Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c17.32

c17.32

Vishṇu was regarded as the Yaksha of Dvārakā by the Buddhists and the club in his hand was indicative of Yaksha's strength as in case of Balarāma. There is a repeated reference to the mighty strength of Vishṇu (Nārāyaṇa-sthāma) even in Buddhist literature. The ancient Suparṇa cult became merged in the affiliation of Garuḍa with Vishṇu. We find legendary reference to one Suparṇa, two Suparṇas, three Supaṇas and many Suparṇas in the Vedas all of which became absorbed in the new legend of Garuḍa, king of all the bird kingdom, and the loyal servant of Vishṇu. The new Garuḍa is credited with the bringing of immortal Soma from heaven and identified with the Chhanda or Cosmic Rhythm described as Chhandomaya Garuḍa. This accorded well with the three steps of Vishṇu and the three metres making up the rhythm. The old rivalry of Garuḍa with the Nāgas as stated in the Brahmanical legend of Kadrū and Suparṇī, or Kādrveyas and Sauparṇeyas, became absorbed in the iconography of Garuḍa. We find several sculptures showing the Mighty Bird grappling with his adversary the Nāga king as shown in Mathura and Gandhara sculptures (Vogel, Serpent Lore, pl. XV).