Hanuman, all carved in ivory a few years ago in the School of Arts at Trivandram. The

ing of

three brothers of anjali pose

;

Eama

Lakshmana,

bow, and Sita has

a

have their hands in the like

Eama,

lotus in her 194

carries also a

right

hand

PLATE

LVI.

- ^y^:>^'

^:*^^^ -i;-.'^.yV.:-.'C-.^f.'

;^fc-t^^

; .;•

:^

^v,

\

Hanuman.

Eama. Stone

:

Mahabalipuram.

[To face page 194.]

PLATE

liYH.

a a

a

M

ic3

103

M

a

CO

o

c3

.a

c3

[To face page 195.]

DASAVATARAS OF VISHNU.

Hanuman

holds the right hand in front of the

mouth and keeps the left hand across the chest. To indicate that Bharata and Satrughna are the incarnations of the chakra and the artist

the

saiiJcha,

has carved these emblems of Vishnu in front

on the top

of their crowns.

more reasons than one

It is convenient for

two avatdras

to deal with the

Balarama or Bala bhadra - Rama, and Krishna.

of

/

_

Balarama

and

Both

gether.

Sri-Krishna

to-

were the sons

Vasudeva and Devaki, and both had

of

to be secreted

and saved from the tyrant Kamsa, the brother of Devaki.

Yadava

A.

short account of the lives of these two

princes

is

for a very detailed

given in the Agni-purmia, and

account

we have

to go to the

Harlvarhsa, to the tenth skandha of the 8r'imad-

bhagavata, to the Vishnu-pur ana, and the Bralnnavaivarta-purana.

The

MahSbbharata

also

gives

information regarding Krishna's relation with the

Pandava brothers and

his

them and to Arjuna in The Agni-purdna says :

services

particular

rendered to

among them.

— " In order to relieve

the

earth oppressed by wickedness, Hari was conceiv-

ed as the seventh son of Devaki

;

but owing to his

having been extracted from her

veyed into that son, under the

of Eshini,

name

of

con-

he was known as her

Balarama. 195

womb and

Afterwards he

HINDU ICONOGRAPHY. (Hari) was

bom

as the eighth son of Devaki,

became celebrated under the appellation His parents however,

Kamsa, and hence

him

to the

couch

of Krishna.

vengeance

of

Vasudeva conveyed

his father

Yasoda, while she was asleep

of

and thence removed her new-born

after child-birth,

whom

daughter*,

the

feared

and

he gave to Devaki.

Kamsa on

hearing the cries of the infant, hastened to her

chamber, and, seizing the

when

floor,

Enraged

it,

was about to dash

he

on

him from doing so. Has it not been

she prevented

at this,

it

— exclaimed

'

predicted that thy eighth conception shall be the

cause of

my

death

But

ground.

O Kamsa

!

it

dash

?'

— and threw

the infant to the

me on

the floor

?

—

Why, He who shall

sprang on high, and said

'

been bora'. After saying Kamsa slew the guards and disappeared.

slay thee has already this, it

then sent Putana and others to tion of that child of Devaki,

effect the destruc-

who had been

entrust-

ed to Yasoda by Vasudeva and was being brought

up by her

in G-okala with a view to safeguard

him

* This infant was none other than an incarnation of Durga,

who

is

thus addressed in a stanza

revered Durga

Avenger

!

!

womb

goddess with

of the

in the original

gods

many names

1.

!

Ambilia the

all

his wishes

'.

196

—

'

most

Bhadrakali

man who

morning, noon and evening thy sacred names, obtain

!

:

repeats at

shall assuredly

DASAVATAEAS OF VISHNU. againsfc the

and Rama,

in reality the guardians of the universe

became the guardians

gladly

Thus Krishna

attempts of Kamsa.

cattle

of

amongst

cowherds and milkmaids."

There are various

told regarding the

stories

wonderful exploits of Krishna during the period of his

"

childhood as well as boyhood.

It

said

is

Once Yasoda, being angry, bound Krishna

mortar trees,

;

but he, dragging

by which

it

it,

pulled until the two trees tied

him

to a cart, but

fell

it

into pieces with

:

he had become a youth, he conquered the

also,

serpent Kaliya, and expelled

the

and then he

another time she

:

he broke

;

when Putana offered him her he sucked until she fell down dead. When,

a blow of his foot breast,

between two

passed

was obstructed

to a

Yamuna

slaying the ass,

pool in

peace to Talavana by

he restored

demons Dhenuka under the form

Arishta

under that

;

him from the

under that

of a horse.

He

of

a

bull,

of

an

and Kesi

abolished the festival of

when the lord of the sky, in consequence, poured down torrents of rain, he uplifted the mounIndra, and

tain

Govardhana,

innocuous.

and rendered these

Being then sent

for

torrents

by Kamsa, he

proceeded to Mathura with his attached cowherds,

amusing First,

himself, as he went,

by various incidents.

he slew the royal washerman 197

who

refused to

HINDU ICONOGEAPHY. give

hiiii

the garments of Kamsa, and then clothed

himself and

Eama

with them

;

he then gave wealth

to the

flower-woman who voluntarily supplied him

with

garlands

he next

:

rendered

the

straight

crooked

woman who

ments

and, having afterwards slain the elephant

:

Kuvalaya

presented

at the gate,

him perfumed

oint-

he entered the amphitheatre,

and beheld Kamsa, with

and

his ministers, guards,

There, in a wrestling match, he slew

attendants.

the gymnasts

Chanara and Mushtaka, and then

this,

Kamsa himself the king of Mafchura. After he made Ugrasena the king of the Yadavas.

Two

of

slew

of

Kamsa's wives, however, were daughters

Jarasandha

;

and they acquainted

with what had besieged

occurred

;

and he

Mathura with a mighty

their

father

immediately

army.

But,

though Krishna defeated him then, he afterwards caused the city of Dvaraka to be that place for his residence. his sixteen

ones

built,

and chose

There he dwelt with

thousand and eight wives, the two chief

among whom were Bukmini and Satyabhama.

Having received

instruction

in learning

Sandipana, he restored to him his for the

from

lost child, slaying

purpose the Daitija known as Panchajanya

and then receiving due honour from further brought about the death

through Muchukunda. 198

of

Yama

;

he

Kalayavana

DASAVATAEAS OF VISHNU.

By Rukmini was Pradyumna, whom the "

born to him a son, named Daitija Sambara, on the

sixth day after his birth, carried into the sea.

He was

away and threw

swallowed by a

fish

;

which,

being taken by a fisherman, was given to Sambara and, on

within

its

;

being opened the infant was found

This infant, Sambara gave to his wife

it.

Mayavati,* who recognised

Kama, and brought

When

affection.

grown up,

it

it

to be her

husband

up with much care and

Pradyumna became she thus spoke to him, Thou art afterwards

—

'

Kama, whom Siva rendered body-less {ananga), and whom Sambara carried away and threw into the sea do thou, therefore, slay him. Pradyumna '

;

in consequence

slew Sambara, and then returned

to his parents.

" this

The One Lord lived happily as Krishna in world with Rukmini and with his other wives,

and begot a numerous race assisted

the Pandavas in

He

of sons

war

their

also

with the

Kauravas, and relieved the earth through them

from the heavy burden *

On Kama's body

of

wicked

men by which

it

having been consumed by Siva, this

god promised to his wife Rati that her husband would be afterwards

born as the

expectation

of this

son of Krishna

;

and

it

was

in

promised event that Rati had come to be

born as Mayavati.

199

HINDU ICONOGRAPHY.

When

was oppressed.

at

last

the object of his

incarnation was accomplished, then the whole race

Yadavas was destroyed by mutual slaughter,

of the

in consequence of the curse of the divine sages.

Balabhadra,

form

incarnate

the

departed to heaven

;

Ananta*,

of

and Hari, forsaking mortality,

returned to Vaikuntha."t

This account from Agni-purana does scanty justice to the greatness attaching to the character of Krishna,

way

and throws very

which

in

helpful to

him

in almost

achievements in

little

elder brother

his

light

on the

Balarama was

every one of his great

As king and statesman,

life.

as

warrior and hero, as friend and supporter, as guide

and

and philosopher,

as teacher

and

—particularly as the expounder

reformer

comprehensively monotheistic religion devotion

God

to

conceived

as

religious

of the ail-

of love

Vasudeva,

and his

achievements have been so great and glorious that,

among more

the incarnations of Vishnu, none receives or

cordial

more widespread worship than

Krishna. *

At the

beginning

Agni-purana Balarama but at the end he

is

is

of

this

said

account taken

to be

an avatdra

from of

described as an incarnate form of Vishnu's

Serpent Ananta. f

the

Vishnu

See Kennedy's Hindu Mythology, pp, 439-441.

200

DASAVATAEAS OF VISHNU. Balarama as

a

is

rarely worshipped independently

The

god.

glory

the younger brother

of

Krishna has thrown the elder brother into the shade

;

and hence his image

only occasionally

is

worshipped in association with that of Krishna

However descriptions are not wanting for the making of the image of Balarama. The Vaikhanasagama states that the image of Balarama should be sculptured according to as Parthasarathi.

the

madhyama-dasa-tala measure consisting

The

120 ahgulas in height.

figure of

of

Balarama

should carry the niusala in the right hand and the hala in the

The complexion

left.

of

Balarama

should be white and the colour of his garments

The

red.

hair

figure

on the

Balarama should have the

of

up

head tied

a

in

knot

The Brihatsamhita adds that the Balarama should be rolling on account top.

excessive intoxication of

liquor

on

the

eyes of of

the

drunk by him

and that there should be a kicndala in only one ear.

According to the Agni-purdna Balarama

required to carry the gada and the hala

shown

as possessing

two arms

:

if,

is

he

is

however, he

is

if

represented with four arms the back right hand

should carry the viusala and the front right hand the chakra, and the back the front

left

hand the

saiikha. 201

%6

left

hand the hala and

HINDU lOONOGEAPHY.

On

the right of Balarama should be standing

the figure of his wife Eevatidevi of yellow comp-

She should be shown

lexion.

term which

vastra, a

are

worked out

as clothed in pushpa-

may mean

a cloth in which

designs or a garment compos-

floral

ed of flowers, but the former interpretation

The

appropriate.

hand

left

down hanging, while

Eevatidevi

of

the right

is

shown

more

is

let

is

as carry-

ing a lotus flower.

The

Jia^ituha-bera of

in accordance

Balarama may be made

with the description given above, or

be an ordinary figure of Vishnu with four arms.

The

Brihatsamhita

should be sculptured

images

as

adds

between the

standing

Balarama and Krishna

of

Durgadevi

that

she

;

may

be

shown

as possessing two, four or eight arms.

she

represented with two arms she should be

is

made

flower in her right

to carry a lotus

and the the hip

hand should be made

left ;

if

she

is

to

rest

sculptured with four

hand upon

hands,

there should be a book and a lotus flower in the

hands and one aksli'amala,

varada pose

of the right

while the other ;

if

she

is

If

left

hands should carry an is

to be held in the

shown with

eight hands,

there should be the Jcaniandalu, dhanus, sastra (a

book

?)

and a lotus flower in the

left

hands

;

and

the bana, a mirror, an akshamala are to be seen in 202

DASAVATAEAS OF VISHNU. three of the four right hands, while the fourth to be held in the

varada pose.

The Vaikhanasagama figure of

is

down

lays

that

the

Krishna should be made according to the

madhyama-dasa-tala measure

The complexion

height.

should be black, and

of the is

it

of

120 ahgulas in

image

of

Krishna

to be clothed

in red

garments and adorned with various ornaments.

It

made to have a hifita on the head or it should be shown that the hair is tied up in a knot on the top of the head. In the right hand a should be

peculiarly curved stick should be carried, (see fig 15,

PL

II),

and bent

at

to be facing

sanhha

arm should be lifted up the elbow the palm of this hand has downwards. This hand may carry a

and the

also.

left :

In

all

other respects the figure of

Krishna resembles that

On image

of

Eama.

the right of Krishna there should be the

of

Rukmini golden-yellow

in

complexion

her hair should be shown as tied up in a fashionable

knot and adorned with flowers. should be hanging

down and

The

right

arm

hand a

in the left

lotus flower should be held.

On the left of

the image of Krishna there should

be the image of Satyabhama of dark colour also

shown

as

wearing

fashion as Eukmini.

her hair

in

;

the

she

is

same

In her right hand she should 203

HINDU ICONOGRAPHY. arm should be hanging down the side. Both Eukmini and Satyabhama The are to be adorned with various ornaments. hold a tlower, and the

left

Satyabhama should be

figure of

sc sculptured as to

upon

indicate an evident desire on her part to look

fondness and love.

her lord with great

would prescribe

authorities

for the devis, says the

Vaikhanasagama,

the

this statement,

clear that the

is

it is

Some

haranda-maliuta.

From

Vaikhanasagama

not in favour of this form of head-gear for them.

On made

the

to

Krishna Graruda also should be

left of

stand steadily with his

hands

in

the

anjali pose.

The kautuka-bera

of

the Krishna image might

be sculptured as above or might be a simple form of

Vishnu with four arms.

The Vishnu-dharmoUara, however, Krishna should have in one

hands the chahra

of his

and that Rukmini should have

says that

in her right

hand

a nilotpala flower instead of the lotus as mentioned in the Vaikhwiasagama.

The

figure of

Vaikhanasagama

number

of

of

Mann-annar,

king.

The

found

enshrined in a large

temples in South

common name of

is

Krishna as described in the

left

India

Mannar which

is

under

the

a corrupt form

meaning one who resembles a hand

of the

204

figure

is

required to

PLATE

LYIII.

«?

-T

DASAVATARAS OF VISHNU. be kept as described,

made

to rest

because

intended to be

it is

upon the shoulder

of

A

Satyabhama.

make this point the hand of Krishna is

reference to the illustrations would

The

clear.

short stick in

sculptured in the form of the shepherd's hook.

Tamil

it

is

called

In

and the Srivaishnava

hunil,

saints as also the author of the classic epic Silap-

padigaram often speak

who aimed and hit

of

at fruits

Krishna as

with a

'

Madhava

calf for his hinil

'

alluding of course to his killing the Vatsasura.

One

two illustrations given below repre-

of the

Madras Museum.

In

Krishna has his arm actually

rest-

sents a stone image in the this illustration

ing on the shoulder of the Devi,

Eukmini or Satyabhama. is done up into a knot and flowers.

Such a piece is

be either

hair on the head

encircled by wreaths of

LVIII.)

(See PI.

and the Devi

The

who may

of sculpture consisting of

Krishna

sometimes called by the name of

Sauriraja-pperumal in Tamil.

The second photograph

that of a

is

image from Shermadevi in the Tinnevelly In this the figure the hair tied

of

Krishna

up on the top

assume the shape

of a

in the hataha pose

is

of the

crown.

and

is

shown

The

district.

as wearing

head so as to right

hand

is

obviously intended to

receive a separate metallic stick, 205

metal

which might be

HINDU ICONOGRAPHY. passed through the ring formed of the forefinger and the

thumb (See

PI.

LIX.).

In both the illustrations

the figures of Krishna and the

bends and are therefore

Devi have three

trihhahga type.

of the

It

appears from the peculiarities of the sculpture that

they must be assigned to about the eleventh or the twelfth century A.D.

As the name

indicates, this

to represent

figure is intended

Krishna as dancing

^ith joy for having secured a ball

nrittrmurtt

In the hand the

of butter to eat. ball

of

butter

common piece may very often

is

of

invariably

shown.

is

is

The

right

a

be even purchased in bazaars as a

made

to stand

slightly bent at the

leg is lifted

is

sculpture in South India, and

The Navanita-

toy for children to play with. nritta-murti

This

on the

which

knee-joint, while the right

up and bent inwards

hand is held

left leg

as in dancing.

in the ahliaya pose or should

be with a ball of butter in

it,

and the

left

arm

is

stretched out and thrown outwards.

This image has to be adorned with

ments and might be shown cloth or as being nude. in the

hand

is

not shown,

orna-

either as wearing a

When it

all

the ball of butter

has to be understood

that the dancing and the joy are due to the certain

expectation of getting the butter. 206

This descrip-

PLATE

lilX.

Krishna and Eukmim: Bronze: Shermadevi.

t'lo facB

page 206.]

PLATE

i-

i

L,X,

DASAVATARAS OF VISHNU. tion

is

followed in

figured in

the

the.

concrete representations

Madras Museum image has

lump

of butter

;

given

illustratioas

in the right

and the right

required, is supported

upon a

leg

hand the

though

which

lotus,

The

below.

lifted as is

purely

the artist's addition to ensure the stability and equilibrium of the standing figure by providing

it

with better and firmer attachment to the pedestal. (See

LX.)

fig. 1, PI.

In the second illustration Krishna, (See

of this

image

PI. liX.) the

fig. 2,

aspect of is

shown

with the right hand held in the kataJca pose, instead of

with a ball

of butter in

in other respects to the

Gana-Gopala

or

it,

bub

exactly similar

is

Madras Museum image. Venii-Gopala

is

another

variety of the Krishna image, in or^ven'u'^aopaia.

which

he

is

with

delighting

music the hearts

of the

and the cows who

conccivcd his

to

be

enchanting

cowherds, the cowherdesses,

are his

companions.

In the

case of these images, the rapture of music has to

be clearly depicted on the face

;

and they are in

consequence generally so very pretty as to attract attention wherever they artist also

may

be.

The

aspiring

has often found this form of Krishna

representation a very suitable subject giving ample

scope for the display of his deep 207

devotion and

HINDU ICONOGRAPHY. artistic skill.

Venu-Gopala is generally surrounded by cowherds and cowherdesses. This image of Krishna is made to stand erect with the left leg resting on the floor

;

and the right

thrown

leg is

across behind or in front of the left leg

touch the ground with the toes. in both the hands,

the mouth.

and one end

The of it

so as to

flute is held

applied to

is

complexion

It is said that the

such

of

images of Krishna should be dark in hue so as to resemble the rain-cloud in appearance.

The head

should be ornamented with a bunch of peacock's

There should be three bends in the body.

feathers.

Four

Gana-Gopala are given

illustrations of

here.

That from Halebidu,

which

fairly

above.

But

tallies it is

with the

worthy

LXI.),

(PI.

of note

that here there

no cowherds, cowherdesses, cows and

It

is

detached

piece

of

sculpture

removed from some rained temple and

it is

now

built.

at

calves.

probably

Halebidu

set up along with other images in

the wall of Kedaresvara temple

newly

one

given

description

are

a

is

which

is

being

This circumstance accounts for the

absence of these inseparable companions of Krishna as is

Venu-Gopala. due to the

Nothing but the highest praise

artist for the perfection

of his

work

image. There is and the resulting beauty appearance of deep musical rapture the visible of the

208

PLATE

GaQa-Gopala

:

Stone

liXI.

:

Halebldu. [To face page 208-]

PLATE LXH.

a

o

ic3

lO

O

00

a

a

>

o

ic8

a

lO

d

OJO

[To face page 209.]

DASAVATARAS OF VISHNU. on the face

The happy

Krishna.

of

and

carved hands

very well

a remarkable

The

manship

in

relation

the

to

of

here

exemplified is of

in

at

of

minute

characteristically

drapery which prevailed

illustration

fingers disclose

manner the high capacity

sculptor.

is

and the

face

jewels

fig. 1,

PI.

the

work-

and

the

the Hoysala school^

The second

best.

its

a group of ivory images consisting

Venugopala and two cows one on each

(See

in

LXII).

This group

of

side

images was

carved recently in the Trivandram School of Arts.

Herein

image

also the

Krishna

of

is

made

to con-

form to the description given in the Sanskrit

The

third illustration

Krishna

and

a bronze figure in which

is

represented with four hands instead of

is

In the right upper hand the chakra

two.

the corresponding

in

kahkha

texts.

left

hand there

is is

held the

the two other hands hold the flute in the

;

manner required the kirlta

;

to play

and in

all

upon

it.

other respects

On either side Lakshmi and Bhumi may be seen figure of Vishnu.

On

the head

it is

an ordinary

is

the figures of

standing with

the usual lotus and nildtpala flowers in their hands.

(See

fig. 2,

PL LXII).

The fourth photograph

is

of

the figure sculptured on a pillar in the Visvanatha-

svamin district.

temple at Tenkasi

The

temple in

in

the

which

this

209 27

Tinnevelly

image

is

to

HINDU ICONOGEAPHY. be found, was built by the

Parakrama Pandya

it

effect (See

arms

;

hands he holds a padma, a

and

With if

he

of

repre-

and the chakra,

-paraku,

hands he carries a

sugar-cane, a pasa and the ^ahkha.

the two remaining hands the flute is

is

the right

three of

in

in three corresponding left

bow made

a notably

PL LXIII). Here Krishna

sented with eight

of the

has been exe-

cuted with great care and produces

good

(corres-

an image

It is

nevertheless,

;

king, Arikesari

in the year S. 1362

ponding to A. D. 1447). conventional type

Pandya

playing upon

it.

The

legs are

is

held as

worked out

according to the description given above which

however,

is

not followed by the Halebidu sculptor.

Ikshu-kodanda, (the sugar-cane bow), and the arrow of flowers are the peculiar

emblems

Kamadeva,

of

The Srltatvanidhi calls this Venu-Gopala by the name of Madanago-

the Indian Cupid. variety of pala.

Another form

which Krishna

in

is

as Parthasarathi,

Partliasaratlii.

.

charioteer

r

oi

»

worshipped

is

that

•

Arjuna.

as

is,

tn

•

Durmg

the famous war between the Pandavas and the

Kauravas fought on Krishna,

it

is

well

the

field

of

Kurukshetra,

known, served Arjuna as

his

charioteer. Corresponding to this conception of the charioteer, an

image

of

Krishna 210

is

described in the

PLATE

liXIII.

-"*Wfei

II

ill Madana-Gopala

:

Stone

:

i

I

Tenkasi. [To fane page 210.]

DASAVATAEAS OF VISHNU. Vaikhanasagama.

In this image

Krishri,a is repre-

sented as holding the reins in one hand and a cane in the other, and as in the act of mounting a chariot, the right leg resting

on the

floor

and the

The chariot on the dome above, and

placed in front of the chariot.

left leg

made to carry a flag is shown to be yoked to excellent horses. Arjuna, with bow in hand, stands on the ground with his hands in the anjali pose. The right hand of

itself is

Krishna is held so as to be in the vyakhydna-mudra.

From

this description

must be

it

clear that

the

occasion for worshipping Krishna as Parthasarathi arose not in consequence of his having guided the

chariot of Arjuna skillfully in the battlefield, but in

consequence

of

his

immortal lessons

having taught Arjuna those

of religion

and philosophy which

are contained in the immortal Bliagavadglta.

In the temple

of Parthasarathi

the arrangement of the images

is,

at

Triplicane

however, quite

different from the description given above.

central shrine of the temple faces the east

ing the back wall (which

is

;

The

adjoin-

the west one) of the

shrine and occupying the central position stands

the image of Krishna

which

right one of left

hand

of the

is

is

;

has only two arms, in the

it

kept the saiikha while the

To the right Eukmini with a

held in the varadaTpose.

image

of

Krishna

is

2n

that of

HINDU ICONOGEAPHY. lotus in the right

The

hanging.

hand

image

brother of Krishna that of Krishna

and the

:

is

is let

seen standing to the

hand

is

of

left

seen a Tihadga

is

kept in the varada pose.

Near the south wall and facing the north standing figure of Balarama

hand the hala

down

younger

the

Satyaki,

of

in its right

hand

left

her other hand

;

it

:

carries in its right

(the plough) while the left

By

kept in the varada pose.

the

is

hand

the side of the north

wall and facing the south, stand the figures

Aniruddha and

Samkarshana

danda

in their right hands

hands

in the

each

One

of

carrying a

and keeping their

varada pose.

is

left

of the inscriptions

found in this temple states that these images were set S.

up by a mendicant Brahmana

in

the

year

1486 (A. D. 1564-5). It is recorded

in the

life

Krishna that he

of

punished and drove away to the sea

dfkSsiS:!"'

the

serpent

which had called Kalincli

i^i

its

the river

named

Kaliya,

abode in a pond

Yamuna.

This,

most

probably refers to Krishna having abolished the original cult

of

serpent-worship.

The image

of

Krishna representing him as chastising the serpent Kaliya should be sculptured,

it is

said, in the

form

of a child

dancing upon the hood of a serpent,

holding in

its left

hand the 213

tail of

the reptile and

PLATE LXIV

J \

..>afM

»

^^

-^-m^

KaliyahimarJdaka-Krishni [To Eaoa page 213,]

:

Bronze

:

Madras Museum,

DASAVATARAS OF VISHNU. keeping the right hand outstretched so as to

make

the whole of the right arm appear Uke a streamer.*

This description

of

Kaliyahi-marddaka-Krishna

faithfully carried out in almost all sculptures

castings.

The bronze image

Krishna,

whose

PL LXIV,

of

is

and

Kaliyahi-marddaka-

photograph

on

reproduced

is

belongs to the Madras

Museum.

This

image very nearly resembles the Navanita-nrittaIn the hand stretched out and held in

Krishna.

the flag-pose

the

The

caught.

on the hood

tail

the serpent Kaliya

of

Krishna

left foot of

is

of the serpent while the right

lifted so as to indicate that

it is

is

placed firmly

one

is

going to be used in

administering a kick on the hood of the serpent.

The image

of

Krishna is further shown

to be

wearing

short drawers ornamented with floral designs. right

hand

casting

is

is

held in the ahhaya pose.

The

This bronze

probably at least five centuries old and

is

may be called the medieval It may be mentioned here

a fine specimen of what art of

South India.

that Kaliyahi-marddaka-Krishna

on the wall

of the pillared

is

sculptured also

walk round the central

shrine in the great Kailasa temple at EUora. *

this

Tbe term employed

would

standard.

and

it

at first

But

means

in the

original

is

patdha-hasta

;

appear to mean a hand carrying a flag or

it is

a term borrowed from the Dharata-sdstra

therefore a

hand held 213

like a streamer.

HINDU ICONOGRAPHY.

Two illustrations of Grovardhana-dhara-Krishna are given on Pis.

The former

dhara-Krifhna.

image

LXV

and LXVI.

of these represents

belonging

to

an

Nuggehalli,

while the latter represents one belonging to the

Hoysalesvara temple at Halebidu. are typical of

Pi.

LXV

Govardhana

body

is

six

with the right hand,

LXVI

it is

used for the purpose.

former image

of the

them

shows Krishna as holding

hill

while in the other PI.

which

of

Hoysala school and are about

centuries old. aloft the

Both

is

that of the latter to the right.

the

hand

left

Accordingly the

bent to the

left

and

In both cases cows,

cowherds and cowherdesses are worked out and

shown

to be taking shelter

under the uplifted

which again

is

on

wild beasts and hunters giving

trees,

it

chase.

represented in both cases as having

them

The Nuggehalli

sculpture

was executed,

the

engraved

below

according

Baichoja

to

label

who

Nandi,

of

tinguishing

titles of

rival artists

'

and

making up

also

all

'

by

it,

bears the birudas or dis-

honour meaning that

rod of diamond to the

toes

hill,

hills

'

he

is

a

representing the titled

the destroyer of the mosqui-

the titled architects'.

Many

of

the sculptural decorations in the temple at Nuggehalli

appear to have been executed by this able

artist.

2U

PLATE LXV.

^"* ''' ""«

fffMlS^^ Govardliana-dbara Krishna

:

Nuggehalli.

[To face page 214.]

PLATE LXYl.

S,

1?\

'^-

»,i.

...

•*

«

^-

'-^^W

-^

*

,

" -^?^

-

.

-

--

—

ggggt

Govardhana-dhara Krishna

«-

:

—

Stone

:

Halabidu.

[to face page 214.^

PLATE

liXYII.

(S

DASAVATAEAS OE VISHNU. At the end

of the description

varieties of the

gamarema^vka "

:

Krishna images, the Vaikhanasa-

—

The forms

"

of

numerable that they cannot

" Therefore " Krishna's

of the different

image

in

" to conceive him."

in-

be described.

all

might

worshipper

the

Krishna are so

sculpture

any form in which he chooses Besides the aspects of Krishna

considered above there are a few others which are

not described in the Sanskrit texts available to us

however, a large number of images

met with

a child (Balakrishna) are

Krishna alone, among the avatar as worshipped as a

child, a

youth

etc.,

;

Krishna as

of

in sculptures. of

Vishnu,

forms

fit

is

for ex-

hibiting the various kinds of hliahti or love, as for instance, that of a for her

husband and that

As a baby Krishna fours,

(See

mother to her child, that

is

1

and

friend for a friend.

represented as crawling on

sometimes with a

figs.

of a

of a wife

2, PI.

ball of butter in his

LXVII).

which the child Krishna

is

hand

Another form

often sculptured

lying upon a leaf of the vata tree (Indian is

hence known as the Vata-patra-sayi.

is

symbolic of

God brooding

all

is

fig)

in

as

and

This form

over the ocean of the

chaos caused after the destruction of the universe at

A is

the end of an jeon. third variety

is

(See

known

as

fig

3,

PI.

LXVII).

Santana-Gropala and

described in the Sntatvanidlii as follows 215

:

the

HINDU ICONOGEAPHY. infant Krishna should be portrayed as lying on the lap of

Yasoda and sucking milk from her breast, his up a

face should be turned

mother's

One

face.

of his

little

and seeing

hands should be

his

on

laid

the breast of his mother.*

Among

some

avataras of Vishnu,

the ten

authorities maintain

,.11

Buddha.

Buddha

to be

one, while others do not consider

him

to be such

The Puranas them-

an avatara.

view

selves are divided in their

Some

of

them,

the

like

instance, include

to be

the matter.

Bhagavata-purdna,

for

Buddha among the avataras

Vishnu, while others do not.

mention him

of

Among

of

those that

an avaMra, Bhagavat'a-purana

— says " Then, after the named Buddha, son

of

Kali age begins, a person

Anjana, will be born among

the Kikatas, in order to delude the enemies of the

gods (the aauras)."

A

commentator explains the

geographical position of the country of the Kikatas

by the remark viadhye Gaya-praclese, meaning the region near Gaya. "

The

The Agni-imrana

in

states

Suras, having been defeated in battle by the

Asuras, sought the protection of Vishnu

;

he,

in

consequence, was born as a deluder in the form of

*

f^^

=?

^i Ti3g%

^^

sfercTH

i

aTp^r^^JsnT "^x^

.1 216

DASAVATARAS OF VISHNU, Buddha, the son

of .Tina

by him the Asuras were

;

abandon the

deceived, who, on being induced to religion of the Vedas, lost

From ished

all

power

that time has the religion of ;

and many are the heretics

saken the sacred ordinances

of the

as warriors.

Buddha flourwho have forVedas"

In a

dialogue between Parasara and Maitreya, recorded in

the

Vishiiu-purana,

the

the

Nagnas were, why they were

former

who

called,

and what

the former

asks

latter

the

their

— " The replies

character was.

To

this

Rigveda, the Yajurveda

and the Samaveda are the threefold clothing the

castes

several

throws person,

off this

is

;

and the

neglect them they are

men

;

naked

three Vedas

and when people

bare."

left

or the

The

apostate.

constitute the dress of all

of

wight who

sinful

called the udgiiii

meaning an

so

He

then pro-

ceeds to narrate the origin of Buddha, the deluding

personage.

In a battle that took place between

the gods and the Asuras headed by Hrada, the gods

were defeated

;

they fled to the northern shore of

the milky ocean and there prayed to Vishnu to restore

them

to their original state.

The Lord was

pleased with their prayers and emitted from out of his person a deluding form, celestials

and said

to

which he gave

to the

— them " This deluding form

shall deceive the Daityas,

who

21V

being thereupon led

HINDU ICONOGEAPHY. astray from the path of the Vedas, shall be slain."

This Being that so emanated from Vishnu proceeded as a naked mendicant, with his head shaven, and carrying in the hand a bunch of peacock's feathers, to the Daityas

on the

ities

who were engaged bank

in severe auster-

Narmada,

the river

of

— saying

addressed them gently,

and

Chiefs of

" 0, ye

why do you practise these devout Do you expect rewards in this world

the Daitya-race,

penances

?

or in the next ?"

The Asuras

replied

—"

worthy

personage of great mind, we have been engaged in these penances with a view to reap fruits in the

next world."

them that

The deceiving personage then

his teachings

would bring them

emancipation and that they were worthy ing

those teachings.

came

to be

known by

That the

why

is

name

ing those that are worthy).

of

told final

of receiv-

the Daityas

Arhaias (mean-

Then he preached

against the sinful massacre of animals taught by

the Vedas, and taught to the

path

meaning

"

many moie

of the Vedas.

know ye

?

"

things opposed

The word

Bnddlii/adhve,

was uttered by

their

new

preceptor at the end of his discourse to the Daityas

and they responded hj known."

Bdi,ymg

Thus those that have

Bud dhy ate — "it followed the

gion preached by this deluding personage be called nagvas as well as budd.has. 218

is

reli-

came

to

The Vishnu-

DA8AVATAEA8 OF VISHNU. Purana says many hard things

against

Buddhism

and Buddhists.

same account

Practically the of

is

found in some

the other Puranas also, which need not be given

The following is a description of Buddha as gathered from the Brihat-

here in detail. the image of

samhita, the Agni-pitrana and the Vishnu-dharmottara.

The

figure of

Buddha should have on

its feet

and the palms marks resembling the pad?na or lotus

;

the body should be full and fresh and of fair

complexion hair on

Buddha

full

of grace,

as a whole should appear

though

as

as the father to all creatures

seated on

be

and the head should have short curly

The image

it.

calm aud

;

'a,

it

represented

and

it

must be

j^admasana. The lobes of the ears must

made pendant.

The body should be covered with

the Jcashdija, the yellow garb of the ascetics, and on the shoulder there should or clothing

made out

The hands should be poses.

Buddha.

phy

valhala,

of the bark of certain trees.

in the

This description It is in a

be a piece of

way

varada and the ahliaya

is

that

foreign to

to notice in detail the

representations of Buddha.

of

a Dhyani-

Hindu

iconogra-

innumerable sculptural

Hence the image

of

Buddha is described here mainly as it occurs in Hindu sculptures. Throughout the Chalukya and 219

HINDU ICONOGEAPHY. Hoysala countries, Buddha

is

seen to have been in-

variably included aiiiong the ten avataras of Vishnu;

and his image

always found wherever these

is

avataras are portrayed.

The most

fa\'ourite

posi-

tion for the sculptor to introduce these avataras

seems

to

have been

in the

prabhacali round the

The avatUras beginning from

figure of Vishnu.

the fish-incarnation are sculptured in order from

the right of the Vishnu image and are earned over the head

down

to the left side.

Yogesvaramurti on

PL all

LXIX

and

of

XXIV,

of

Dattatreya on

Buddha

these instances

Dhydita attitude,

PI.

(.See

is

the figures of

Chennakesava on PI.

LXXIII).

In

represented in the

and

with his legs crossed

his

hands placed upon the lap in the ijogainudra pose. In the very same attitude are found

all

over

India the imaoys of the twenty-four Tirthankaras of

the -Jainas; and even highly educated people

are not able to distinguisb the one class of images

The most characteristic features the images of Buddha are the cloth worn in

from the other. of

the npavltd fashion and the knot of hair on the top of

the head.

The

.Iain a

images are completely

divested of clothing a.ud are stark

they

may sometimes have

bead, there i7i/v(

/.•,«

is

mark

ringlets of

not enough of is,

naked

it

;

though

hair on the

for a knot.

The

according to the BriJint-Muhhita.

PLATE

liXYIII,

Dhyaui Buddha from Borobodur

[To face page 221.]

:

Stone.

DASAVATAEAS OF VISHNU. shown

required to be

Tirthankaras

also.

on the right side

in the figures of the Jaina

This mark of

is

generally found

the chest and

is,

many

in

instances, a tiny equilateral triangle, with its apex

pointing upwards.

PI.

The photograph of Buddha reproduced on LXVIII is copied from that by Dr. Anandasome years back

kumarasvaini

published

Theosophist.

The image

in

Buddha

represents

the as

engaged in meditation, with his legs in the yogaSana posture, and his

left

hand placed on the

lap

The right hand is in the abhaya pose. The figure of Buddha is seated upon The closed a beautifully worked out yadmasana. deeply expressive of mind absorbed in the eyes

in the tjoga-mudra pose.

meditation, the calm and contemplative face, the

crown in

of finely carved ringlets of hair

the whole figure and

fact

modelled so as

to be

worthy

all

of very

on the head,

its

details

are

high apprecia-

tion.

The

last

of the ten avataras of

This

Kalkyavatara.

Vishnu

is

the

incarnation

Kalkyavatara.

has not yet taken place and dicted to coiue

off

The Agni-purana says —

" In the Kali-yuga, thoughtless

acts fitting

pre-

about the end of the Kali-yuga

or the present dark age.

commit

is

them

for hell 221

men :

will

begin to

and the confusion

HINDU lOONOGEAPHY. Then

continue.

castes will

of

will

virtue

and

and scarcely a single school of remain and barbarians, under the

religion disappear,

learning will

;

guise of rulers, externally arrayed in the apparel of

but internally composed of injustice, shall

justice,

At

harass the people.

Kalki

and he

;

shall appear as

the

to

Thereafter

Hari

re-

customs and morals which

upon the due observance

prescribed

and

will destroy the barbarians,

establish all those pure

are based

Vishnu

last

aud the

castes

will return

to

of the

duties

four

orders.

heaven

;

and the

Satya-yuga, then again returning, will restore to the world purity, virtue and piety."

The Vishnu -ptirana this tenth incarnation.

gives further details about "

Thus, when cerentouies

based upon the A^edas and the institutes of the sacred law shall have nearly ceased, and the end of

Kali-yuga

being,

who

approach, a portion of that divine

will

the creator of the whole universe,

is

the preceptor of beings,

who

all

immoveable and moveable with

identical

i«

Brahma and

all

created beings, shall incarnate himself on earth.

He

will

be born as Kalki, in the familj- of one

Vishnu-yasas, an eminent

grama,

and

will

be endowed with

superhuman powers. he will slay

all

Brahmana

By

of

Sambhala-

all

the eight

his irresistable heroism,

the foreign barbarians and thieves 922

DASAVATAEAS OF VISHNU. and

all

those

who

His great-

are addicted to sin.

ness and might shall unobstructedly prevail."

The image

of

Vaikhanasagcihia,

the body of a

man

Kalki should, according to the

have the face

khetaka, and

terrific

look.

and

with four hands carrying resehakra, the khadga and

pectively the §aiiJiha, the

the

of a horse

should

be

made

The kautuka-hera

of

to possess

a

this avatara

should be an ordinary Vishnu image with four arms.

According to the Agni-pityana, Kalki should carry the (llianas and the hana and should ride on a horse.

The image may

also be

made

the hana, the chakra and the

dharmoiiara which

is

to carry the khadga,

saiikli a.

generally in

The

fair

agreement

with the Agnl-purana, prescribes only two Kalki.

(See

PI.

XXXV

for

avaiaras of Vishnu.)

223

this

V/'shmi-

arms

to

and the other

CHATURVIMSATI-MURTAYAH.

39

THE TWENTY-FOUR IMAGES OF VISHNU.

IT

is

known

a widely

fact in India

possesses a thousand

that Vishnu

names by which he

The Vishnu-sahasra-navia

praised.

is

is

found

given in the Anusasanaparva7i of the MaJiabha-

Among

rata.

these thousand significant

praise relating

to

Vishnu,

names

of

twenty-four are con-

sidered to be the most important and are daily re-

peated by

many Brahmanas

in their daily

prayers.

Corresponding to these twenty-four names images of

Vishnu are found sculptured

in

the Vaishnava

temples situated in the old Hoysala land, where indeed they are met with more frequently than elsewhere. alike

;

in the

All these twenty-four images are very

they are

all

standing figures, with no bends

body, possessing four arms,

and adorned

with the A^n^a-crown and other usual ornaments 227

;

HINDIS ICONOGEAPHY.

The

each of them stands upon a padmasuna.

between any two

difference

made out by

be

chaJcra, the

the

way

images has to

of those

which the

in

saiikha, the

gada and the padriia are found

buted among their four hands.

distri-

worthy

It is

of

note that the number of possible permutations of four things taken four at a time four

and the

;

order, in

these four articles, observed,

among the in

upper right hand to the upper the lower

left

exactly twenty-

which the permutations

in passing, as

is

is

four hands a

circle,

is

of

to be

from the

hand, thence to

left

hand, and from there lastly to the

For example, that image

lower right hand.

of

Vishnu, which holds the sankha, chakra, gada and padiiui in the four

hands

in

the order mentioned

above, beginning from the upper right hand and

ending with the lower right hand, of

Kesava

;

that

is,

is

upper right hand

in the

Kesava the sankha should be held left,

and

the chakra

;

in

the

representative

lower

in the loAver right, the

left,

padma.

of

in the upper

;

In

the gada all

;

these

twenty-four cases the arrangement of these four things

in relation to

the four hands has to

observed in the same order.

based on the

names ments

of of

Bupamandaua

The

be

following table

gives the twenty-four

Vishnn and the corresponding arrangethe

four articles in the four hands in 228

PLATE LXIX

Chennakesava

:

Stone

;

Belur. [To face page 228.]

PLATE LXX.

ZW

-ii^

%

J' '

'

f I

'2.

m o

> C5

'^

«^'

>

t

V

13

m

r-/ >

?

•

'v.

-.^~***»-

P O

\

> ,a

i.

>:-A

Jl 1

IS 1©

M

?

CO

3

_a

[To face page 229.]

TWENTY-FOUR IMAGES OF VISHNU. each case, and

is

intended to enable the reader to

notice the difference between

tlie

various images

at a glance.

Table showing the arrangement of the §ankha, chakra, gadd and

each

of

in the four

hands

of

the twenty-four Murtis of Vishnu accord-

ing to the

Ho.

padma

Rupamandana.

HINDU ICONOGRAPHY.

No.

PLATE LXXI.

vi'

CD

n

, ^""-"''«tw«t5

M

[To face page 278.]

MINOR AVATARAS is

MANIFESTATION OF VISHNU.

&

seen standing with a bow of sugar-cane in his

hand and an arrow

To

the

left of

the right hand.

of flowers in

Manmatha

is

left

the figure of his wife

Eati holding a fruit in her right hand and a lotus

On

in the left hand.

the right of

Manmatha may

be seen his standard-bearer holding with both of his

Hindu god

of

note that the flag-bearer

is

hands the banner peculiar It is

love.

worthy

of

to this

found in the Halebidu sculpture and in none

of

them

The photograph reproduced as 2 on PI. LXXXII is that of an image of Manmatha found in Angur in the Bellary district of the Madras Presidency, and the photograph marked

is

Vasanta shown.

fig.

fig.

1,

PI.

LXXXIII

Native State fig.

be

'2

of

on PL

belongs to Nuggehalli in the

The

Mysore.

LXXXIII

picture

like all the

has four hands, in

temple

at

other pieces of sculpture

of that temple, belongs to the latter

(15th Century A.D.).

as

an image to

represents

found in the Visvanathasvamin

Tenkasi and

shown

Manmatha three of

Pandya period

in this sculpture

which he holds

his

flowery arrows and in the fourth carries the sugar-

cane bow.

The manner

of the

moustaches, the

long conical head-gear and other ornaments are characteristic of the sculpture of this period and of

the part of the country to which the image belongs.

279

GARUDA AND AYUDHAPURUSHAS.

36

GARUDA AND AYUDHA-PURUSHAS.

THE

following

is

summary

a

of the

account

found in the MaJidbharata about Garuda, the bird-vehicle of Vishnu.

Garuda was born

to

Kasyapa and Vinata and was the Garuda.

younger

brother

charioteer of the sun-god Surya.

of

Aruna,

the

When Garuda first

came out of the egg, the gods mistook him for Agni and praised him and prevailed upon him to diminish his splendour and glory a little. Bearing Aruna on his back, Garuda went from his father's home to where his mother was, and there learnt that she was held in slavery by his father's other wife Kadrii. The sons of Kadru who were all snakes promised to free Vinata, if Garuda managed to bring for their use the ambrosia of the gods from their celestial world.

Gai'uda started

out at

once on this mission of

securing the ambrosia for his step-brothers, and on his

way

lived

upon the Nishadas.

When

he ap-

proached the lake called Alamba, he caught there 283

HINDU ICONOGRAPHY. an elephant named Supratika and a

tortoise

named

Vibhavasu, and seizing both of them in his talons, he alighted upon a large banyan of the tree could not bear the

On this branch were

tree.

The branch

weight and gave way.

the rishis Valakhilyas suspend-

ed with their head downwards and doing penance.

Fearing he would cause the death

Garuda himself held up and the

hermitage

his

of

of these sages,

carried the branch to

There

Kasyapa.

father

Kasyapa exhorted the Valakhilyas

to quit that tree-

They quitted it, and G-aruda then threw down the branch and made a hearty meal of the branch.

two animals

— the elephant and the tortoise.

he proceeded to the capital the gods

;

and

after a

Then

of Indra, the chief of

hard fight there with the ap-

pointed guards of the pot of ambrosia succeeded in

away from

taking amrita.

their

On the way from

possession

the pot

of

the world of the gods he

met Vishnu, and promised to serve him as his vehicle and

as the

also

Garuda thus brought to

device on his

Kadru

set

On

Vinata

banner.

step-brothers,

snakes, the pot of ambrosia and placed of kusa grass.

his

it

the

on a heap

seeing this, the snake-sons of

free,

and went

to attend to the

religious rites preparatory to their partaking of the

ambrosia.

Meanwhile Indra came and took away

his pot of amrita.

The snakes 284

returned, and were

GARUDA AND AYUDHA-PUEUSHA8. disappointed at the disappearance of the

much

co-

veted pot of ambrosia, and licked the grass upon

The sharp edges

which that pot had been placed.

came

Thereby the

to possess split tongues.

became

grass also

was placed upon kite

and the snakes

grass cleft their tongues,

of the

sacred, because the pot of amrita it

by Garuda.

with Vishnu,

associated

This mythical

the sun,

represents

really

Tcusa

who

and

is

a

solar

is

therefore

god

in

origin.

The image of the

be

of

Graruda should have the colour

emerald, and the beak and the legs should

made

to

should be

resemble those of a

roundish,

and the image should have

arms and possess also a pair

four

wiags

The eyes

kite.

of golden yellow colour

of powerful

and bright

lustre.

In

one of the hands there should be held an umbrella

and

in another the pot of

amrita the two remain;

ing hands are to be in the anjali pose.

Garuda

should be fashioned with a flabby belly.

Such

is

evidently the description of the image of Garuda,

when he Vishnu.

is

sculptured independently as apart from

When

the

image

is

associated

with

Vishnu, the two hands, carrying respectively the pot of ambrosia and the umbrella, engaf^ed in supporting astride

on the shoulders

should both be

the feet of Vishnu, of

285

Garuda.

riding

HINDU ICONOGEAPHY. The Silparatna

different

According to one descrip-

descriptions of Garuda.

have the golden yellow

the iroage should

tion

somewhat

gives two

colour from the feet to the knees, should be snow-

white from the knees to the navel, scarlet from the navel to the neck and the head blue

;

;

jet

black from the neck to

the eyes should be yellow and the beak

there

must be

a terrific look in the eyes of

Garuda, and he should have only two hands one

which

is

abhaya pose.

to be in the

description,

the

Silparatna

of

In the other

states

that

Graruda

should have eight hands in six of which he should be carrying respectively the pot of ambrosia, the gacld,

the saiiJiha, the cliahra, the sword and a

snake.

Nothing

said of the

is

two other hands.

Instances of Garudas of this description have not

been met with in actual sculptures.

Yet another description in the 8rl-tatva-nidhi.

of

Garuda

Therein

is

it

Garuda should be kneeling on his

left

that his crown should be adorned

His

legs

and knees should be made

should possess the face and body of but his

nose

prominently. held in

the

should

He

be raised

pose.

description of the image of 286

met with

stated that knee, and

with snakes.

stout.

Garuda

human

beings,

and

pointed

should have only

anjali

is

two hands

Obviously this

Garuda

is

as found set

the

up

PLATE

liXXXIV,

a o

m c3

tTo face page 287.

GAEUDA AND AYUDHAPURUSHAS. generally in front of the central shrine in Vishnu

temples.

Of the two illustrations

LXXXIV

Pis.

and

in the rock-cut cave

front gable

wood,

is

LXXXA^

the

Garuda has a

found

is

carved in

addition to these, the

and

is

In both the

in-

beak-like nose, round eyes,

two outstretched wings and a belly

is

preserved in the Siva temple at Palur in

the Native State of Travancore.

stances

first

Xo. Ill at Badami cawed on the

second one, which

the

;

Garuda given on

of

Badami

pair of

In

arms.

sculpture has a flabby

hand a snake,

seen holding in his right

and wearing various ornaments. The Palur Garuda is

one

of the finest

Malabar country

;

specimens it is

less

of

than two centuries

It is seen carrying in the right

Supratika, one of whose legs talons of Garuda.

In the

be seen the tortoise this is

image

of

Garuda

carved so as to be

wood-carving of the

left

old.

hand the elephant is

hand

Vibhavasu

between the

held

;

of

Garuda

the

left

is

to

wing

of

The Palur Garuda hung on the ceiling by means lost.

is

of a chain.

The various weapons and emblems, such vajra, triiiila,

saktl,

dantla, kJiadga, pdsa,

padma,

generally

cJiakra

as

aiihuka, gada,

and dhvaja,

which are

found in the hands of the images of

Vishnu, Siva, and the other gods, are personified 287

HINDU ICONOGEAPHY. under the name of Ayudha-purushas and are also Ayudha-puru^^^^'

Concretised

them

some

females

;

Vajra, the

the AnJaisa, the Pasa, the

Khadga and

a personified

the

Padma

Ayudha

Danda

gada

is

males,

as

For

in-

the

and

;

The

as eunuchs.

sex

however determined

is

Thus, the gender

Sula,

as males

merely with reference to the gender Sanskrit.

of

and the Gada are worked out as

the GhaJira and the of

represented

are

Some

images.

and some as eunuchs.

as females

stance, the 8aJiti

as

of the

of its

name

in

words saMi and

the feminine, hence the Ayudha-purushas

representing

them

words chaJcra and

are to be females

padma

:

similarly, the

are in the neuter gender,

and the weapons denoted by them are consequently represented as eunuchs.

In the same way vajra

and the other words mentioned above are

in the

masculine gender and the corresponding Ayudha-

purushas are sculptured as males.

It is required

that the Ayudha-purushas should be

made

ing to the ashta-tala measure,

accord-

that they should

each have only one face with a pair of eyes, the head should be

that

adorned with the Jcaranda-

viahuta and that each of them should have only

two hands held over the chest

When cular

their

in the anjali

pose.

hands are in the anjali pose the

parti-

emblem

or

weapon which each 288

of

them

is

PLATE LXXXY.

«

J3

a

'2

-t^™.

[To face page 288.]

a

GARUDA AND AYUDHA-PURUSHAS. intended to represent,

on the head

shown over the crown worn

is

weapon

otherwise, the

;

emblem

or

is

placed between the hands.

The Sakti has a female figure ed

:

male

should be of red colour and seat-

it

upon a vrtha

to be, as has already been stated

The Danda

or wolf.

to

is

be a

with red eyes and a fearful

of black colour,

The Khadga should be a male figure of dark The Paka should be complexion and angry look. male snake sculptured as a with seven hoods. The

look.

Dhvaja should be a sturdy looking male complexion with the mouth wide open. should be a female large glutials

she must ed

of yellow

The Gada

yellow colour with

figure of

the Vislinitdhanndttara

;

says

have a slender waist, and be adorn-

with various ornaments

vhamara

;

her

hands.

a

hand

of

Vishnu should be made

head

of

in

The

Gada.

be

made

The

right

she should

to carry

Trishla

has

to

touch the

to be

looking black complexioned male, with

The ^ahkha should

brows.

like

— the

the hatchet sling

The Bana has

to

t)e

for

—

is

a good-

handsome

be lepresented as a

white male figure with pretty eyes.

weapon Bhindi

that

a

The Heti

—

female, while the

throwing stones,

is

a male.

a male figure with a red body

and with good looking eyes; the Vaihhaitasagama states that the

Bana

is

napiimsaka 289

37

—a

eunuch

HINDU ICONOGEAPHY. and should be

of black

complexion with three eyes,

should be draped in white clothes and capable of of

the sea.

or vehicle of this personified

weapon

producing the fearful noise

Vaiju,

and

its

banner

an actual arrow on

Bana, whatever

it

is

the feather.

means,

is

It

The

head.

its

The

valiana

the wind,

must carry

birth star of

given as the Sata-

is

month Mdgha and its to be sa. The personified Dlianiis carrying a stringed bow on her

bhishang-nalsJiatra in the hijahsliara is said is

a female figure

head

her complexion should have the red colour

;

Chohra

of the lotus.

is

described in the Vishnu-

liJtarinditara as a

male figure with round eyes and

a drooping belly

this

;

image

of

Ghahra should be

adorned with various ornaments and should carry a eliaviara.

that

oriito

Vishnu

made

;

It

it

is

should be sculptured so as to indievincing a desire to

and the

to rest

left

hand

upon the head

is

found in

all

Vishnu should be

of the CliaJiva-imrusha.

Another characteristic which

of

gaze upon

form

of

the

Clial'ra

important Vishnu temples

In

Sudarsana-cliah'u-

called

the

known

as Chalnxittalrar.

This

is

Tamil

it

is is

occasionally set

up as a main image

in a shrine attached to certain

Vaishnava temples.

It is in outline a chal-ra of the

ordinary non-personified form with a fearful figure of

Vishnu with eight hands 290

in a

standing posture

GARL'DA AND AYUDHA-PURUSHAS. occupying the interior of a shat-kona-chakra consisting of

two interlacing

the reverse there seated on

tri-kona-rhakra,

a

On

equilateral triangles.

the figure of a Yoga-Narasiihha,

is

that

an

on

is.

equilateral triangle with its apex pointing to the

(See

fig. 2,

PI.

description

of

top.

The

Silpamtna

as

is

LXXXV

and

PI.

LXXXVI.)

Sudarsana as given in the follows

Vishnu* should have

:— " The

Chakra-rupi

hands the

in his

cliakra, the

gada, the iiraga (a snake), the padma, the musala,

He

the travisa, the pasa and the ankiisa.

should

have his hair standing out in twenty jatas or plaits

which are

the flames of the flaming god of

like

His hody should be resplendent as the sun

fire.

and

should

universe.

enlighten

He

the

all

should have a

should have clearly

face

visible of

the

of

and the

terrific look,

According to another description obverse should exhibit the

quarters

curved

tusks.

Sudarsana, the

Vishnu,

terrific figure of

with sixteen hands, holding the weapons cliakra, '

The Ahirbudhnya-samhita

ne:ss of

the Sudarsana-chakra

the original accord,

of

the

in

it

Sudarsana

thought of Para-brahman

conceived the idea

thus bringing

;

deals largely with the great-

into

Supreme Being

expanding

of

existence

when

the

which

Sudarsana.

291

is

universe,

defined as

is

it,

of its

into

space and

This

indestructible

own

thought is

called

HINDU ICONOGRAPHY. sankJia, dhanus, parasu, asi* (a sword), bana, sula,

paia, ahkuka, agni, khadga,

He

gada and hunta.

and

on

the hair

Tthetalta,

hala, musala,

should have fearful tusks

head

his

should

sented as shining and highly towering. possess

three

be

repre-

He

should

eyes and have a golden

coloured

body, resting on the back of a shat-hona-chaJcra.

On

the

Nrisimha

should be the figure of

there

reverse

in the yoga attitude, with his

hands resting upon the knees, the bent In the back pair

crossed in front.

of

two front legs being

hands he

should be holding the chahra,

and the

He

and be surround-

should be bright like the

ed by streams of flames. kasipu should

fire

This

killer of

have brightly

sahJeha.

Hiranya-

resplendent

nails.

His three eyes are the sun, the moon and the he should have a

brilliant

tongue and also very

bright tusks which strike terror into the

the wicked

;

and

fire

his hair should be like

mind

of

flaming

fire.

This Sudarsana-chakra troyer of the

is

praised as the des-

enemies

life of all

ripu-jana prana-

The weapons described above a symbolic meaning underlying them.

samhara-chah'a'm.

have

all

* Vajra

according

to

the

appears to be correct.

292

Pancharatrdgama

which

GARUDA AND AYUDHA-PURUSHAS. This meaning

described in several

variously

is

For instance, the Vishnu-purana

Sanskrit works.

says that thegada represents the

ahahkaia viewed

relation

in

(in

the material

aspect)

(mind) and

its

changeability

is

chakra, which

is

besides an

symbolises

bd7ia

the

The

jnanendriyas.

it

is

emblem

khadga

represents

kept

sonally bodiless assumes a

is

ously to

denote

that the

the

emblematic scabbard

the

of

in-

though per-

and

for the sake

idea intended

powers

nature are in fact the powers of

Lord

and

auidtja (ignorance).

body

The

The

of power.

lord of the indriijas, Hrishikesa,

benefit of his creatures.

the niana-s

:

haiimndiiyaa

asi or

bliTita-

represented by the

vldya (spiritual wisdom) while

which

the

to

tanmatras

The

principle

buddhi and the sahkha indicates the prin-

called ciple

Sahkhya

is

obvi-

of prakrifi

God who

is

or

the

of Nature.

The Kamikagavia and

following

the other Saivagamas attach

it,

some

of

the following signi-

ficance to the various ayudJias of ^iva

;

the trikula

indicates the three giinas of prakriti respectively called safca, rajan

sents Siva's divine strength

khadga, his valour iakti or

power

the vahni

is

The parasu

and tamas.

;

and power

the vahni

of destruction

;

(fire)

{§akti), the

his

samMra-

this last one,

further conceived to destroy 293

repre-

namely, all

pdsaa

HINDU ICONOGRAPHY. and attachments, and

or bonds

emblematic after the

of

bonds

and sorrow are broken

of sin

The nagas serving

body show the fortitude

his

the

also

which comes

enlightenment

the

under and destroyed.

ments on

consequently

is

inviolability

mandments and

laws.

of

viclhi,

or

The pMa, which

as-

as orna-

of Siva as

com-

his

a three-

is

fold cord or rope, indicates the threefold

bondage

maya and of work, delusion and impurity. The is the symbol of sound looked upon

of incarnated life consisting of Tcarma,

mala, that

ghanta

is,

(bell)

and

is

indicative

which

is

his mystic

as the original cause of creation, of the

mantra-svampa

The

sound-form.

of Siva,

ankiisa stands for the selective

what

atman In the Saivagamas the weapons and as soul. emblems of Siva are made to convey the same faculty in choosing

is

fundamental conception

emblems

of

Vishnu do

enjoyable for the

the

as in

weapons

namely, that Siva, as the Lord of Nature, wielder of his

own powers

and

the Vaishnavagamas,

as well as of the

is

the

powers

of Prakriti.

Bhaskararaya in his commentary on the Lalitasahasranama, explains in his own way the symbolic

meaning underlying the pdsa, the ankusa

and other weapons and emblems which are usually carried by the goddess Sakti^ 294

who

herself

symbo-

GARL'DA AND AYUDHA-PURUSHAS. Uses Nature or prah-iU as Sanskrit.

He

course

of

they would say in

quotes

authorities

favour of the

explanation he gives

what we are

led to see is that these

;

in

and even here

weapons and

emblems symbolise the powers of Nature and also of this goddess as the Supreme ^listress of Nature.

The Varaha-pumna

says that the sanhha

is

the destroyer of aridija or ignorance, the Ihadga is

is

the sunderer of ajnana or unwisdom, the chnh-a the wheel of time, and lastly the gada

destroyer of

worthy be

adharma

interpretations to

ethical than in

see

various weapons and

is

images

symbolism

which we have

Thus we may of the

or unrighteousness.

of note that here the

more markedly

is

is

It

is

made

to

the previous

referred.

that, in relation to these

emblems found

hands

in the

Hindu gods and goddesses

of

the

there

a consensus of opinion showing that the early

Hindus had probably a systematised symbolism appertaining to their iconoclastic art in cation to religion.

evidently

The key

to this

and cannot be

lost

its appli-

symbology if

easily recovered.

Yet, even here, research need not despair

the earnest investigator nothing asset than his

hopefulness.

as

is

;

and

to

more valuable

unabated optimism and untiring

Till

this

lost

29J

key

is

recovered and

HINDU lOONOGBAPHY. established to be the scientific canons,

true key according

to strict

nothing more than making mere

guesses in the dark regarding the meaning and

moral aim

However,

of

it is

Hindu

icons

is

really

possible.

worth remembering that even such

guesses have their value to those to find out the truth

who

and proclaim

discovered.

2tf6

earnestly try it

after it is