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Studies in Indian Art c12.s7: 20. A Relief of Ṛishya Śṛiṅga

Studies in Indian Art c12.s7

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20. A Relief of Ṛishya Śṛiṅga

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On railing pillar No. J. 7 in the Mathura Museum is carved the figure of a boy (Pl. XI) which Dr. J. Ph. Vogel has described in his *Catalogue of the Mathura Museum* :—"a male figure of Faun-like appearance with elaborate turban, necklace of beads and other ornaments. He is standing under a mango tree in blossom with his right hand raised to his lips, and with his left placed against his thigh. He wears a sash round his waist and a curious necklace round his shoulders. Over the tree is a balcony without figures." Writing later about the same image in his book *La Sculpture de Mathurā* Dr. Vogel identifies this figure as that of a young man, probably a Yaksha, of a fashionable type. He also suggests that its pose resembles that of Harpokrates found at Taxila by Sir John Marshall (p. 102, Pl. XXI, fig. (b); see *Archaeological Survey Report*, 1912-13, Pl. XX, figs. f, g, h, for the statuette of Harpokrates).

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The figure cannot be that of Harpokrates. The difference in the attitudes of the right hand of the Mathura figure and of the Taxila statuette is striking. In the Harpokrates' figure the index-figure of the right hand touches the lower lip which is indicative of silence. If we were to trace a parallel to this pose of Harpokrates' figure in Sanskrit literature it could be found in the figure of Nandī, who in Kālidāsa's *Kumārasambhava* (III, 41) guards the entrance of Śiva's place of meditation. "Nandi posted at the entrance of the bower, having a golden staff resting against his forearm, bade the Gaṇas to observe stillness with a gesture in which a finger of his right hand touched his mouth". Only one finger was needed to indicate the gesture of 'silence'.

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Two fingers of the right hand however of the figure on the Mathura railing-pillar, the index and the middle one, are placed on the lower part of the chin and do not touch the lower lip as the finger of the Taxila statuette does. This Mudrā is indicative of astonishment (*vismaya*) and reflection (*vitarka*). The eye-balls are turned upwards and the whole expression is one of deliberation in which an awareness of the immediate surroundings is absent. Satisfaction beams on the face. (Fig. 88).

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The decisive symbol however in the iconography of this figure is the dwarfish horn (2¼") projecting against a leafy background above the forehead from under the turban. This feature suggests the identification of the figure with Ṛishya Śṛiṅga. The story of this sage occurs at length in the *Rāmāyaṇa*, Bālakāṇḍa, Sarga 10, and *Mahābhārata*, Vana Parva, Adhyayā 110-113. The legend is also related with a lyrical charm by the poet Kshemendra in the sixty-fifth Pallava of his *Bodhisattvāvadāna-Kalpalatā*.¹ All the versions agree that the Muni-kumāra was born of a hind (*mṛigyāmutpannaḥ*) and won the name of Ṛishya Śṛiṅga. Kshemendra calls him Eka-Śṛiṅga from a single horn growing on his brow.

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¹ Bodhisattvāvadāna, LXVI, 18; cf. also Mahābhārata, ch. 110. V. 39.

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He was the son of saint Kāśyapa and having lived in a solitary forest, knew nothing of women. He was tempted by maidens sent for this purpose by king Lomapāda. The maidens after stirring his amorous emotions went away, but the mind of their fresh victim turned constantly to them. He neglected his duties of a religious student, and when his father questioned him as to what had happened, he related innocently his meeting with another 'Brahmachārin' who had bewitched his mind. Next day when Kāśyapa was not in the hermitage, the maidens returned and enticed away Rishya Śriṅga on a floating hermitage to the kingdom of Lomapāda. On his arrival the king bestowed his daughter on him in marriage.

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The most suggestive moment in the story is that in which the young Brahmachārin has for the first time beheld a maiden. "And through him then her eyes did flash a current of celestial fire; the poor boy did not understand the rushing feeling of desire." (*Journal of the Buddhist Text Society of India*, Vol. I. Pt. II, p. 5, V. 26.)

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It is this state which the sculptor has shown on the railing pillar. The upturned (*ūrdhvadrishṭi*; Vanaparva III 21) and rolling (*vighūrṇamāna*; Ksh. V. 63) eyes are clearly discernible. The version of the *Mahābhārata* also refers to beautiful and fragrant garlands twined with silken threads which the maidens gave him. The Mathura figure actually wears a conspicuous garland thrown over both shoulders. The young sage is also shown adorned with a necklace of big pearls and several wristlets. There are two pendants in the ears. Thus he has been bedecked by his female paramours.

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The figure which was described as one of Faun-like appearance can be no other than that of Rishya Śriṅga whose story was a favourite subject with both the Brāhmanical and Buddhist writers. Hiuen Tsang says that the place of the sage Ekaśṛiṅga was situated somewhere near Peshawar in the Gandhāra territory. "Going North-West from the stone-cell above 100 li or so (from Poluśa, the modern town of Pali near Peshawar), we cross a small hill and come to a large mountain. To the south of the mountain is a Saṅghārāma, with a few priests as occupants, who study the Great Vehicle. By the side of it is a Stūpa, built by Aśoka Rāja. This is the place which in olden time was occupied by Ekaśṛiṅga Rishi. Deceived by a pleasure woman he lost his spiritual faculties. The woman, mounting his shoulders, returned to the city".¹ The Buddhist version of this legend is that Buddha was once born as Rishya Śriṅga and the maiden who allured him was Yaśodharā.

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¹ "This account of Hiuen Tsang about Ekaśṛiṅga is evidently based on the episode of Rishya Śriṅga in the *Rāmāyaṇa*. According to Kshemendra, the maiden who enticed away Ekaśṛiṅga was a princess of pure morals. The story of Ekaśṛiṅga is constantly referred to in Buddhist books. See Eitels' Handbook, *Catena of Buddhist Scripture*, p. 260, *Romantic Legend*, p. 124; Yule's *Marcopolo*, vol. II, p. 233. *Ind. Ant.* Vol. I, p. 244; Vol. II, pp. 140f."

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