Elements of Hindu Iconography v1.c11.s2: The Twenty-Four Images of Vishnu

Elements of Hindu Iconography v1.c11.s2

Language: English

v1.c11.s2.t1 Manusha-Vasudeva — 9 parts

The Twenty-Four Images of Vishnu

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IT is a widely known fact in India that Vishnu possesses a thousand names by which he is praised. The *Vishnu-sahasra-nāma* is found given in the *Anuśāsanaparvan* of the *Mahābhārata*. Among these thousand significant names of praise relating to Vishnu, twenty-four are considered to be the most important and are daily repeated by many Brāhmaṇas in their daily prayers. Corresponding to these twenty-four names images of Vishnu are found sculptured in the Vaishṇava temples situated in the old Hoysaḷa land, where indeed they are met with more frequently than elsewhere. All these twenty-four images are very alike; they are all standing figures, with no bends in the body, possessing four arms, and adorned with the *kirīṭa*-crown and other usual ornaments;

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each of them stands upon a *padmāsana*. The difference between any two of those images has to be made out by the way in which the *śaṅkha*, the *chakra*, the *gadā* and the *padma* are found distributed among their four hands. It is worthy of note that the number of possible permutations of four things taken four at a time is exactly twenty-four; and the order, in which the permutations of these four articles, among the four hands is to be observed, is in passing, as in a circle, from the upper right hand to the upper left hand, thence to the lower left hand, and from there lastly to the lower right hand. For example, that image of Vishṇu, which holds the *śaṅkha*, *chakra*, *gadā* and *padma* in the four hands in the order mentioned above, beginning from the upper right hand and ending with the lower right hand, is representative of Keśava; that is, in the upper right hand of Keśava the *śaṅkha* should be held; in the upper left, the *chakra*; in the lower left, the *gadā*; and in the lower right, the *padma*. In all these twenty-four cases the arrangement of these four things in relation to the four hands has to be observed in the same order. The following table based on the *Rūpamaṇḍana* gives the twenty-four names of Vishṇu and the corresponding arrangements of the four articles in the four hands in The provided image is a blank page, likely the verso of a title page or a flyleaf, with no printed text. Therefore, there is nothing to transcribe.

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Chennakēśava : Stone : Bēlūr.

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Madhusūdana : Stone : Bēlūr.

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Mādhava : Stone : Bēlūr.

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Gōvinda : Stone : Bēlūr.

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each case, and is intended to enable the reader to notice the difference between the various images at a glance.

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Table showing the arrangement of the *śaṅkha*, *chakra*, *gadā* and *padma* in the four hands of each of the twenty-four Mūrtis of Vishnu according to the *Rūpamaṇḍana*.

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A similar list has been prepared from the description given in the Pātāla-khaṇḍa of the Pādma-purāṇa. Evidently this second list is faulty; in it the arrangement of the emblems in No. 1 is identical with that in No. 15, and that in No. 11 is identical with what is to be found in No. 17. Hence, on the basis of the Pādma-purāṇa, Kēśava cannot be distinguished from Pradyumna; nor can Padmanābha be distinguished from Purushōttama. Moreover, Nos. 9, 10, 11, 13, 14, 21, 22 and 23 in the *Pādma-purāṇa* list may easily be seen to be in disagreement with the corresponding numbers in the *Rūpamaṇḍana* list, which is undoubtedly the correct list, in as much as all the twenty-four possible permutations of the four emblems are found to occur in it accurately. Nevertheless it is also given below for comparison :—

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Śrīkṛṣṇa : Stone : Bēlūr.

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Hari : Stone : Bēlūr.

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Table showing the different arrangements of the *śaṅkha*, *chakra*, *gadā* and *padma* in the four hands of the twenty-four images of Vishnu according to the description found in the *Pātāla-khaṇḍa* of the *Pādma-purāṇa*.

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Corresponding to some of these twenty-four images of Vishnu there are specially named Śaktis, whose names are found given in the first chapter of the third Rātri of the Nārada-Pāñcharātrāgama as under:—

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Why each of the remaining ten Mūrtis of Vishnu is not associated with a specially named Śakti, it is not possible to guess.

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In the Pāñcharātrāgama, these twenty-four Mūrtis of Vishṇu seem to be of some special importance. The philosophical meaning underlying them is not quite patent. Nevertheless an account of their origin, as given in certain Sanskrit works of authority, may prove interesting. The supreme Lord Para-Vāsudēva is conceived to be the possessor of the six excellent guṇas or attributes called jñāna, (knowledge), śakti (energy), bala (strength) aiśvarya (supremacy), vīrya (heroism) and tējas (brightness) and is nirdōsha (free from evil). From Him sprang, it is said, divine beings, possessing each a couple only out of the above mentioned six attributes, thus:—

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Saṁkarshaṇa, with jñāna and bala,
Pradyumna, with aiśvarya and vīrya, and
Aniruddha, with śakti and tējas.

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The Supreme Being in association with these three evolved deities makes up the śakti-maya-vyūha. From the Ahirbudhnya-saṁhitā we learn that from Para-Vāsudēva sprang three other deities, namely, Kēśava, Nārāyaṇa, and Mādhava. Similarly from Saṁkarshaṇa arose the three deities Gōvinda, Vishṇu and Madhūsudana. Again, Trivikrama, Vāmana and Śrīdhara came forth from Pradyumna; and lastly Aniruddha evolved out of himself Hṛishikēśa, Padmanābha and Dāmō- dara. In this way, the evolution of sixteen out of the twenty-four Mūrtis of Vishnu is generally accounted for; and the same authority further states that Vishnu manifested himself in thirty-nine different forms and gives a list of those forms. Evidently all these various forms of the Supreme Lord Vishnu are representative of the attributes with which His worshipper endows Him according to the mood and needs of his own prayerful mind.

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The Śakti-maya-vyūha is described succinctly in ten chapters in the Brihad-brahma-saṃhitā. That Being who has neither beginning nor end, who has myriads of forms, who is omnipresent and resplendent and is the Supreme Brahman, is known by the name of Vāsudēva. In him are contained the moveable and the immoveable worlds which we see around us; the whole of the universe is evolved out of Vāsudēva who is the cause and source of all existing things. Nevertheless, His contact with gross matter prakṛiti does not affect His ever pure Being. Even in the various incarnations assumed by Him prakṛiti could not bedim the faculties of Vāsudēva who is in essence the embodiment of all knowledge (Jñāna-svarūpi). The first form assumed by this Supreme Soul is a pacific one, with only two arms and a single face; the colour of this form of Vishnu is pure crystal white; His body is as resplendent as a crore of suns, moons and fires, all put together, and is adorned with the *kirīṭa*, *hāra*, *kēyūra* and *vanamālā*. This manner of manifestation of Vāsudēva can be conceived and comprehended only by the minds of *yōgins*. From out of this form is derived Para-Vāsudēva, who possesses four hands in which he carries *padma*—the emblem of creation, *chakra*—the emblem of protection, *śaṅkha*—that of salvation, *gadā*—that of destruction. The complexion of Para-Vāsudēva has the lustrous blue colour of the peacock; he is to be clad in yellow garments and adorned with the *kirīṭa*, *kēyūra* and other ornaments. This Para-Vāsudēva is the deity who is responsible for all the cosmic functions of the Creator. Later on Para-Vāsudēva assumes a form with four faces; this latter form in its turn breaks up into two as Nārāyaṇa and Vāsudēva. Of these Nārāyaṇa, is dark in colour as the rain-cloud and Vāsudēva, crystal white. From this last Vāsudēva just mentioned comes forth Saṃkarṣaṇa; from Saṃkarṣaṇa comes forth Pradyumna; and from Pradyumna, Aniruddha. Every one of these four forms is possessed of four arms. Vāsudēva among them possesses all the six attributes, namely, wisdom (*jñāna*), energy (*śakti*), sovereignty (*aiśvarya*), strength (*bala*), brightness (*tējas*) and heroism (*vīrya*), and is free from all evil (*nirdōsha*). Saṃkarshaṇa possesses more of *jñāna* and less of the other five attributes, while in Pradyumna *śakti* or *bala* is dominant; Aniruddha is endowed with the preponderance of *aiśvarya*. From out of these four forms of the Lord others came into being. From Vāsudēva came forth Kēśava, Nārāyaṇa and Mādhava; from Saṃkarshaṇa came forth Gōvinda, Vishṇu and Madhusūdana; from Pradyumna came forth Trivikrama, Vāmana and Śrīdhara; and from Aniruddha came forth Hṛishīkēśa, Padmanābha and Dāmōdara. Such is the evolution of these twelve different divine powers. The deities Vāsudēva, Saṃkarshaṇa, Pradyumna and Aniruddha, from whom the above mentioned evolution took place, themselves assumed secondary forms respectively known also as Vāsudēva, Saṃkarshaṇa, Pradyumna and Aniruddha: from these secondary deities came forth Purushōttama, Adhōkshaja, Narasimha and Achyuta respectively: from Purushōttama came forth Janārdana, Upēndra, Hari and Kṛishṇa. Thus, according to the *Bṛihad-brahma-saṃhitā*, did these twenty-four forms (*Mūrtis*) of Vishṇu come into existence.

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Of these twenty-four *Mūrtis* of Vishṇu some are considered to be fit for worship by certain classes of votaries, and others by other classes. The *Rūpamaṇḍana* states that happiness comes to Brāhmaṇs by worshipping Kēśava, Nārāyaṇa, Mādhava and Madhusūdana. When worshipped by Kshatriyas Madhusūdana and Viṣṇu bestow on them all good, while the Vaiśyas obtain their good by adoring Trivikrama and Vāmana. To the Śūdra the worship of Śrīdharā is considered to be specially beneficial. The god who confers blessings on the cobbler, the washerman, the dancer, the hunter, the varaṭa and the Meḍa-bhilla, is Hṛishikēśa. Padmanābha is particularly the god of the potter, the petty merchant, the harlot, the oil-monger, the vendor of liquors and such others. The *yati* (mendicant ascetic) and the *brahmachāri* (student anchorite) should offer their worship to Dāmōdara. The triple god Hari-Hara-Pitāmaha, who is the same as Dattātrēya, Narasimha, Vāmana and Varāha may well be worshipped by all, and they bestow their blessings on all alike.

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Among these twenty-four forms of Viṣṇu, those of Vāsudēva, Saṃkarshaṇa, Pradyumna and Aniruddha are considered to be of special importance for the reason that they make up the *Śakti-maya-vyūha*; and much has therefore been written about them. Evidently for the same reason, the *Vaikhānasāgama* considers these forms of Vishnu to be very much higher than even the ten *avatāras*.

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Now, in regard to the image of Vāsudēva, it has to be observed that Vāsudēva is invariably looked upon in two aspects, a human and a purely divine aspect. Krishna, incarnated as the son of Vāsudēva, is the human Vāsudēva or Mānusha-Vāsudēva; and Vāsudēva, conceived as the one God, in whom all things in the universe live, move and have their being and who is at the same time indwelling in all the beings in the universe, is the supreme Vāsudēva or Para-Vāsudēva. It is laid down that the image of Mānusha-Vāsudēva should be in accordance with the *madhyama-daśa-tāla* measure of 120 *angulas*; it should have only two hands carrying the *śankha* and the *chakra*. On the right there should be the goddess Rukmiṇī and to her right there should be Balarāma wielding the plough (*hala*) and *Musala*. To the right of Balarāma there should be Pradyumna carrying in the right hand the sword and the left hand being made to rest upon the waist in the *kaṭyavalambita* pose. On the right of Pradyumna, there should be the four faced Brahmā, with four arms. A little to the left of Mānusha-

Manusha-Vasudeva

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Vāsudēva, there should be Aniruddha carrying the sword and the shield; and on his right there should be Sāmba,* with the right hand in the *abhaya* pose and with a stick in the left hand. The figure of Garuḍa should be on the left of Sāmba. All these images belonging to this group should be worked out in the standing posture. The *kautuka-bēra* of Mānusha-Vāsudēva may be either according to the description given above, or it may be an ordinary four-armed image of Vishnu. The image of Daivika-Vāsudēva should be seated on a *simhāsana*, with Śrīdēvi aud Bhūmidēvi on the right and the left; it should have four arms. In the upper right hand Para-Vāsudēva should hold the *chakra*, in the lower right hand, the *padma*; in the upper left hand, the *śankha*; and the lower left hand, the *gadā*. On the right and left there should be the images of the gods mentioned above in association with Mānusha-Vāsudēva. In addition to them there should be by the side of Balarāma the standing image of his consort Rēvatī-dēvi; on the left of Aniruddha, his consort Ushā; on the side of Pradyumna, his consort Rōhiṇī; and on the side

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Daivika-Vasudeva.

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∗ Some manuscripts have Śāmba instead of Sāmba.

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TWENTY-FOUR IMAGES OF VISHNU.

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of Sāmba, his consort Indukarī. Such is the description of Para-Vāsudēva given in the Vaikhānasāgama.

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Para-Vāsudēva might, according to the Agnipurāṇa, also be sculptured as a standing image. In this case there should be on either side the goddesses Śrī and Pushṭi, carrying respectively a padma and a vīṇa. The figures of these goddesses should not reach a higher level than the hip of Vāsudēva. In the prabhāmaṇḍala, ornamented with the figures of elephants and other animals, two flying figures, representing two Vidyādharas, carrying each a flower garland, should be sculptured. The pīṭha on which Vāsudēva and the Dēvis stand should be made to have the brilliance of gold. (See fig. 150, p. 207, of V. A. Smith's History of Fine Arts in India and Ceylon.)

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There is another description of Para-Vāsudēva given in the Vishṇudharmōttara. The image of this Vāsudēva should according to this authority, have one face and four arms; it should have great beauty and a fine appearance; it should be of the dark blue colour of the cloud, should be adorned with all the various ornaments, and be clad in yellow garments. From his neck, resembling, in its round contour, the śaṅkha, necklaces of excellent workmanship and the *vana-mālā* should be suspended so as to reach the knees. The cloth tied round the loins should descend as far down as the knees. *Kuṇḍalas* should adorn his beautiful pendant ears, and reflect their lustre on the neck. On the arms should be worn the *aṅgada* and the *kēyūra*; and on the chest, there should be the jewel *kaustubha*. The head should be covered with a *kirīṭa*; and behind it there should be the *śiraś-chakra* in the form of a well-shaped lotus. The arms of Vāsudēva should be long and well formed; and the fingers of the hands should be tipped with nails dyed red. In one of the right hands of Vāsudēva there should be a full-blown lotus, and in one of the left hands the *śaṅkha* in its natural form. To his right should stand the personified form of *gadā* as a goddess with slender waist, a large hip and a very pretty appearance. She should possess two bright, playful eyes and be bedecked with numerous ornaments. She should hold a *chāmara* in one of her hands; and the other right hand of Vāsudēva should be made to rest upon her head.

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The goddess Bhūmi, with a gracefully protuberant belly marked with three gentle folds, should be made to stand between the legs of Vāsudēva and embrace them with her arms. The legs of Vāsudēva should be kept apart by a distance of about a foot, and the right leg should be a little in front of the left. On the left side of Vāsudēva should stand the personified figure of *chakra*—a male figure with a big, hanging belly and round wide open eyes. This figure also should be adorned with various ornaments, should hold a *chāmara* in the hand, and be shown to evince a desire to be ever gazing in adoration at his Lord. The left hand of Vāsudēva, other than the one holding the *śaṅkha*, should be placed upon this personified figure of *chakra*.

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In illustration of the twenty-four *Mūrtis* of Vishnu there are six pictures given, all of which represent images found in the Chennakēśavasvāmin temple at Bēlūr in the Native State of Mysore. They are of Kēśava, Mādhava, Gōvinda, Madhusūdana, Hari and Śrī-Krishna respectively. Of these, the first image, that of Kēśava is one of the very best specimens of the Hoysaḷa school of sculpture, and is in an excellent state of preservation. It was set up by Śāntaladēvī, the chief queen of Vishnuvardhanadēva of the Hoysaḷa dynasty, in the Kappē-Chennigarāya shrine in the Chennakēśavasvāmin temple. On the base of this image, and in the front tier running just over the head of Garuḍa, is a single-line inscription in Sanskrit written distinctly in Kannaḍa characters, mentioning that that god Chennakēśava, who brings peace to all the created beings in the world, was set up by Śāntidēvi, queen of Viṣṇu. This image now goes by the popular name of Kappē-Chennigarāya, and is not in *pūja*. In the *prabhā-vaḷi* might be noticed, with the help of a magnifying glass, the sculpturing of the ten *avatāras* of Viṣṇu as also of the eight *dik-pālas* or the guardians of the cardinal points. The other five images are found sculptured on the walls of the central shrine of Chennakēśavasvāmin in the same temple. It may be noticed that the first five of these six figures wear the *makara-kuṇḍala*, the last alone has the *ratna-kuṇḍala* given to it. All the images are well executed, and bear evidence of trained workmanship.

Cites (10)

Padmapurāṇa — Vyāsa, Sanskrit
Agnipurāṇa — Vyāsa, Sanskrit
Ahirbudhnyasaṃhitā — Sanskrit
Jñānāmṛtasārasaṃhitā — Sanskrit
Viṣṇudharmottarapurāṇa — Sanskrit
Viṣṇusahasranāma — Sanskrit
Mahābhārata — Vyāsa, Sanskrit
Bṛhadbrahmasaṃhitā — Sanskrit
Pātālakhaṇḍa — Sanskrit
Rūpamaṇḍana — Maṇḍana, Sanskrit

Elements of Hindu Iconography v1.c11.s2: The Twenty-Four Images of Vishnu

Contents

The Twenty-Four Images of Vishnu

Manusha-Vasudeva

Cites (10)