Elements of Hindu iconography
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out with his volume on the Hindu gods, on Hindu mythology and other kindred subjects. Such in fact ......
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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
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