Beruflich Dokumente
Kultur Dokumente
OF
HINDU ICONOGRAPHY
BY
T. A.
GOPINATHA RAO,
M.A.
Vol.
I Part
I.
::
1914
All Rights Reserved.
DEDICATED
WITH KIND PERMISSION
To
Kiritapati,
MAHARAJA OF TRAVANCORE.
Member
of the
By
HIS HIGHNESS' S
HUMBLE SERVANT
THE AUTHOR.
PEEFACE.
The
the
tall spire
first
Hindu temple
of the
objects
to
arrest
is
one
of
On
him on enquiry
or less curious
arms, holding a
spot
may
is
the
comprised
Hindu
religion.
Some such
is
foreigner,
more curious
sometimes tempted to
number and
characteristics,
legends relating to
HINDU lOONOGEAPHY.
from the learned natives
mythological
lore.
Then
at
Hindu
fact are
of the
he
last
may come
gods, on
subjects.
Hindu
Such
in
Hindu Iconography.
It is exactly
balg, the
of
Tranquebar,
known
as
Pantheon
",
Hindus
Moore's "
In
" Sketches of
first
"
was
Hindu
printed in
& Co., of
of the Eev.
Mythology
W.O. Simpson.
",
with a large
named
logy "
"
VUl
PEEFAOB.
Puranas and
to the
who is an
" Whenever
" sculpture
in India,
the history of
abundant
"
much
ideas regarding
must remain
branch
them and
;
it is
those
the
so entangled,
difficult to
so, until
of
less tangible or
extremely
is
for this
difficult
is different.
'
means
" that
any one
to be feared they
who
investigate the
and sculpture
"
The
of the
country as well as
latter contain a
"contain
" subject
all
;
the
good
what
is built
on the
to be steadied
and con-
or carved,
and substance
IX
II
books.
available
information
" firmed by
deal,
its
to
what
is
written
HINDU ICONOGEAPHY.
" It is
branch
all
of Sanskrit research,
whole
which
is
so
illustration of
literature. It
"
on a systematic plan
" so easy
satisfactory class
of
might
" desideratum.
" symbols
"
The
the
of
pantheon could
" delineations,
details of the
numerous
emblems and
divinities
the
of
with the
hoped
accomplished,
may
it
before
and
it
long
is
be
" attempted."
It
mation, which
is
available in
works on Iconography
indigenous Sanskrit
some
be well
of those
On
understood
to be
in
their
what might
own
version
of
their descriptions of
PREFACE.
here
remark about what they consider an uncouth representation or an immoral legend, they seem to have
stories
meaning
nor the
of
the
The
first
made by
extent was
that
many-sided Bengali
of
me
that I might
the subject of
Hindu Iconography
book on
to supply as far
was
be done without
pressing
much
it
could
fully
of the existence of
aware.
Soon,
the
relation
to one
that to
mythological
HINDU ICONOGEAPHY.
Travancore, I had on one occasion the good fortune
Silparatna
and on deciphering
yalam verse
it
small
came
my hands later
into
to be a synopsis in
fragmentary
on,
manuscript,
was found
Anisumadbheddga77ia.
Some
which
to be,
Mala-
of a bigger treatise of
Another
with consider-
it
from
agama
years previously,
but,
owing
to
the trouble to
this
want
of time, I
contained.
About
mine
of
of
minute
descriptions relating to
My
as well.
to
search for
in the collection
of a large
all
first to
The agamas
topics
thus, I
generally
deal
with
went on improving
collection
of
at the
many
other
While engaged
same time
my
Hindu
divinities.
PREFACE.
In the middle
of 1912, I
of writing out
images, and
a systematic
deities.
my
the
of
number of minor
of
description
far, it
struck
me that
to scare
matter
me away
of fact, I
but
As a
for the
my
cherished
by the enlightened
offered
Q-overnment
of
Travancore.
and promised
to sanction the
amount required
work.
for
The sympathetic
head
of
affairs
Travancore
in
vigour and
texts were
me
to
earnestness.
all
quickly
afforded a
new
The
required
Sanskrit
proceed
apace.
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,
value
various
was
me.
to
and
my
the photo-
my visit
me
enabled
It
iconographic
to
study
ing.
amateur kuowledge
of
and occasionally
full-sized
the
emblems
and
symbols
my
to
photographic
Wherever
upon
in
State,
the Madras
graphs.
the
outside
indented
there 1
and
ink sketches,
coloured drawings
of
consider
High
Court,
many photographs
visits
from
my
friend, the
who
secured for
Vakil of
my work
Presidency
business,
on professional and
and thereby
considerably.
Mr.
I received
the Madras
as
which
stinted help
late
it
facilitated
other kinds
my
of
work very
Narayanasami Ayyar
was
critic
have contributed to
Madras
XIV
PEEFAOE.
on Devi-worship.
hand
of
however,
Unfortunately,
on a sudden
all
the
of the
work
and
and the
complete account
of
known
am
which abound in
at the
this production of
mine, but
feel
will look
little
time for
much
first
work
extra
attempt of
official
been so heavy as to
my
like a
is
of this kind.
in
more than
its kind,
and does
complete presenta-
humble work
of
and
I take
of
induces abler
if
more
manner.
this opportunity
XV
of again
expressing
HINDU lOONOGEAPHY.
my
of
H. H. the Maharaja
Travancore
of
for
their
and personally
Bahadur
for the
has
all
P.
am
highly indebted
Eajagopalacharya
to
m.a.,
Dewan
b.l.,
c.i.e.,
difficult for
best
thanks are
Sastri,
me
it
My
due also
to
Pandit T. Ganapati
me
with
all
the
Superintendent
Archaeology,
of
Circle,
Western
in lending
me
his
have,
in conclusion, to
ciently
to
late
my
express
my
respected master,
M. Eahgacharya,
Madras,
gratitude
for the
M.A., of
suffi-
and indebtedness
Eao Bahadur
Prof.
which
he
has guided
me
at every
PREFACE.
stage of
its
invaluable
He was
progress.
suggestions, and
failing source of
was
inspiration
me
to
and encouragement.
my
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
32
Ganapati
..
...
...
...
36
67
Vishnu
...
...
...
...
69279
(a)
...
71
{b)
(c)
Chaturvimsati-miirtayah
Explanatory description
Vishnu
...
W) Minor Forms
Purusha,
of Vishriu
Kapila,
Dhanvantarin,
115
of
117223
...
...
...
...
225
...
245279
244
Yajfiamurti, Vyasa,
Dattatreya,
Hari-bara-
Vithoba,
Rahganatha,
Jagannatha,
and Manmatha.
Ayudha-purushas
and
Garuda
Adityas, including the Nava-grahas
Devi:
...
Venkatesa,
Nara-Naraya^a,
...
...
281
...
297
...
325400
...
Agni-Durga,
Jaya-Durga,
XIX
296
323
...
...
Vindhyavasi
HINDU ICONOGRAPHY.
PAGES.
Durga,
Eipumari-Durga,
Mahishasura-
Eambha,
palakas
Sarvamangala,
Uma,
Gaurl,
Lalita,
Parvati,
Balaprama-
Manonmani,
Eakta-Chamunda,
Sarvabhutadamani,
Varuril-Chamarida,
Sivaduti,
Yogesvari,
Bhau-avi,
Kshama,
Vijaya,
Siva,
Eiddhi,
Siddhi,
Bhadra, Jaya,
Ghantakarni, Jayanti,
Kali,
Arundhati,
Tripura-
Bhairavl,
Kirti,
Surabhi,
Aparajita,
Diti,
Krishria,
Asvarii-
Lakshmi,
Sri,
Mahalakshmi,
Bbumidevi,
Appendix A
disposition
Appendix
B A
and
of the
parivdradevatas in a Vishnu
detailed
...
description
...
of
145
the
making
Appendix C
of
images
Sanskrit
...
...
7]
160
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.-
central
Tiruvottiyur.
36
43
45
figure,
...
45
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
of
T, 8.
A = Trivandrain School
Madras.
A.
8.
Arts
images
A. 8.
Survey
45
...
...
...
...
12
...
14
...
18
...
28
...
29
...
32
M. Aroh^ologioal Survey
of Mysore;
A. 8. Bo =
Arohseologioal Survey of
I,
of
My = Arohologioal
of
...
by any
XXI
HINDU ICONOGBAPHY.
PAGES.
Durga,
Mahishasura-
Eipumari-Durga,
Eambha,
Lalita,
Sarvamangala,
Uma,
Gauri,
Parvati,
Balaprama-
Manonmani,
Sarvabhutadamani,
Varurii-Ghamunda,
Eakta-Charounda,
thani,
Yogas vari,
Sivaduti,
Bhairavi,
Kshama,
Vijaya,
Eiddhi,
Siddhi,
Bhadra, Jaya,
Ghantakarni, Jayanti,
Kali,
Arundhati,
Tripura
Bhairavi,
Kirti,
Siva,
Surabhi,
Aparajita,
Diti,
Krishija,
Asvarii-
Lakshmi,
Sri,
Mahalakshmi,
Bhiimidevi,
Appendix A
disposition
Appendix
B A
and
of the
parivaradevatds in a Vishnu
detailed
...
description
...
of
45
71
160
the
making
Appendix C
of
images
Sanskrit
...
...
xs
...
...
LIST OF ILLUSTRATIONS.*
TO PACE PAGE.
PLATE
A.
Yantras
image
of
B.
of
C.
varam
(A. S.
B. Sarabhamurti,
F.
Trimurti
M.)
Tribhuvanam
(A. S.
central
Tiruvottiyur.
M.)
11
...
32
...
36
...
43
...
45
figure,
...
45
Nagalapuram
I
II
Do.
ot
of
of
...
45
...
...
...
...
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
XXI
HINDU ICONOGRAPHY.
TO PACE PAGE.
PLATE
X Fig.
Unmatfea-uohohhishta-Ganapati, Ka-
1.
ladi.
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
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
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.)
...
...
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
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
143
figure
of
XLV
Do,
XLVI
Do.
150
Kevala-Narasimha,
Badami
...
...
XLVIII
123
Madras
Varaha, Belur
Standing
XLVII
93
...
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
169
XLIX
Do.
Mahabalipuram
...
170
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.)
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.
LXIX ChennakesavasvamiD,
LXX Fig.
1,
1,
2,
Beliir
Madhava, Belur
Hari-hara-pitamaha, Halebidu
Dattatreya
(A. S, Bo,;
LXXIV Hari-hara-pitamaha,
.'..
2U
...
214
...
215
...
215
...
215
A,K., Thcosophist).
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
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.),
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
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
...
313
...
314
...
314
...
S.
Bo.)
Bo.)
...
315
316
Madeyur
...
316
...
316
S.
XCIII Fig.
1.
Surya,
XCIII--Fig.
2.
(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
(T
OX
-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.
...
377
2.
...
377
1,
s'aradadevi,
Trivandram
...
378
2.
Tirunandi-
kkarai
CXYIII. Fig.
1.
...
379
...
383
LIST OF ILLUSTRATIONS.
PLATE
TO FACE PAGE.
...
ol'
CXXII.
OXXIII.
383
384
386
391
Do.
Madras Museum
...
394
Do.
Kumbhakonam
...
395
Plan
of a
of the parivdradevatds in
page 20 of Appendix B.
LIST OF
Adityapurai.ia.
Agnipurana.
Indrakshikalpa.
Ahii'budhnya-samhita.
Kamikagama.
Amsumadbhedagama.
Karariagama.
Anandalahari.
Kriyakramadyoti.
Amnaya
Kumaratantra.
Lakshana-samuchchaya
Arehseological Survey of
Bhagavata-purana.
Lihga-purana.
Mahalaksmlratnakosa.
Brahmanda-pura9a.
Brihad-Brahma-samhita.
Mabopanishad.
Maitreyyupanishad.
Mantramaharnava.
Matsyapurana.
Brihat-samhlta
Manasara.
Bhavishyat-puraria.
Bodhayanagrihya-sutras.
of
Varahamihira.
Brahma -purana.
Markandeya-purana.
Mayadipika.
Nalayiraprabandham (Tamil).
Charidlkalpa.
Chudamapi-nighantu
purusha (Tamil).
of
Narada-Pancharatra-samhita.
Mandala\
Narada-puraria.
Naradasamhita.
Devibhagavata.
Devimahatmya.
Nirukta of Yaska.
Divakara-nighantu
Nrisirhhaprasada.
of
Sendanar
(Tamil).
Garuda-purana.
Padma -purana.
Panoharatra.
nedy.
Pingala-nighantu (Tamil).
XXIX
HINDU ICONOGRAPHY.
EaiamaUngikalua'
Tanfcra-sara of Anandatirtha.
Ramayana
Tripurasundarikalpa.
Bupamatidana.
Tulasimahatmya.
Vamana-purana.
SaQdilyopanishad.
Satapatiha-Brahmana.
Vaikhanasagama.
Varaha-purana,
Sarabhatantra.
Vatulasuddhagama.
Saradatilaka.
Vayu-purana.
Sarva-siddhanta-sangraha.
Vicissitudes of
Saundaryalahari.
Saura-pura^a.
by Kunthe.
Vishnudharmottara,
Siddhanta-saravali.
Vishriu-purana.
Siddharthasamhita.
Vishriusaliasranama.
Silparatna.
Visvakarma-silpa.
Sivapurana.
Viitakhanda of Hemadri,
A work found along with the
manuscript of Silparatna and
Sattvata-samhiU.
Skanda-purana.
Sritatvanidhi.
Sudarsana-sataka.
Suprabhedagama.
whose name
Aryan
is
Civilization
unknown.
after
,,
the
is lifted
hand reaches
finger of the
,.,,..,
,,
hikka-sutra
the
to the height of
^ n
,
.,
hand
is
and the
palm of the
ring-nnger
thumb
;
was
bhe book
the
and the middle finger are stretched out and kept like
the legs of the lette r V. The palm of the hand faces the outside.
This pose of the hand is meant for holding the Mi'ikha, chakra
and other weapons.''
(See Pis. XX and XXII).
fore-finger
Chhannavira
is
Chnannavira.
of the chest,
ydni or the public region, from which they turn to the back and
thence to the
Lakshmana on
shoulders.!
PI.
LV
and
(See
of
the
Varaha
figures
XXXI
of
in figure 1, PI.
Eama and
XXXIX).
HINDU ICONOGRAPHY.
Page
X Line
XVI
^^
11
6.
1.
_,
14.
Omit of.
Omit handles.
Margin
of 3
13 Line
14_
,_
5.
14.
24.
For
For
PI. V,
figs. 4,
15
3.
,,
For PL V,
figs. 1,
44
5 and
For
For
read
and
read PI, V,
6.
figs.
5 and 6 read
4,
2 and
saorificies
1,
figs.
PI.
V,
3.
read
sacrifices.
is.
Omii colour.
For great rea(^ a great,
For back and front rearf. front and back.
For
Por
would.
will reatZ
house or out.
Pis.
XLIX,
L, LI.
For Trivikrama
krama panel
Line
248
249
249
Page 211
,,
,,
,,
,,
247
,,
,,
14,
3.
11.
f.n.5.
,,
f,n..'J.
For
For
Panel Stone
read Trivi-
Stone.
Line
f.n.5.
249
Omit of.
For latter read later.
For two other read other two.
For his read its.
For PL LXXXVI read PI. LXXXV-A.
For iconoclastic read iconoplastic.
For is more read is a more.
For suprabhedagama read Suprabhedagama.
For PI. LXXXVIII read PI. LXXXVII.
For
PI.
PI.
CIV
read PI.
XGVIII.
Sringari
For
read
XCIV.
Srichakara
Srichakra
and Pleti
and Plate
Srmgeri.
from below.
shrine and.
GENERAL INTRODUCTION.
THE
origin of
known.
Many
believe
its
it
followers of G-autama
Buddha adoring
to
their
master
on his
indi-
among
Gautama
the
of
Buddha.
to
itself.
Yona
is
in
Patanjali defines
space."
mind on some
This process
is,
he says,
" of
two
The
HINDU ICONOGRAPHY.
the
mind thereon
is
merely directing
There
to be there."
much
its
Yoga
of
is in this
pati Misra, a
fixing
existence
is
The
and so on.
country
Vachas-
of the
Yoga
doctrine,
the
word
anusasanavi
in
Patanjali's
and
Hiranyagarbha
This
first
old sage
successor Varshaganya
his
Vedanta
work
of
image worship
time.
It
among
is
development
the
system, which, as
we have
of
seen, dates
the
if
Yoga
from before
assigned by
system
because
is
There
is
Buddha
himself
is
INTRODUCTION.
and truth
may
tured representations of
and
it
evidenced by sculp-
is
Buddha
Again, Panini, to
whom
certain
Orientalists
aphorisms
(v.
of livelihood
The word he
thing
this
made
after
an
(v. 6,
do not take
uses to denote
96) aphorism
meaning whereof
original.
is
any-
Commentators on
of
making a
living.
them
* See
fig.
61,
on
p.
alms
110
to those
of V. A.
HINDU lOONOGBAPHY.
exhibited them.
they
are
Brdhmana, a supplement
Bralimana*
of the
Shadvimsa-
Pancliavimha-
to the
is
or otherwise of image
opinion
is
divided
35),
'
tion,
of
On
hymns
clear references
ff).
"From
the
Germ. Orient.
common
appellation
or
'
we may conclude
in
of
men', B. V.
imagination assign
human forms
to
iii,
4,
merely
their gods,
'
p.
210.
INTRODUCTION.
We
now
One mode of
are
to
have become
common
representation in the
for,
addressed as intelligent
hymn makes
They
beings.
are
also
manner an idea as
commonly in use
"
What
to the
:
Siva,
of
Skanda
fact
of
temples
Thus
image worship
suggest that
unknown even
likely that
was
Vedic Indian
to the
probably
;
and
it
not
seems
do so afterwards
to
image worship
Literature.
also.
to
Such
is
the evidence as
to actual sculptures
and
to references
to
images
HINDU ICONOGEAPHY.
The
distinctly
Hindu
known now,
in character,
is,
South India
as far as
it
From
is
the
of the
drapery, from
it
may
down
be put
many
to belong to
is
other
to the
is,
This remarkable
Christ.
interesting in
two ways
it
at
Lihga.
From
this
form
of a
at
as old as the
least
2nd
century B.C.
Then
the
again,
stamhlia discovered
states
on a
Garnda-
Besnagar quite
recently,
inscription
in
in
Bhaga-
honour
of
Vasudeva.
For
known
deva
inscription
and from
This
is
this
we
INTEODUCTION.
that the worship of Vasudeva in temples in India
The
following are
some
the noteworthy
of
tion of
II,
of the
Gupta
king, Chandra-
The undated
was
allotted for
the lake
its
worship.
Certain
said to
is
have
The same person also built a temple to Chakrabhrit (Vishnu). The Gahgdhar inscription of Visvakarma, dated A.D. 423-4, records that a person
built a
temple
and dug
for
Iran stone
his
younger brother
The Khoh
for the
god
copper-plates of Maharaja
528-9), begins
HINDU ICONOGRAPHY.
with the famous
Bhagavate Vasudevaya
)uii)io
The
in inscriptions
of the
Om
',
Bhagavatas.
following
Siva cult
mantra
twelve-lettered
'
Chandragupta
Sambhu
records the
II,
;
while another
Kumaragupta,
and dated
G-.E.
96 (A.D. 415-6),
the erection of a
number
of
nriakes
mention
of
additional buildings
The
facts disclosed
of
of
developement.
II.
The
of
objects worshipped by
Hindus
are images,
bana-Iingas,
tanks,
Besides these,
local
trees
and sepulchres
of
saints.
minor objects
of
of
INTEODUCTION.
and the Saiva.
In this
classiiication
may
well be
are,
manner
fact,
or other to
related in
Vishnu or Siva.
some
As a matter of
Vishnu and Siva
The images
of gods
and goddesses
are worship-
many details
in respect of ceremonial
conducted in
rule
is
that
many
it
is
only occasionally
its
own images
and worship
is
offered
to
On
all
only occasionally.
them
in
many
families
is
Salagrama,
river
beautifully polished.
one
of the
ammonite
shell,
which
^
is
,
well-known tributaries
9
of the
Ganges,
is
HINDU ICONOGRAPHY.
famous
Each
in India
for
deposits of salagramas.
its
visible
and
The salagrama
Vishnu.
upon
is
in consequence looked
Eemarkable
as a representative of Vishnu.
often offered to
There are
some
treatises
and evaluation
of
it
particular specimens of
examination
on the subject
of the
salagramas
it.
also,
the disposition of
many
is
The number
utilised in ascertaining
which
The Varaha-'purana
of
it is
to
states that
is
them
which are
efficacious,
of the size of
an amalaka
Salagramas may be
of
the
red, blue,
They
Those salagramas
following
very
colours
10
PLATE
"Uf
A.
uy ly
mm
fl:
111
e
e
e
sn
i|^
:n
3 m
111
4T
f?t
5IT
3T
Uf
Jti
t^
jh
JTi
YantRAS.
group
of
of
Eama made
of a
INTEODUCTION.
the river-goddess of the Gandaki requested Vishnu
to be born in her
womb,
to
in monasteries called
They
old households.
are worshipped
but
Agamic
the
by Vaishna-
Vaidik Saiva
the
of
in certain
and the
Saivas
to
and
Aniruddha,
Sridhara.
to
Narayana,
Kshetra-Vaishnava
Lakshmi-Narayana.
is
{Mrti)
sons.
Sdlaqramas
of
blue,
sin,
all
the
colours
etc.,
and
(?),
said to belong
grant peace
ibhoga).
Even
might be worshipped.
and
pieces
The
fol-
having too
spiral
(?),
many
many
big
lines,
of
chakras in a
number
of holes or pits, or
spirals, or
mouthed
number
ill
line
HINDU ICONOGRAPHY.
Bana-lin^as mostly consist of quartz and are
They
egg-shaped pebbles.
Bana-lingas.
cnbed
of
m
.
Trilochana Sivacharya
are des-
^^
the Siddhanta-sardvali
in sizes ranging
from the
They may be
may
also
be of the
They have
like
to
an egg
same colour
The
the
as
x>ltlm
hana-linga.
cow
in shape,
should
or
Mahendra mountain,
in Nepal, in the
It
crore of hana-lihgas,
and Kaligarta.
Yantras
are
and
mystic
certain
magical
plates,
sometimes drawn on
or,
to
ills
association.
spirits,
influ-
and to bestow
INTRODUCTION.
on him happiness, wealth
from
liberation
Sometimes they
births.
worn
are
or silver cases.
and the
of the yantras
Srichakra.
ijantra,
holiest
among them
is
the
under
see
It
is
is
held
especially
The
pious
Hindu
regards the
reverence due
to a divine being
Cow.
and
goddess-mother.
Hindus
to
on
regularly
all
is
On
Fridays.
certain
specially worshipped,
by
Hindu an avatara
the mythical all-bestowing cow of
to the pious
Among
Every cow
to worship.
of
is
Kamadhenu,
brahmany kite,
the most sacred
and when a
Birds.
pious
of these birds
offers
Hindu happens
obeisance to
if
it.
It
is
to
see
one
invariably
considered to be a
HINDU ICONOGRAPHY.
be seen
business.
Worship
is
The Ganges
etc.
in
considered to
of
is
is
be
to
those
esteemed
very meritorious.
South India
is
the
for instance,
especially worship-
of India
go to
Sanghamukha, which
In a
Kumbha-
to
become
specially
sacred
celebrated as the
in
North India
of
is
Mahamakha.
in
relation to
the
month
Magha
on
is
and
INTEODUCTION.
Tree worship
feature
in
The asvatiha
popular
Hinduism.
"^
Trees.
"^
(Ficus
tree
Buddhist
is
religiosa)
of
always
is
The sacredness
common
also
is
of this tree
Buddha having
new-moon
On
it.
falls,
made
asvaWia
to the
the
of
the place.
vriksha
of
famous
the
temple at Madura
tree
by
the
peculiar
is
of sthala-
For instance,
Minakshi-Sundaresvara
jambu
The
(ocimum basilicum)
is
held
in
tulasi plant
high esteem in
even to-day.
The
and pleasing an
is
offering to
Vishnu as those
of the
Another object
Sepulchres of
saints,
of
adoration to the
^hc sepulchre
of
Hindu
saints.
is
Places
HINDU ICONOGBAPHY.
me-
mory
of saints
country.
racharya,
and
and
also
Eamanujacharya and
of
Sahka-
Madhvacharya,
teachers
great
The temple
respective followers.
of the
famous
by
all
who go
pilgrims
there
is
worship
to
Many
other objects.
etc.,
are also
worship occasionally.
serve
The conch
worship.
spirals
in
of
into objects of
shell
is
used to
the conduct
of
which has
its
it
as springing
up from within
even worshipped.
and
as
and
specially valued
In
all
such, which
be
any
made
these cases
is
it
deification,
may
object of worship.
is
of religious stiuctification
object,
made
it is
into
an
not the
worshipped in reality:
may
be,
is
understood to
suit-
INTEODUCTION
III.
chala
classes, as
of images'.^*^"^
The
made
able).
are those
which
easily portable
meant
out,
of
festive
haliheras,
occasions,
monly known
and
permanently
is,
vlra
varieties
of
comand
stone
They
Dhruva-
called
sthanaha, asana
and
the
of
are
of
made
generally
In the case
purpose of
for the
fixed in
in
as
are
and
employed
respectively.
beras,
* are
services,
the
procession
in
and snapana-beras,
bali to
of
images
archana
for
on
are
moveable
is
of these
abhichttriJca
standing,
varieties.
sitting
These
and reclining
(^i^jrT^Rt^H^irt)
17
INTEODUCTION.
images
of
who
those
desire to attain
realisation,
yoga or spiritual
self-
prowess.
There
is
and
hhasa*
all
name
Chitrdirdlia is the
and chitrabhasa
relief,
cliitrU-
refers to
images painted on
round
is
if it is
half
represented, say up
viuhha-lihga, and in
known
as Trimurti in
what
it
is
is
and objects
like
avyahta or non-manifest
form.
f%fr5=E^
II
runs as follows
^(dsd
ersbsD/r
^s)Tsi|L/i-li_^
which
ment
^^
is
is
Sl^^wQunek^
Quujir/rtp,
II
18
this passage
f^^fcT'T^
of
f^
'
that
measurefcJl^^prra-
INTRODUCTION.
The images
of
They might
images
of
There
reclining.
{raiulra
terrific
saumya) nature.
pacific {santa or
and
number
large
The images
weapons of war.
of
heads, and
skulls
class
first
'hands carrying
of terrific nature
have
round their
and bones.
worshipped
or
are in
ugra),
or
The
nails,
but the
is still
is
and
for the
of
images are
The
sS,nta or
saumtja form of
and
for
objects.
the attainment
Among
aims
of peaceful
and
to be ugra-murtis
and
be
terrific
terrific
in
nature and
Yama, has
appearance.
set
The
up in
INTRODUCTION.
Among
be
standing,
it
or
sitting
enslirined in
must be
away from the
reclining,
a temple built
far
The reason
The worshipper
patent.
in forest recesses.
places
is
hill
quite
such
of the
yoga
tops and
of the choice of
become
to
him has
human
habitations.
for
to be away from
is
the form
within
towns and
be the giver of
villages,
all
by
all
sorts of
conditions of
form which
it
happiness to
to
conceived to
is
its
worshippers
be
life.
is
as
The
v'tra
form
of
to all
Vishnu,
enemies,
may have
inside or outside
The
towns and
ahliicharika form
it
built either
villages.
which
is
worshipped
for the
enemies
is
to be set
up
for
is unfit
INTRODUCTION.
and
tracts, fortresses
cribed as being
mountains, marshy
are pres-
fit
temples
rasldmnte satrudinuiakhe).
(large
IV
Various kinds
forms
of central
the
different
described in the
deities,
according
Temples might be
the
on the tops
shore, in villages,
and
foot,
in
The temple
live.
of hills
of
and
at their
work
as
slightly
synonymous
strictly speaking
five subjects,
vidya, the
are
is
an dgama
differs
but
names
The
and destruc-
is
21
five
Some-
dgama
out of the
INTKODUCTION.
corner of a village
west
of the village
of
the north-west.
of
Subrahmanya,
The Sapta-Matrikas
in
or Mother-
to be set
up on the banks
Jyeshthadevi
of tanks.
domed
central
Some
them
of
are square
or
circular {vritta) in
rectangular
(sama-cltatarasra)
(ai/atasra)
oval (vrittatjata).
or
Of
and standing
sitting
deities,
figures
and the
of
elliptical
varieties
images
Vishnu.
of
of
Vishnu may
temple
must be
to the east
must be placed
head
if it
of
If
have
its
the temple
to the west
the south,
or
the
east,
is
the
head
to the left
of
the
of the
INTEODUCTION.
worshipper
of
is
temples facing
"to the
right of
the worshipper.
V.
It
The
effects
of
worshippinif the
different deities,
is
per
ends.
When
to
achieve
the diety
certain
in the
is
desired
sayana or the
is
said
to
produce different results to the worshipper according as the head of the image
or east or west.
is
the head
If
if
victory (jayadam)
results.
The
and
daily
in public temples is
of
removes
Worship
the
in
it
south,
worship offered
to
Vishnu
The
The
worship of
children
in the west,
if
place.
the
increase of
worship
if
in
is
in
all
population
in
the
ailments,
offered to
a beautiful body.
Kama bestows on
and
of
Surya
mental.
the worshipper
his
INTRODUCTION.
votaries freedom from hindrances in their under-
The worship
Uma
Duroa and
while
takings,
Lakshmi
of
wealth
brings
and
Siva
may
results that
victorj'.
destroys poverty,
speech.
grant
is
of
their worshippers
said to be capable
KamiJuigama,
be expected of
all
the
the various
all
gods.
upon
Vishnu
of
a god
up
set
is
for
worship in the
south-east, the
immoral
crowds
in the
if
will
if
of
if
jected to
demons
in the west,
and
all
the
if
in
in
the
the
bad conduct
the people
in
the
east,
up
set
it is
south-west,
sickness
women
If
if
will
if
in the north-
sorts of affliction.
It
is
be sub-
only in the
may
be
INTRODUCTION.
abundance
image
The
of children.
setting up of an ugra
bited.
happens to be a raudra-murti in a
village, a
effects, or at least a
it
tank must
Such things go
to
to
A
middle
ness,
kantamurti
may
of a village.
long
life,
be through
the
hands
of
persons of
Thus, a Vaishnava
to be
image should be
temples by a Bhagavata
mana who
is
the caste
set
set
up
up.
in
the
Maga Brahmanas
Surya
respectively
those
who worship
the Matri-mandala
Saptamatrikas.
25
HINDU ICONOGRAPHY.
VI.
who
To
is
Hindu
to reside in everything, as
point
in
images.
and stones.
in stocks
may
much
or
may
His God
of
advancement
man
who has
within
temple or
those,
himself, there
who have
are prescribed,
is
for
To
and rules
of various
in relation to conduct.
particular.*
the
wisdom.
of
any
but to
spiritual
realised
down
knowledge and
divine
a yogin,
of the
of
worship
The Hindu
sastras
The Jahala-upanishad
distinctly
ffra^
STfrTTT
f^T^o'Tr
Chhalari's
charya's Tantra-sdra.
26
for ignorant
men.f
commentary on Madhva-
INTEODUCTION.
Again, the worship of images,
re-births
who
yogin,
desires to
it
is said,
brings on
to be resorted to
free himself
by the
from them.*
thought
of thinkers is
tised
and
sculptural
representations,
symbols.
All these
history of
humanity
the level of
and
concrepictorial
signs
and
utilised in the
down to
the common man and lifting him up
for bringing divinity
This
sation.
done.
hands
is
Sculpturally
in
it
may
be said, the
number
of
of attri-
is
pose maintained by
hands,
the
conceived
and the
it.
is
number
gunas conceived
of
;
27
INTEODUCTION.
to approach as nearly as possible the description of
Even
in
image worship
An
symbol meant
to
may
compass-drawn
Hindu even an
according
serves the
image,
ill-shaped image,
same
but one
in
to the
made
his sastras
provided
it
is
Similarly,
circle.
this negligence
to
of
make
largely
from
that
of
the
Greek.
differs
While
INTRODUCTION.
insists
is
Hindu
When
as beautiful as possible.
of
attributable
Neither the
is
responsible for
ugliness.
VII.
The
the
Decadence of
Indian Art and
its causes.
India.
arts
There
of
is
sculpture
and
painting
amount
attained an
The Indian
in originality
and vigour
in
is
often unsurpassed.
was not
tied
down by mechanical
of art in later times.
was guided by
his
own
rules,
which
The
early
observation and
made him
29
able
to produce
very
HINDU IGONOGEAPHY.
pleasing results.
He
had an eye
free
The
first
this natural
of
Hindus as well
The
as the Buddhists.
various
came
various attributes
by
The sculpturing
various hands.
its
complicated conceptions
ordinary
human
its
to be repre-
beings
form
the
in
such
of
of
extra-
and
who cannot
its
is
Like
also has to be
motive.
To
those,
sequence
of
The con-
The mediaeval
art.
wanting
period
in really noble
of sculpture in spite of
of
Indian art
and strikingly
many
of these
of
is
his
not
artistic pieces
having more
is
well
known
that even
30
in
INTRODUCTION.
motive
and the
combinations
these
of
The
their
in
is
art
that
it is
far
from easy
for
artistic.
that
for the
down
making
of the
amount
human
portions
and measurements
human
beauty of the
and
of the
There
Agamas devoted
of attention to the
sequence
Agamas
of images.
a large
and organs
in the
is
as a con-
down
the pro-
body.
The
belief
that
Tantras.
The
artist
much
on
Agamas and
in
the
had no freedom
his imagination
later
of action.
Not
genius of the
although there
artist,
is
an
under any
Ayama
could."
31
circumstances,
image as best as he
INTRODUCTION.
With
the sculpturing of
it,
in
of very
inferior
workmanship (See
and whether
or to other causes,
due to want
of
Kajaputana,
Bombay
Central
Eadha,
modern marble
able to
of
images
of
of
prob-
all
and
India
the
Agamic
ability,
of
In
knowledge
results.
B.).
a disregard of the
is
it is
it
PI.
adopt
the
in
and some
Krishna and
Ganesa and
very pleasing
sale, are
artistic
in
reality.
a few of
Freedom
for
them
are even
the display
of
art
be treated as
and the
art of
an exception.
image-making cannot
Hindu
but he
down
PLATE
B.
a
P
ic3
-a
c3
J4
c3
INTRODUCTION.
VIII.
If
from the
of India
cannot
have been
Stages in the
evolution
f6a?^Tof"the
fail
variouTperiods!*
different
To
as elsewhere.
and
later
realistic
sculptures.
necessary to
of
the earlier
peculiarities of
it is
of artificial rules,
a desire
on the part of
plainly
in
visible
though
formed,
is
not
stiff
and severe
in
its
As
in
later
mens.
fully
human
In his
work.
his
There
merging in
marked
of the
line of
is
gentle
is like
little
the
two gently
distance from
Whereas,
33
less
the outline
in later sculptures,
HINDU lOONOGEAPHY.
we
the thistle
flower
the
lower
of
portion
circular
represents the
In the
artificial in
The
face itself
The
while
disproportionately
it
is
is
specimens of sculpture
is
smaller in proportion
accurate
somewhat
is
long.
earlier faces,
art.
In the
is
invariably
it is
really
demanded by
later
is
its
sides
upwards.
that
it is
to
the
awkwardly attached
It is so
turned
to the face
alone enough to
be quite modern.
the
of
nose, the
acutely
making up the
nose,
works
of the
later
all
period.
example, the
muscles of
34
The limbs
are also
the
upper part
of the
INTEODUOTION.
chest iu male figures are so modelled as to protrude
in relief with their margins rising
abruptly from
The
folds in the
is
the dress
shown
is
and natural.
very effective
delicately
that there
down
which
a certain
is
mode
of the
The
to flow freely
of the figures
of
the sides
it
clothes.
amount
of
of the folds
is
very strik-
ingly artificial.
down
to the ankles,
protrudes somewhat
forward.
The
smaller
folds
are
represented as
marked by a couple
lines slightly
descent
cloth
worn
forelegs,
and
deep-cut equi-distant
downwards.
there flows
of
the lower
down
On
as a girdle,
HINDU ICONOGEAPHY.
the form of a fan (see the
figs,
on
XXXV
PI.
LV.)
and
folds in
artificial
less
than those
and
less
unpleasant in effect
Hindu
sculpture,
it
regions of India.
The second
may
school
is
first
comprises
Mathura
calls the
school.
Chalukyas
of the Pallavas of
The
of
Badami and
Kanchi.
All
also
by those
same
and elegance
characteristics of simplicity
The South
corresponding to
of a later period
Pandyas
style,
with
The
its
is
is
distin-
extremely
C).
and we notice a
PLATE
C.
a
a
o
00
n
a
^^ raff^ iil^E^S?
:_.gat
*4
To
INTEODUCTION.
same
they
may
of the
country
subjects, although
different
kinds
of
ornamentation,
may
clothing,
The
closely the
by the sculptures
is
of Bengal,
at once recognised
in
the same
head-gear,
which resembles
found
be
fourth school,
third in
is
respect of
chiefly represented
Assam and
Orissa.
It
To
XCIII).*
these
modern sculptures
Presidency
LXXII and
PI.
2,
may
are,
and elsewhere,
and
also
Bombay
new
the
Madras Presidency.
PI.
They
2,
to
form anything
like
which
one or other
of
the
first
three
schools
above
'^
We
Mod. Eeview
for
known
Bengal as
in
March, 1914,
p.
37
261).
of the
pan type
(See
HINDU ICONOGEAPHY.
IX.
It is
what may
Vicissitudes in
the
Mstory of
gods,
objects of worship.
As time passes
be popular
to
discarded.
Similarly,
and
unknown
time they
in
The
famous.
A.D.j
an
be
to
too
object
is
worship.
of
of
is
of
Sri,
are
first
Durga and
still
popular;
chapter
set
to
those
fame
are seen
Jyeshtha.
to religious
also
New
earlier times
eventually
is
evidenced by the
Bodhayana-grihya-sutras a whole
this goddess,
hymns
veneration
upon
Jyeshthadevi,
greatest giver of
large
female figure
in
38
ignoring
the
all
the
good
of three figures
middle
with
INTEODUGTION.
male
bull-headed
figure
now
of the
often thrown
temple compound
occupy
suffered to
uncared
left
This
away
(see
when
and,
rarely
its
and no worship
for
CXXI),
PI.
is
left
it is
offered to
is
is
it.
in
it
She appears
of
pox
there
is
an image
of hers in the
women
occasions by the
Another instance
of
is
of small-
Bhulesvar
worshipped on certain
there.
such a vicissitude
may be
Vishnu.
figures of
the
Almost
the early
all
set
up
set
up
in
an image
is
them
Nrisimha
of
As
vimana
of
central
a matter of fact
shrine or the
of
of
of
Narasimha
the central
Separate
and Varaha
in
the
palmy days
39
of the
Chalukyas
HINDU ICONOGRAPHY.
of
Badami and
no one hears
But
of
South
of
considerably waned.
belief in
^lgra
murti, will,
if
very
he, being
an
common
or
Visakha
in
is
known
is
may
name
of
Subrahmanya.
is
generally by the
India
does
but
It
favorite deity.
this
god
north
is
is
goes
is
to
Because
other
parts
of
40
the
country.
Probably
INTRODUCTION.
Subrahmanya was
This figure
is,
is
attitude.
is
now
are even
One such
replica
change in Hindu
images
at Bagali
Madras Presidency.
form
of this
of
of it
is
The
rare.
of
X.
New
^
JPnlo*'"''
and
come
deities
* '^''^
time.
This
is
or three causes.
One
we
of these
In
S.
is
India
ing Saiva
For instance,
generals.
Tirujnanasambandha and
41
Vagisa
HINDU ICONOGEAPHY.
(Appar) were also contemporaries of this king. All
these three are canonised and their images are seen
in all
any
sort of
larly,
there are
images
saints enshrined in
South India.
Vaishnava
numerous Vishnu temples in
and
for other
Simi-
historical
of
minor gurus
Eamanuja,
Vedantadesika
also like
and Manavalamamuni.
In
Bhima
is
near Pandharipur
Pundalik, to
whom
Purandhara
Vitthala
more or
Pundalika-Varada
or
Images
like
most
in
these are
cases,
and not
unknown
is
in
N. India, and
indeed
little
under-
stood in S. India.
The
names
known
of
to ancient
Kachchi.
ram dedicated
rise to
new
Tamil
There
of certain
is
literature
now
temple in Conjeeva-
to Siva as Kachchiyappeavara,
42
is
which
PLATE
D.
Stone
Conjeevaram.
INTEODUCTION.
name
is
literal
meaning
name
of the
'
of the
god
is
Tamil form
correct
the
of the
god Kachchiyappa
'
hapa
The
But
Jcachch-
is
of the Tortoise,
or
'
and
must be
embodying
up under a
comer into
is,
This new-
however, entire-
ly forgotten,
tree in the
in the
temple
of sculpture
really represents.
A similar
occurrence
may
be seen in relation
to the
of the
The
this
old
in
of
Tillai or Tillai-vanam.
called
When
or
the
Chirrambalam
of
much
the
royal consideration.
'
grew
in isize
by the
HINDU ICONOGRAPHY.
by successive kings,
addition,
mmidapas and
gopuras,
retained the
old
name
of
and
much
Chittambalam
as
Appar and
easily Sanskritised
fore the
There
as Chidakasa.
quite
There-
or ether.
diJcasa
in
tisers of
Chitsabha.
The
is
is
borne in
mind.
means a
hall
sabha.
Thus
which
is
made
name is
easily
if
general-
is
balam underwent
out,
pro-
Chidambaram,
the element
ceived to represent
is
became
this
form into
in
is
by the
also
The popular
and
It
Chirrambalam by Tiru-
still it
Chirrambalam,
Sundaramurti.
later
praMras and
and so on
tanks,
jnanasambandha
of
in
Tamil
translatable in Sanskrit as
arose Chitsabha,
is,
hall.
of
the sphatika-lmga
Sectarian prejudice
images.
A very
may
new
be seen
PLATE
F.
INTEODUCTION.
in the creation of Sarabhamarti as a manifestation
of Siva, considered to
man-Hon
incarnation of Vishnu.
we may
bird
so call
and
it, is
beast.
is
an image
if
Another example
the case of what
is
of this
known
tendency
seen in
is
as EkapadamSrti.
This
Brahma
Universe
is
is
meant
Supreme Grod
of the
This group
Him
have evolved
In opposition evidently
side,
the Vaishnavas
Him.
said to
is
instance
is
An
Vishnu
interesting
is
have
is
Brahmin-
the story of
HINDU ICONOGEAPHY.
Images representing
him
may
the chakra,
is,
to
XI.
may
It
UniversaUty of
the rules of Tantras
andAgamas.
Vishnu
same
is
details,
members
ing of the
constituting
whether
theme,
the
Trivikramavatara
image
the
Bombay
in the
West
The only
East.
images
belonging
country
is
difference
to
the
various
in
the
parts of
the
Varahamihira
says
and the
details of ornamentation.
of
observable
desd.nurupabhushana-
veshalankara-murtibhih karya
pratima
lakshana-
This means
of
the images
should be
worked out in
down
in the Bastras,
*6
when
set
up
to
in
INTEODUOTION.
the neighbourhood, bestow prosperity and progress.
It is thus required that the
features
and the
tion should be
outUne
details of clothing
made
to vary
of the faces
and
and ornamenta-
was allowed
or encouraged.
It
cannot be seen
canon
of art other
Agamas and
the Tantras.
observable everywhere
arrangement, say,
ing to a subject,
in
the
general
new
From
the uniformity
it is
belong-
down
is
produced by
artists
belonging to
down by
results
all
have been
parts of the
apt to be bound
is
rules.
XII.
In
going
through
the descriptions of
various images,
the
as given in this
ce^in^cu1iptu?e
Slerstandinfof
^ few
*^|tg."*^*"P*'^^
instances,
in
which
the
HINDU ICONOGRAPHY.
Taking the images
ant details.
Si5rya, for
down
sun-god
of the
Agamas
lay
and parts
In the sculptures
Bengal, Orissa
of
of Central India,
made
to reach the
to the
shoulders.
Agamas and
is
it
clear
that
lotuses.
cation
it
of
as referring to
number
texts are
of
the
in
differences
differences in the
the position
interpretation
drawn attention
of
to in the
the original
body
of this
treatise.
XIII.
The
materials
recommended
for the
in the
making of images
agamas
are wood,
and
also
^.
a combination of two or
48
INTRODUCTION,
more
of the
aforesaid
materials.
precious
Tiie
making images
padmara-
and ratna
vidnima
Of these, spha-
(ruby).
tika is said to be of
the chandrakanta.
kadi-sarkara
of
which
is
(a
preparation the
Almost
is,
the images
stone.
or Jaina),
happen
instance
The
is
figure of
the large
Arcot
of
to be generally
wood
in the temple
made
of
of
such principal
the
most famous
Jaganuatha
of
(Hindu,
of Puri.
Vishnu temple
district,
the dhniva-
temples,
all
(ivory) to
up permanently in
set
Bauddha
chief ingredient
and dauta
the lime-stone)
brick,
(South
at Tirukkoyilur,
Madras Presidency),
is
also
of
made
of
met with
in several
temples
in
employed
material
m
is
the
of
central images
this kind,
making
of
Meial
is
dhntva-beras
are
rarely
;
this
Instances are
HINDU ICONOGEAPHY.
noti
unknown
in
The palace
Theebaw
large
Burmah
of
is
The
Chidambaram has
king
of the
temple
a sphatiJca-lioiga which
at
about
is
many
inches in diameter.
believed by
it is
it
from Europe.
That the
agniitard)-lkritaiitu yati
images have
first
all
to be
madhuchchhishtam
which means
that,
if
wax must
removed with
defects
chap. 11,
v. 41).
SiiprabJiedaqaiaa
cloth.
{Karanagama,
mrnimayaiii
yadi-
made
of
(in
the image
(of
i&
required to be
60
>
that
is,
if
earth, rods
them)
if
of
INTBODUCTION.
metals,
must
it
be
first
prepared
well
in
wax.
has
this
iiklifamaylm-archain
lohe
liarayitva
samhodliya
vidravyd,h-
made
metal,
of
means
it
that,
must
an image
if
be
first
made
is
in
Gold or other
complete
image
thus
is
by
obtained
capable
workmen.
Secondly,
there
plenty
is
epigraphical
of
art
of
metal
ore,
Brihadisvara
of the
we meet with
scores of refer-
known
that the
last quarter of
*
'
the
set
is,
It is well
tenth century
elundaruluvitta
ghanam-aga
devar,' that
and
first
'
Chandesvara-prasdda-
up; (S.I.
I.
chcheyda rishabham
page 178),
'
Vol.
II,
p.
134),
51
'
ghana-pollal-aga(S. I.
I.
Vol.
II,
HINDU lOONOGEAPHY.
second reigned in the beginning
Hence
century.
it
may be
the eleventh
of
wax moulds
earlier
than
The bronze images of Mahishasura-marddani, Sakti, Ganesa and Nandi portthe tenth century.
rayed on
Annual
of the
the
in
is
an old one
in
and
India
evidently
is
indigenous.
XIV.
The images
whether made
pai^Ted^^ of ^oid
r"omT'^"^^'
with
oil
and made
At what period
image worship
with
oil
came
but there
is
this practice of
into existence,
Tiantulia-heras
to the
days covered
to
look black.
in the history of
it is difficult
The
to say
it is
are,
com-
according
to be bathed in water.
For
this
dhriiva-beras, the
Agamas, not
stone or
of
is
INTEODUOTION.
particularly intended
scribed in the
Agamas
pre-
images alone.
to these
In
the earlier and the mediaeval times, the dhriivaheras used to be covered with a thin coat of stucco,
Hence
is
it
and so
Even now
on.
temples in
there
them
the
may
be found a few
painted
figures
rules regarding
the
still
Varahasvamin
contains, in
its
central
Varaha and
of
of paint to
The
cave at Mahabalipuram
consort.
that the
old paint on
shrine,
is
we
that
his
be seen
on
also.
for painting
is
cloths
afford
the
of
It
distinctly
authority
surfaces
that
on which
pate hliittau
dagama).
given
for
colours.
applied for
HINDU lOONOQRAPHY.
painting
of light
is
The appearance
image.
or
cliitra
solidity
of
and shade
From
are
comes
to a
when
light
found in India,
it
is
easy
to
art of painting
frescos of
in
painting
form an estimate
made by
natural
solid
the Indians
The
temples on the
Malabar
coast
of
the
Madras
made
XV.
In sculpturing such objects as the
air
and
outlines of a
and
cumulus
LXXXIV)
number
of
shown by
wavy
of clouds,
and water
lines,
lines
is
resembling the
(See Pis.
XLIX
represented by a
of
the lotus,
and such
INTEODUOTION.
PL LIl and
(See
crocodiles.
device by which
fire
another,
(See
generally
shown
sculpture,
(See
as
IV),
is
one upon
piled
and LXVI)
nature in
in
PL
The
Mountains are
7).
of boulders
LXV
Pis.
CX).
indicated in sculptures
is
shown by a number
PL
except
trees are
all
schools of
the
Chalukya-
and
ornamental
PL
(See Pis.
air.
(See
LIII).
human
manner,
conventional
XXX
and XXXI).
XVI.
The Sanskrit
work
au^Wti'Sed
'"^
*^'^
w^rk,
upon
authorities relied
are mainly the
in
this
Agamas, the
The Aga-
may
fifth or sixth
century A. D.,
among
the Saivagamas,
is
The Kdmikagama,
it
laid
impalement
and some
down
of
In
that,
Siva, the
HINDU ICONOGRAPHY.
out at
the
instance
ought to be celebrated
that day's iihava
the
now
even
When
with the
of
of
the
an event
this
life of
name
celebrated in Madura,
is
Saiva saint,
the
is
and
Jainas'
Tirujnanasambandha,
of
it
bandha
And he
is
Again, in
this,
we
many
Saivagamas, as in
of the other
temple
service in the
are
meant.
It
ninth century.
of the
Saivagamas have
later
in
them
known
that
upon
as being
employed
is
Tamil language.
The
is
the Vaihhansagama
prose recension of
Vaishnavas.
among
also in verse
and
INTRODUCTION.
this
is
sion
requires
Prabandhas
Dravida-vedas, that
the
the
is,
Srivaishnavas, to be sung in
of the
are observed
present
vaishnava
saints,
has
been
fairly
satisfactorily
"When
works
of
is
of
the
we
meet
with a reference
to
the
Vaililianasagama, as
in
it is
verse,
is
certainly not
We
108 samhitas.
coming and
is
of
Samhitas called
many
said to comprise as
Many
of
For
The
samhitas
that
57
mention
this
Eamagreat
HINDU ICONOGKAPHY.
Vaishnava teacher and reformer have necessarily
to be later
Thus
may
it
Agamas and
the
age of the
be
Tantras
is
But the
them may,
is
well to bear in
mind that
Agama
lected from
previous
proof of this,
it
who
mihira,
is
authoritative
may
sources.
any way
Agama
much
different
from
The
rules
works.
earlier time,
and that
the images
been formulated at a
and must
Varahamihira, in
the rule
is
laid
down
which
Varahamihira
In
to
making
col-
known
for the
of the
for the
Dravida
that
58
figure
figure.
(According to
is,
of
human
twelve ahgulas).
INTRODUCTION.
The
must certainly
Varahamihira,
author, Vasishtha.
DESCRIPTION OF TERMS.
AN EXPLANATORY DESCRIPTION OF
THE TECHNICAL TERMS EMPLOYED
IN THE WORK.
THE
of
may
images
are
to the objects
shown
which images
of
Hindu Gods
etc.
secondly,
made
of
which
to assume;
and
ant
relate
lastly, to
precede
These terms
well
among
Sankha
Khetaka
Khatvanga
Ankusa
Chakra
Dhanus
Tanka
Pasa
HINDU ICONOGRAPHY.
Gada
Khadga
Bana
Agni
Vajra
Parasu
Sula
Sakti
Musala
Hala
The
in the
to place
same
hands
;
of
Hindu images
difiers
place.
The
alike
shown
from place
even in the
and
carvings of the
Chalukya-Hoysala school.
later
Weapons.
is
shown
to carry, in
sTila
Sakti,
weapons.
These are
briefly described
all
in
deities.
the order in
SaiiJcJia is
almost
The
known by
the
name
of
the
anJcha of
is
hands
of
Vishnu
is
named Panchajana.
It is declared to
have been
of
his
end
open
(PI.
I,
The conch
enemies.
presented in sculptures
is
all
fig.
of
1),
re-
an
its
ornamented
on the
sides.
tassels of pearls
hanging
perform.
end
may hang on
2).
description
first
it
it
is
which
is
made
Sometimes
to serve as a handle.
this
ornamental variety
of sanJcha is
HINDU ICONOGRAPHY.
shown with
the sides.
Chahra
weapon. It
is
is
also a characteristically
Vaishnava
by Durga, who
also carried
is
said to
shown
is
In the
in sculptures in
first variety,
it
is
shaped
different forms.
like
the wheel of
and
is
all,
But
two
meant
to
made
to
I, fig. 4).
As
I, fig. 5).
means
the
of this ribbon,
first
two
fingers.
and
(PL
in the
hand by
in other cases
between
It is in
it
weapon resembling
It is a
missile to be
kill
him.
image
rests
is
to cut
all
It is held
of the
hands
of the
on the
floor.
representation
is
In the
earlier sculptures,
always plain
it
its
has a tapering
PLATE
Fig. 1
Fig. 2
Fig.
Pig. 11
Fig. 12
Fig. 1
Fig. 8
Fig. 6
Fig. 5
Fig. 9
Fig. 10
To
face page 4.
later
elaborately
ornamented
I,
instances,
a weapon meant
to
it
fig.
more
is
(PI. I, figs. 7
the
strike
In com-
6).
and
or
less
8).
It is
at
close
enemy
owner.
Khadga
is
along with a
JchetaJca or shield
The
is
Jchadga
made
of
wood
used
is
or hide.
is
Khetaka
is
of
Europe
(PI. I, figs.
Sometimes there
11).
held (PL
I,
(PL
of the khetalta
12).
Musala
pestle,
it is
and
curious emblems
are
9 and
which
wood. It
is
weapon.
of various
is
is
the
name
of the
Indian wooden
of
hard
There
is
no scope
for the
introduction
and consequently
it
Dhanus
shapes. The
is
the bow.
first is like
its
It
an arc
with the
HINDU ICONOGEAPHY.
of the chord (PI. II,
it
fig. 2).
of the
fig.
The
3).
weapon (PL
this
Bana
bends and
or the arrow
made
appear to be
third
much
belongs to a
is
of
is
so represented as
wood, and
to
tipped with a
is
stuck in
it
(PL
The arrows
An
from
it
for use
arrow
extracted
the middle-finger.
Para'su
mens
is
The
earlier speci-
The parasu
of
is
fitted
on a turned,
handle
handle (PL
wooden handle.
II,
fig.
is
of
The
6).
of the
is
Sometimes,
the axe.
The
later
forms consist
light,
blade
heavy
graceful.
is
attached to the
of a
and
-param
is fitted.
The
into
blade
types.
but
is of
PLATE
Pig. 9
II.
Fig. 14
Pig. 12
Pig. 13
To
face page 6.
Hala.
is
probably extemporised as
weapon
of
war (PL
made up
Khatvaiiga
of the
bone
is
of the
forearm or the
which a human
foramen. (PL
must be
the end of
attached through
skull is
From
leg, to
this description
it
weapon comes
its
In the ornate
style
of the later
weapon is dispensed with and a wellturned wooden handle is substituted in its place
of this old
PL
(see
The small
TahTca.
mason
in sculptures,
Agni.
is
given in
This
according as
is
is
it
for the
the
case agni
figs.
12 and 13
met with
in the
PL
Its shape, as
found
and
is
represented
this
hands
PL II,
commonly
is
Agni used
of Siva.
is
In
as in
form of agni
PL
employed
first
chisel
is
for the
sculptured as in
Sula
weapon
and the
is
the
of Siva.
trident
It
is
which
is
represented in
the favourite
many forms
is
the triple
HINDU ICONOGEAPHY.
metal pike ending in sharp points and mounted
Ahhusa
or the elephant
employed
of ropes
and
3 and
figs.
in
goad
is
and
2).
weapon conto a
wooden
4).
indicates,
a noose
is
it
legs.
made
Vajra
the thunder-bolt.
is
history
beginning from
In
Hindu mythology,
later
figs.
hook attached
As the word
Pasa.
(PI. Ill,
made up
of
it
into a single
and
6).
had
is
shown
in almost
in earlier times.
It is
and both
its
middle (see PL
Sahti
is
name
the
It
elliptical in shape,
wooden handle
is
The second
fixed (see
III, figs.
8 and
01
-,
instruments.
* See
9).
class of objects
with in
Musical instruments.
PL
p. 12.
PLATE
III.
Fig. 3
Pig. 2
Fig. 16
Fig. i
Fig. 6
Fig. 15
Fig. 1
Fig. 5
Fig. 7
Fig. 19
Fig. 12
Fig. 18
I
Fig. 10
Fig. 13
Fig. 17
Fig. 11
Fig. 14
Fig. 9
Fig. 8
To
face page
Some
images,
held in the
play upon
left
hand the
right
The Damaric
it.
those of Dak-
another instrument
is
and
Venu
SahJiha
Krishna.
such
manifestations
his
of
is
is
is
Bhairava.
as
treated as such in
Ghanta
is
or the bell
generally
its
sides.
of
hollow semi-
long
From
string or wire
of the
consists
It
cylindrical
of
keys on
which
is
lower end
is
It
is
is
attached to serve as a
left
hand by
pressing
cally
(see
to
PL
suit
III, figs. 18
Damaru
is
and
a small
11).
Over each
of the
open ends
of
HINDU ICONOGEAPHY.
this hollow
is
body
membrane which
by means of a string
stretched a
is
By
the drum.
membranes may be
of the
altered at will so as to
by rubbing one
of
membranes with
the
stick.
Sometimes there
middle
of the
body
of the
drum
in the middle
the
membranes
of
drum
and
a bead.
to the
By
end
of
holding the
it
may be made
to strike against
suitably, this
Murali or Venu
piece
and shaking
indicates,
is
a resined
figs.
is
12 and 13).
a flute made, as
its
name
In a
in proper places.
By
is
music
is
Ghanta
1
and
is
the
common
bell
PL IV,
(see
figs.
2.)
There are
shown
Hindu
as
gods.
Among
of
other
and
animals
certain
Siva
birds.
is
almost
or deer,
and
made
is
his son
hold a
to
Parrots and
Subrahmanya
Tiuhhuta
beetles
or
are re-
The
on the Linga
earliest
at
known image
Gudimallam,
a ram.
is
it
carries
In the
legs,
it is
15 and 16).
We
see,
moreover,
The
among them
the sruva,
ajya-patra,
the
or
are
The
darpana
the vessel
and the
kapala.
to contain
ghee
is
of
Brahma, who
to carry
is,
The book
is
also held as
Sarasvati.
HINDU ICONOGEAPHY.
though not very handsome
in design,
The
ance.
later
and workmanship
beautiful in design
figs. 3, 4,
5 and
IV,
(see PI.
6).
Sritk
in appear-
different
kinds of
and pour
it
The former
while the
other
modern spoon.
shaped
is
in the sacrifices.
these
of
fire
srnh
of
Annapurna
Davpana means
when
was
metal plates
(see
unknown
mirrors,
It
or
highly
was
not
polished
of various
serve as mirrors.
In ancient times,
a mirror.
either
making
for
is
18 and 19).
employed
like
proportion
large
glass
much
very
may
be remarked by the
way
out
in
India.
In a place
Aramula
called
still
reflection.
in
manufactured
show
of this place
distortion in
it is
not
by two
feet.
is
PLATE
IV
Fig. 17
To
ffloe
page
12.
for food
mean
to
PL IV, fig.
PustaJca means a book.
palm leaves
common
ATisliam^la
made up
It is
either
leaf
is
In older sculp-
book that
represent-
is
Brahma and
other
fig. 2).
The beads
spherical
always a palm
rosary
In
8).
the
Later
drink.
It is used
skull.
and
tures
fig. 7.)
earthen pot,
of
mounted on
is
hamalahsha
in variety,
of
and
Brahma,
in association
fig. 10).
images
of goddesses in general,
hands
though more
Lakshml
and Bhumi.
Figures of goddesses sculptured in company
In one
of their
13
HINDU ICONOGRAPHY.
However, when there are two Devis, one
flower.
on either
TV,
on the right
12 and 13),
left,
fig. 14).
We
iian^dl^'^^*^^
various
of
common
in
images are
shown.
poses
its
own
hastas or hand-
and
tarjajil,
the visjnaya.
the
They
and exposition.
name
of
miidra
met with
are
known by
the technical
(see
PL V,
figs,
Ahliaya-liasta
x,
'%
and
means the
a).
protection-affording
hand-pose.
the fingers
pointing upwards,
14
of
exposed as
if
PLATE
V.
Fig. 2
Pig.
Pig. 3
Pig. 7
Pig.
Fig.
Pig. 17
Pig
Pig. S
Pig. 16
To
Hindu
visitor in the
Xi^ and
fashion (see
V,
PI.
the
of
figs.
B).
KataJca-hasta or simha-lxarna
that pose of
is
thumb
applied to the
somewhat
in
which one
of the
hands
is
of inserting a fresh
is
also the
manner
standing or a reclin-
fashioned.
Sanskrit scholars to
suchl or needle.
Vasu in giving
and
generally fashioned
This
of a
figs. 7
mean
some
expression vajranhisa-sara-sucJiidharl-daJishinalia-
ram
Sbvajra, a goad,
who
the tarjam-liasta,
But, like
an object below
(see
PI.
V,
fig.
9),
whereas
wards, as
if
is
figs. 10).
warning or
HINDU ICONOGRAPHY.
In this the arm
Katyavalambita-hasta.
down
so as to
the hand
is
hang by the
made
to rest
and
on the
let
is
indicating
loin,
fig. 11).
them
to
Literally, the
meaning,
is
mean
whom
of
a hand that
have under-
carries a staff.
it
(see
PL V,
fig.
the trunk of
12).
Anjali-hasta.
folded-hands are
hand-pose
is
made
Vismaya-hasta
In
on the chest.
indicative of worship
wonder.
to rest
Han am an
indicates
This
and prayerful-
given elsewhere).
astonishment
and
up with
and
(see PI.
V,
figs.
13
14).
Among
tips of the
thumb and
made
circle,
The palm
is
of the
made
to
the other
hand
is
when an
hence
explanation or exposition
darsanarmidm
(see PI.
V,
fig.
and
and san-
it is
finger
being given
is
of the
thumb
15).
tips of the
middle
and
held near the heart, with the palm of the hand turn-
fig. 16).
hand
is
the right
of
left
image
(see PI.
V,
fig. 17).
and
Sitting Postures
Seats.
The
Science of
Yoga
able
for
These
name
and mental
meditation
concentration.
asanas
and the
known by the
the padma-
l-u.rinasana,
of
names
them occur
of
some
interpreted
owing
in
sculpture,
as
mean
to
particular forms
The
well.
have been
of
seats,
Jourmasana,
the
the padmd.sana
* See PI. VI,
may
makara and
in
fig. 3,
as
maJcarasana and
be noted.*
fig8. 1, 2,
represented as a lotus, in
the
and
fig. 2,
3.
In
fig.
1 the
padmasana
is
17
HINDU IGONOGEAPHY.
In the fadmasaiia the
two
legs
upon
PL V,
fig. 17).
In the Imrmasana,
make the
kept
are
heels
come
rest
left
and the
left
and the
left
hands respectively.
In the simhasana
palms
of the hands,
is
and the
upon the
mouth
kept open and the eyes are fixed upon the tip of
the nose.*
^ f^fRT^
5^f^7T=^
cTn
II
W^
"T^TRRTrf^gR
Ti^
f^Jrr^ri^ ^r^!
q^i
grfrnr^T 'firf# =?
f^i^^w^^ifrfu^
ffir-ii^ T^
?^ ^^
I
^F^^^^^s^ ^d
I
^r%==^r:
II
^u"^2rr
'^imt-
cRsTm vf^Rnrrr^rTfH,
(sTflt'-^^^flcTr^rr
18
jjfi-
f^r:^T^
ii)
PLATE
VI.
Fig. 1
''.^R^SA^I^- (^E.LLORA-5
Pig. 2
Pig. 4
Pig. 3
.1
ii . i
Pig. 5
^
(.^nu
,1,
.,
..
..
in
).|
,i ii i i
mmMm
Ji
^l
'ii
'mimmRi.J B twui ^
Pig. 6
To
and
lithutikasana.
defined
as
particular
is
adopted while
attitude
and the
left leg
This attitude
retracted.
is
assumed
and
UtJiutikasana
The
also
is
posture
peculiar
which
in
close
to
the
curved (see
slightly
tal.
synonym.
pedesas
its
asanas
of this
of the
make-up
of images.
Sivprabliedagama men-
and vimala-
a triangular seat,
saHah.exa,gonSi\,ydgasa7ia octagonal,
circular.
and padmasana
* See
fig.
is
49 opposite page
xoii
19
in
Mr.
for the
that
image
Nagendranath
HINDU ICONOGEAPHY.
when
when
tion,
it
it
padmasana
and
of worship,
The
offered.
make up
the lower
the
and
6).
circular or oval,
them
purpose.
whereof
is
is
and breadth,
so as to suit his
it is
which
VI,
fig.
Bliadrapltlia
6).
may
be
description of the
is
The
height of
twelve, and
it
it
(PI.
In the description
carcass
is
of
mentioned as a seat
is
breadth
meant
figs.
3 and 4).*
or a
for her.
7).
one mushti or
Chamunda a pyeta
is
its
fig.
sana
IV,
human
PrUct,-
lies fiat
on his
evidently
this
it
one
is
It
may
be surmised that
The siihhasana
is
in height.
made up
^(muL)smLd-j>uirp
of four
sk.iTLnir
The
four legs
small lions.
^esrLo.
npsnpLD u^iBiT'm(^
(LpiLu^iusfr eBpQs^tju
(miBemLDLDir ies)iBJ(^dQiMeir
(Verses
57 6O5
(o(Tyir,
Quir^eQeosssstsiLh^ esiffsua^LuuQK^)
21
HINDU IGONOGEAPHY.
Images are clothed
in different materials,
and
as cotton
Costumes,
such
silk,
Oriia-
gear.
silk
The
colours.
tigor's skin is
is
the
what
is
is
silk or
thrown
skin goes
over
the
shoulder across
left
made
of the deer is
as
shown
shown
in
fig.
to
18 on
distinctly in
tures of images.
hang
PI. V.
almost
Some of
all
presentations of
all
of
left to right.
is
known Hindu
not found
is
sculpture, the
of
Siva
At what stage
of the history of
Hindu
sculpture
vogue
is
it
is
found in what,
is
known
as
Pallava period.
It
is
It is
among
is
the Hindus.
seen in
many
Hara means
a necklace and
In the
different patterns.
earlier
it
is
wrist.
At the junction
abdomen
manship
of
is
is
worn
it
is
called udara-bandha.
is
at the
the
also
worn
The
called hatihandha,
belt
and the
Hindus
Dharma-sastras
Hence
arose
called
kuclia-
from
probably
wearing
the
stitched clothes.
practice
is
of
women
BJmjaiiga-valaya
It is a
Its circumfer-
the
it
tail
it is
worn
at
the junction of
rises
HINDU ICONOGEAPHY.
and one
in the
in thickness.
moath
A very
be
shown
so as to be visible outside.
number
large
of
for the
ear, the
neck,
the
and the
These ornaments
The ear-ornament
liundala.
are
At
is
as briefly as possible.
known by the
five different
least
Different kinds
fingers.
general
name
kinds of kundalas
hindala, which
is
the sarpa-Iaindala.
considered
nalira-
the saiiMiapatra-lundala,
women
of
it
ornaments attached
often specially bored
men and
and dilated
see
which were
ladies
In the
the ear,
cylindrical
rolls
of cotton
cloth or
are
thrust in to
pressure.
produce the
In course
required internal
24
came
to
made
be
leaf.
imitation of the
name
IV,
16).
fig.
Its
When
it
IV,
(see PI.
fig. 17).
is
is
cut
may
be
This himdala
PL IV,
for the
the shell
were
shells
making ornaments
(see
olai is interest-
Again conch
extensively employed in
cross-wise,
known,
oi patra-kimclala
Tamil name
is
fig. 16).
called a raftia-htndala.
Ear-ornaments made
in the
One
and they
or
(see PI.
and
Vishnu.
which
is
Srlvatsa
of
it
Buddha
is
Vishnu
We
there
is
are
the
perhaps introduced
is
an incarnation
is
is
the form of a
triangle,
and
represented by a
is
to
valjayanti.
Buddha
is
18 and 19).
association
jewel.
figs.
mark known
IV,
HINDU ICONOGEAPHY.
The
vaijayanti
necklace composed
is
of
wherein has
five
gems
in a particular order
emerald,
From
'
diamond.
and
blue-stone,
See
The
the
for
con-
therefore called
it is
name
it
Head-gear.
it is
ruby,
" 'Vishnu's
five-formed as
is
to five different
the head-gear
is
mauliA
There
are
nama.
s^T'^i Tz^^l
f^cTRI^
3T^^r
^tt
^^^^
^m 5r?TiT^3fl73T^q;
\'A<s\a\ =?
ii
II
*<u^njdn%rR;
26
ii
^rf^H
II
jata-maJctUa,
iiiakuta
and
sirastraka,
varieties
head-gear such
of
and
kirlta-mahitta,
the
minor
varieties
In the formation
are
are
dhammilla
kuntala, kesabandha,
alaka-chudaka.
karanda-
thereof
of these
and
minor
bound by what
are
and ratna-patta.
which the
T^iTi Tl'^d
^^Tf
=^
=^*qf^JHf|E3T^ (?)
TrWB:
^7:^ q^j
r%ri;
II
(m^mt
27
II)
jatd,-
HINDU ICONOGEAPHY.
Dial-uta
is
"
included.
The
iisJinlsJta-bhushana*
On
its
middle
of the
In the
On
The
it
there
cither
is
mahuta
on the
is
image
left
to be a cobra
or
crescent of the
of Siva, to be
on the right
on the
left
in fact as described
below
attached
side,
The
side.
moon
and
jata-
five jatfks or
them
into one or
^i^ irirwot
^a;rf^:
II
ii
ii
(5m^rfiR?RqSS^c^Tf^5miTTS^
28
ll)
PLATE
To
VII,
PLATE
Vril,
(i(
To
left
and
'2
This jata-maJcuta
3).
prescribed for
and
for
Kinta-inaJcuta
gods,
cap sometimes
conical
is
is
on
front or
It is covered
all sides,
The
hirlta-maliuta
gods.
by sarvabhaioiia
the
Jcirlta
PL IV,
figs.
For
all
karanda-7nakuta
is
in the shape of a
and
21).
haranda which
and small
PI.
in
VIII,
the
crown made
is
generally a
fig. 2).
and
size,
called
is
It is a
prescribed.
be worn
of provinces (see
the
may
or emperors
cliaJcravartins''
20 and
among the
is,
It is short
as
pointed
This
is
the headgear of
ft^i'Htc'^'^H q^^l+lTii:
II
He
all
is
a chakravariin
whose
vule
is
a Naretidra.
HINDU ICONOGRAPHY.
goddesses
it is
to adhirajas also,
are seen to
among human
prescribed,
beings,
known as hiiitala is meant for the godLakshmi and also for the queens of emperors
the style
dess
id fas.
(see PI.
IV,
figs.
22,
23 and 24).
SirastraJca
is
to be
said
(parshnikas) of kings.
It is
meant
much
like
for generals
an ordinary
turban.
The wives
of
before a king
which
is
known
of
had
technically
The
different kinds
of
palm
From
this
known assignment
of the
gear to
particular classes of
of
it is
make out
easy to
of the definiteness
in the conven-
Ghhannavlra appears
kind of jewelled
makuta
or
disc,
to be a flat ornament, a
meant
on the
to be tied
a string so as
is
mentioned
it
means
is
is
It should
figs.
of a circle or a
4 and
5),
eleven
is
images by means
equal to
of
one-seventh
siraschakra.
The
the
diameter
of
is
the
be something which
is
aloof
31
and unconnected
(see
HINDU ICONOGRAPHY.
PI. lY, figs, -o
tions,
is
it
is
aud
26"'
;
connecting piece.
This piece
hidden in wi'eaths
of flowers,
for this
which appear
to
adorn
the
The
make
iirak'Jtali'a
wbich surrounds
In other words,
intended
it is
all
divine beings.
to serve as a
material
of gods.
The prabhavali
to the
is,
however, a
The prabharali
is
circular or oval
ring,
emblems
belongs
are
example,
god
of the
and
an ornament-
cJidlij-a
whom
to
sculptured on
ia::/:ha
shown
is
is
each
the prabliriraU
side
of
are found in
it
for
associa-
In some instances,
carved on
it
32
from right
to left.
PLATE
c3
Tl
IX.
GANAPATI.
GANAPATI.
VIGHNESVAKA
as
is,
the
name
way
obstacles in the
who
indicates,
;
as such,
either puts
That he
or removes them.
is
Lingapurana.
sacrifices
and received
several
Asuras
and other
boons from
hands
afflicted
of the
them.
to
who would
be
him
the
lord
of
obstacles,
obstacles in the
way
Indra and
of the
and thus
HINDU ICONOGRAPHY.
render them unfit to receive any more boons from
Grod.
him
Then one
to
this
fulfil
is,
a part of
handsome
womb
Him
Parvati.
advised
him
out of the
of
Siva
Balshasas and
all
assistance to
in their
endeavour
dis-
From
this
it
is
clear that
acts
of
of
upon Vighnesvara
virtue,
according to
the
motives with which their performance was underVarious other accounts of the origin of
taken.
The
The
origin of
Vighnesvara
now
am
is
different
relating to
place
in
the
the
of
BvetaTialpa.
36
it
in
you
took
GANAPATI.
Jaya and Vijaya, the two companions
suggested to her that,
of Parvati
still it
would be better
own
a person as her
it
if
she had
servant.
for her
so
happened subse-
quently that,
was
where
who would
She took a
little
created out of
keep
strict
it
bathing.
of
and
him
to
was
person
she
happened to
go to
meet
Once, Siva
his
consort,
new
him
in.
Siva
proved effective
way
in
somehow.
On
noticing this,
the
new
a cane
out.
Incensed
at
the
Bhuta-ganas
.37
host of demons
HINDU ICONOGRAPHY.
to
him
kill
once.
at
and others
tried,
on behalf
Then
result.
was fighting single-handed against powerful opponents, sent two minor goddesses to his help.
drew
towards
power
all
themselves by
direct
mysterious
their
They
methods
injury.
of his
mayn he caused
confusion.
no longer
Parvati.
It
of
The news
returned
there,
use
for
it
to
Siva to cut
off
of Vighnesvara.
their
was
and on
Vighnesvara.
feel
To rescue the
gods from this pitiable condition, Narada and
other sages prayed to Parvati, who promised to
very miserable.
38
GANAPATL
restore peace as soon as her son
to
life.
first living
on the
fix it
The gods
of Parvati.
phant
they cut
attached
vara.
off
its
and
it
it
Gajanana
ele-
by the name
of
Vighnesvara) has
elephant-faced
(the
Ekadanta.
life
him
is
When Parvati
in this
to
and
tusk,
known
saw her
manner, she
the presence of
felt
Siva.
highly
Vighnesvara the
gratified
and
Siva was
conferred
commandership over
upon
own
his
It
is
Vighnesvara in some
of the other
Pura-
HINDU ICONOGRAPHY.
Skaiida-paraiia:
commenced, were
others
difficulty occurred
might be opposed
obstacles
or
accomplishing
in
no
bad,
them, con-
means by which
sulted
of
good
to
the commission
to Eudra.
reverence
addressed
to Kailasa,
him
'
:
0,
Mahadeva, god
trident,
thou alone
it
is
who
canst
create a
On
effect
the
wishes of the
of Siva,
when
Uma
regarded him,
and
position
uttered
was excited,
this curse
'
Thoa
my
large belly,
and
GANAPATI.
may
thus
Siva thus
all
'
Thy names
Ganesa
shall be
thou shalt
and disappointment
and
all affairs.
on
first
in
him who
of
it
day,
and
occasions,
all
and prayers
omits to do
from thee
shall proceed
it
of
an
that one
oil,
sprinkling
"
it
man,
to
life
by
the
of
is
Skandaascribed
so perfect a son."
t
Kennedy's
Uiivlii
41
p.
353,
f.
n. 2.
HINDU ICONOGRAPHY.
and other workers
barians, Sudras,
of sin, obtained
temple
of
and
charitable gifts,
all
Hence
of Siva.
old
of
to excess.
women and
them, and
became crowded
skilled in the
until
at
length
it
the
addressed him
is
'
it.
exclaiming,
'
am
the greatest
';
please,
and Dharmaraja,
remains
hells
silent, lost in
tion; but,
astonishment.
lent futurity.'
who
visit the
But
ascend to heaven.
will
contrive some
'
it
The same
as
'
Such was
be infringed
temple
of
and
my
pro-
all
men,
Somesvara must
means
for extricating
Somnath."
42
you from
GANAPATI.
this distress.'
before Parvati,
supreme
to thee,
universe
ent as gold
who
Greatest
and destroyest
mountain-born
Praise be
beloved of Siva-
Praise be to thee,
Praise be to thee,
'
lotus-eyed, resplend-
Praise be to thee,
Praise be to thee,
Kalaratri,
all
distress.'
aid,
Having heard
the
goddess
and
an
of
the gods
being,
who
will
deluding them
visit
will
deprive
them
of the
wish to
'
'
to
to
HINDU ICONOGRAPHY.
give up such
children, possessions,
who
and wealth.
remove
all difficulties,
to obtain
Somanatha
Om, I praise thee,
lord of difficulties
The beloved spouse of Siddhi and Buddhi,
Ganapati, invincible, and the giver of victory, the
:
of
do
The
elephant-faced,
wishes,
Parvatl,
Ganesa
who didst
their
Uma,
men who
praise
thee
Thus,
'
month
continued
and worshipped on
and whoever
pre-
shall
and a most
and
from
other devotional
all
''*
acts.'
The
its
pilgrimages,
sacrificies,
proposed object,
of his
own
SuprabJiedagama
has
of
version
Ganesa.
of
Siva
thus
''
"
I,
in
company with
pp.
354
356.
GANAPATI.
to the forest
on the slopes
Wc
company-
Himalayas
of the
to
saw there a
elephant.
the form of
to enjoy ourselves in
elephants.
In the
of
known
earliest
of writing
was
usefully
one,
which you
result of
an elephant."
reference to him, in the
Brahma, Brahmanaspati
is
identified
"
or Brihaspati.
employed
",
with
The
art
These
lists
Brahmanaspati.
knowledge
Veda.
is
It
itself.
was a name
of
It
was Brahma.
It
was the
Yaska's treatise
the
own
who wrote
tusk as his
stile.
In the Bralimavaivarta-imrl'ma
it
is
stated
HINDU ICONOGRAPHY.
human
form.
The head
of
to Goloka.
in
removed and
on the body
fixed
the
forest.
of the child.
is
and
Parvati, and
He
form.
in
another
the Parabrahman
with
identified
is
Siva and
to both
Krishna
also held to be
is
the same as
is
or Brihaspati elsewhere.
At present
pious
Hindu
all
the god
is
when he
he
in practice,
" invokes
begins
whom the
all sacrifices
moment."
Vighnesvara
is
all
known
Ganesa
The reason
Gajanana,
has
of the appellations
already
been
Bralnnavaivarta-pnrana,
meaning
of
some
peculiarly artificial
Vigh-
of the
given
however,
names
manner thus
explains
of this
The
the
god in a
Oa in Ganapati
46
above.
or the salva-
GANAPATI.
The
these
fcdi or lord of
Eka
is
in
Elm-
indicative of strength.
is
is
weak beings
afforded to
In the
harm
Ekadanta, there-
them from
to safeguard
of the
The
Lambodara.
waving
ing
and
to
away
fro
are emblematic
of
manya, he
is
purana says
who
is
also
The
Bhavisliyat-
good in the
called Guhagraja.
he
righteousness,
Another explanation
in the
winnow-
and are
wisdom.
of
of the
indicative
path
ears of
of the
Vamana-purana
is
called
Vinayaka.
name Vinayaka
that, as he
to the effect
nUijalia
given
is
or sire, he
came
to be
named Vinayaka.
It
is
are rather
said that
common
Vighnesvara
are
Subrahmanya
the shrines of
in
South India
even
but those of
more numerous.
47
Every
HINDU ICONOGRAPHY.
however small has
village,
in
an image
it
Vigh-
of
At the entrances
of villages
and
below pipal
forts,
it in.
the
of
at the
commencement
of the
and
innermost prahara
Vishnu
as well as Siva
Yighnesvara
is
invariably to be seen.
In Bupaviauijana
it is
image
of the
on the
Buddhi
(Bhalachandra
west, of
Each
?);
Kubera
and
to
to the
at
Those
should have a
at the east
Balachandra
to the south-east,
terrific
Gauri
pair of dvarapaJas.
gate,
Gajakarna
the east, of
left
in stature
at
gate are
the
south
west gate,
at
the
at
the north-gate,
All
these
images
tcnja)!/ -pone,
PLATE
X,
GANAPATI,
parasit
in the case of
Gajakarna and
in the case of
and
lastly in the
case of
may
Vighnesvara
The
standing.
mouse
is
be represented as sifiing or
may
seat
be
a 2^<^i'dmasana or a
If the
a standing one,
it
body so as to be
figure
of the
drihhahga or trihlianga
may
type.
of the
soever.
In the case
down
laid
is
that
and resting on a
it
fig. 1).
Ganapati,
of the sitting
should have
seat,
crossed so as to rest
of
also be
folded
on the
left
making the
big,
Therefore,
on a
X,
fig.
Generally however,
it is
it
2).
of this
left
god
or the
Ganesa
HINDU ICONOGEAPHY.
with the trunk turned to the right
known
is
in
left is
Idam-
called
buri Vinayaka.*
Vighnesvara
is
figured in
may have
but"
arms.
The
Lambodara
as he
is
On
as a belt going
round the
Pu rank
of
of
snake
account
is
how he came
interesting.
The
belly.
following
to possess a girdle
He
go
then started to
It
it.
hardly able to
move
along.
was already
mouse was
little
In such a plight,
Tamil.
50
'
right
'
and
it
and
'
left
in
'
in
GANAPATI.
terror
tripped and
it
god Ganesa
This
also.
fall
it
so
much damage.
all
scattered
on the floor.
girdle.
fell
put
is
of his twenty-seven
in the
starry consorts,
saw
company
all
that
This god
at the
moon.
hit
him
of the gods,
to
to
his light.
one
it
of
from perfect
periodic
what, changing
moon
It struck the
moon and
lustre
it
waning,
for
its
loss of light
and waxing.
offering
in the
an explanation
of the
moon.
and we give
HINDU ICONOGRAPHY.
below a dcscnption
line.
Bala-Ganajjati
like
a child
is
it
head
of
fruit,
hands.
wood-apple.
said, like
it
is
form
Taruna-Ganapaii represents
carries in its
which
and has
to be scupltured
as a
youth.
The
Bhalitl-Vifjhmsoaia
four hands
a
in
which
mango, a lump
which
is
is
are
of sugar,
also
placed
of this
and a cup
a sweet preparation of
an image with
cocoanut,
of payasa,
like
Vlra-VighnUa.
The image
of
this
type of
hands are a
vetala, or
it
six-
should carry in
sakti,
the
PLATE
XI.
GANAPATI.
The
be red.
Lakshml-Ganapati,
of
of
images
Uchchhishta-
Pingala-Ganapati.
PATI, should
and
parrot, a pomegranate,
a lotus, a water-vessel of
bd.7ia.
Such
sivacharya
is
in
Mantramahodadhi
But the
Kriyakramadijoti.
his
hand should be
in the
abhaya pose.
arm
is
of
embrace.
It is stated
so as to be embracing
;
its
arms
is
The colour
Nothing
Uchchhishta-Ganapati
many even
is
worshipped
by
HINDU ICONOGEAPHY.
achieve their various desired objects
this
god
of
boons.
is
and
In
quoted above
the
is
image
its
hands a lotus
flower,
it
should carry in
Kriijahramadijoti
The Mantra-
hana,
the
the
he should be
Devi,
making attempts
elaborate
for
description
as
coition.
of
if
he
more
deity
this
is
is
The
cane
aiiJcusa,
it
should carry
and a piece
of sugar-
This
He
god should
dark colour.
inakuta.
upon
all
of
his lap
be sitting
PLATE
Uchchhislita-Gsnapati
XII.
Stone: Nanjarigoclu.
GANAPATI,
The name
and
particularly
it
is
stated
There
she
that
great
the actual
In
sculptures.
cases
all
this
lap
two
of his
is
it,
hip.
It is the
proboscis,
with
And
Devi.
in her left
is
in
carries a lotus.
The image
its
Maha-
of
should have in
is
hand she
Maha- Ganapati.
Ganapati
is
and
hands a lotus
and
it
flower, a
own broken
ears of
of this
image has
of
Sakti,
tusk, a sugar-cane,
fiasa.
to be red.
whose complexion
The
The
colour
is
white,
figure
in her hand.
HINDU ICONOGRAPHY.
Urddhva-Ganapati should carry
his
in five of
bow made
With one
the tusk.
of paddy,
of
and
arms he
his
The
and that
should
Pingala-Ganapati,
hands
which
in
it
with six
also a figure
is
may
be seen to carry
The
Lakshmi by
It should
have the
its side.
padmasana with a
whom
he should
and
He
vajra and be
of
made
to
look
The
terrific.
it
that
all
orna-
PLATE XUI,
Heramba-Ganapati
PLATE
XIY.
Heramba-Ganapati.
(Back- view).
[To face page^57.]
GANAPATI.
merits and clothed in
Heramba.
from
different
has
five
'
The
all
Heramba
figure of
very
is
It
be looking upwards.
powerful
ahhamala,
its
It
lion.
hands
parasU',
It
in another
modaka, and
to be held in
The
Heramba has
in
to be golden yellow.
is
describ-
body or
in the
is
perfectly erect.
it
upon which
The
when
seat or pedastal
padma-
sana.
like
In two
of his
ysa
ence
observable
and
is
between what
57
In
generally a differis
found in the
HINDU ICONOGEAPHY.
actual
sculptures and
books.
the
Prasanna-Ganapati
sculptures, to have
and ahliaya
two
description
is
of his
made
poses, but is
to hold in
if it is
given in
them
latter of these
Dhvaja-Ganapati,
should
carrying a book,
hamandalu, and be
of terrific look.
Unmatta-UchcMishta Ganafati,
is
represent-
red colour.
It
should be
must
seated
is
made
to look as
if
the elephant
It
is
in
(rutting).
mango
fruit.
of the
The
saiikha, a
bow made
of sugar-cane,
arrows of
body
is
to be white.
It
them
is
the
worthy
PLATE XV.
PLATE
XYI,
"^"^^
,\^-'.^-'
x;
^c
%1
*^
^<^%^>>
?.^'
^\ Pt^
'^.^f*-;.--^
ft
-^
J>-.^
^<%'
.5
'^-
#H^Ct
f^nS^.
Nritfca-Ganapati
Stone
GANAPATI.
arrows are the attributes of Kamadeva, the Hindu
god
of love.
This
Nritta-Ganapati.
Ganesa
a representation of
as dancing.
hands in seven
is
of
and the
the dance.
of
The
colour
the
of
a dancing figure
of this
it
left leg
and held up
body
it is
movements
To show that
ao'iguUi/a (a
in
the
The
air.
given
above.
Haridra-Ganapati
also
is
known
as
the
The
of turmeric yellow
to be
colour and
It is said that
brightness.
Seeing
this,
(?)
Chandra
and began
Ganapati
(the
to lose
took up
HINDU ICONOGEAPHY.
and thus saved him from
disaster.
That form
of
known
as
Bhalachandra.
The Brahmanda-
The
Surpaliarna.
Ganesa
that once
is
lost.
he
is
Hence
known
as Surpakarna.
The
Ekadanta.
story here
is
that Parasurama,
him by
Siva,
went
But,
when
there,
he was
who
told
in con-
Not caring
to enter.
for
way into
then ensued between him and
the house
a fight
Ganesa
in great anger.
to resist the
blow
of the
Ganesa was
axe
able
enough
so,
because he could not bear to see his father's battleaxe, pass for a powerless weapon.
received
left
tusk,
He
therefore
which thus
GANAPATI.
Accordingly he became a
lost.
is
of
Ganesa
is re-
Brahmanda-purana.
We
the
akasic
Lord
of
of
modakas
probably
which
cious as to contain in
round,
it
is
is
everywhere
made
so capa-
ball-like cakes,
the
represent
the
as
of the Universe-
and encloses
is
which most
various beings
the
in
be
the
symbol
of
modaka
Supreme
explains the
Mahabuddhi,
Wisdom.
The following account is given in the 8ivamahapurana of the circumstances under which
Ganapati came to be married when Ganapati and
Subrahmanya attained marriageable age, Parvati
:
who
It
first.
of
manya began
them
first.
he,
first,
Subrah-
HINDU ICONOGRAPHY.
and started on the
Ganesa was
unmindful
race, for
case
indifierent at the
he
felt
But
advance in the
come out
was out
trip
successful.
of sight,
As soon as Subrahmanya
to his parents
if
made seven
a son
The
of
to
ed
matter of marriage.
Feeling
Krauncha
to do
disappoint-
retired
to
mount
of celibacy.
The
Ganesa
is
Siddhi, that
ment
shows us that
is,
of desired ends.
63
GANAPATI.
Explanations relating to the weapons in the
hands
of Ganapati, will be
The
X to XVI are
these,
up
fig. 1,
just
illustrations of
all
PI.
Among
is
newly constructed
the
in
and
is
reported, by a
Bombay
is
There
sculpture.
is
an
limbs
between the
on the one
side
The modelling
of the
hands and
on the
legs
the orna-
legs, of
other.
to be desired.
is
shown
head
left
The
is
is
held in the
This
Uchchhishta-Ganapati which
Fig. 2,
PL
is
is
called
Unmatta.
of
Arts at
HINDU ICONOGRAPHY.
Trivandram.
It carries in its
Though
does.
fig. 1
has
followed to
still
a great
ideals of image-making, as
is
minor
many
other
details.
The
stone-figure
photograph whereof
is
Lakshmi-Ganapati, the
of
given on PI.
XI
as
fig.
1,
is
at Tenkasi,
is
no heed
is
paid to what
may
may
from satisfactory
be mentioned
parts
of
as the
the image,
as
Some
legs.
articles
easy to
make
out.
in the other
There
is
and fasa
and
hands it
is
not
a water-vessel
shown
konam
is
set
up
the
figure
64
of
Uchchhishta-
GANAPATI,
Ganapati, the photograph whereof
as
fig.
2 in PI. XI.
in three
of
It
the goddess.
The
embracing
in
is
touch-
who
is
herself
hand and
left
on
and a
j^a^a
employed
is
The
reproduced
is
is
touching
of Q-anapati.
XII belongs
to
the Mysore
State.
As
image
almost
is
similar
to
the
Kumbhakonara
image.
The
bronze-image
XIII and
XIV,
front
of
Heramba-Ganapati,
belongs to
the
Nilayatakshi-
yamman
temple at Negapatam.
which
is
in the
In
this
figure,
them
is
five
It
should be
heads
four of
This piece
of
HINDU ICONOGRAPHY.
sculpture does not appear to be older than the
fifteenth century A.
Two
form
D.
show the
of Prasanna-Granapati as
executed in sculp-
XV
represents a bronze
Of these
ture.
PI.
fig. 1,
varam
Tanjore
in the
upon a pdamasana.
is
the prahhavali
the
aiiJcusa,
tribhanga
It is a
district.
in the body,
and
is
standing
and
it
hands
Its
head
is
It is probably
Fig. 2 on the
same
plate
is
an ivory image
of
at
Trivandram.
and
saviahlianga,
of Arts
in its
being
Pattisvaram.
PI.
The
XVI,
figure
is
of
shown
Nritta-Ganapati
on
The
is
may
of
Vishnu-
well be assigned
to
It
is
last
a very fine
GANAPATI.
piece of sculpture, perfect in modelling as well as
One
padma-
and perhaps
danta, sarpa
of the right
hands
is
is
attached
Above
thereunto.
Ganapati an umbrella
itself is
mouse
is
the head
sculptured
as
if
Below the
the mouse
seat
sitting
of
this
Jcaranda-maJcuta.
left
also a
called
hand
effect.
we may
floor.
is
worked out a
of eating
On
up a few
either side of
and right
of the
image
of
67
VISHNU
DHRUVA-BERAS.
VISHNU
modern popular Hinduism, Vishnu
IN
Hindu
trinity,
is
one
of
and is conceived
Brahma and
Siva, the
However, Vishnu
is
mentioned in
is
all
in fact
the Eigveda,
In none
supreme
and
is
deity.
of
He is there
as the one
steps.
According to
is
Sakapuni, an old
the god
who has
fire,
73
10
fire,
light-
HINDU ICONOGEAPHY.
positions of the sun at his rising, culmination and
The
setting.
is
obviously
incorporated in
dhyeya-ssada
the
dliyana-'slolta,
savitri-mandala-madhyavartl Nara-
Jcundalavan
hirlti
liari
liiranmaya-vapiili
dhrita-
is
The
still
is
of the
sun as Siirya-
and
in another
The supreme
Hindu
the protector
'
position,
theology,
became
in the Vedas, he
is
from them
this fact
the ancient
applied to
in
Vishnu
among
and there he
is
in
no way distinguished
we may conclude
From
who was on
him.
In the majority
history.
'
'
In the
In the Sata.
to be
eight,
VISHNU.
and
Vishnu
is
included as
in
number
and
The
twelfth Aditya
is
born, surpasses
all
Thus the
solar origin
easily demonstrable
out a struggle
to
and
among
that, when
among
to be
it is
Vishnu seems
of
of
head cut
alarmed
him
off.
Soon,
at the loss of
however,
they became
restored to them.
With
as the Sacrifice,
aspect he
of
is
at present
in this
Yajna-Narayana.
Concerning the position
and
the
of
Vishnu
in Vedic
HINDU ICONOGRAPHY.
principal
places are
who appear
Supreme
Spirit
was
of
Vayu
Agni,
assigned to
or
therefore to have
of deities in
especially revealed.
whom
the
Vishnu
who were
and Eudra
is
is
it,
the
Weber
terms
"
would have
it
that of Agni,
Vayu and
as
we have
in
The
The
destructive power of
fire
in connection
enough
lies
form
clearly
of Siva.
VISHNU.
By
relation
Vishnu
to Indra
Vishnu owes
to Indra his
heroes,
as Arjuna,
far
full
This close
from
his relations
Rama and
of great
being
significance.
human
is
its
heaven
names
to the
Krishna,
importance
for
his
entire history".
When we come
to the
later period
of the
clearly established,
Hindu
Vishnu
as the
this
of
the
Hindu
is
trinity are
trinity.
The manifestations
embodied
in
in interesting
The materials
of
so
images
Madhva-
Vishnu.
propagated in
S.
HINDU ICONOGRAPHY.
reformer Eamanujacharya,
is
number
lost
is
of these a
very large
Of the few
come down
remaining
of the
to our
own
days,
The
in
Mahabalipuram and
shrines, including the
is
in
In the sculptures
of
famous Kailasa
at
EUora,
it
followed.
giving
the following
principal
detailed description
of the
wifch
in
India.
The
principal image
in a
Vishnu temple
is
is
image an
The images
in each
of
78
VISHNU.
classified further
abhichSirilca
varieties
and
consequence of certain
in
These varieties
^**^
.'^"^*"
of
and
desires
objects
in
who
desire
intended to
be
different
view
are
who
desire
prowess
who wish to
ahhicliariha form. Some
I'lra
Vishnu temples
of the
enjoyment should
in
S.
mention
Vaikunthapperumal
the
we may
temple*
at
Mannarkoyil
Tinnevelly
in the
district.
at
In the
is
ing, sitting
* See
p.
temple on
210 on
vlra
PI.
359
Ixiii,
in
tlie
Vaikunthapperumal
of Fergusson's
of
Fig.
as re-edited by Burgess.
79
HINDU lOONOGEAPHY.
Vishnu
in
Vishnu image.
It is
may
be found in Appendix B.
As the name
indicates this
one
which
hand has
Yogastnanaka,,
a yoga variety of
It should
dark colour.
have four
The back
to be in the
is
of
is
The
front left
arm should
rest
upon
the
*
"^'^'^ti-
the back
rishis,
left
hand has
to
The
to be
sculp-
of
Vishnu
of the
left
Punya
is
Vaikhanasagama Punya,
synonyms
for
name
another
Markandeya
to be sculptured
of
Markarndeya
iTT^Ttjf
80
giref
Amita
in
are given
g^l>Jiq-i%^]%]%
on
The
Puraija and
:
or the goddess
Vishnu image.
\\
of
the
as
PLATE
Ma'ihyama Yogasthanakatnurti
Stone
XVII.
Mahabalipuram.
[To (ace page 80.]
PLATE
XYIII.
zm
^.r^-
y^^,^
"^;'sit:S^4*^iiis*Ssii'_-.i7
A\'it<,'>*\^
Bhogasthanakamurti
[To face page 81.]
VISHNU.
of the central shrine so as to face the south.
deer
on the
one of the
It
arms has
left
pose.
of
abhaya
in the
two
Brahma
of the
should be
hands should
kaman-
daJtt,
to represent
Brahma
Vishnu
valamhita pose.
deities
and
rishis
mentioned above
understood to
is
Brahma and
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
side so as to rest
81
11
is
in
left
HINDU ICONOGRAPHY.
or
is
made
The
colour of
The
made
to stand
on the
hand
flower,
freely
and the
by her
left
The
side.
On
the
should be the
be
made
In the
slightly bent.
golden yellow.
there
left
hang
to
image
of
In her
left
whose
Bhudevi,
to
On
left of
hang
freely
by her
side.
be kneeling
on one knee, or
titJattiJcasana posture.
sitting
the
in
figure of
of the goddesses
risJiis
south walls
On
to be respectively
worked out as
The image
Siva
of
of gods.
PLATE XIX
Adhama Bhogasthanakamurti
Stone
Tiruvottiyur.
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
If
Surya,
Chandra and
Sanatkumara,
Pujakamunis be
the
also
adhama
In
this,
class.
as in the previous
central figure
of
^'"^muru.*^*"
Vishnu.
cliakra
is
instances,
the
a standing image
He Carries in
his
hands
The
tured,
are
referred
It is
not easy to
names
In company with
by
to
the
Vishnu happens
to be the
Kishkindha,
absent,
further,
it
If,
Ylrasthana'kamurti of
however,
Sundara, Sanaka,
the images of
the
images
Sanatkumara
madhyama
class.
of
be
If,
HINDU ICONOGEAPHY.
Pujakamunis* be
also absent,
will be
it
known
as
^^ ^^"^^
faded
to be
countenance.
is
image
not to be sur-
If
Vishnu has
it
is
to be built,
be no beauty or symmetry in
that
it
construction
the paisachajjadaA
'^
its
The ceremony
the aspects of
Vishnu appear
in
to refer to
of
=Er3Eisrf^i%*rTJt
^regiprf^
g sri^^i^g^
84
known
as
installing
the description of
all
deya.
^^tti^cr^n^rft^
and
^ft
ii
PLATE
SthanakaoQurti
Scooe
Mathura Museum.
XXI.
PLATE XXII
Bhogasthanakamurti
PLATE
^^^
.s^
55.
Madras AJuseum.
XXIII.
VISHNU.
the abhicharikamurtis should be conducted in the
a chararasi month.
This
is
arms,
Yogasanamurti.
complexion
on
head
its
there
is
hrahmasana which
the
^?ir^^
If
a village
outermost one
rrm
called the
paiiachapada
Or the
village
front
ii
the
built in this
division.
is
the
circuit
of
twenty squares
is
called
The
is
hands
is
is
wit- sTrrwiTS^RRT^
The
it
is
called the
immediately
the vianusha-pada
called
the paisacha-pada.
* Chara-rdsi is the
be
'
same
as chara-bhavanam this
;
and tenth
'
i.e.,
the
first,
is
said to
fourth, seventh
HINDU IGONOGEAPHY.
of this
pose.
to be in the
yoga-mudra
It is distinctly
The
image.
of this
The image
be white.
shown
is
as wearing a yajTib-
On
closed.
Its eyes
On
posture.
of
Brahma
in
is
and
the same
the western
grouping
in
essential
of deities
relation
Yogasanamurti
ra,
of
to be represented.
as this
is
Vishnu.
If
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
also
wanting
in addition.
The
of
following slightly different description
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
upon the
vision fixed
of the nose.
tip
The two
On
gada
are
respectively.
somewhat
Vishnu
is
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
worshipped by yogins.
to be
fit
This aspect
right
and
this
form
of
left
of
to
Of the
left
upon the
To
made
87
to rest
we have
Her left leg
on the
seat,
HINDU ICONOGRAPHY.
while the right one has to be hanging. Similarly
Vishnu
left of
one being
left
left
Lakshmi
hand, and Bhumi-
hanging.
left
to be kept
on
On
the
Brahma and on
the north
sitting posture.
On
the back
goddesses
Narada,
Maya and
of
a pair of Kinnaras,
Vidyadhara, the
and
of
Samhladini, of
risliis
of the
Tumburu and
Yaksha and a
The
celestial
on the
wall.
halpaha
group-
Bhogasanamurti.
If
the Kinnaras,
Tumburu and
image
of
Mshnu would
if
be considerfurther the
PLATE XXV
Bhogasaoamurti
Stone
Badaoni.
[To face page 89.]
PLATE XXVI.
>
c
o
a
a
Id
lO
-a
'
PLATE XXYII.
'r-''-f''**t.
^1
adlu ania
l->ho;:as:in,v.nuirtii
S(,ono
l-iUova.
PLATE XXVIII
^.
VT^
'
<5D
Bhogasanamurti
Slone
Dadikkombu.
PLATE XXX
/^jv
"'
^ ".mp^'f-
>^*i'3rr>
'
o
03
S
cS
VISHNU.
images
of
This variety
it
would,
is
repre-
class.
image
of the
Vishnu
of
with the
somewhat
left leg
extended.
as kneeling
it
This image
of
in black
be coral-red.
In one
of the right
abhaya pose.
One
of the left
pose.
Vishnu there
left
On
Two
hand should be
hands has to
the
celestial damsels,
left of
Siva
Kamini and
both the
sides,
and Chandra.
Such a group
of
images
is
repre-
13
HINDU ICONOGEAPHY.
Sanatkumara be absent from the group, then the
image
of
And if the
Brahma,
Siva,
rnadhyama
to the
figures of
Chandra be absent
it
would belong
to the
aclhama
class.
This
also a seated
is
The
four hands.
Abhicharikasanamurti.
.1
is
tt'
seat
known
upon which
image ot Vishnu
^'^^^
is
-1
IS
made
as the vedikasana,
to sit
which
minor
deities.
The
AWiicliarihasanaiiiurti
for
must
form
of
The complexion
Vishnu has
garment should be
to be blue
black.
in
what
tithl
is
of the
The
called a chara-rasi
The shrine
and should
This
is
enemy who is
recumbent image
two hands
^^S,i!^^'
of
to be injured.
raised,
tL,ATB
(Fig. 1.)
(Pig. 2.)
Bhogasanamurti
Yogasayanamiirti
Ivory
Ivory
XXIX
Trivandram.
Trivandram.
[To face page 90.
PLATE XXXI.
3
a.
o
GQ
Id
a
ca
lO
M>.
VISHNU.
should be lying
right
flat
The image
The
figure
left,
right leg
should be
should be adorned
itself
By the
recumbent
The
body
what opened.
Or, this
to be parallel to the
slightly bent.
so as
The
bed.
side of this
should be Bhrigu
there
feet,
the demons
and
Madhu
On
of
Gavuda,
the
anjali pose.
On
of
Vishvaksena, and
class
figures of the
of
the
of
Siva,
constitutes
Yogasayanamurti.
Sapta-rishis and
both
If
the
Vishvaksena are
madhyama
class
if
it is
class.
HINDU ICONOGEAPHY.
This type of the image of Vishnu should be of
dark colour and have two or four
^ Bhogasayana-
^^^^
^^^^
^^^
^^^^_
^^^-j^
jj.
made
hands
is
as to rest
made
to be
One
One
head.
of the left
Nothing
is
The
straight
laid
and the
down
body so
mentioned
of the
is
given
left
It is
angulas.
The
face of the
On
recumbent
figure of
figure
of
Lakshmi seated
left
hand
In another manuscript
it is
stated
92
of
Vishnu
of the
recumbent
PLATE XXXIII
lO
^^m
PLATE XXXIY
i'*:*
VISHNU.
left foot of
This goddess
should hold a nllotpala flower in her right hand
left
hand
On
the
image
seated
to
on the
it
Bhrigu.
On
both
left,
Brahma and on
the figure of
Siva,
of
them being
of
in
and
of
them
Near the
image
of the ocean.
to be
to appear
the
which Vishnu
is
reclining.
Brahma
should be
Vishnu
Garuda on
Above the
five
figure
HINDU lOONOGRAPHY.
sun-god Surya.
the
on the
Similarly
of
left
Asvini-devatas,
Besides these
ren,
and
also
as
young
child-
there
collec-
the figures of
class.
If
of the
Dikpalakas be absent,
the
madhyama
class
and
if
it
would belong
the figures
to
the
of
wanting
in the group,
it
to the
aclliama class.
This
is
also
colour
its
other
there
has also
On
should be
and Bhumidevi.
to
if
be
dark.
left
saiiklia,
parallel
the goddesses
Lakshmi
hands as
Vishnu
of
left
to the body.
figure
murtT^*^*^*'
the other
reclining
in the act of
94
supplication.
in
Ou
their
the
VISHNU.
and
right
left of
Brahma
The
eleven
Tumburu and
Apsaras damsels,
Rudras,
and Brahma
(?)
sayanamurti.
Vishnu
The
also be
Then
shown on
the image
well-known weapons
five
of
are,
If
hhadga.
rishis be absent
from the
viadhyafna class
Kinnaras,
munis be
and
if,
in
also absent,
it
would belong
to the
adhama
class of Vlrasayanamurti.
of
Vishnu should be
satanim^L^'
The hood of
high.
The com-
and it
HINDU ICONOGRAPHY.
or four arms,
to be in full slumber
flat
on the serpent.
The
must be clad
no attendant
in
Such a
There should be
black clothing.
deities.
made
face should be so
figure
is
conceived
murtl-
If
Again,
is
if
made
of
on the bare
to be lying fiat
Vishnu
madJiyama
its
class.
all
floor, it
and
would
class.
photographs of nineteen such actual images belonging to the various parts of India are given herein.
Plate
XVII
Maha-
the Ydgasthd)iakainTirti.
is
left of
their
hands
of
jatainaknta, which
general.
of
is
Tlieir
heads carry
a characteristic of rishis in
of
of
VISHNU.
the Aijnclha-punishas
the
The
pose of praising.
relating
central
figure
of
Vishnu
the sankha
left
hand
is
is
in the ahhaija
seen to be resting
yajnopavita
hands
of the left
its
is
Across
arm
the
is
worn, and
abdomen
and
This image
padma-pitha.
It
of
may
Vishnu
standing on the
is
as all
and prosperity
Plate
in
XVIII
South India.
represents a bronze statuette of
Museum at
Madras.
in the earth
face
It
and portions
of its chest
state of preservation.
and
it is
of
in
an excellent
Vishnu carries
18
its
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
The image
is
The
the wrist.
pltha,
figure
which has on
strut to fix
stands
From
may
be assigned to tbe
the features
its
details,
it
century A.D.
The
is
figure of
XIX
Madras.
tion found
fifth
up about
this period
XIX must
Being placed
and has no
with
itself
it
have been
set
it is
in its present
naturally isolat-
deities
should
Bhogasthdnakamarti
ed,
in the
therefore be
classed as a
98
VISHNU.
The photograph
of
XX
an
represents
to the highly
Marked
India.
features
of
in its very
Vishnu
sankha
this case
in
back hands
in the
also
;
the
central
on
On
katyavalamhifa pose.
Vishnu there
goddesses
is
up
is
left
knee
The height
In the light
is
is
Muttra,
XXI.
is
It
hand the
the front
in
of
the
piece of
but otherwise
certainly disappointing.
Vishnu preserved
of these
Vishnu, as required
of
sculpture
in
by some authorities.
a lotus in her
is
Bhumidevi.
to the
hand
is
it
of
at
may
be seen to carry in
gacla, in the
left
back
left
its
hand the
back right
cliakra, in
in the front
HINDU lOONOGEAPHY.
hand a full-blown
right
which
lotus.
'Vishnu-image,
in the
manner
in
present instance,
Trivikrama.
in this
is
The
padma
chief peculiarities
The
which is characteristic
worth noticing
and
of the face
face
is of
of the sculptures in
the type
Northern
clearly
is
known
in
is
The group
of the
three
bronze figures of
XXII
As
is
in the
case of the
Museum
figure
figure of
at
Madras.
pictured on
Vishnu
Plate
carries in the
front
gada made
left
it
is
likely
lost.
VISHNU.
devi are on the right and
who
left of
noticing
is
deity such as
Subrahmanya,
is
shown
to be
on the
left is
shown
to be
without
it.
peculiarity
is
is
who
stands
This general
The
expla-
not apparent.
This
wearing
of
worshipping
(dalxsliinci-
From
and karanda-makuta
of
the goddesses,
from the
may
it
all
the
with the
clialira
is
left
is
hand
in its
back liands
On the
right
and
left
HINDU ICONOGEAPHY.
of
and Bhumidevi.
left
On
hand.
the
goddesses
of the
a lotus in her
latter a
right
Lakshmi
and
respectively
left
of
and
g'acla in
one
is
Surrounding the
images
of
the prabhavali in
is
of
Vishnu,
of
whom Buddha
and
of
left
is
one.
On
the right
palms
the
hands open as
of his
feet of
Vishnu
if
a cobra
to receive in
is
them
thrown upon
To
his
indicate
is
This piece
Garuda.
older than
We
two
now come
figures of Vishnu.
graph
Plate
XXIV
of a Ydgasariamurti,
Ydgesamurfi.
It is
found
102
othexwiaeknovfu also as
in the Kallesvara
temple
VISHNU.
at Bagali in the Bellary
and belongs
Presidency,
It
period.
mudra
to the
Madras
Chalukya
later
tion of such
The two
samJuta.
district of the
pose,
front
left
image
itself
is
ornaments, such as
knndala, keyura,
adorned
is
kataka,
liara
inner margin
it is
is
various
and yajnopavlta.
a prahliamandala with
is
concentrically with
with
in the
kirUa-makuta, makara-
the
its
sao'iJcha.
The
The
respectively.
seen
sculptured
avatdras of Vishnu.
that,
when
In
from
right
It is also
to
an item
left
of
the
may
ten
convention
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
103
this case,
as also in
HINDU ICONOGEAPHY.
Badami shown
The next
XXV
Plate
gives a representation of
The
rock-
it is
of the
image
to
Conjeevaram, which
In this piece
is
Vishnu
of
is
is
there-
plate.
of sculpture
of five
Vishnu
is
folded
of the
image
to rest
is
vertically.
on the
On
left
left
flat
leg
is
made
thigh.
of
upon the
The
turns.
and made
to
left
each
side,
mara.
tured
The
Lakshmiis
sculp-
bird-
on the
left
servant of Vishnu
is
wall
Lakshmi holds
104
right of
a lotus in
VISHNU.
her right hand, and Garuda
is
himself leaning
Below the
may
This
instruments.
be seen, some of
is
them engaged
The
one
of the
and serene
calm
most remarkable
sculpture
of
Vishnu
the serpent.
of
in dancing
pieces
chest and
his
the deva-ganas
period.
with his
sitting
countenance
is
attitude of Garuda,
of
and easy
of the serpent is
XXVI
Plate
image
In the centre
is
seen the
hands are
and the
left
folded and
made
to
on the
and the
the group
of
of
seat.
cliahra,
those hands.
They
are
left
one
is
made
105
leg.
On
palm
the right
HINDU lOONOGKAPHY.
of
Vishuu
is
made
to rest
goddess
rests
of
upon the
is in
on the
is
seat.
The
upon the
panel
is
of this
of the
image
hand
while the
IritaJia pose,
rest
On the left
left leg is
hand
left
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
what may be
of
Bhogasanamurti
luadhyama
of the
XXVII
Mud.
most
old.
14, locally
known
left
of
it is
as the
Vishnu
Bavana
is
seated
lying horizontal
Both the
if
class is
Vishnu's
called
front
and
hands are
The
figure of
Vishnu
niandcda, Idnta,
right
and
left of
is
On
the
VISHNU.
of the goddesses
ively.
tied
up
The
in the
form
crown (dhammilla)
of a
Lakshmi appears
figure of
respect-
which
is
the
The
ornaments.
all
is
to
however broken.
On
a cliamara in her
hand
the
five
Ayudha-
G-aruda.
at the
hands
The
tion of an
the
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
is
coiled into
is
the
left
serpent.
leg
folded
and made
to
rest
left
is
down and
upon the
hands the
HINDU ICONOGEAPHY.
chakra and the anhha are held and in the front
and
right
left
An image
padiJia.
manner
is
Vishnu executed
of
left
Vishnu there
of
is
figure
of the
this
in
Below
image
of
Garuda standing
The
by
on Plate
fig. 1
XXIX,
is
one
of the
most recent
most
almost similar
It is
Dadikkombu
sculpture
An
Vishnu
example
is
among
available
of
held,
the
is
is
reproduced on Plate
left leg is
left
bent and
hand there
made
is
the sahJcha
The
right
and the
thigh.
clial;ra is
to rest horizontally
arm
XXX,
of
the sculptures to be
at Aihole.
which
Adisesha.
Virasanamurti image
of the
left
hand
is
left
VISHNU.
are
of
shown
somewhat below.
are figured
shown
also
rishis,
left
as flying,
Plate
one
XXXI
cave in Mahabali-
of sculpture there is
and Kaitabha
demons
demons Madhu
risliis
is
of
Markanand the
This reclin-
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
Jiundala
and
ijajnopavlta.
flat
The
stretched
image
is
is
on the top
of the
109
The
HINDU ICONOGKAPHY.
and each
its artistic
side respectively,
iu his
Tn
hand.
may
sculpture also
production of the
figures
other,
are
shown
as
of flight in
if
The
Vishnu
an
and Kaitabha
flying
admirably
are
chiselled
The
period.
niedifeval
Ayudha-purushas
the
of
figure
riuirl/ of
The next
XXXII,
which
illustration
is
given on PI.
is
Vishnu
ture
(hiited Provinces.
seen
is
reclining
In this sculp-
on
the
serpent
The
somewhat
raised
flat
reclining body
on the serpent-bed
outline of a
bow which
in its
upper half
made
half is
to
lie
is
is
described in the
agamas
One
of the left
the other
right
other
is
bands
is
hands
seen
is
is
I'cstiiig
one of the
no
PLATE XXXII.
Bhogasayanamurti
Stone
Deogarh.
[To face page 110.]
VISHNU.
upon the
rest
mahita, kiuidala,
mdjlu, are
The ornaments,
thigh.
Jidra, keyara,
all
Vishnu there
image
of
faced
Brahma
kirlta-
Above
skill.
is
Brahma
two arms
to
the image of
hang on the
Brahma
is
chest.
hand
the figure of
Siva also
Parvati
resting
out
is
is
It is
rests
to be seen
and he
To
vajra.
to be
his peacock.
arm
left
It is not easy to
make
leg of
who
is
carries in
what appears
Subrahmanya seated on
upon
upon
upon
whom
is
of the
the right of
weapon
his particular
To
head
held
is
is
made
deer
hand
body
hand he
in his left
carries a
this
made
Vishnu
shown
By
to
her
presenting respectively
the
Ill
HINDU ICONOGEAPHY.
Below the
of the
seat
we
last of
each of
inurtl
whom
armed with a
is
shown
is
to
Kaitabha,
The whole
club.
the
niadJujama
hand
of the artist
is
it
first
rank
it
clearly
who might
of the artists
piece of sculpture,
and
class;
Smith
whom
Madhu and
of this
Lakshmi and
of this
inclined to place
it
From
on which
of the lotus
Brahma
hirlta-mahuta of Vishnu,
however obliged
to
assign
it
to the
of the early
BUora
to the
belong, that
is,
is
end
we
are
same age
Hindu caves
of the
to
at
seventh or
The
illustration
on
PI,
XXXIII
gives a birds-
may
be seen lying on
left
hand placed
left
hand
VISHNU.
bent at the elbow and
The
body.
each other.
legs
are
made
on the bed.
to rest
cross
is
the anlcha.
sanMa
is
left
shown
hands
in
of
to rest
there
the
on the chest
is
apparently
left
Bhumidevi there
are
Below
hand.
this figure of
One
of
On
is
seen
having
him
and
is
his
hands
in the
anjali
Above
pose.
above
this
Chakra there
the
is
goddess
belongs
to
the
hands a
temple
of
Vishnu
to the
XXXI.
113
16
lotus.
This panel
at
Aihole,
same age
by
PI.
as the
XXX
and
HINDU ICONOGRAPHY.
The small ivory image
2, PL XXIX was carved
fig.
Trivandram.
at
In
of
YogasayanamQrti,
Yishnu
this,
is
seen reclining
hand
his right
one
left
Below the
a lotus
is
right
hand
is
held by Vishnu.
Purana
local
at
sin
of
Vishnu
Anantasayanam
afflicted
in the temple at
The
of
some
Trivandram
is
also
Siva in the
of
varada pose.
The image
Vishnu figured on
of
PI.
XXXIV
belongs to Eajaputana.
is
is
The
front left
rest
upon the
is
hand
is
is
broken appears to
Jdrlta as
if
supporting
made
it.
to
which
pose.
The whole
out-line of a bow.
of a
bow the
artist
figure of
To
stiff
VISHNU.
and
inartistic shape
on the lap
of
Vishnu
is
On
lotus
is
Vishnu are
on the
others, while
left
feet
of
to be the figures of
five
Ayudha-purushas.
and the
Sapta-rishis
Sanatkumara
On
of
the
The image
central figure of
and
bent
ments and a
Vishnu.
left leg is
is
engaged in fighting.
number
of figures
DASAVATARAS OF VISHNU.
DA^AVATAEAS OF VISHNU.
INCAENATIONS
considered to
of divinity are
be of three kinds
called
What
a complete incarnation
designated an avatara, a
partial incarnation is
character and
is
is
more or
known
has to be taken as
temporary in
less
characterised as amsa.
for
came
into
the world,
it
said, to
is
Parasurama
suppress the
it is
came
to
an end.
In
living personage, he
completion
of
is still
alive.
him and
life
This work
life.
retired to
Mahendra-parvata.
his
the
Soon
life,
own
after
the
he met Eaghu-
divine powers to
HINDU ICONOGEAPHY.
ed by Parasurama was with him but for a short
time
was not a
it
incarnation
is
endowment hence
;
his
possession.
chaJcra of
life-long
Vishnu
as representing parts
and aspects
in their
When
condition.
these
emblems
of the aspects
in their
of
upon the
the amsas of
on ten
of
Vishnu
are declared to
different occasions
are ten in
to
done
to the world
by them.
of
including
(fish),
Trivikrama,
Parasurama, Eaghurama,
Buddha and Kalki. Some Hindu authorido not consider Buddha to be an avat5,ra of
Krishna,
ties
Matsya-purana are
itself
DASAVATARAS OF VISHNU.
and
its
results).
section, in
rated.
of a curse
(y.
37).
(ov.
58
ff.)
we
(as
shall
enume-
was in consequence
pronounced by Bhrigu
forms
it
are
17th
{vv. 39-52).
It
these
of
conflicts
is
see
between
related
when Prahlada
Asuras,
left
when
their
to their
sacred texts
Mahadeva and
obtain
certain
their
victory.
terities
{vv.
73
ff.).
gods
painful
when
rite,
16
him
of
to perform a
chaff {karia-
HINDU ICONOGEAPHY.
with his head downward for a thousand
dh'uDia)
years.
This he agreed to do
of this,
(ri).
of the
went
mother
his
Hearing
78^'.).
defenceless
in the absence of
and were
for help,
The
ff.).
them.
to attack
gods, however,
followed
(Sukra's
is
not given)
by her
however,
Vishnu,
interposed,
to enter
(Vishnu).
him
into
who
{vv. Qljf.).
tlireatened to burn
Vishnu
them up Indra
;
called
into effect.
female, cut
off
weapon
{vv.
consequence
world
"
upon
of this
96 ff.).
Sukra
men and
;
in
when unrighteousness
In
of
kill
consequence
of
prevails."
Sukra's
curse,
which
For Brahma
122
PLATE XXXV
c3
g
1:3
14
c3
icS
>
DASAVATARAS OF VISHNU.
had decreed that
who should
those Asuras
all
be
Vishnu's incarnations
234-245 j,
Dharma,
Dwarf
viz., (1)
(2)
enumerated (w.
are then
which
incarnations,
manifestations,
seven being
Parahurama,
and
(10)
(4)
(7)
the
remaining
the
(3)
the
238).
{v.
Bama,
Vedavyasa,
(8)
KalJd incarnations.
if,
(9)
Buddha
(Eight instead of
(i.
3, Iff.), viz:
Those
in the
(5)
Kapila,
(6)
forms
Narada,
Dattatreya,
and
13^,
Kurma
Narasimha
or the
Para-
Dhanvantri,
Man-lion, (15)
Vdmana
or the Tortoise,
(14)
surdma,
(22)
(17)
Kalki.
These
last
But
the
incarnations
innumerable,
like
the
inexhaustible
lake.
future.
rivulets
Bishis,
123
of
Vishnu
are
flowing from an
Manns,
gods,
sons of
HINDU ICONOGRAPHY.
Manus, Prajapatis
are
all
him
portions of
{v.
26)."*-
references to the
instance, in Satapatha-Bralmiana
it is
toise
similarly the
the
waters by a
more
krit
works
like
797
{lU.
the
whom
no being
of a fish
[By
12,
'
is
am the
discoverable
by
me
is
in the form
this danger.
meant]
."
The
form of a
fish.
At the end
124
in the
DASAVATAEAS OF VISHNU.
was a Brahma, that
was
there
is,
a partial dissolu-
worlds,
Then
mouth
of the creator,
who from
the drowsiness,
become disposed
deed
of
to go to sleep.
On
time, had
of
discovering this
This
fish
avatdra, as seen
lost
Another account
Vishnu
Agni
incarnation of
fish
is to
addressing
divine sage
of the
Vasishtha
says
" Listen,
Previous to the
vata
Manu
tapas.
performed with
One day
as he
was
much
devotion a severe
an oblation
offering
of
'
125
Throw me
HINDU ICONOGEAPHY.
not into
said,
it
'.
But the
in a jar.
me more
Give
'
best of
it,
pond
in a small
space
but
fish
'.
it still
increasing in size
the
to
of a
size
thousand
'
Why
this
lord
art
me ?' The
fish replied
'
On
this, the
;
hundred
said
ocean
in an instant
yojanas.
who
into a lake,
it
all
kinds of seeds
Brahma
the night of
to
my
and
commencing
the boat
horned
on the
day,
foretold
Manu
fish dis-
the
sea
entered
fish, to
it
and during
horn.'
appeared
fasten
to
Manu
the
boat.
Matsya-
who had
*
Brahma".*
126
p.
432.
DASAVATAEAS OF VISHNU.
The image
an ordinary
and
of
or in a form
iish,
either like
is
half fish
half
of
the
of
man
The image
fish.
is
generally
generally
is
The human
in the var'ada
is
decorated
the
all
half
ornaments
the kirlta-maTiuta.
We
have
The Kurmava**""*
seen
already
aoatara\<-A,%
that
tortoise
this
assumed by Prajapati,
In the
stated that
employed
Bhagavata-purana,
in the
on
churning
of
the
its
of
gods.
"
In his
eleventh
Pu.
1. 3, 16).
ocean
is
well
The image
of this
is
avatara
half
is
generally worked
man and
half tortoise,
As
in
HINDU ICONOGEAPHY.
the case of the fish avatara, this image also has
four hands two of
and ahliaya
The image
poses.
and the
sao'ikha
adorned with
is
One
of
tortoise.
the
earliest
references
having been
TheVarahava-
to
the earth
up from the
lifted
boar
is
it is
said that
Emusha, a
have been
arms
lifted
is
said to
The BSunayana,
of the earth
by
in the beginning
all
and
Brahma, the
lifted
self-existent,
up the earth.
of
which the
of that water,
who became
a boar
B&mawas Brahma
According to the
In the Bhdgnvata-purana
it
is
Lord
of Sacrifice
became desirous
128
of lifting
up the
DASAVATAEAS OF VISHNU.
earth,
of the boar.
attributed to Vishnu.
is
of Uft-
the uphfter
as
The Vislmu-
of this incar-
nation
Brahma, Lord
of the
who had
Prajapatis
the
At the
endowed predominantly with the quality of goodness, awoke from his night-slumber and beheld the
universe void.
He
is
the
when the
universe had
all
it
up,
assumed
cement
of previous halpas,
and the
sacrifice,
of
entered into
He
of the
world
re-
HINDU ICONOGRAPHY.
mains
fixed, the
hymned
He)
(therefore
Him
entered
water.
the
Beholding
and Club,
to
Thee who
and
herself in devotion
Eeverence
'
raise
me today
up
lifted
is
Thy form
who
Thou
Thou art
fice.
Thou art
Thou
art sacri-
the
the
uMara
fires.
Earth,
(the mystic
'
.
the
with a voice
syllable
Om),
celebra-
glorious
Upholder
of
the
the
chanting
of
the
like
up with
which resembled
the lower
DASAVATAEAS OF VISHNU.
mountain
(The
and other
members
saints
of his
in
hymn,
which various
in
to
detail
Soul, the
thus
hymned
Upholder
mighty
10,
Earth,
its
form"
lifted
like
owing
to the
Compare Mahdbharata,
932,#.
j^'ttfmidssin.d
who assumed
is
Brahma
as the deity
Saiva
the
of
'
pp. 63 ff.)
expansion of
iii.,
it
in praise, the
of the
i.
all
i.
4,
69
ff.)
universal ocean,
Brahma
slept
upon the
to create'.
of the
of a boar, this
it
as
it
was over-
had been
before."
HINDU ICONOGRAPHY.
vanquished the gods and took possession of their
heavenly capital, and that the gods had recourse to
sively as
and
also
Vishnu. Let us
attribute
now
this
incarnation to
various
Vishnu
These
works.
other
treated exclu-
is
tantras
In the
as found in the
sculptured figures
Nrivaraha,
The
Bhuvaraha,
will be dealt
with in order.
face of a boar in
It
association
to rest
serpent Adisesha,
company with
hands, the
left
Pralaya-
(iii)
Vaikhanasd,gama, the
ing to the
The
or
figure of
Adivaraha.
Adivaraha
Yajnavaraha and
(ii)
These
varaha.
(i)
who must
his
be
of
two
of
usual.
and be made
the mythical
sculptured as in
Of the
wife.
as
with
remaining two
own
hanging down,
while
waist
legs
132
DASAVATAEAS Or VISHNU.
of his
The
same goddess.
make the
though he
of the
is
image
of
the
Varaha-Vishnu
The
the god
boar-face of
is
goddess as
The colour
represented by
associated figure of
black.
Her
ornaments.
suitable
shyness and
lord,
be
up and
The
joy.
to
all
measure.
in
.
accordance
Such
is
the
with the
description
The Silparatna
cription.
to this authority, in
Bhumidevi on the
tusk.
One of
its feet
carry
should rest
upon the serpent Adisesha and the other on a tortoise. Or, the goddess might be shown as seated upon
the
left
elbow
in her hand.
of the
Her
expressive of wonder.
One
133
of the
which are
HINDU ICONOGRAPHY.
Varaha image should be made to rest upon
the hip.
The Silparatna further says that instead
of this
of the
Varaha being
half
it
may
The Agni-purana
bristles.
same
But
and the
of
hand
left
either a
In this
Lakshmi.
padma
or the figure
case,
the figure of
latter
as seated
upon the
feet.
left
BhOmi and
The Agni-Purana
The Vislmudharmottara
description
with a few
describing Adisesha,
it
same
additional
states
that
details.
In
that serpent
wonder
lifted
Two
up as
of Adisesha's
hands are
to be in the
anjali
He
the
alidhUsana.
The
134
same authority
adds
DASAVATAEAS OF VISHNU.
further that the image of Nrivaraha
sculptured
attitude
seated
or the
ing pindas
or,
When
boar,
it
may
hands
shown
the image
may
be also
dhyana
if
offer-
be sculptured
when
should be, as
the
in
be so placed as
Kapila
like
may
represented like a
full
by Eternal
embodied
in the shape of
is
the defeat
Hiranyaksha
incarnat-
ed as Yaraha- Vishnu.
This form
of
two
four arms,
which
of
;
are to
resting
left
upon the
seat
On
yellow colour.
Her
left
leg
should
be bent and
left
lotus
seat.
hanging.
On
the
left
of
Yajnavarahamurti,
135
there
HINDU lOONOGEAPHY.
should be seated Bhumidevi of dark complexion,
with her right leg bent and resting upon the seat
and the
left leg
hanging down.
left
hand
_
Pralaya- Varaha.
,
of
left
one
is
of
which
be carried,
to
The complexion
thigh.
to be blue
left
is to
On
same
of Pralaya- Varaha
all
be clothed in yellow
and made
in
to rest
on the
seat.
She has
able
has
ornaments
in her left
left
bent
to be dark
all
her suit-
upon the
seat.
is
136
DA8A7ATAEAS OF VISHNU.
when Vishnu gave up his boarform and returned as Vishnu, to his own heavenly
abode known as Vaikuntha, Siva took the long tusk
It is said that
of the
an
as
it
ornament.
Such
forms
and
of
are
some
Varahamurti as given
The
tantras.
the
Pis.
of
XXXVII
of
to
The
figs.
'2
figures
on
and 3 on PL
XLT
to
is
that they
of the
god him-
In
PI.
in the
to
XXXVII
palm
alone,
of the
is
the
hand and
;
agamas.
PI.
is
On
137
of sculp-
company
by Brahma and
Varaha
in
13
all
Pis.
are
leg,
she
One
actual
be noticed.
the
left
left
dgamas
the
represented in the
are
deserve
illustrative plates,
prominent feature
peculiarities
which
sculptured forms,
in
left,
and
a close examination of
HINDU ICONOGRAPHY.
the figure on the
faces
left, it
The
kamandalu
be seen that
in
what
is
The
the hip.
Up
cloth
worn
is
which
is
is
made
to rest
upon
is
given a figure
is
To the
left of
and he appears
Narada,
left
as the pose of
Brahma
Brahma
has three
known
is
it
Brahma holds
figure of
may
for,
to
in front of
of
a vlna, which
is
his
hand
is
musical
The
the
large figure to
Varaha in
PI.
right of the
may be
The statement
that of Siva
of
this figure
is
and
is
that
this
image
its
Brahma and
apparently in
The height
which
central
and
Brahma
Siva come up to
this
is
the height
PLATE XXXyi.
-5rjir!?!S0iS2fcCgg;3O,,,.,,^^^.
V^-ieO^^-^^^JiPWt^
a
u
3
.p.
Its
J3
o
a
o
DASAVATAEAS OF VISHNU.
dant
deities.
in the
is
uncommon
and Brahma
are rarely,
pose of
dfficulties
if
at
all,
there
is
shown
of
it
be a
Up
rishi.
above
The form
may well
which may be of
indicating that
this figure,
whom
Chandra,
is
here
of Surya,
represented
like
that
only up to the
this is
meant evidently
left
to suggest
To
the right of
to be
immersed
in water
haranda-maTiuta.
pose
her head
She
is
the
is
and
adorned with a
goddess of
is
earth
Under
her feet
He
HINDU ICONOGRAPHY.
hands in the
at
pose and
worshipfuUy looking
is
head.
is
aTijali
is
tional
manner with
lotuses
The execution
of
panel
elaborate
this
is
very
artistic,
The
and
is
very becoming.
power.
PI.
XXXVII
represents a group
prominence
Badami.
In
given to the
naturally
is
images
of
it
great
principal
figure of Varaha.
and Aiva
proper
are
riglit
and
left
shown
Brahma and
of
air.
Both
At the
Adisesha's wife
foot
on the proper
left is
of
Varaha
standing erect
woman
sculpture
is
about
holding the
a
is
chaitri.
is
an
This piece of
Mababalipuram shown
in PI.
140
XXXVI,
^LATB XXXVll.
311 'i?^:
-4te
1^
\
Bburarahamurti
Stone
Badami.
[To lace page 140.]
PLATE XXXYIIt
^ :^^.:':
Yai-aha
[To face page 141.]
Stone
t>LATB XXXIX,
03
o
02
e3
ic3
o
f^
DASAVATAEAS OF VISHNU.
PL XXXVIII and
the
fig.
more or
same age
seem
that on
as
to be far
XXXVI
PL
removed, in point
is
left
rest
elbows
left
clasped,
of time,
from
The
first
and with
on the bent
leg so as
left
to
This
truly artistic.
of the
they do not
period.
is
XXXIX
less
PL
2 on
seen to carry
is
this associated
hand are
right
hand
made
is
to
be suggestive of the
The
rities
in
Adisesha
representing
Varaha's two
feet
two palms
in the
supporting
whole world
is
in the
of
Nagas
Nagas
as
hands
of his
This Adisesha
attitude of alldhasana.
is
little
of reverencing
all
Varaha
their life
the
The
Nagas
PL XXXIX represents
The happy proportion of
2,
HINDU ICONOGEAPHY.
sculpturing of the Nagas underneath an expanded
lotus leaf so as to be suggestive of the patala-loha,
which
is
many more
these and
all
workmanship stamp
features in the
That
this vigourous
supporting of a Devi
child's play,
is like
artistically
to
left
shown
is
to be
hand.
noteworthy
becomes
is
concave side
its
and
effect
Alike
for its
is
Next
as
fig.
in point of time
XXXIX.
3 on PI.
peculiar in
it,
is
There
except that
it
is
nothing very
the
image
of
Varaha
Bengal as in
in
Bombay and
Madras.
Figs. 1
on
PI.
XXXIX
and that on
PI.
XL
represent
both
them
is
of
a bronze
belong
to
Madras.
is
The
latter
Museum
a stone image
to
at
be
PLATE
XL.
/!>'SM5i'!ilBW^:'j*l''^''"s\'^^
mmmiuu
Varaha; Bronze: Madras Museum.
[To face pnge 142
7C
PLATE XH.
DASAVATARAS OF VISHNU.
They have very similar
neither of them is in the attitude
characteristics
of jumping both are shown to be cahnly standing
district.
on the
right
leg
which
is
pedestal
the
left
leg
bent and
on the hood
of
is
Adisesha
firmly
set
is
on
supported
lower
left
hand
is
hand
is
in the
the
right
the
abhaya
pose.
arrangement
Here we may
of
It is easy to
Museum
2,
PI.
of its casting.
XLI.
is
the representation of an
to the
Chennakesava temple
traceable
and
workmanship
beautiful,
The
at
characteristic
of
We
see
HINDU ICONOGEAPHY.
the sula, thrust into the body of Hiranyaksha, the
and the
hands a
two
of the left
fruit
something which
is
in
made
Varaha
is
sahhha
This
is
hanging
to the
is
left
hand
left
notice
their
round eyes and tusks, and also the sword and shield
in their hands,
under the
who
feet
of
shown
as lying crushed
deity.
In
are
the
front
stands
There
is
an
explanation of
orthodox
the
In them
for word.
its
is
as a
it
whole
various limbs
The grunt
of
stambha
fire)
the tusk
144
the
the yupa-
and the
is
is
bristles constitute
Brahman
priest, the
DASAVATAEAS OF VISHNU.
bowels form the TJdgatri
organ
the Hdtri
constitutes
and the
The mucous
the Vedahgas.
to
genital
priest required
The two
the sacrifice.
officiate in
priest,
is
fire
is
by the
spoon {sruva)
consisting
Prayaschitta
and
is
The
the snout
(tunda).
their knees
victim).
of
breathed
air
is
is
The
its
is
is its
What
neck.
is
called havya-havya
body
of the
sacrificial
body
animal
chamber.
of the
boar
is
is its
is
is
its
heart.
is re;
the
The
called pravargya.
Kasyapa-prajapati begot by
Narasimha.
ed certain
two
sons
notably powerful
'
19
Diti
to sub-
HINDU ICONOGEAPHY.
The gods in their
Brahma and sought
new
affliction,
his help to
complained to
asura Hiranyaksha.
of the
him
to deliver
the asura.
warrior,
other
whom
assistants
to
Hiranyaksha
vanquish
but
so.
other
of
In the
asuras.
and entreated
and
his father
up the impossible
contest.
Prahlada proved to be
of
no
all
All the
avail,
good advice
of
and Hiranyaka-
The
result
the asura
this,
Such
On
is
tore
seeing
the brief
it
of
had to
DASAVATAEAS OF VISHNU.
assume the curious form
of the
man-lion.
The
We
incurred the
number
as
and
displeasure
Vishnu
of
their
become incarnated
to
to
of births.
Madhu and
him
of
In one
of these
and Hiranyakasipu
in
was
in
and one
of
legend.
gifts for
Once
sacrifice,
an advanced stage
derived in the
is
of
pregnancy.
the sacrificial
hua grass.
As the
sacrifice
;
was going
on, Diti
as soon as
it
HINDU lOONOGEAPHY.
to
The
per-
According
to the
he
still
The
Vishnu.
mortal
object of getting
subjected
him
of
Vishnu, remained
greater
who
filled all
fit
of exasperation,
fist,
see
him
in
and
at
half-man and
pieces.
148
to
DA8AVATARAS OF VISHNU.
It is
earlier life
Hiranyakasipu
said that
adored
boons to the
Brahma and
effect that
his
he should be so invulnera-
not to be killed by
ble as
had, in
man
or beast
that he
it
injure
naturally
worrying
After he
behaviour
of
irrepressible in his
the
gods,
and
killed.
it
But
of a man-lion,
the doorsill of
It is obvious that,
given in
shown
to be futile.
the Padma-picrana
is
two
of
is
This account
substantially
also.
Sthauna-Narasimha.
in
The images
The
149
first
kind
of
and the
consists
HINDU ICONOGEAPHY.
shown
seated on a
padmasana
the forelegs being maintained in the required position by the ijoga-paUa belt going round
them and
the
another
name by which
as man-lion is called
this single
and
In the
or four arms.
Kevala-Narasimha
it
image
may have
of
is
Vishnu
either
two
upper right
This form
of
the image
of
Narasimha
often
is
The
colour
of
form
this
of
the
image
of the
The
Sometimes Girija-Narasimha
is
represented as
ing
the
folded and
made
to rest
upon
left
PliATE
Kovala Narasimba
Stone
XLiIJ.
Halsbirlu.
[To face
pafje ISO.]
DA8AVATAEAS OP VISHNU.
The
sanliha respectively.
hand has
front right
hand
as resting
pose.
of
Narasimha
to
left
in the Jcatyavalambita
form
of this
of the
image
is
and
suitable ornaments,
all
On
the image of
with her
left leg
seat,
leg
hanging down.
In the
hand
carry a lotus
right
to rest
The image
on the
left of
and made
made
of
to
left
and her
upon the
seat.
to rest
on the
hang down.
seat,
while the
left leg
is
and the
left
The colour
the seat.
to be golden yellow,
be dark.
with
all
of the
and that
image
of
of
upon
Lakshmi has
Bhumidevi has
to
as resting
a pillar
is
;
the
name Sthauna-
and
this
Sthauna-Narasimha
151
is
also a
HINDU ICONOGEAPHY.
seated image with four arms.
made
the
corresponding
The
on the thigh.
to rest
hand
left
left leg
neck
should be covered
The
mouth
made
of the man-lion.
In a second manuscript
somewhat
distinctly visible in
different
of
Vaikhanasagama a
description
Sthauna-Narasimha
is
given.
may have
of
the image of
According to this
twelve or sixteen
On
the
left
One
pose,
of the right
hands
of
Narasimha.
to carry a
sword so as to
DASAVATARAS 01 VISHNU.
of
and one
left,
entrails of
The
of a garland.
and be
As
if
pose should
and
left.
all
armed with
shown
be
in des-
Narada with
hands
in the anjali
as standing
on his right
his
in the
anjali pose.
If
is
sculptured with
be holding the
garland-wise.
thick
thin.
The whole
as the
of the
153
HINDU ICONOGRAPHY.
tara prescribes the dlldhasana for the
Sthaunamurti
it
third
Narasimha
In this
folds
should possess
four
arms
Garuda
of
two
in
which he
of
mentioned
as
kept engaged.
should
be
the
how
to
should
have,
The
adorned
with
however, not
come
be
hood
of
Adisesha
Narasimha
figure of
all
are
Narasimha there
of
five-headed
Nothing
other hands
the
or
Narasimha
This
Adisesha.
of
as-
called the
is
Yanaka-Narasiiiiha.
P^ct,
and ignorance.
variety of
Nai^^tmh'a.
is
ornaments.
We
even a single
across
Sanskrit
whose descriptions
authorities
us
forms
of
available
however,
Narasimha
PLATE
Xlilll,
Standing figure
[To face page 155.]
of
Kevala-Narasithha
Stone
Badami.
DASAVATARAS OF VISHNU.
Hiranyakasipu,
killing
Narasimha,
that
state
harsh.
of a
lion, tore
up Narasimha and
same
as
of the
of the descriptions
Kevala-Narasimha, which
the
given above,
and
the
the
of
six other
to the descriptions
The
figure of Kevala-
is
In
padma
as
it, it
has
is
required
gada and
by the 8ilparat7ia.
made
In
to rest
upon
the description
nothing to be
presenting the
of the
desired.
strict
beautifully
that no
praise
155
adherence
wrought so
HINDU ICONOGEAPHY.
appreciation of the
skill
and
The imdma-
is
be seated,
of
is
here absent
and instead
required to
it
we have
Garuda-emblem
or the
is
worked out
PL XLIII
Strictly speaking
form
of
standing image
and padma
the
instead of
Vishnu.
we have
sitting
one
a
a
as
sculptured
human form
in
real condition.
is
also, illustrates
Here
Kevala-Narasimha.
to indicate
to be
as
found in their
uplifted
arms
of the
ing the
Gada
and
to the right of
leg
of
is
details, correct in
portions.
in
PI.
The face is
XLII
This
stiff
PLATE XLIV.
PLATE XLY,
Sfchauna Narasimha
Stone
Dadikkombu.
DASAVATAEAS OF VISHNU.
Narasiiiiha
is
The ornaments
out.
is
are all
skill of
the
artist.
we
man -lion
of the central
Brahma and
image,
of their
and
glorifying Narasimha.
is
is,
XLIV
depicted in Pis.
XLV,
and
is
based.
That
South India,
main
Dadikkombunear Dindigal
should exhibit so nearly the same
in distant
authoritative description in
an
we
see that
Narasimha
is
shown
In both
as advancing
up
made
so as to overpower
hands
of
him
Narasimha
body
of
Hiranyakasipu
moreover one
in each of the
157
Narasimha
in both
of the right
sculptures
is
HINDU ICONOGEAPHY.
held up as
if
with
open palm
the
he
is
of
enemy
The same
Narasimha in both
hand.
of the
hands
in relation
is,
Although
two pieces
respect of
artistic
merit.
The conventional
conical
Idnta,
the
straight
mechanically arranged
of
their
lion's face,
the
attitude,
the
expressionless
mane and
other
XL VI
Nayakas
when
and
of
XL VII
Madura
figures
and the
in imagination.
other hand,
is
energy and
Narasimha
In
its
artist
The
full
on
lowest ebb.
of
This
of
is
its
indeed in a
Ellora in almost
workmanship
was obviously
it is
decidedly
utterly lacking
of expression
vigorous
indicates, in a
action
and suggestive
the attitude
of
mane and
PLATE XLVI.
Sthauna Narasimha
Stone: Dadikkombu.
15y.i
PLATE XL VII.
Sthauna Narasimha
15'J..
DASAVATAEA8 OF VISHNU.
The hand
him
at
literally
of
Hiranyakasipu keeps
an arm's distance
a second
hand
him motion-
less,
Narasimha by making
two
his
drapery
The
is
defiant
mood
feet rest
worked out
well
also
two
The arrangement
padnias or lotuses.
Hiranyakasipu
of
and
is
upon
of the
artistic.
very well
and
in proof of this
form
of the
jaw
it
of the
lion,
and
may
and are
in shape,
an examination
be easily
of
made out
found at Badami
shown
in
is
very
much
From
itself,
it
Narasimha
HINDU lOONOGEAPHY.
The bronze
Museum
late period,
details.
XL VII),
(PL
as
The
Narasimha
figure of
artist
conventional in
in conception
Though
effect.
and execution,
tracing
of
so conventional
from being a
it is far
The abnormally
shown
the hands on
of
is
another well in
tusks
all its
Madras
strictly
it is
at the
large
the nania
shaped
the curiously
eyes
and
ears,
all
and the
characteristic
casting in
South India.
It is
well worth
and
com-
Dadikkombu
XL VI).
Figures
and 3 on PL
Narasimha.
These
two
NSSha.
bronzes
Museum.
is
down and
the
flat
upon the
seat.
hanging down
left
leg bent
On
is
to rest
seated
and each
and made
of the feet of
Lakshmi
The upper
is
right
DASAVATABAS OF VISHNU.
hand
of
upper
left
of
hand
left
in
is
sahkha
carries the
worthy
It is
Garuda
right
hand
is
in embrace,
The
Lakshml
The
and her
left
hand holds a
of note that in
in the
fig.
1,
lotus in
PI.
it.
XLI, a
as the Idnchliana of
legs of
Bali,
Prahlada,
^ri^ikrama^
Vishnu
of the strength
who prayed
and
celestial
was born
of
to her
devotee
mother,
great
was
tion,
by means
the
to
Vishnu
to be born as a son
kingdom
Accordingly Vishnu
to Indra.
and
to the place
where Bali
HINDU ICONOGEAPHY.
him
as a sacrificial
asuras,
gift.
to' be careful in
and said
warning,
Yajna-purusha,
and
sacrifice
for
paid no heed to
that,
consider
on the occasion
it
to ask for
of the sacrifice,
he would
Bali, the
gift
emperor
of
to
him anything
to give
the
deity,
offering
him
come
to be the greatest
by that great
Vishnu who, as
if
is
Noble and
making promises.
his disciple
which was
of
of water.
At once
this
Vamana,
of the
for
heaven.
and
own
royal
head
for
Bali,
162
this
third
pace.
Vamana who
DASAVATAEAS OF VISHNU.
had been Trivikrama, or the god
after he
assumed
by the pressure
is,
his
of three strides
The worlds
himself.
so acquired
own
Such
lord Indra.
is
image
of
Vamana
of
its
56 ahgulas.
It should
have
On
the
crown
of
knot
worn
He
of the
sacred
made
it.
hum
All
that
HINDU IGONOGEAPHY.
lad
beaming with
differ
intelligence.
Some
authoritieb
Vamana
is
not
be
to
represented
a young
as
form of an ill-shaped
truding joints
of
actual sculptures
man
we
and
bones
big
belly.
In
see
exemplified.
in three
left foot
or (2)
raised
to the
different ways,
up
be sculptured,
namely,
it
with the
These
Trivikrama as striding over the earth, the midworld and the heaven-world respectively
all
The image
among
is
of
up only to the
knee
and are
The
rule
is
accordance
and
their
height
should
be
131
angalas.
should be
left
made
or
164
it
and one
may even
of the
be that the
DASAVATAEAS OF VISHNU.
hand
left
carries the
The other
sankha.
right
stretched
this
right
parallel
hand may be
On
varada pose.
is
the
in
leg
the saiiJcha,
and
(bow)
in the
Trivikrama
and the
left
liala,
Trivikrama
if
hands
chakra, gadd,
other
the
previous instance.
is
or
should carry
as
to
hand
left
uplifted
being
three
The
to be firmly planted
sdrncja
kept
right leg of
The
world-measure.
it
is
to be
should be
ornaments.
Behind
it
shown
left
to
Chandra
On
wave chdmaras
the
all
either side
respectively.
Near these
again
and
there
Brahma
should be
made
blood-red.
165
is
HINDU ICONOGEAPHY.
foot of
it
of his
shown
Siva should be
colour.
somewhere
as sitting
which
Near the
Namuchi, a
figure of
bowing
On
Trivikrama.*
navel of
of the
rctkshasa,
should be the
god Trivikrama.
left
gam
upon
in the attitude of
the
leg
as taking
of the rakaliasas,
with a
Vamana
receive
to
of
space.
:in
promised
the
him Bali
to
and up
to
Up
to the
the {ovelTea'l
Siva
knee
of
ha
above the
is
is
j.ssigned
a;riul of
the
Trivikrama
is
:;iMiivi,lohi.
Hence the
to the oW.rii<iLdka,
Trivikrama.
166
that
is,
it
it
and up
iiosition
of
to the region
DASAVATARAS OF VISHNU.
a golden vessel to indicate that he
ready to pour
is
Behind
gift.
Above
Jambavan
drum
called bJieri
the
Joy of
in
so
as
to exhibit
rule
of
the
asrtra
Vaikhanasagama.
the
emperor Bali.
says
the
requires
on the
left leg,
Moreover
image
padma and
it
required that
is
work we
are
In this
represented like
human
beings, that
is,
as
Ayudha-
purushas.
In some instances
krama we
is
torily.
The
statement
devd-rispharifpkshanah
ekordJiva-vadanah-kanjo
is
167
found in
Vishmidha?
HINDU ICONOGRAPHY.
mottara
in
expression ekordha
is
found instead
of ekordhva.
large eyes.
the second
If
mean
stood to
number
eye.
Trivikrama
is
In a
slightly
preted above.
The second
VaraJia-pitrana
it
Trivikrama was
lifted
began
is
yet another
up
to
when
In the
the foot of
to
represent the
The
stated that
re-
the
broken Brahmanda.
to
is
possible
world,
There
This face
Brahmanda
is
in
perhaps meant
that
condition.
in the ordinary
made
To
illustrate the
krama.
The first
of these
168
of
Trivi-
PLATE XLYIH
i^.-^;--.^
Trivikrama
[To face page 169.]
:I
Stone
DASAVATARAS OF VISHNU.
a very
beautiful
piece
sculpture,
of
which
in
Below the
uplifted leg of
see Adisesha,
seated in the
slightly mutilated.
Trivikrama we
may
face
His head
adoration.
The
himself seated.
with a seven-
associated
is
coils of
in abstraction,
all
which he
the
lips,
the
of
is
perfectly natural.
Trivikrama
is
shown
at the corners of
face, there is
its
when
the
markings
Brahmanda broke
for, it
it
the
has on
The
loin-cloths
effect.
century A. D.
It deserves
169
32
HINDU ICONOGRAPHY.
the
left leg
navel but
of
is
Trivikrama
is lifted
far
above the
The next
XLIX)
(PL
picture
feet
by
represents
feet in
six
size,
Ratha
at
'
what
Mahabalipuram.
the
is
called
In this
is
Ganesa
'
group
of
that of Trivikrama.
remaming
right
hand
is
Three
the
of
left
up to the
Near the
level
of
Brahma
padmasana and
the forehead.
is
made
Jcarna-kundalas.
which
His image
foot.
to
as seated
on a
is
given four
we
His image
a padmasana.
shown
measure
hands and
is
This
leg.
the heaven-world,
hand
also
has four
on
arms,
one
of
also
is
is
It is
PLATE XLIX.
ipi|WW^Pw?wi!^^rr - .^
DASAVATAEAS OF VISHNU.
by a
encircled
legs of this
way
The
halo.
of
which the
in
the
support.
up
terrestrial
in
stretched out
of
in
Chandra
is
may
of
to be in the
In the space
Trivikrama.
praising
of
shown
also
is
Trivikrama and
Brahma
there
Brahma.
It
carry what
is
in joy
old
At the
to the right
is
made
This figure
to
is
the Danavas.
Namuchi
bear and
evidently a drum.
obviously that of
drum
of a
foot
Devas over
of the
Trivikrama
of
sits
figures,
air,
right
if
It is not possible
purana
in size
states that
is
cutting somersaults in
hand.
There
to say
whom
this
The Brizhmanda-
air as
if
of the
Dana-
by a hurricane.
HINDU ICONOGRAPHY.
This figure
is
tossed up.
perhaps one
This piece
seventh century,
that
so
belongs to the
of sculpture
to
is,
Danavas
the
of
of
The
Maha-
balipuram sculpture
in
many
Bombay
Presidency.
of being lifted
up as
Mahabalipuram,
made
is
Brahma and
panel
as
and
it
to
left
of
left
Trivikrama there
the
gift
is
the
at
In this
asked for by
the
image
to carry a hana.
It is
of its details.
Vamana
Immediately below
erectly
the image of
planted leg
Vamana
of
facing to
to
hand
of the
gift
made by
Bali
and the
left
In front
ready
Behind him
is
if
not
made
The king
of his being
of the sacrifice.
In the
PLATE
li.
>m{(fif^*-
'
-/# F^-; I;
,&
'
^ '"^"^^
In
^-
\i
li
f
/
Trivikrama
Panel-Stone
"i
Badanii.
[To face page 172.]
DASAVATAEAS OF VISHNU.
They may
the previous instance, some
be,
we surmised
of the
in
On
as
the
As observed
leg.
in the
may
well represent
right
is
staff,
while the
Namuchi.
Behind
to the
it
hand
pointing to Trivikrama.
is
whom
it
to the out-stretched
arm
Trivikrama
of
Opposite
represents.
is
the grin-
arm
are
Jiioon.
Perhaps these
Trivikrama
is
a rahshasa,
in the
hands
century A. D.
manship and
is
The age
of
agreeable
in
its
work-
synthesis
Fortunately,
it is
and
not
HINDU lOONOGEAPHY.
much
navel
The
mutilated.
and hence
this
leg
left
is lifted
above the
The same
heaven-world.
and
is
of equally
larger
good workmanship.
(See
Arch. Suro. of
Volume,
Pi.
is
Badami on a
Trivikrama
subject
called
is
Viratarupa).
The fourth
which
called
is
illustration
Cave No.
It is in
Dasa-avatara
the
Cave.
The prominent
is
held
shown
in
horizontal
vertically as in the
The
Namuchi and
are absent.
almost
The
by Trivikrama
instead of
is
16,
figures of
position
other instances
bow
is
extended
leg of Trivi-
of
the gift he
is
Vamana in
making.
confirm-
There
it
is
seems to be
one
gift.
PLATE
LI.
U>M
Trivikrama
Panel-Stone
Ellora.
PLATE
LII.
.''-;^?w"-\*^*lj
DASAVATARAS OP VISHNU.
of
on the right
For
Sukra
the panel,
caught hold
of
fist
by Garuda.
to
the middle
upraised leg
is
shown
is
having
as
side
been
may
This sculpture
of the
be assigned
century A.
8th
The
D.
the navel.
The
of a sculpture
cutta.
The
down
LII)
PI,
is
that
sculptor
in artistic skill
laid
1,
in the Sanskrit
almost
like
is
of
hand that
it is
in
rests
is
held in the
In this respect
of
Mysore
who
she
is, it is
is
a god-
not possible
Below the
left leg is
175
To
dis-
HINDU ICONOGRAPHY.
wherein Vaniana
Bah who
is
it.
is
his
Over
(luru.
lifted
moon is seen
Brahma is
crescent of the
his
just
Trivikrama
padmasana
Sukracharya,
also
and
this group
leg of
granting
and
queen,
shown
is
above the
left
on his
seated
foot of Trivikrama.
seem
of
to depict Bali
and
his
in
the
meant
ment adjoining
to the
is
anjali pose
left
to represent Bali
a king
are
corner.
These
and
queen
his
In another compart-
The
artists of the
to
the
of
in his
Trivikrama as given
in
Ghaturoimsafi-murtayah, or the
Kesava.
All
the
images in
this
group
of
PLATE LIU
fn^'
6:1 ..H-
y-
-H*t^,
it
Trivikrama
Stoue
Nuggaballi.
DASAVATAEAS OF VISHNU.
The
Among
gadd
left
in the
left
Trivikrama.
The
hand,
image
articles is
murtayah
is
which
with that
rule.
Somehow
committed by
this artist, as
of artists, of
'
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
Chennakesavasvamin temple
larger
at Belur,
the
while the
at Nuggehalli, both
These
The images
HINDU ICONOGRAPHY.
are,
and
in pose
workmanship
details is
the
ornamental
The
critic.
his skill
of
elaborateness
The
attitude.
the
ta,
artist,
proud
of
and engraved
that posterity
Justly
his
is
almost no difference
In the Belur
of sculpture.
figure
Trivikrama
of
is
made
to stand on
the
one which
regions.
is
The
and
leg,
In this respect
the Silparatna.
of the
left
it
it
is
the right
foot of
Trivikrama
Brahma washing
long bearded
down therefrom
in the
is
it
sits
shown
form of a
the hoary,
to be flowing
river.
The
the river
is
tortoise,
etc.,
in
it.
idea of
fishes,
Below the
hands
ahdhasana.
usual
fine!}'
of
Trivikrama
in the
is
the
DASAVATARAS OF VISHNU.
stands,
in
instance,
this
for
the
hilpaJca
tree
which
descriptions
given in
are
In the
books.
is
is
like
an ordinary
On
tree.
this
tree,
moon
are
shown
image
left of this
figure
as
if
of
two images
of
the
is
a male
out.
These
Trivikrama there
On
is
The
up
LII, represents
puram
in the
Presidency.
North Arcot
This temple
district of the
is
known
to
Madras
have been
Vijayanagara king
the
also,
two
the
of
image
of
is
Here
saiiJiha
and the
chaJcra,
is
HINDU ICONOGRAPHY.
This furiously descending river Ganga
fall
on the jata
of Siva,
who
river
made
The
Kailasa.
Ganga on
his
head
is
Vishnu
to
mount
is
is
Trivikrama incarnation.
in the
feet of
There
is
mixing up
to
of the
two events
foot
of
superiority of
by washing the
sanctified
It
is
is
disclosed by Siva
evidently intended
on his head.
himself.
is
which
the General
sectarian
composition of sculp-
The
Introduction.
of
been drawn in
lean
body, the
and
* Bhag. Pur.
Bk. VIII,
ch. 18.
"
And
his
head
180
water)
in
who
(that
is
is
(as
an
DASAVATARAS OF VISHNU.
the clothing of this image of Trivikrama
mark
it
" Observing,
sub-
he had gone
that
warlike quality.
to
One day
he was invited to
hunt,
who
of the
was wished
virtues of this
given to
was
him
slain
cow
all
that
but,
this should be
by the son
of Kartavirya,
Eama had
on
father
of
Bhrigu."
Jamadagni'a
HINDU ICONOGRAPHY.
earth from twenty-one generations of Kshatriyas.
He then
and
Brahmanas,
the
Mahendra."
of
retired
to
Kasyapa
the mountain
Brahmana, took
to the
who engaged
ways
of the Kshatriyas.
Beholding
birth
a prince
like
called Satyavatl.
of
peevish
to a
him
He was
accordingly
Gadhi had
a daughter
was reluctant
equally powerful
in
The king
marriage.
to
old
thousand
fleet
steeds,
Having
propitiated
Eichika
obtained
called
after
from him,
at
the
them
to
the
of
horses.
And
Hindu Mythology,"
182
ocean,
holy place
daughter.
* Vans Kennedy's "
ear.
p,
434.
DASAVATAEAS OF VISHNU.
"
of
rice,
And
made a
mother by partak-
went
to the forest.
At the time
to Satyavati
sage
Daughter, every
to be excelled
mother's brother.
me
you to give
by the
qualities
It is therefore desirable
has set apart for you and to partake of that intended for
me
for
the world.
my
What
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
'
as very
was intended for thy mother. Thou hast committed a wrong. That food I had consecrated with
the
properties
of power,
quali-
HINDU ICONOGEAPHY.
a Brahmaua,
of
ties
resignation.
gentleness,
knowledge and
Brahmin and
Satyavati
fell
at
propitiated so that I
'
So be
"
my
this,
and said
'
Be thou
ignorance.
my
'.
it
Hearing
may
son
'.
my
and piety
'.
birth to
Jamadagni and
Jamadagni
of
Satyavati
was a
of the
Kshatriya
who
race,
the
universe."*
of
elder brothers.
ing,
Once,
king of
DuW*
Ibi
dist-
Manmafchanath
DASAVATAEAS OP VISHNU.
ance and
felt filled
home Jamadagni,
learning the
so,
for
kill
their
mother
which Jamadagni
ordered
Eama to
do
it
and
birds.
Then he
father to grant
be restored to
been
slain, that
by this
sin,
on the
of battle
field
life.*
The same
of
Parasurama
purdna
also.
is
and deeds
He
is
hair,
that
and
it
is
of the black
his
body was
bow
war
Mahabhdrata,
III.
115
10167
185
21
of
HINDU ICONOGRAPHY.
By
in his hands.
his
power he secured
his
for
Parasurama
in the sky.
(great bear)
rishis,
is,
be living even
now on
the
mount Mahendra.
is
is, it
to the
should be
hands
and the
in the right
left
On
pointing to something).
be the jata-malaita
sTicJd
The
hands
that
carrying
of
ornaments.
;
and
Agni-'piirana,
his
how-
if
ever,
pose (as
The
held,
paraki, hliadga,
bana and
should be shown
JiautuJca-bera of
The
Eama, Sri-Eama
or
Kamachandra, the
ideal
Baghava-Bama.
model
of
of
DASAVATARAS OF VISHNU.
Dasaratha
of the race of
The whole
Eaghu.
of
Rama
is
story
Even
poem
of
Valmiki known
as the
Ramayana.
poem
ing
of
its
life of
faithful devotion
as
and
ing through
Hanuman,
whereabouts
of Sita
longing to be delivered by
Rama
of
Rama
then
Ravana and
of the bridge
relieve Sita
of the
wonderful building
of the fight in
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
books of
six
first
Ramayana.
the
king
therein
rule
portrayed in
as
called
deference to a
of
king
felt it
companion,
of delivery
educated them
brought these up
how
in the
these boys
meanwhile
for
how
at last
subdue them
his
own
how
and
duly
Rama
sent
forthcoming
his
horse-sacrifice
able
life-
how
the
sons
to be
unconqueroffer fight to
to be
;
how
and relieved
Earth
to
his
and how
sons,
leaving behind
human
the
life
at last
to
heaven,
Utbarakanda narrates
188
way
all
of a
really divine
these
things.
It
{liATE lilV
i^'P/v
a
ID
CO
^r^-^.
^fi
DASAVATAEAS OF VISHNU
is
no wonder that
upon
human
as a
surprising that
upon the
this
those, who,
all
more
were
earth,
God
incarnation of
in
or
nor
his
life
is it
time
intimately
less
upon
In fact there
that
Eama
country as one
as being
it
The image
of
Raghava-Eama
Vishnu.
is,
like that of
of
120 ahgulas
in
the
image
left
of
height.
in
in the
Sri-Eama, which
is
or
name
has to
it
and
it
Eama
for
one, with
in other words,
and
The
the bow.
another
It
The
has to be black,
On
the
Eama was
The
right side of
to the
navdrdha
(or
be
on the
made according
HINDU ICONOGRAPHY.
it
image
shown
in
Rama
of
and no bend
in the figure.
in the
It should
body need be
be golden-yellow
colour,
clothings and
be adorned with
all
the necessary
ornaments.
The
up
in a knot,
In the
the head.
flower
7illdtpala
left
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
Lakshmana made
of
in accordance
116 ahgulas
in
it
Rama.
Adorned with
all
ornaments,
and
be
Rama.
The
figure of
sculptured in accordance
measure
of
84 angulas.
Hanuman
should
It should be represented
190
DASAVATABAS OF VISHNU.
two hands, the right
as having only
which
of
is
made
to
which has
to be
assumed by
The
masters.
Hanuman
should
The Vishnudharmoftara
of
of his master.
of this faith-
also be associat-
these figures as
The
shrine of
Eama
is
required to be built in
In the
Kama,
Sita,
man
should
heads of
all
Sita, should
the top.
of
all
Bharata,
Eama, might
and arrows,
Eama
of hair
and
shown on
to the right
be represented as carrying a
or as carrying a sword
The
and
bow
a shield.
jewel.
His complexion
HINDU ICONOGEAPHY.
Satrughna should be made to stand on the
be red.
He
left.
is
to be
The Vaihhanasa-
shown
as standing
and
golden-yellow colour,
of
of Sita
in these
must be
left
slightly
bent.
of
photograph whereof
is
Hanuman
Sita and
reproduced on
PL LIV,
the
be-
The
Madras Presidency.
first
in the
body and
the injage of
Rama has
right
left
arm
if
The
while
feet of
Rama,
has the
like
those of
wgonpadma-
Lakshmana is similar in
that of Rama.
The image of
hand hanging down and the left
image
of
Hanuman
it,
the
bow the
an arrow in
at
every respect to
hand
to receive
slightly bent
is lifted
sana.
three figures
left
hand resting
is
The figure of
upon the thigh,
PliATE
liV.
^^
DASAVATARAS OF VISHNU.
The image
Rama
of
is
maliuta, that of
kirlta-
shown
hair
From
on the head.
Jcaranda-mahuta
the
Hanuman
may
the
workman-
The
on PL
figures
period and
may
LV
all
worked out
Bama
bow
the
in exactly the
The
to the left of
They
earliest.
same postures as
uplifted left
as usual.
later
much
belong to a
hands
to hold the
Rama
the
arm
left
of this
goddess
made
it.
is
made
to
hang
held up carrying a
The image
is
of
Hanuman
is
The
when Rama reached Ramesvaram
is
that
he decided to
Siva
for this
man
set
up a linga there
purpose he deputed
some sacred
of
Hanuman
to
Before Hanu-
26
place.
honour
in
moment
HINDU ICONOGRAPHY.
for setting
upon
Rama
and
liiiga arrived,
there-
Hanuman, who
moment.
proper
late
up the
returned too
is
The
larger image of Hanuman printed on the same
plate belongs also to Eamesvaram.
Here Hanugroup
man
of
images belongs
Eamesvaram.
to
receive the
commands
of
Eama
mouth and
of
is
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
The
or
two
centuries old.
arrows.
is
thigh.
Eama
is
figure of
quiver
Hanuman
to
contain
LVII
ing of
three brothers of
anjali pose
Eama
Lakshmana,
Eama,
lotus in her
194
carries also a
right
hand
PLATE
LVI.
- ^y^:>^'
^:*^^^
-i;-.'^.yV.:-.'C-.^f.'
;^fc-t^^
; .;
:^
^v,
Hanuman.
Eama.
Stone
Mahabalipuram.
PLATE
liYH.
a
a
ic3
103
CO
c3
.a
c3
DASAVATARAS OF VISHNU.
Hanuman
the
saiiJcha,
on the top
of their crowns.
It is convenient for
two avatdras
Balarama or Bala
bhadra - Rama,
and Krishna.
of
Balarama
and
Both
gether.
Sri-Krishna
to-
of
to be secreted
Yadava
A.
princes
is
account
we have
to go to the
The
MahSbbharata
also
gives
his
services
particular
rendered to
among them.
the
of Eshini,
name
of
con-
Balarama.
195
womb and
Afterwards he
HINDU ICONOGRAPHY.
(Hari) was
bom
him
to the
couch
of Krishna.
vengeance
of
Vasudeva conveyed
his father
of
after child-birth,
whom
daughter*,
the
feared
and
he gave to Devaki.
Kamsa on
when
floor,
Enraged
it,
he
on
she prevented
at this,
it
exclaimed
'
cause of
my
death
But
ground.
O Kamsa
it
dash
?'
and threw
me on
the floor
Why,
He who shall
'
entrust-
up by her
him
who
is
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
repeats at
shall assuredly
DASAVATAEAS OF VISHNU.
againsfc the
and Rama,
gladly
Thus Krishna
attempts of Kamsa.
cattle
of
amongst
stories
"
It
said
is
mortar
trees,
by which
it
it,
him
to a cart, but
fell
it
also,
the
and then he
he broke
between two
passed
was obstructed
to a
Yamuna
slaying the
ass,
pool in
peace to Talavana by
he restored
Arishta
under that
under that
of a horse.
He
of
bull,
of
an
and Kesi
tain
Govardhana,
innocuous.
for
torrents
by Kamsa, he
amusing
First,
himself, as he went,
by various incidents.
who
refused to
HINDU ICONOGEAPHY.
give
hiiii
himself and
Eama
with them
to the
with
garlands
he next
rendered
the
straight
crooked
woman who
ments
Kuvalaya
presented
at the gate,
him perfumed
oint-
and
attendants.
the gymnasts
this,
Two
of
slew
of
Jarasandha
occurred
and he
their
father
immediately
army.
But,
ones
built,
and chose
Having received
instruction
in learning
from
through Muchukunda.
198
of
Yama
he
Kalayavana
DASAVATAEAS OF VISHNU.
By Rukmini was
Pradyumna, whom the
"
He was
swallowed by a
fish
which,
within
its
it.
When
affection.
grown up,
it
it
to be her
husband
Pradyumna became
she thus spoke to him,
Thou art
afterwards
'
in consequence
to his parents.
"
this
the Pandavas in
He
of sons
war
their
also
with the
On Kama's body
of
wicked
men by which
it
born as the
expectation
of this
son of Krishna
and
it
was
in
born as Mayavati.
199
HINDU ICONOGRAPHY.
When
was oppressed.
at
last
of the
Balabhadra,
form
incarnate
the
departed to heaven
Ananta*,
of
returned to Vaikuntha."t
way
which
in
helpful to
him
in almost
achievements in
little
elder brother
his
light
on the
Balarama was
life.
as
and
and philosopher,
as teacher
and
reformer
God
to
conceived
as
religious
of the ail-
of love
Vasudeva,
and
his
among
more
cordial
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
Serpent Ananta.
f
the
Vishnu
200
DASAVATAEAS OF VISHNU.
Balarama
as
is
The
god.
glory
of
only occasionally
is
the
The
figure of
of
Balarama
The complexion
left.
of
Balarama
The
red.
hair
figure
on the
of
up
head tied
in
knot
excessive intoxication of
liquor
on
the
eyes of
of
the
drunk by him
shown
as possessing
two arms
if,
is
he
is
however, he
is
if
left
hand the
saiikha.
201
%6
left
HINDU lOONOGEAPHY.
On
lexion.
term which
vastra, a
are
worked out
as clothed in pushpa-
may mean
a cloth in which
floral
The
appropriate.
hand
left
Eevatidevi
of
the right
is
shown
more
is
let
is
as carry-
The
Jia^ituha-bera of
in accordance
The
Brihatsamhita
should be sculptured
images
as
adds
between the
standing
of
Durgadevi
that
she
may
be
shown
she
is
made
to carry a lotus
and the
the hip
left
;
if
she
is
to
rest
hand
upon
hands,
varada pose
of the right
if
she
is
If
left
to be held in the
shown with
eight hands,
book
?)
left
hands
and
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
madhyama-dasa-tala measure
The complexion
height.
of the
is
it
of
120 ahgulas in
image
of
Krishna
to be clothed
in red
It
PL
II),
and bent
at
to be facing
sanhha
and the
also.
left
:
In
all
On
image
of
Eama.
of
Rukmini golden-yellow
in
complexion
down and
The
right
arm
hand a
in the left
On the left of
shown
as
wearing
fashion as Eukmini.
her hair
in
the
she
is
same
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
would prescribe
authorities
Vaikhanasagama,
the
this statement,
is
it is
Some
haranda-maliuta.
From
Vaikhanasagama
On
made
the
to
left of
hands
in
the
anjali pose.
The kautuka-bera
of
of his
says that
in her right
hand
The
figure of
Vaikhanasagama
number
of
of
Mann-annar,
king.
The
found
enshrined in a large
temples in South
common name
of
is
left
India
Mannar which
is
under
the
a corrupt form
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
of
Satyabhama.
The
clear.
short stick in
Tamil
it
is
called
In
hunil,
of
at fruits
Krishna as
with a
'
Madhava
'
One
of the
Madras Museum.
In
rest-
Eukmini or Satyabhama.
is done up into a knot and
flowers.
Such a piece
is
be either
encircled by wreaths of
LVIII.)
(See PI.
The
who may
of sculpture consisting of
Krishna
Sauriraja-pperumal in Tamil.
that of a
is
of
Krishna
up on the top
of a
is
of the
crown.
and
is
shown
The
district.
as wearing
head so as to
right
hand
is
obviously intended to
metal
which might be
HINDU ICONOGRAPHY.
passed through the ring formed of the forefinger and
the
thumb (See
PI.
LIX.).
trihhahga type.
of the
It
As the name
indicates, this
to represent
figure is intended
Krishna as dancing
nrittrmurtt
of butter to eat.
ball
of
butter
common piece
may very often
is
of
invariably
shown.
is
is
The
right
made
to stand
leg is lifted
is
The Navanita-
This
on the
which
hand is held
left leg
as in dancing.
it,
and the
left
arm
is
hand
is
not shown,
orna-
either as wearing a
When
it
all
has to be understood
that the dancing and the joy are due to the certain
This descrip-
PLATE
lilX.
t'lo facB
page 206.]
PLATE
i-
L,X,
DASAVATARAS OF VISHNU.
tion
is
followed in
figured in
the
the.
concrete representations
lump
of butter
given
illustratioas
in the right
required, is supported
upon a
leg
hand the
though
which
lotus,
The
below.
lifted as
is
purely
it
LX.)
fig. 1, PI.
of this
image
fig. 2,
aspect of
is
shown
with a ball
of butter in
Gana-Gopala
or
it,
bub
exactly similar
is
is
another
which
he
is
with
delighting
of the
conccivcd
his
to
be
enchanting
are his
companions.
In the
may
be.
The
aspiring
devotion and
HINDU ICONOGRAPHY.
artistic skill.
thrown
leg is
the mouth.
The
of it
so as to
flute is held
applied to
is
complexion
such
of
The head
feathers.
Four
illustrations of
here.
which
fairly
above.
But
tallies
it is
with the
worthy
LXI.),
(PI.
of note
It
is
detached
piece
of
sculpture
it is
now
built.
at
calves.
probably
Halebidu
newly
one
given
description
are
is
which
is
being
Venu-Gopala.
due to the
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.
ic3
lO
00
>
ic8
lO
OJO
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
illustration
fingers disclose
sculptor.
is
and the
face
jewels
fig. 1,
PI.
the
work-
and
the
The second
best.
its
(See
in
LXII).
This group
of
side
images was
Herein
image
also the
Krishna
of
is
made
to con-
The
third illustration
Krishna
and
is
is
two.
the corresponding
in
kahkha
texts.
left
hand there
is
is
held
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
(See
fig. 2,
PL LXII).
is
of
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
and
With
if
he
of
repre-
-paraku,
hands he carries a
is
the right
three of
in
bow made
a notably
of the
good
(corres-
an image
It is
nevertheless,
king, Arikesari
ponding to A. D. 1447).
conventional type
Pandya
playing upon
it.
The
legs are
is
held as
worked out
however,
is
emblems
Kamadeva,
of
Another form
which Krishna
in
is
as Parthasarathi,
Partliasaratlii.
charioteer
oi
worshipped
is
that
Arjuna.
as
is,
tn
Durmg
Kauravas fought on
Krishna,
it
is
well
the
field
of
Kurukshetra,
his
image
of
Krishna
210
is
described in the
PLATE
liXIII.
-"*Wfei
II
ill
Madana-Gopala
Stone
Tenkasi.
[To fane page 210.]
DASAVATAEAS OF VISHNU.
Vaikhanasagama.
In this image
Krishri,a is repre-
on the
floor
and the
The chariot
on the dome above, and
left leg
itself is
From
this description
must be
it
clear that
the
consequence
of
his
immortal lessons
of religion
In the temple
of Parthasarathi
is,
at
Triplicane
however, quite
is
The
adjoin-
which
right one of
left
hand
of the
is
is
it
To the right
Eukmini with a
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
hand
is
of
left
seen a Tihadga
is
down
younger
the
Satyaki,
of
in its right
hand
left
it
By
the
is
hand
Aniruddha and
Samkarshana
danda
hands
in the
each
One
of
carrying a
varada pose.
is
left
of the inscriptions
up by a mendicant Brahmana
in
the
year
in the
life
Krishna that he
of
dfkSsiS:!"'
the
serpent
which had
called Kalincli
i^i
its
the river
named
Kaliya,
abode in a pond
Yamuna.
This,
most
of
serpent-worship.
The image
of
it is
said, in the
form
of a child
holding in
its left
hand the
213
tail of
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
This description
of
Kaliyahi-marddaka-Krishna
castings.
Krishna,
whose
PL LXIV,
of
is
and
Kaliyahi-marddaka-
photograph
on
reproduced
is
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
of
Krishna
left foot of
is
it is
is
placed firmly
one
is
going to be used in
The image
of
to be
wearing
hand
casting
is
is
The
This bronze
is
South India.
that Kaliyahi-marddaka-Krishna
on the wall
of the pillared
is
sculptured also
this
would
standard.
and
it
at first
But
means
in the
original
is
patdha-hasta
it is
therefore a
hand held
213
like a streamer.
HINDU ICONOGRAPHY.
The former
dhara-Krifhna.
image
LXV
and LXVI.
of these represents
belonging
to
an
Nuggehalli,
Pi.
LXV
Govardhana
body
is
six
LXVI
it is
former image
of the
them
hill
which
of
centuries old.
aloft the
Both
is
the
hand
left
Accordingly the
bent to the
left
and
shown
to be taking shelter
which again
is
on
trees,
it
chase.
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,
toes
hill,
hills
'
he
is
Many
of
artist.
2U
PLATE LXV.
fffMlS^^
Govardliana-dbara Krishna
Nuggehalli.
PLATE LXYl.
S,
1?\
'^-
,i.
...
^-
'-^^W
-^
"
-^?^
--
ggggt
Govardhana-dhara Krishna
Stone
Halabidu.
PLATE
liXYII.
(S
DASAVATAEAS OE VISHNU.
At the end
of the description
varieties of the
gamarema^vka
"
The forms
"
of
" Therefore
" Krishna's
of the different
image
in
in-
be described.
all
might
worshipper
the
Krishna are so
sculpture
met with
child, a
youth
etc.,
Krishna as
of
in sculptures.
of
Vishnu,
forms
fit
is
for ex-
As a baby Krishna
fours,
(See
is
and
represented as crawling on
sometimes with a
figs.
of a
of a wife
2, PI.
LXVII).
is
hand
Another form
often sculptured
is
symbolic of
God brooding
all
is
fig)
in
as
and
This form
A
is
is
(See
known
as
fig
3,
PI.
LXVII).
Santana-Gropala and
the
HINDU ICONOGEAPHY.
infant Krishna should be portrayed as lying on the
lap of
mother's
One
face.
of his
little
and seeing
hands should be
his
on
laid
Among
some
avataras of Vishnu,
the ten
authorities maintain
,.11
Buddha.
Buddha
to be
him
to be such
an avatara.
view
Some
of
them,
the
like
instance, include
to be
the matter.
Bhagavata-purdna,
for
mention him
of
Among
of
those that
an avaMra, Bhagavat'a-purana
of
The
The Agni-imrana
in
states
he,
in
f^^
=?
^i Ti3g%
^^
sfercTH
aTp^r^^JsnT "^x^
.1
216
DASAVATARAS OF VISHNU,
Buddha, the son
of .Tina
abandon the
From
ished
all
power
of the
as warriors.
In a
the
Vishiiu-purana,
the
the
former
who
called,
and what
the former
asks
latter
the
their
" The
replies
character was.
To
this
castes
several
throws
person,
off this
is
and the
men
naked
three Vedas
bare."
left
or the
The
apostate.
of
wight who
sinful
meaning an
so
He
then pro-
personage.
were defeated
them
and said
to
which he gave
to the
who
21V
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
in severe auster-
Narmada,
the river
of
saying
and
Chiefs of
" 0, ye
the Daitya-race,
penances
The Asuras
replied
"
worthy
next world."
them that
his teachings
those teachings.
came
to be
known by
That
the
why
is
name
of
told
final
of receiv-
the Daityas
Arhaias (mean-
Then he preached
path
meaning
"
many moie
of the Vedas.
know ye
"
things opposed
The word
Bnddlii/adhve,
was uttered by
their
new
Bdi,ymg
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
here in detail.
the image of
The
figure of
its feet
complexion
hair on
Buddha
full
of grace,
though
as
seated on
be
The image
it.
calm aud
'a,
it
represented
and
it
must be
made pendant.
made out
Buddha.
phy
valhala,
in the
This description
It is in a
be a piece of
way
is
that
foreign to
representations of Buddha.
of
a Dhyani-
Hindu
iconogra-
innumerable sculptural
of
HINDU ICONOGEAPHY.
Hoysala countries, Buddha
is
is
The most
fa\'ourite
posi-
seems
to
have been
in the
figure of Vishnu.
down
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
his
all
over
the head.
The
.Iain a
they
bead, there
i7i/v(
/.,
is
mark
ringlets of
not enough of
is,
naked
it
though
hair on the
for a knot.
The
PLATE
liXYIII,
Stone.
DASAVATAEAS OF VISHNU.
shown
required to be
Tirthankaras
also.
This mark
of
is
generally found
is,
many
in
pointing upwards.
PI.
kumarasvaini
published
Theosophist.
The image
in
Buddha
represents
the
as
engaged in meditation, with his legs in the yogaSana posture, and his
left
lap
crown
in
fact
modelled so as
to be
worthy
all
of very
on the head,
its
details
are
high apprecia-
tion.
The
last
This
Kalkyavatara.
Vishnu
is
the
incarnation
Kalkyavatara.
off
acts fitting
pre-
commit
is
them
for hell
221
men
:
will
begin to
HINDU lOONOGEAPHY.
Then
continue.
castes will
of
will
virtue
and
religion disappear,
learning will
justice,
At
Kalki
and he
shall appear as
the
to
Thereafter
Hari
re-
prescribed
and
are based
Vishnu
last
aud the
castes
will return
to
of the
duties
four
orders.
heaven
and the
Kali-yuga
being,
who
will
is
the preceptor of
beings,
who
all
identical
Brahma and
all
He
will
Vishnu-yasas, an eminent
grama,
and
will
be endowed with
superhuman powers.
he will slay
all
Brahmana
By
of
Sambhala-
all
the eight
DASAVATAEAS OF VISHNU.
and
all
those
who
His great-
The image
of
Vaikhanasagcihia,
the body of a
man
khetaka, and
terrific
look.
and
the
of a horse
should
be
made
The kautuka-hera
of
to possess
this avatara
also be
made
dharmoiiara which
is
saiikli a.
generally in
The
fair
agreement
(See
PI.
XXXV
for
avaiaras of Vishnu.)
223
this
V/'shmi-
arms
to
CHATURVIMSATI-MURTAYAH.
39
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
Among
rata.
praise relating
to
Vishnu,
names
of
peated by
many Brahmanas
in their daily
prayers.
in
the Vaishnava
in the
they are
all
and adorned
HINDIS ICONOGEAPHY.
The
difference
made out by
be
chaJcra, the
the
way
images has to
of those
which the
in
saiikha, the
distri-
worthy
It is
of
and the
order, in
among the
in
left
exactly twenty-
in passing, as
is
is
four hands
a
circle,
is
of
to be
from the
hand, thence to
left
of
hands
in
Kesava
that
is,
is
in the
and
the chakra
in
the
representative
lower
left,
padma.
of
in the upper
In
the gada
all
these
in relation to
based on the
names
ments
of
of
Bupamandaua
The
be
following table
PLATE LXIX
Chennakesava
Stone
Belur.
[To face page 228.]
PLATE LXX.
ZW
-ii^
J'
'
'
f
I
'2.
m
o
>
C5
'^
^'
>
13
r-/
>
'v.
-.^~***-
P
O
>
,a
i.
>:-A
Jl
1
IS
1
CO
_a
is
tlie
various images
at a glance.
each
of
in the four
hands
of
ing to the
Ho.
padma
Rupamandana.
HINDU ICONOGRAPHY.
No.
PLATE LXXI.
vi'
CD
, ^""-"''twt<.^--.,.., ,.^.
1/
""
14,
list
may
22
21,
Moreover, Nos.
and
which
much
with
Bupamandana
list,
in as
of the four
rately.
is
11,
Padma-purana
23 in the
10,
9,
emblems
Nevertheless
comparison
it
is
also
it
accu-
^anJcJia,
hands
of the
padma
No.
in
the four
Padma-purana.
PdMa-Jchanda
HINDU lOONOGEAPHY.
No.
as under
No.
'
Ratn
of the
Narada-Pancharatragama
HINDU ICONOGRAPHY.
In the Pancliaratragama, these twenty-four
Murtis
of
Vishnu seem
portance.
them
is
The
of
to be
special im-
some
meaning underlying
philosophical
Nevertheless an account
may
of authority,
prove interesting.
Lord Para-Vasudeva
works
The supreme
is
Him
and
sprang,
is
it is
from
and
evil).
tejas
From
said,
(heroism)
v'brya
of the
virya,
and
from
deities,
Para-Vasudeva
sprang
three
other
Trivikrama,
Vamana and
from Pradyumna
and
Sridhara
lastly
came
Again,
forth
Aniruddha evolved
234
dara.
of
of sixteen out
accounted
for
states that
Evidently
generally
is
list of
in thirty-
those forms.
all
Lord Vishnu
Supreme
Him
according
to the
in
ten
forms,
of
known by
the
name
is
of
who
omnipresent
is
is
Vasudeva.
source of
all
who
existing things.
is
Nevertheless, His
embodiment
first
Even
Him
in
Vasudeva who
of all
in
essence the
is
is
a
;
pure crystal
HINDU ICONOGEAPHY.
white
His body
ujoous and
suns,
all
fircti,
iiiala.
of
and
J^eijura
is
va7ia-
manifestation of Vasudeva
by
comprehended only
and
conceived
can be
as a crore of
as resplendent
is
the
of
creation,
&ahkha
of
yogins.
chaJcra
that
is
this latter
who
is
assumes
form in
its
is
dark in colour
Of these Nara-
forms
is
Pradyumna
forth
Pradyumna, Aniruddha.
Every one
them possesses
dom
with four
Vasudeva
Samkarshana comes
all
Later
Creator.
From
as
responsible for
form
is
This
ornaments.
faces
he
the deity
on Para-Vasudeva
de-
of
Para-Vasudeva has
and other
Ixeijura.
Para-Vasudeva
that
lustrous blue
the larlta,
of
protection,
of
gacla
salvation,
of
to be clad in yellow
all
emblem
The complexion
struction.
the
the
from
and from
of these four
Vasudeva among
streugth {bala),
(virya),
and
free
is
from
while in
five attributes,
dominant
of
Aniruddha
ponderance
and
heroism
(nirddsha).
all evil
jnana and
less of
Pradyumna sakti
is
Samkarthe other
or hala
From
of aisvarija.
forms
{tejas)
came
is
pre-
into being.
From
Vasudeva
Vamana and
forth Trivikrama,
Sridhara
and from
Damodara.
different
Such
is
powers.
divine
The
deities
Vasudeva
whom
known
Vasudeva,
Samkarshana, Prad-
came
also
as
and Achyuta
came
respectively
from Purushottama
come
Vishnu
into existence.
to
be
fit
237
for
worship by certain
HINDU ICONOGEAPHY.
and others by other
classes of votaries,
classes.
specially
blessings
Sridhara
of
The
beneficial.
on the
dancer, the
god
Padmanabha
bhilla, is Hrishikesa.
who
is
to
confers
and the
varata
the
considered
the washerman,
cobbler,
hunter,
is
the
Med'a-
particularly
merchaat, the
such others.
The
hrahmachari
(student
anchorite)
and the
should
offer
worshipped by
on
Damodara.
all,
their blessings
all alike.
Among
for the
written
about
Pradyumna and
to be of special
reason that
Sahti-maya-vyuha
Vishnu,
impor-
they make up
the
them.
Evidently
238
for
the
same
the
reason,
considers
much
these
higher than
Now,
in regard to the
Vasudeva
to be observed that
upon
in
two
aspects,
Vasudeva,
human and
in
whom
things
all
in
Manusha-
as the one
universe
live,
the same
is at
the
all
the
and who
their being
time indwelling in
is
has
a purely
or
it
invariably looked
is
human Vasudeva
the
is
of
divine aspect.
Vasudeva,
image
^Manusha-vasu-
down
of
Manusha-Vasudeva should be
in
laid
accordance with
On
Kukmini and
carrying
; it
should have
and
the sanJcha
the
Balarama
madlujama-
the
chakra.
It
is
{liala)
To the
Pradyumna
and Musala.
left
the
to
Jcatyavalambita pose.
there
four
should be
arms.
the
little
rest
On
four faced
to
239
in
the
left
Brahma,
of
with
Manusha-
HINDU ICONOGEAPHY.
Aniruddha
and
sword
the
ahhaya pose
in the
The
hand.
on the
shield
and
figure
Samba.
left of
The
deva
may
of
right
his
of
stick
Garuda
in the
should
be
images belonging
kautulca-bera
Manusha- Vasu-
of
given above, or
image
with
All these
posture.
and on
be Samba,*
there should
left
the
carrying
it
Vishnu.
may
be an ordinary four-armed
deva!'"'^^"^^"'"
padma;
it
should
left
lower
in the
chalcra,
left
left
On
above in
Manusha- Vasudeva.
In addition
association
with
them
there
to
image
of his consort
Eevati-devi
Pradyumna,
*
Usha
on the
left
of
on the side
of
instead of Samba.
of
description
Such
consort Indukari.
his
Para-Vasudeva given
of
is
the
in the
Vai-
to the
Agni-
tihanasagama.
padma and
not reach
should
desses
the hip
Vasudeva.
of
ornamented
with
the
two
animals,
other
The
vlna.
respectively
higher
In
than
level
the prabhd,niandala,
figures
flying
elephants and
of
rc^presenting
figures,
sculptured.
be
The
pit Jin
on
which
have
brilliance
and
There
is
another description
fine
in
in
all
the
various
round contour,
it
cloud,
150,
Para-Vasudeva
The image
to this
From
of
authority,
should be of the
should be adorned
ornaments, and
be
clad
31
appearance
of the
yellow garments.
its
of
Vif<hnndharmdttara.
with
fig.
CeijJon.)
given in the
this
(See
gold.
of
of V. A.
207,
Inrlia
the
HINDU ICONOGEAPHY.
workmanship and the vana-inala should be
excellent
The
round the
On
down
loins
as
the knees.
pendant
cloth tied
ears,
and
on the neck.
Tceijura
and on the
Jcaustiibha.
Idnta
and behind
it
arms
i/irt-
well-shaped lotus.
The
a,
of
and the
fingers of the
dyed
nails
be covered with a
In one of the
red.
hands
right
form.
To
of
largo
hip
hands the
sahlilia h\
qada
form
as a goddess
and a
natural
She
appearance.
playful
its
and
the personified
eyes
hand
lotus,
of
pretty
vei-y
right
and he
She should
rest
a gracefully pro-
tuberant
belly
should be
made
to stand
gentle
of
folds,
Vasu-
The
legs
about a
foot,
front of the
and the
On
left.
the
side of
left
Vasudeva
cliaJcra
male
of
shown
to evince a desire to be
The
hand
of A'^asudeva, other
left
hahliha,
figure of chakra.
which
They
are of Kesava,
SLidana,
queen
and
It
vation.
of
Kesava
is
was
is
in
set
Of
one of the
very best
sculpture,
respectively.
an excellent state
of
of preser-
Vishnuvarddhanadeva
of
the
Hoysala
Chennakesavasvamin temple.
image, and in the
head
of
Garuda,
front tier
is
On
a single-line
243
in
HINDI ICONOGRAPHY.
Sanskrit written distinctly in
god
Kannada
characters,
who
Chennakesava,
mentioning that
that
brings peace to
was
set
all
up by Santidevi, queen
of
is
the
Vishnu as
sculpturing
of
of a
figures
magnifying
avataras of
the ten
The other
on the walls
first
images
same temple.
five of these
five
of the central
may
Kappe-
It
of
In the 'prabha-
not in puja.
glass,
This
Vishnu.
it.
last
six
alone
workmanship.
244
PURUSHA
as
is
an avaranadevaia, that
whose image
is
The
...
image
Purusha.
in
of
the
Purusha
The
and that
on
on the east
is
avarana
nrst
as a deity
is,
as
to
and the
be facing the
of its
garment yellow.
It
should have
its sides
respectively.
Kapila
i.s
assumed by the
divine Pradyurana
when he became
Kapila.
free
worldly desires.
a beard
it
from
The image
should be
seati'd
the
of
miluence
vessel
The
all
of
in front
l-a)iiandiilti
One
of the
on the crossed
legs.
meditation.
HINDU ICONOGRAPHY.
round the head
The
feet of the
marked with
be
image
in controlling
Kapila should
of
outline
of
The figure ought to be draped in deerand must bear the /jajnopavlta. This Kapila
the lotus.
skin
is
the
Sahkhya philosophy.
somewhat
gives a
The Vaikhanasagavia
different description
of Kapila.
is
of
avarana.
first
embodiment
of
Kapila
is
east,
here said to be an
is
be a seated
to
is
Of
to be in the
hands
is
to be resting
on the hip
one of the
in
left
the katjiava-
\,h.e.
The
colour of
On
the sides
Savitri respectively.
Yajiiamarti
Yajnamurti
Yajnesa.
or
or
Yajiiesa
is
another
minor
He
is
in
looked
MINOE AVATAEAS
MANIFESTATION OF VISHNU.
&
made
should have
colour
Yajna
is
madhyandinasvana
two heads
the
for
the udayaniya-ishti
chhandas or mantras.
bellowing
is
the
ishtis,
This
bull,
Yajna,
said to be tied
up by
men.
the
sUtras
of
The author
hands
Yajnesa
of
of
The
horns.*
The image
the west.
to face
avarana.
first
the south-west
is in
is
Mantras
they
make
men
Brahmanas
of the
for the
is
should
offerings to the
Samaveda.
of the
fire
employ
in
the
this
mantra when
evening.
of the sacrifices
given above
HINDU ICONOGRAPHY.
carry the sanl-ha, the
sriik
clial;ra,
juliu, Avhich
last,
is
and
left
goddesses
of
this
On
and be
the right
Vishnu
manifestation of
the
Svaha and
respectively to stand.
a descrip-
It is
Vyasa.
On
it
should be slender,
disciples,
should be his
Sumantu, Jaimini,
foui-
Pail a
well-known
and Vaisam-
payana.
in the
description of the
image
of
Yajnaraurti.
^"W^
250
^r^t^ut ^^^^31^-
MINOR AVATARAS
MANIFESTATION OF VISHNU.
&
says
tured as a handsome person carrying in both the hands vessels containing amrita,
that
is,
is
one
the
minor
The
avatar as
of
Vishnu.
of
Battatreya.
There
Pratishthana,
Once
it
life is
the city
in
this
leprous
the next
faithful
and devoted
of her chastity,
for
Thereupon
sunrise.
wife,
relying
his chaste,
rise.
and
famous wife
of Atri,
the wife
of
sun
to
rise
do as
house.
all
desired,
and
went
to
the
to pacify
make
the
She agreed
Kausika's
the due
rites
of
hospitality and
visit.
was asked
On
being
HINDU ICONOGRAPHY.
told that the object of her visit
sun to
rise as before
was
to allow the
On
master.
sun to
fell
rise
down
and he
as
if
rose.
hands,
to
And
the
the
born
as
sons.
They
should be
were so born
and
became
in his
yogin, and
is
life
famous
as
He
worship as a god.
There
Dattatreya
three
are
is
different
ways in
by
side.
The first
have Brahma,
represented in sculptures.
manner of representation is to
Vishnu and Siva sculptured so as
side
to be standing
LXXII
is
on a wall
which
Fig.
1,
to
PI.
PLATE
LXXII.
m^"^
a
o
-^
CO
PLATE
liXXIV.
^^4
*:':-^
Hari-Hara-Pifcamaha
Stone
MINOE AVATAEAS
Here the
MANIFESTATION OF VISHNU-
&
Brahma
figure of
is
seen to carry in
its
The
Jcamandalu.
in the lower
left
hand the
Vishnu holds
figure of
in its four
aJcsha-
left
The
figures
Devi
Brahma
but
This
first
treya
is
side.
which
is
three
deities
reproduced on
are
PI.
LXXIV.
Here the
Brahma
bull
is
known
as the
two crossed
which
is
it is
carried.
a Jcamandalu
and an
aJcshamala.
it is
easily
made
253
of
Though the
Vishnu are
also
HINDU ICONOGBAPHY.
gada aud the padma
clialwa
also broken
in
left
is
Siva's
it
a kula.
It is difficult to find
It
off.
hand held
right
the
left
Museum
The
work
ed style and
at Ajmere.
in a very finish-
it is
Though
hands.
detail.
tured
is
triple
nature
as
in the
is
sculp-
is
and
PI.
LXXIII, the
of
which
is
Dattatreya
figure of
re-
Vishnu may
two
of the
it.
yoga-vmdm
rest
On
carved.
It
may
legs in the
of
pose.
Siva,
and
in the
left
which
ear
is
the
This
PLATE
Dattatreya
Stone
LXXIII.
Badamf.
MINOR AVATAEAS
MANIFESTATION OF VISHNU.
&
belongs to
of sculpture
piece
a remarkably
and
is
the
philosophic
seems
Chalukya
period.
It
very pleasing in
to
peace
have
been
its
effect
in exhibiting
specially
it
to
convey.
LXXII,
Fig. 2, PI.
is
another illustration of
a standing one.
hands the
It carries in its
sula,
mala.
It
may
On
on the pedestal.
which appear
to be
some devotees.
as a
human
diiiferent
and also
by a
bull.
It
may
be
said
here
that
the
Vishnu-
almost
exactly
like
Valmiki.
The
HINDU lOONOGKAPHY.
the image of Hari-Hara-
a pitlia.
and a
The
right
left
We
articles car-
ried in
that
Brahma, the
cliah-a
evidently
tion of
all
is
that Dattatreya
Vishnu
is
of
Vishnu,
of Siva.
is
The
an incarna-
Hindu
trinity,
an incarnation
in particular.
Garuda.
In
Jchadga, the
and
^0*^^
faccs
g^^^^^
the
^^^^
right
^^^
hands,
mythical
the
gada,
kite
the
man,
the
north
should
be that
PL LXXV.)
256
of
Varaha.
face
(See
PLATE LXXY.
Yaikunfchanatha
Stone
Badami
[To face page
isG.]
MINOE AVATAEAS
&
MANIFESTATION OF VISHNU.
is
almost similar to
Traiiokya-
mohana.
^j.
gj^Q^}^
But the
be
right
hands are
and
four faccs
g^\^Q }xg^Ye
six of the
the chalra, the aiiJcusa, the bana, the saMi and the
chakra
(/) ;
varada pose
placed
and the
and
left
hand
The
pose.
of
sriiiqa (a
to be in the
hands should be
mudgara,
the
similarly
is
horn)
yoga-mudra
Narasimha,
of
Ananta has
Varaha and
man,
of Kapila.
several forms
be
the
the ^^asa,
and
is
conceived to
the
all
Ananta.
divme powers
of this deity
faces,
{safitis).
The image
One
of
the
remaining
five
should carry
left
the pdha.
in
The image
of
33
the
Jchetaka, the
Infinite
vaj7'a
the gada,
HINDU ICONOGRAPHY.
serpent Ananta, forming an accessory to certain
Vishnu images.
This conception
of
Vishnu should
which are
four faces,
have
also
the
be
to
Visvaiaipa.
same
natha
The image
upon Garuda.
ponding
to ride
Visvarupa should
of
left
pataJr-a-hasta
ijiad(^
corresponding
left
niudrZi
lu
pose.
hand should be
seven
of
as
its
in the
ijdga-
the remaining
right
and a lime
fruit,
In the
hands should
left
the
the ifiiiga,
As the name
Vishnu
Lakshmi-Naray*""*'
pany
goddess
right
indicates,
hand
made
In her
to
left
and the
Lakshmi-Narayana
Narayana
left of
whose
left
in the
is
com-
Lakshmi. The
the god.
waist.
mnsain
of the goddess
generally on the
is
should be
as
the
The
thrown round
hand
in
turn
PLATE
liXXYI.
Lakshmi-Narayana
Stone
Belur.
MINOE AVATARAS
lotus.
The
of Siddhi,
MANIFESTATION OF VISHNU.
&
Below and
The Ayudha-purushas
made
to
In front
pers
consisting of
hands in the
Lakshml-Narayana group
of
skull.
Such
is
the
images as described in
Sanskrit authorities.
The
here (PI.
illustration of
LXXVI)
Lakshmi-Narayana given
left side
his consort
of his
lap
and
is,
Lakshmi seated on
with his lower
left
out
as
wearing
in hand,
is
actual
all
weapons.
The goddess
Siddhi,
to the left of
Lakshmi-Narayana.
There
sword and a
HINDU ICONOGRAPHY.
shield in her hands,
whose significance
In the Devl-Bliagavata
it
is
stated that
^^
man
by
to the gods.
them
to the
Devi
aid.
to go to
man and
kill
The
the Eakshasa.
half -horse
griva,
is
Eakshasa Hayagriva.
learning
The VisJinudharmdttara
The
feet
palms
of
which
of the
goddess of Earth.
The complexion
260
of
PLATE
liXXVII.
Hayagrfva
Stone: Nuggehalli.
MINOR AVATARAS
&
MANIFESTATION OF VISHNU.
Hayagriva should
imdma
The remaining
the heads of
The
Vedas.
the personified
figure of
forms
upon
the four
of
respectively.
Samkarshana
in the Sakti-maya-iijuha.
The
XXVII
illustration
is
of
Hayagriva given on
PI.
The
The other
by Malitamma.
engraved
label
it
was sculptured
is
that of Hayagriva.
chakra,
padma
is
khadga,
but they
all
saiikha,
respectively.
khetaka,
Below the
dhanus,
feet of
and
Hayagriva
is
is
upon the
Adimurti.
seat.
261
The
colour of the
HINDU ICONOGRAPHY.
figure is coral-rod
dooorated witli
it is
orna-
lUl
may havo
AdiSSsha
of
heads and
slightly
Llu)
il
'I'lio
live or
Kovim
oiLlior
should bo so soulpturod iw to
LIm
of
/n'lUd.
On
image.
side the
.hmk/ia.
tlio
the
rif^ht
the
loft
liiilo
hh.|^o
The
figures of
prayerful aLLiLudo
(^n
the
rij^hL
on
PI.
and
lofL
in
roH|)(!ot-
ivoly of Adimurti.
The
illustration
reproduction of
lite
Adimurti to be found
In
LXXVJTI,
photograph of
in
and
is
routing
the imago
hand
in
is let
loft
hood
'I'lio
body
is
lofL log
coiled
foldod
Tho
right log of
luid the
right front
l<ru)o.
down hanging
noon Hoatod
its
in
back hands
respo(;Livoly.
is
of
Isln{.;'gohn,!!i.
a Lroo.
imago
n,\\
tho tenipio at
Lho
iw
in
the
IJolow
'i'ho
loft
and
tho soat
in
tho
PLATE LXXYIII.
;f^;
i(^H
Mr
Adimurfci
Stone
.-
-V.
Nuggehalli.
MINOR AVATARAS
MANIFESTATION OF VISHNU.
&
On
anjali pose.
the
left
another
is
The
represents.
it
decorated with
all
is
those
of
broken and in
its
guess as to
to
figure of
Adimurti
Under the
Brahma
attitude.
front of
difficult
is
it
in
head
its
reverential
in
figure
condition
present
its
seat
is
in
an
is
sculptured by Baichoja of
tioned.
This aspect
of
Vishnu
is
assumed by him
to be
at the
end
Jalasayin.
The Jalasayin
an image
Vishnu shown
of
The
couch.
of
of
is
discernment on account
proceeding
from
the
jewels
difficult
on
the
heads
of
Adisesha.
upon
is
is
made
to lie flat
head
is
this
image
slightly lifted
of
up and
Vishnu
inclined.
rests
is
upon
One
the
leg of
lap
of
263
HINDU ICONOGRAPHY.
thrown upon the other
is
One arm
leg.
of
Vishnu
On
seated
is
of
rounding
Brahma, the
its stalk
make the
to
it
of Jalasayin
are the
The
two
personified
Vishnu are
the figure of
all
Jalasayin.
ception of
to
compare
of
with
that
this con-
Vata-patra-sayin,
of
on a banyan
the infant
Vishnu-
ocean
floating
It is interesting
cosmos
is
it
god
waters of
evolution.
The drawing
of Jalasayin
on
PI.
LXXIX,
is
Lakshmi
is,
authorities, seated
what appears
as
In this
required
in the middle of
it
in
may
be noticed
the
Sanskrit
to be the figure of
264
Bhumidevi
is
seen
PLATE LXXIX,
cc
MINOR AVATARAS
MANIFESTATION OF VISHNU
&
One
Jalasayin
of
The weapons
is
hands
of the left
In the
who
sage Markandeya,
it
reputed to be immortal
is
Above the
avataras of
Vishnu
mandana *
it
fish
is
Matsya
avatdirifi,
by a
and a
as
a small figure
is
figure
described in
interesting
to
and Kurma,
the Eupa-
are
tortoise respectively,
represented
nation of
the
Near the
foot
of
is
evidently
Dharma
is
one of the
Vishnu.
"
Dharma.
minor avataras
It is said in the
Brihad'
-i-,
of
some one
to protect
it.
265
34
HINDU ICONOGEAPHY.
and resembled a
Brahma
called
Dharma.
Dharma
self.
Dharma and
called
eldest son
He was
bull.
is
The limbs
present yuga.
satya, (truthfulness),
ness)
of
Dharma
vrisha
are said to be
means dharma
which
Dharma with
associate
a bull.
Dharma
of
to
According to the
should be
adorned with
all
to rest
the
left
left
on the head
of a
story of
varadaraja or
Karivarada.
One
of
bull.
Bhdgavata-purdna.
on the
the
remaining
The
of
mountain
crocodile
is
given
the grip
in
the
is
surrounded
MINOR AVATARAS
by the ocean
MANIFESTATION OF VISHNU.
&
there
of milk,
a tank, to which
is
day to allay
As soon
its thirst.
as
got
it
down
into
At
was unsuccessful.
its
trunk
it
last,
riding
of
killed
Indradyumna
in his
whom
the
came
to see him.
and as a reward
now
through
for his
good
Vishnu
The
to be
crocodile
Hahu
one
of his
was
parishadas or body-guards.
in reality a
gandharva named
Varadaraja
267
HINDU ICONOGRAPHY.
upon Gajendra.
is
As
a deliverer of Gajendra,
of the
PL
is
in
one of the
the Madras
Presidency.
is
Vishnu
Southern Presidency.
this
in
common
Fig.
1,
Here Vishnu
which
left
The
hand.
hand, the
left
up,
is lifted
padma
in
uplifted
hand
is
supposed to be in the
crocodile
elephant
The
Below Garuda
Gajendra.
is
feet of
to be found
Vishnu with
the afflicted
its
apprehending with
On
Gajendra praying
The
kept uplifted.
Gajendra.
Vishnu
its
it
to
and
seen
back
is
crossed-legs
The chahra
is
chalcra of
dile to
dile
it
figure
represents
the
PLATE LXXX.
il-'ii;.
1.1
Kari-A'ai'ada:
Stone
li'ig. 2.)
Varadaraja
Stone: Deadikkombu.
Mysore Province.
[To face page 268.]
MINOR AVATARAS
MANIFESTATION OF VISHNU.
&
svamin temple
of
at
Dadikkombu.
Vishnu
is
who
seated in
is
Vishnu.
The
figure
hands carrying
eight
of
Vishnu,
has
the
respectively
here
chakra,
saiiklia,
padiiia.
The temple
of
Varadaraja at Conjeevaram
one
is
of
the three
important
Bauganatha,
Vishnu temples
the
other
two being
those
of
of
South India,
Eahganatha
at
Of the
Eahganatha
is
known
to
temple
'.
occupy
great
this foremost
antiquity
and
of
'
position on account of
historical
association
the
its
with
The
saints.
god Eanganatha
Yogasayana-
is
HINDU lOONOGBAPHY.
known to
North Indian Hindus by the name
better
is
of Balaji,
god
is
Siva, or
Subrahmanya
some
The doubt
later period.
as to its being
days
it
Eamanuja
of
The
is
it
it
the Saivas
for
the Vaishnavas.
the image
itself,
which
famous Tamil
on the
hill at
Vengadam, which
Vishnu, and
of this
liarly'
In the
Vaishnava
fact that
is
all
Tirupati,
is
de-
the inscriptions
shrine.
originally a temple of
due to the
as Harihara.
finitely described as
was
Srivaishnava saints
early
it
is
it is
on a
hill,
a positiiou pecu-
p'art of
the
MINOE AVATAEAS
The image
country.
day that
Venkatesa
of
is
is,
left
is,
even to this
MANIFESTATION OF VISHNU.
&
half of Hari,
is
to be seen
ornament characteristic
Siva.
of
Venkatesa
is
the remaining
the
is
hand
left
(?)
is
made
upon
to rest
the hip.
I^dia
The
Western
that of Pandharinatha or
is
The name
Vithoba.
Rukmabayi.
of
of his
goddess
how
A Brahmana named
on a pilgrimage
aged parents.
to
On
the
way he paid
little
no
or
parents very
much
at heart,
and
still
all
the
they followed
their
host's
superior
filial
feeling
271
made Pundali go
to
HINDU ICONOGRAPHY.
bed with a depressed heart.
On
women
mana
host
They
replied that
Yamuna and
tioned
Sarasvati,
were.
house of that
to the
and
the
saiiie
at
Pundali
immediately
a shock
felt
matter
of
up the idea
of
in the
of
Yamuna and
and
Sarasvati,
and there
in
an ideal manner.
him and
blessed him.
appeared,
that
is
Vishnu,
It is this
enshrined in
who
so
temple at
the
Pandharipura.
The image
height
and
figure with
floor
is
of
Vithoba
made
of
two hands.
stone.
The
therefore to the
is
It
is
in the
body
samabhanga variety
rest
a standing
it
on the
belongs
of images.
the head
is
PLATE LXXXI.
Yitlhala and
Eakhmabavi.
MINOR AVATAEAS
&
MANIFESTATION OF VISHNU.
which
adorned with a
Jcirlta
mark upon
(See PI.
it.
is
have a lingu
said to
LXXXI.)
of
Ranga-
the east
temple
is
of
peninsular
Jagannatha
is
all
This
India.
that of Jagannatha in
is
is
celebrated
by innumer-
visited
The temple
parts of India.
Vishnu temple
into a
of
Jagannatha
is
at a later date.
an ill-shaped log
Once
it
of
The image
wood with
prominently.
rather
is
unknown
image
is
of
land.
This
Jagannatha,
new
in
relic
considered to be embedded.
this relic
which
relic is believed
new image.
by some to be a
is
that
it
relic of
is
This
Buddha.
Krishna,
who
the
World
It is
of
Nara-Narayana
or Hari-Krisuna.
Narayana, two
in
incamations
or
273
33
It is the insertion of
sanctifies the
carving a
is utilised for
sages
who
one of their
Nara
resided
and
in
HINDU lOONOGEAPHY.
Badari on the Himalayas performing severe
penances
gious
reli-
it is
In
Nara
The
power.
is
full of
He wanted
even to Indra.
cible
greatness
to
test,
to
put
their
to fight.
divested themselves of
living in
an atmosphere
on their
all
satisfy
of spiritual peace.
Dambodhava
accepting
Dambodbhava,
him
to be
for his
humble
of
he
challenge.
still
rendered
in-
Then
which
admonished him
his
This
him
it
at
Narayana afterwards
in the
274
future
and
to
lead a
them.
Many
life.
They probably
told
the inseparable
represent
man and
between
is,
who forms
the Being
Being
the
This Being
known.
as
the
highest
truth-
and Narayana
'
The most
and
of
are
further said to be
Purusha, but
as the
as
excellent
risliis
thus
described
performing penance
matted
wearing
footed
chaJira
on their
four
grinders,
with
not
is
highest joy,
mark,
with
This
eternal.
celebrated by Visvakarman
is
power,
highest
the
is
and
the
as
praised as
Brahman and
This Being
hymned
is
God.
the
undiscernible
undecaying,
is
and
of
circle
feet,
voices
sixty
mark
teeth
sonorous
countenances,
beautiful
web-
hair,
of
the
broad-chested, long-armed,
testicles,
with
of
as
and
eight
the clouds,
broad
foreheads,
by
Narada'.
The manner
Narayana
to
dliarmottara.
be
in
made
is
given in the
It is stated therein
275
of
Nara and
Vishnu
HINDU ICONOGBAPHY.
of
Nara should be
heads
should
it
of grass colour
be
made
to
powerful.
of blue
complexion.
(deer-skin)
might be seated
in a chariot
Or, they
The image
of
Manmatha, who,
stated,
is
as
with
indentical
Maumatlia.
already
the
Pradyumna
vyuha, should, according to
276
of
the
SaMi-maya-
the Silparatna*
be
PliATE LXXXII.
o
03
P3
a
C3
s
,-a
rt.
a
c3
CM
oi
o-
^.
x\
,^ '^S;{^
^
^iC'"
CQ
M
.
a
a
00
7.]
MINOE AVATARAS
made
MANIFESTATION OF VISHNU.
&
bow
to carry a
The complexion
green or red
hand
Manmatha
of
should be either
Manmatha
He
as his friend.
should be
two pomegranate
flowers,
On
of
Jcesara
Manmatha
there
is
this
feelings.
banner
two goddesses
Priti
and
companions
left of
Manmatha
as
have in her possession various kinds of well seasoned and tasteful articles of food and the latter
should appear to be anxiously forward to the com-
pany
of
of her lord.
Manmatha
277
through a
HINDU ICONOGEAPHY.
The Vishnudharmdttara* gives, however, a
According to
different description of Manmatha.
Manmatha
the image of
it,
made
and
clhanus
chaJcra,
hahJcha,
to carry the
while
bana,
the
his
highly beautiful
thoughts of love.
of
mouth
The images
LXXXII
on
Eati and
of
fig. 1,
and
period,
fig.
his
as carrying in its
represented as
and
characteristics.
as
shown
Manmatha
LXXXII and LXXXIII.
given on Pis.
same
fish
The emblem on
Four pictures
PI.
Priti,
Eati,
consorts
are
The
PI.
almost
%3^
^^i-
similar
in
2,
to the
their
LXXXII
atf!r^n
and
PL LXXXIII belong
belongs to the
^:
figs.
are
In this Manmatha
^i%#^5n%^r>^r
^:
"T^^rirg^ ^wi.
278
Hoy-
ii
PLATE LXXXIII.
<D
-4,'
00
>5
MINOR AVATARAS
is
MANIFESTATION OF VISHNU.
&
To
the
left of
of flowers in
Manmatha
is
left
On
the right of
Manmatha may
Hindu god
of
is
love.
worthy
of
to this
of
them
is
Vasanta shown.
fig.
fig.
1,
PI.
LXXXIII
Native State
fig.
be
'2
of
on PL
The
Mysore.
LXXXIII
picture
temple
at
as
an image to
represents
Tenkasi and
shown
Manmatha
three of
Pandya period
in this sculpture
which he holds
his
cane bow.
The manner
of the
moustaches, the
279
36
THE
following
is
summary
of the
account
to
younger
brother
of
Aruna,
the
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
way
lived
When
he ap-
HINDU ICONOGRAPHY.
an elephant named Supratika and a
tortoise
named
tree.
The branch
hermitage
his
of
of these sages,
There
Kasyapa.
father
two animals
and
after a
Then
away from
taking
amrita.
their
possession
the pot
of
as the
also
device on
his
Kadru
set
On
Vinata
banner.
step-brothers,
his
it
the
on a heap
free,
and went
to attend to the
ambrosia.
The snakes
284
much
co-
came
Thereby the
became
grass also
of the
by Garuda.
with Vishnu,
associated
This mythical
the sun,
represents
really
Tcusa
who
and
is
solar
is
therefore
god
in
origin.
The image
of the
be
of
made
to
should be
resemble those of a
roundish,
four
wiags
The eyes
kite.
of powerful
and bright
lustre.
In
and
Garuda
Such
is
when he
Vishnu.
is
When
the
image
is
associated
with
on the shoulders
should both be
285
Garuda.
riding
HINDU ICONOGEAPHY.
The Silparatna
different
descriptions of Garuda.
tion
somewhat
gives two
jet
there
must be
which
is
abhaya pose.
to be in the
description,
the
Silparatna
of
In the other
states
that
Graruda
snake.
Nothing
said of the
is
of
Garuda
Therein
is
it
left
His
legs
nose
prominently.
held in
the
should
He
be raised
pose.
met with
stated that
knee, and
with snakes.
stout.
Garuda
human
beings,
and
pointed
anjali
is
two hands
Obviously this
Garuda
is
as found set
the
up
PLATE
liXXXIV,
a
o
m
c3
temples.
LXXXIV
Pis.
and
front gable
wood,
is
LXXXA^
the
Garuda has a
found
is
carved in
and
is
In both the
in-
is
stances
first
the
Garuda given on
of
Badami
pair of
In
arms.
hand a snake,
one
of the finest
Malabar country
specimens
it is
less
of
In the
image
of
Garuda
carved so as to be
wood-carving of the
left
old.
hand
Vibhavasu
between the
held
of
Garuda
the
left
is
to
wing
of
is
of a chain.
saktl,
padma,
generally
cJiakra
as
aiihuka, gada,
and dhvaja,
which are
HINDU ICONOGEAPHY.
under the name of Ayudha-purushas and are also
Ayudha-puru^^^^'
Concretised
them
some
females
Vajra, the
Khadga and
a personified
the
Padma
Ayudha
Danda
gada
is
males,
as
For
in-
the
and
The
as eunuchs.
sex
however determined
is
Sula,
as males
of
represented
are
Some
images.
as females
as
of the
of its
name
in
representing
them
are to be females
padma
similarly, the
in the
It is required
made
accord-
that
When
cular
their
in the anjali
pose.
parti-
emblem
or
of
them
is
PLATE LXXXY.
J3
'2
-t^.
on the head
is
weapon
otherwise, the
emblem
or
is
male
it
upon a vrtha
The Danda
or wolf.
to
is
be a
of black colour,
look.
she must
ed
of yellow
The Gada
figure of
the Vislinitdhanndttara
says
vhamara
her
hands.
hand
of
head
of
in
The
Gada.
be
made
The
right
she should
to carry
Trishla
has
to
touch the
to be
brows.
like
the
the hatchet
sling
to
t)e
for
is
a good-
handsome
be lepresented as a
weapon
Bhindi
that
The Heti
throwing stones,
is
a male.
Bana
is
napiimsaka
289
37
eunuch
HINDU ICONOGEAPHY.
and should be
of black
the sea.
weapon
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
is
bhishang-nalsJiatra in the
hijahsliara is said
is
a female figure
head
Chohra
of the lotus.
is
liJtarinditara as a
a drooping belly
this
image
of
Ghahra should be
that
oriito
Vishnu
made
It
it
is
and the
to rest
left
hand
is
found in
all
Vishnu should be
of the CliaJiva-imrusha.
Another characteristic
which
of
gaze upon
form
of
the
Clial'ra
In
Sudarsana-cliah'u-
called
the
known
as Chalnxittalrar.
This
is
Tamil
it
is
is
occasionally set
up as a main image
Vaishnava temples.
in a
standing posture
two interlacing
tri-kona-rhakra,
On
equilateral triangles.
is
that
an
on
is.
(See
fig. 2,
PI.
description
of
top.
The
Silpamtna
as
is
LXXXV
and
PI.
LXXXVI.)
: " The
Chakra-rupi
hands the
in his
cliakra, the
He
should
which are
like
fire.
and
should
universe.
enlighten
He
the
all
should have a
face
visible
of
the
of
and the
terrific look,
quarters
curved
tusks.
Sudarsana, the
Vishnu,
terrific figure of
The Ahirbudhnya-samhita
ne:ss of
the Sudarsana-chakra
the original
accord,
of
the
in
it
Sudarsana
thought of Para-brahman
thus bringing
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,
He
and
on
the hair
Tthetalta,
hala, musala,
head
his
should
three
be
repre-
He
should
coloured
On
the
Nrisimha
there
reverse
crossed in front.
of
two front
legs being
hands he
and the
He
and be surround-
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
the wicked
and
fire
mind
of
flaming
fire.
This Sudarsana-chakra
troyer of the
is
enemies
life of all
ripu-jana prana-
samhara-chah'a'm.
have
all
* Vajra
according
to
the
appears to be correct.
292
Pancharatrdgama
which
described in several
variously
is
Sanskrit works.
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
is
ously to
denote
that the
the
emblematic
scabbard
the
of
in-
though per-
and
idea intended
powers
Lord
and
auidtja (ignorance).
body
The
The
of power.
the niana-s
haiimndiiyaa
asi or
bliTita-
represented by the
which
the
to
tanmatras
The
principle
called
ciple
Sahkhya
is
obvi-
of prakrifi
God who
is
or
the
of Nature.
following
it,
some
of
the trikula
power
the vahni
is
The parasu
and tamas.
and power
the vahni
of destruction
(fire)
{akti), the
his
samMra-
repre-
namely,
all
pdsaa
HINDU ICONOGRAPHY.
and attachments, and
or bonds
emblematic
after the
of
bonds
of sin
his
the
also
which comes
enlightenment
the
ments on
consequently
is
inviolability
mandments and
laws.
of
viclhi,
or
as-
as orna-
of Siva as
com-
his
a three-
is
bondage
maya and
of work, delusion and impurity. The
is the symbol of sound looked upon
mala, that
ghanta
is,
(bell)
and
is
indicative
which
is
his mystic
mantra-svampa
The
sound-form.
of Siva,
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
the
as
in
weapons
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
who
herself
symbo-
He
course
of
quotes
authorities
favour of the
explanation he gives
what we are
in
weapons and
The Varaha-pumna
is
is
destroyer of
worthy
be
adharma
interpretations to
ethical than in
see
is
images
symbolism
which we have
Thus we may
of the
or unrighteousness.
more markedly
is
is
It
is
made
to
the previous
referred.
emblems found
hands
in the
of
the
there
evidently
The key
to this
and cannot be
lost
its appli-
symbology if
easily recovered.
hopefulness.
as
is
and
to
more valuable
Till
this
lost
29J
key
is
recovered and
HINDU lOONOGBAPHY.
established to be the
scientific canons,
to strict
moral aim
However,
of
it is
Hindu
icons
is
really
possible.
who
and proclaim
discovered.
2tf6
earnestly try
it
after it is