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Elements of Hindu Iconography v1.c11.s3: Minor Avataras and Manifestation of Vishnu

Elements of Hindu Iconography v1.c11.s3

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Minor Avataras and Manifestation of Vishnu

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PURUSHA is described in the *Vaikhānāsāgama* as an *āvaraṇadēvatā*, that is, as a deity whose image is placed in one of the circuit round the central shrine. The position allotted for the image of Purusha is on the east in the first *āvaraṇa*; and the image should be so placed as to be facing the east. The colour of this image should be white and that of its garment yellow. It should have on its sides the images of Śrīdēvī and Mēdinīdēvī respectively.

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Kapila is said to be the form assumed by the divine Pradyumna when he became free from the influence of all worldly desires. The image of Kapila should have a beard; it should be seated upon the *padmāsana*; near him there should be the vessel *kamaṇḍalu* such as the one used by *sannyāsins*. One of the hands should be placed in front on the crossed legs. The eyes should be closed indicating *dhyāna* or meditation. There should be the *jaṭā-maṇḍala* round the head; and the shoulders should be high showing that Kapila was a great adept in controlling the breath. The feet of the image of Kapila should be marked with lines resembling the outline of the lotus. The figure ought to be draped in deer-skin and must bear the *yajñōpavīta*. This Kapila is generally identified with Kapila, the founder of the Sāṅkhya philosophy. The *Vaikhānasāgama* gives a somewhat different description of Kapila. Being classed as an *āvaraṇadēvatā*, the image of Kapila is alloted a place in the south-east corner of the first *āvaraṇa*. Kapila is here said to be an embodiment of the Vēdas and is to be a seated image facing the east, and having eight arms. Of the four hands on the right side one is to be in the *abhaya* pose and the other three are to carry the *chakra*, the *khaḍga* and the *hala*; one of the left hands is to be resting on the hip in the *kaṭyavalambita* pose and the other three should carry the *śaṅkha*, the *pāśa*, and the *daṇḍa*. The colour of the garment of Kapila should be red. On the sides of Kapila should stand the images of Gāyatrī and Sāvitrī respectively.

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Yajñamurti or Yajñēśa is another minor *avatāra* of Viṣṇu mentioned in the *Śrī-Bhāgavata*. He is looked upon as an *āvaraṇadēvatā* by the *Vaikhānasāgama*, according to which his place is in the south-west corner of the first āvaraṇa. His image must be made to face the west. The image of Yajñēśa should have two heads, seven hands, and four horns.* The colour of the body of this image should be that of molten gold. The hands should

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* Yajña is described in the Ṛigvēda as a bull having four horns, three legs, two heads and seven hands. The author of the Nirukta explains the above thus: the four horns mentioned in the Ṛik stand for the four Vēdas; the three legs for the three savanas, namely, the prātassvana, the madhyandinasvana and the tritīyasvana; the two heads for the iṣṭis, the prāyaṇīya-iṣṭi and the udayanīya-iṣṭi; and the seven hands for the seven chhandas or mantras. This bull, Yajña, according to the Ṛik referred to above, is said to be tied up by three ropes and is bellowing; the great god, Yajña represented as a bull, is also said to have entered into the bodies of men. The Nirukta explains the three fold binding of the bull as its association with the mantras, the brāhmaṇas and the kalpasūtras; the bellowing of the bull is said to be the praising the gods in sacrifices with the mantras of the Ṛigvēda, making offerings with the Mantras of the Yajurvēda and praying to them with the mantras of the Sāmavēda. The god Yajña is said to have entered men for the purpose of making them offer sacrifices. Brāhmaṇas should employ this mantra when they make offerings to the fire in the morning and the evening.

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The symbolical explanation of the sacrifices given above carry the *śaṅkha*, the *chakra*, the *ājya-pātra*, the *sruk* and the *sruva*, and the *juhu*, which last, is a laddle used in pouring ghee into the sacred fire in sacrifices. Yajñēśa should have three legs and be adorned with various ornaments. On the right and left of this manifestation of Vishnu the goddesses Svāhā and Svadhā should be made respectively to stand.

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The *Vishṇudharmōttara* contains a description of the image of Vyāsa. It is said there that it should be slender, of black complexion and wearing dark brown *jaṭās*. On his side there should be his four well-known disciples, Sumantu, Jaimini, Paila and Vaiśampāyana.

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has been incorporated in the description of the image of Yajñamūrti.

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“ चत्वारि शृङ्गा त्रयो अस्य पादा द्वे शीर्षे सप्त हस्तासो अस्य । त्रिधा बद्धो वृषभो रोरवीति महो देवो मर्त्यां आविवेश ॥”

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चत्वारि शृङ्गेति वेदा वा एत उक्तास्त्रयो अस्य पादा इति सवरानि त्रीणि द्वे शीर्षे प्रायणीयोदयनीये सप्तहस्तासः सप्तच्छन्दांसि त्रिधाबद्धः त्रेधा बद्धो मन्त्रब्राह्मणकल्पैर्वृषभो रोरवीति रोरवणमस्य सवनक्रमेण ऋग्भिर्यजुर्भि-स्सामभिर्यदेनमृग्भिश्शंसन्ति यजुर्भिर्यजन्ति सामभिस्तुवन्ति महोदेव इत्येष हि महान्देवो यज्ञो मर्त्यां आविवेशेत्येष हि मनुष्यानाविशति यजनाय तस्योत्तराभूयसे निर्वचनाय ॥

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(निरुक्ते १३ शाध्याये १ मपादे ७ मखण्डे).

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The same authority *Vishṇudharmōttara* says that Dhanvantrin should be sculpted as a handsome person carrying in both the hands vessels containing *amṛita*, that is, the ambrosia of the gods.

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As already mentioned, Dattātrēya is one of the minor *avatāras* of Vishṇu. The story of his birth and life is given in detail in the *Mārkaṇḍēya-purāṇa*. There was a certain Brāhmaṇa, a Kauśika, in the city of Pratishṭhāna, who was suffering from leprosy. His wife served him nevertheless as if he was a deity. Once it so happened that the sage Aṇi-Māṇḍavya became annoyed with this leprous Kauśika and uttered a curse that he should die before the next sunrise. Thereupon his chaste, faithful and devoted wife, relying upon the power of her chastity, ordered the sun not to rise; and for days the sun did not rise. The gods became frightened at this and approached Anasūyā, the famous wife of Atri, and requested her to pacify the wife of the leprous Kauśika and make the sun rise from day to day as usual. She agreed to do as desired, and went to the Kauśika’s house. There she was received by his wife with all the due rites of hospitality and was asked the purpose of her most welcome visit. On being told that the object of her visit was to allow the sun to rise as before from day to day, she said that she would gladly do so, provided that thereby the threatened death does not befall her lord and master. On being assured of this, she allowed the sun to rise; and he rose. Her husband, however, fell down as if dead, but was immediately revived by Anasūyā and made healthy, strong and beautiful. The gods became pleased at this, and asked the worthy and honourable wife of the revived and rejuvinated Kauśika to receive a boon at their hands, to which she readily agreed. And the boon she wanted was that Brahmā, Viṣṇu and Śiva—the gods of the Hindu trinity—should be born as her sons. They were so born; and Dattātrēya was the incarnation of Viṣṇu. He became in his life famous as an ascetic and great yōgin, and is even now considered to be worthy of worship as a god.

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There are three different ways in which Dattātrēya is represented in sculptures. The first manner of representation is to have Brahmā, Viṣṇu and Śiva sculptured so as to be standing side by side. These images are very similar to the ordinary images of these gods. Fig. 1, Pl. LXXII is a photograph of Dattātrēya sculptured on a wall of the Hoysalēśvara temple at Haḷēbīḍu.

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(Fig. 1.) Hari-Hara-Pitāmaha : Stone : Halēbīḍu.

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(Fig. 2.) Dattātrēya : Stone : Ajmere.

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Hari-Hara-Pitāmaha : Stone : Ajmere, Rajaputana Museum.

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Here the figure of Brahmā is seen to carry in its upper right hand the *sruc* and the *sruva*, in the lower right hand the *akshamālā*, in the upper left hand the *pāśa* and in the lower left hand the *kamaṇḍalu*. The figure of Śiva carries the *śūla* and *ḍamaru* in the two back hands and the *aksha-mālā* and the *pustaka* in the front two hands. The figure of Vishnu holds in its four hands the *padma*, the *gadā*, the *chakra* and the *śaṅkha*. The figures of Śiva and Vishnu are each associated with a Dēvī; but Brahmā has no goddess by his side. This first variety of the representation of Dattātrēya is given a somewhat novel turn in the figure which is reproduced on Pl. LXXIV. Here the three deities are each seated respectively on a *padmāsana* supported on swans, on the Garuḍa and on the bull forming their distinctive vehicles. Brahmā is seated in the posture known as the *utkuṭikāsana*, the middle face has a beard and his two crossed legs are supported by the *yōga-paṭṭa*, which is a broad ribbon passing tightly round the body and the legs. The right upper hand is broken; thus it is not possible to make out what object it carried. In the other hands are seen the *pustaka*, the *kamaṇḍalu* and an *akshamālā*. Though the upper and the lower right hands of Vishnu are also broken, it is easily made out that they held the Here the figure of Brahmā is seen to carry in its upper right hand the *sruk* and the *sruva*, in the lower right hand the *akshamālā*, in the upper left hand the *pāśa* and in the lower left hand the *kamaṇḍalu*. The figure of Śiva carries the *śūla* and *ḍamaru* in the two back hands and the *akshamālā* and the *pustaka* in the front two hands. The figure of Vishnu holds in its four hands the *padma*, the *gadā*, the *chakra* and the *śaṅkha*. The figures of Śiva and Vishnu are each associated with a Dēvī; but Brahmā has no goddess by his side. This first variety of the representation of Dattātrēya is given a somewhat novel turn in the figure which is reproduced on Pl. LXXIV. Here the three deities are each seated respectively on a *padmāsana* supported on swans, on the Garuḍa and on the bull forming their distinctive vehicles. Brahmā is seated in the posture known as the *utkuṭikāsana*, his middle face has a beard and his two crossed legs are supported by the *yōga-paṭṭa*, which is a broad ribbon passing tightly round the body and the legs. The right upper hand is broken; and it is not possible to make out what object it carried. In the other hands are seen the *pustaka*, a *kamaṇḍalu* and an *akshamālā*. Though the upper and the lower right hands of Vishnu are also broken, it is easily made out that they held the gadā and the *padma*; the left hands carry the *chakra* and the *śaṅkha*. Śiva's right hands are also broken off. It seems evident that the upper right hand held in it a *śūla*. It is difficult to find out what objects were in the left hands. Though so injured, this is a remarkable piece of sculpture belonging to the Rajputana Museum at Ajmere. The sculptor has executed his work in a very finished style and it is almost perfect in every detail.

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The second manner in which Dattātrēya is sculptured is as Viṣṇu in the *yōga* posture, and his triple nature is indicated by the *lāñchhanas*, the characteristic emblems, the swan, the Garuḍa and the bull, of the three gods Brahmā, Viṣṇu and Śiva, being carved on the pedestal, which is a *padmāsana*. In the photograph of Dattātrēya reproduced on Pl. LXXIII, the figure of Viṣṇu may be seen to have a *jaṭā-makuṭa* on the head, and a few *jaṭas* or ropes of matted hair also shown to be hanging down from it. The *chakra* and the *śaṅkha* are in two of the hands, while his other two hands rest upon the crossed legs in the *yōga-mudrā* pose. On the *prabhāvaḷi* the ten *avatāras* of Viṣṇu are carved. It may also be noted that in the right ear Dattātrēya wears a *sarpa-kuṇḍala*, which is characteristic of Śiva, and in the left ear the *makara-kuṇḍala*, characteristic of Viṣṇu. This piece of sculpture belongs to Bādāmi and may well be assigned to the later Chālukya period. It is a remarkably well finished piece of sculpture and is very pleasing in its effect in exhibiting the philosophic peace and calmness which it seems to have been specially intended to convey.

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Dattātrēya : Stone : Bādāmi.

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Fig. 2, Pl. LXXII, is another illustration of the same variety as the above, but here the image is a standing one. It carries in its hands the śūla, the chakra, the kamaṇḍalu and perhaps the aksha-mālā. It may be noticed that the padma, the Garuda and the bull, the characteristic emblems of Brahmā, Vishṇu and Śiva respectively, are carved on the pedestal. On either side stand a few figures which appear to be some devotees.

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The third way, which is evidently a more modern way, in which Dattātrēya is represented is as a human being with three heads and four arms, and as attended by four dogs of different colours, said to represent the four Vēdas, and also by a bull.

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It may be said here that the Vishṇu-dharmōttara lays down that Dattātrēya should be sculptured almost exactly like Vālmiki. The Rūpamaṇḍana gives the description of Dattātrēya under the name of Hari-Hara-Pitāmaha. According to this authority, the image of Hari-Hara-Pitāmaha should have four faces, six hands, and a single body made to stand on a pīṭha. The right hands should carry the akṣamālā, the triśūla, and the gadā, while the left hands should be made to hold the kamaṇḍalu, the khaṭvāṅga and the chakra. We can easily recognise in these six articles carried in the hands of Hari-Hara-Pitāmaha, that the akṣamālā and the kamaṇḍalu are emblematic of Brahmā, the chakra and the gadā of Viṣṇu, and the triśūla and the khaṭvāṅga of Śiva. The idea evidently is that Dattātrēya is an incarnation of all the three deities of the Hindu trinity, although in a special sense he is an incarnation of Viṣṇu in particular.

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Vaikuṇṭha or Vaikuṇṭhanātha should have four faces and eight hands, and be seated upon the mythical kite Garuḍa. In the right hands, the gadā, the khaḍga, the bāṇa and the chakra should be held; and in the left hands, the śaṅkha, the kheṭaka, the dhanus and the padma. Of the four faces, the front one facing the east should be that of a man, the one to the south should be that of Narasimha, the one to the west that of a woman, and the face to the north should be that of Varāha. (See Pl. LXXV.)

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Vaikuntha or Vaikunthanatha.

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Vaikuṇṭhanātha : Stone : Bādāmi.

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Trailokyamohana. This image of Vishnu is almost similar to that of Vaikuntha described above; it should also have four faces and be made to ride on the back of Garuda. But the number of hands are to be sixteen; in six of the right hands are to be placed respectively the gadā, the chakra, the aṅkuśa, the bāṇa, the śakti and the chakra (?); the seventh right hand is to be in the varada pose; in seven of the left hands should be placed similarly the mudgara, the pāśa, the dhanus, the śaṅkha, the padma, the kamaṇḍalu and the śṛiṅga (a horn); the remaining right hand and left hand are to be held in the yōga-mudrā pose. The faces should be in order those of a man, of Narasimha, of Varāha and of Kapila.

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Ananta. Ananta has several forms and is conceived to be endowed with almost all the divine powers (śaktis). The image of this deity should have twelve hands and four faces, and should be seated upon Garuda. One of the right hands should be in the varada pose, and the remaining five should carry the gadā, the khaḍga, the chakra, the vajra and the aṅkuśa; in the left hands should be held the śaṅkha, the kheṭaka, the dhanus, the padma, the daṇḍa and the pāśa. The image of Vishnu conceived as the Infinite Being should not be confounded with the serpent Ananta, forming an accessory to certain Viṣṇu images.

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**Visvarupa.** This conception of Viṣṇu should also have four faces, which are to be the same as in the case of Vaikuṇṭhanātha; and Viśvarūpa also should be made to ride upon Garuḍa. The image of Viśvarupa should have twenty arms; one right hand and the corresponding left hand should be held outstretched as *patāka-hasta*; another of the right hands and its corresponding left hand should be in the *yōga-mudrā* pose. In seven of the remaining right hands should be held respectively the *hala*, the *śaṅkha*, the *vajra*, the *aṅkuśa*, the *bāṇa*, the *chakra* and a lime fruit, and the tenth right hand should be in the *varada* pose. In the left hands should be held the *daṇḍa*, the *pāśa*, the *gadā*, the *khaḍga*, the *padma*, the *śṛṅga*, the *musala* and the *Akṣamālā*.

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**Lakshmi-Narayana.** As the name indicates, Lakshmī-Nārāyaṇa is Viṣṇu as Nārāyaṇa in the company of the goddess Lakshmī. The goddess is generally on the left of the god. The right hand of the goddess should be thrown round the neck of Nārāyaṇa, whose left hand in turn should be made to embrace the goddess round her waist. In her left hand Lakshmī should hold a lotus. The naturally beautiful and youthful figure of Siddhi, decorated with ornaments, should stand near Lakshmi and Nārāyaṇa with a *chāmara* in her hand. Below and slightly to the right should be the image of Garuḍa. The Āyudha-purushas representing the *śaṅkha* and *chakra* should also be made to stand by the side of Vishnu. In front there should be seated the two *upāsakas* or worshippers consisting of Brahmā and Śiva with their hands in the required *añjali* pose. The former of these divine worshippers of Vishnu should wear a broad belt round the waist, and the latter should wear the *yōga-paṭṭa* and carry a skull. Such is the Lakshmi-Nārāyaṇa group of images as described in Sanskrit authorities.

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Lakshmi-Nārāyaṇa : Stone : Bēlūr.

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The illustration of Lakshmi-Nārāyaṇa given here (Pl. LXXVI) represents a piece of sculpture found in the Kappe-Chenigarāya’s temple at Bēlūr. Here Vishnu has his consort Lakshmi seated on the left side of his lap and is, with his lower left hand, embracing Lakshmi. Instead of the weapons being represented by their personified forms, as required by the *Viśvakarma-śāstra*, they are worked out as actual weapons. The goddess Siddhi, wearing all her ornaments, stands with a *chāmara* in hand, to the left of Lakshmi-Nārāyaṇa. There is also another female figure holding a sword and a shield in her hands, and a highly ornamented vessel, whose significance is not quite clear.

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In the *Devī-Bhāgavata* it is stated that a Rākshasa named Hayagrīva, having received boons similar to those received by Hiraṇyakaśipu, that he should not be assailable by man or beast, began to give trouble to the gods. The gods thereupon went to the Dēvī and implored her aid. This all-powerful goddess directed them to go to Vishṇu and request him to be born upon earth with the face of a horse and the body of a man and kill the Rākshasa. The gods prayed to Vishṇu accordingly; and pleased with their prayer, Vishṇu became incarnated in a form, half-horse and half-man and hence known as Hayagrīva, and destroyed the Rākshasa Hayagrīva. The god Hayagrīva is looked upon as the god of learning; his functions are similar to those which are attributed to the goddess Sarasvatī.∗

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∗ ज्ञानानन्दमयन्देवं निर्मलस्फटिकाकृतिं । आधारं सर्वविद्यानां हयग्रीवं उपास्महे ॥

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The *Vishṇudharmōttara* gives the following description of the image of Hayagrīva. The feet of Hayagrīva should be placed in the outstretched palms of the goddess of Earth. The complexion of Hayagrīva should be white and the colour of the cloth worn should be blue. Hayagrīva should have the face of a horse and possess eight arms; in four of the hands he should carry the śaṅkha, the chakra, the gadā, and the padma respectively. The remaining four hands should be placed upon the heads of the personified forms of the four Vēdas. The figure of Hayagrīva should be duly adorned with ornaments. This aspect of Vishṇu is believed to be specially related to Saṃkarshaṇa in the Śakti-maya-vyūha.

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Hayagrīva: Stone: Nuggehaḷḷi.

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The illustration of Hayagrīva given on Pl. XXVII is the representation of an image found in the temple at Nuggehaḷḷi. The label engraved below the image informs us that it was sculptured by Malitamma. The other short inscription on the pedestal tells us that the figure is that of Hayagrīva. As required by the Sanskrit authorities the figure has eight hands; but they all carry the gadā, bāṇa, chakra, khaḍga, śaṅkha, khēṭaka, dhanus, and padma respectively. Below the feet of Hayagrīva is shown, as lying in an abject condition, a Rākshasa carrying a sword and a shield, who, of course, is the Hayagrīva Rākshasa defeated and thrown down.

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Adimūrti is a seated figure, sitting upon the serpent Ādiśēsha, with the right leg hanging and the left one folded and resting upon the seat. The colour of the figure is coral-red; it is decorated with all ornaments. The image has four hands. One of the right hands rests upon the seat, and a left hand is stretched out upon the left knee. The remaining two hands carry the *chakra* and the *śaṅkha*. The hood of Ādiśēsha may have either five or seven heads and it should be so sculptured as to hide slightly the *kirīṭa* of the image. On the right side the sage Bhṛigu, and on the left the sage Markaṇḍēya, are figured as kneeling on one knee. The figures of Brahmā and Śiva are shown in a prayerful attitude on the right and left respectively of Ādimūrti.

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The illustration on Pl. LXXVIII, is the reproduction of the photograph of an image of Ādimūrti to be found in the temple at Nuggehaḷḷi. In this piece of sculpture Ādimūrti is seen seated on the serpent Ādiśēsha under a tree. The hood of Ādiśēsha has seven heads and its body is coiled into three turns. Ādimūrti has his left leg folded and resting upon the seat and his left front hand is stretched out on the left knee. The right leg of the image is let down hanging and the right front hand is seen resting upon the serpent seat. The *śaṅkha* and the *chakra* are held in the left and right back hands respectively. Below the seat and on the right is the figure of Garuḍa in the *āliḍhāsana* posture with its hands folded in the *añjali* pose. On the left are the figures of Brahmā and Śiva also standing in reverential attitude. There is another figure in front of those of Brahmā and Śiva; its head is broken and in its present condition it is difficult to guess as to whom it represents. The figure of Ādimūrti is decorated with all ornaments which are carved in a very elaborate manner. Under the seat is an inscription which informs us that the image was sculptured by Baichōja of Nandi already mentioned.

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Ādimūrti : Stone : Nuggehaḷḷi.

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This aspect of Vishnu is the one conceived to be assumed by him at the end of the *mahā-pralaya* or the great deluge of universal dissolution. The Jalaśāyin is an image of Vishnu shown to be lying in the midst of waters, resting on the Ādiśēsha, his serpent-couch. The top of the head of Vishnu is difficult of discernment on account of the excess of lustre proceeding from the jewels on the heads of Ādiśēsha. In reclining upon the serpent, three-fourths of the body of Vishnu is made to lie flat upon it, and the remaining fourth towards the head is slightly lifted up and inclined. One leg of this image of Vishnu rests upon the lap of Lakshmi and the other is somewhat bent and then thrown upon the other leg. One arm of Jalaśāyin is stretched along the body so as to make the hand reach the navel, while the other corresponding to it supports the head; two other hands grasp the santāna-mañjari. On the lotus sprung from the navel of Viṣṇu is seated Brahmā, the creating god, and adhering to its stalk are the two demons Madhu and Kaiṭabha. The personified weapons of Viṣṇu are all shown on Ādiśēṣa surrounding the figure of Viṣṇu. In some instances the figures of the ten avatāras of Viṣṇu are required to be carved above the reclining figure of Viṣṇu-Jalaśāyin. It is interesting to compare this conception of God brooding upon the waters of the ocean of chaos at the time of universal dissolution with that of Vaṭa-patra-śāyin, the infant god floating on a banyan leaf in the chaotic waters of the dissolved cosmos, assuring, as it were, that the dissolution of the cosmos is in fact the infancy of its evolution.

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The drawing of Jalaśāyin on Pl. LXXIX, is that of the image of this god found in the central shrine of the Viṣṇu temple found in the middle of the village of Haḷēbīdu. In this it may be noticed that Lakshmī is, as required in the Sanskrit authorities, seated near the feet of Viṣṇu, while what appears to be the figure of Bhūmidēvī is seen This page appears to be blank or contains no legible text to transcribe.

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Jalaśāyin : Stone : Haḷēbīḍu.

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seated near the head. One of the left hands of Jalaśāyin is held in the *kaṭaka* pose. The weapons are not represented in this case as their personifications, but are treated as actual weapons. In the corner near the head of Vishnu is a small figure seated with crossed legs; it appears to represent the sage Mārkaṇḍēya, who is reputed to be immortal even at the time of the deluge. Above the figure of the reclining Jalaśāyin are sculptured the ten avatāras of Vishnu as described in the Rūpamaṇḍana*; it is interesting to note that the avatāras, Matsya and Kūrma, are represented by a fish and a tortoise respectively, and the incarnation of Buddha is shown as a Dhyāni-Buddha and the Kalkyāvatāra is shown as a man riding a horse. Near the foot of Vishnu stands what is evidently the figure of Garuḍa with hands held in the *añjali* pose.

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Dharma is one of the minor avatāras of Vishnu. It is said in the *Brihaddharma-purāṇa* that Brahmā, as soon as he created the universe, was looking for some one to protect it. Then there sprang from his right side a Being who wore *kuṇḍalas* in his ear, a garland of white flowers round his neck and white sandal paste on his body; he had four legs and resembled a bull. He was called Dharma. Brahmā called Dharma and asked him to be his eldest son and protect the universe created by himself. Dharma is said to have possessed four legs in the Kṛitayuga, three in the Trētāyuga, two in the Dvāparayuga and only one in the Kali or the present *yuga*. The limbs of Dharma are said to be *satya*, (truthfulness), *dayā* (mercy), *śānti* (peacefulness) and *ahiṃsa* (kindness). The Sanskrit word *vrisha* means *dharma* as also a bull, a fact which seems to have induced the imaginative Hindu to associate Dharma with a bull. According to the *Āditya-purāṇa* the figure of Dharma should be white in colour and have four faces, four arms and four legs, be clothed in white garments and be adorned with all ornaments, should carry in one of the right hands the *akshamālā*, the other right hand being made to rest upon the head of the personified form of *vyavasāya* (industry). One of the left hands should keep a *pustaka* and the remaining left hand should carry a lotus and placed on the head of a good looking bull.

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∗ दशावतारसंयुक्तस्थाप्यो जलशयोऽथवा । (Rūpamaṇḍana)

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The story of Vishṇu delivering Gajēndra, the lord of elephants, from the grip of a crocodile is given in the *Bhāgavata-purāṇa*. In the garden of Ritumat, on the mountain Trikūṭa, which is surrounded

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Varadaraja or Karivarada.

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by the ocean of milk, there is a tank, to which Gajēndra, the lord of the elephants, repaired one day to allay its thirst. As soon as it got down into the water, a crocodile caught hold of one of the legs of the elephant. For a long time the elephant struggled to liberate itself from the crocodile, but was unsuccessful. At last, with a lotus flower in its trunk it began to praise Vishnu and so besought his help. Pleased with the prayers of the elephant, Vishnu, riding upon the shoulders of Garuda, appeared on the scene at once and killed the crocodile with his *chakra* and saved Gajēndra. It is said that Gajēndra was a Pāṇḍya king named Indradyumna in his former birth, and became an elephant on account of a curse which was pronounced against him by Agastya, to whom the king did not pay sufficient respect at the time the sage came to see him. This king became free now of his elephantine condition of existence through the touch of Vishnu; and as a reward for his good deeds in the previous birth, he was received by Vishnu to be one of his *pārishadas* or body-guards. The crocodile was in reality a *gandharva* named Hūhū in its past birth, and had been cursed by the sage Dēvala to become a crocodile. Varadarāja means King among Boon-bestowers; and Vishnu is so called because he saved and bestowed boons upon Gajēndra. As a deliverer of Gajēndra, Viṣṇu is praised in several places in the *Divya-prabandha* of the Śrīvaiṣṇava saints of Southern India and the temple of Varadarāja at Kāñchi is one of the most famous Vaiṣṇava temples in the Madras Presidency. Sculptures of this deity are common enough in this Southern Presidency. Fig. 1, Pl. LXXX is from the Mysore State. Here Viṣṇu is seen riding on the shoulders of Garuḍa, with the *chakra* in his back right hand, which is lifted up, the *śaṅkha* in the back left hand, the *padma* in the front left hand, and the *gadā* in the front right hand. The uplifted hand is supposed to be in the act of hurling the *chakra* against the crocodile which has caught hold of the leg of the elephant Gajēndra. The feet of Viṣṇu rest upon the opened out palms of the hands of Garuḍa. Below Garuḍa is to be found the afflicted Gajēndra praying to Viṣṇu with its trunk carrying a lotus in it and kept uplifted. The figure of the crocodile is seen apprehending with its powerful teeth the leg of Gajēndra. On its back is seen sculptured the *chakra* of Viṣṇu and a human figure seated with crossed-legs and with the hands in the *añjali* pose. The *chakra* is sculptured on the back of the crocodile to convey the idea that it has killed the crocodile and that the human figure represents the Gandharva who was relieved from his existence as a crocodile. The water of the tank is shown in the conventional way by means of wavy lines.

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(Fig. 1.) Kari-Varada: Stone: Mysore Province.

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(Fig. 2.) Varadarāja: Stone: Dādikkombu.

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The second figure on the same plate represents a piece of sculpture to be found in the Varadarājasvāmin temple at Dāḍikkombu. In this the figure of Gajēndra and the crocodile are not shown; Vishnu is seated upon Garuḍa, who is seated in the āliḍhāsana, and bearing in his palms the feet of Vishnu. The figure of Vishnu has here eight hands carrying respectively the chakra, śaṅkha, gadā, khaḍga, khēṭaka, dhanus, bāṇa and padma.

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The temple of Varadarāja at Conjeevaram is one of the three important Vishnu temples of South India, the other two being those of Ranganātha at Śrīraṅgam and Veṅkaṭēśa at Tirupati. Of the three temples above mentioned that of Ranganātha is the most sacred to the Śrīvaishṇavas and is known to them by the distinguished name of ‘the temple’. This temple appears to have come to occupy this foremost position on account of its great antiquity and historical association with famous Śrīvaishṇava teachers and saints. The god Ranganātha is of the type of the Yōgaśayana-mūrti already described.

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The god Veṅkaṭēśa, who is better known to North Indian Hindus by the name of Bālājī, has his temple on the top of the Tirupati hill. Various are the opinions regarding this deity: the Vaishṇavas contend that the god is Vishṇu: the Śaivas claim Veṅkaṭēśa to be Śiva, or Subrahmaṇya; while a third set of people think that the Tirupati temple was originally a Dēvī temple and was converted into a Vishṇu temple at some later period. The doubt as to its being a Śaiva or a Vaishṇava temple appears to be of a long standing character, as it is evident from the fact that in the days of Rāmānuja the Śaivas threatened to take possession of it and that Rāmānuja succeeded in retaining it for the Vaishṇavas. The basis of the quarrel between these two Hindu sects appears to be due to the duplicate nature of the image itself, which is described by one of the early Śrīvaishṇava saints as Harihara. In the famous Tamil epic, the Śilappadigāram, the deity on the hill at Vēṅgaḍam, which is Tirupati, is definitely described as Vishṇu, and all the inscriptions found on the walls of this temple uniformly declare it to be a Vaishṇava shrine. The notion that it was originally a temple of Subrahmaṇya may be due to the fact that it is on a hill, a position peculiarly assigned to Subrahmaṇya in this part of the country. The image of Veṅkaṭēśa is even to this day that of Harihara, the right half, as usual, being that of Hara, that is, Śiva and the left half of Hari, that is, Viṣṇu; on the right forearm is to be seen the *bhujaṅga-valaya* or the bangle of snake, an ornament characteristic of Śiva. Veṅkaṭēśa is a standing image with four hands, the back two of which carry the *śaṅkha* (?) and the *chakra*; the other right hand is held in the *abhaya* pose and the remaining left hand is made to rest upon the hip.

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The most famous Viṣṇu temple of Western India is that of Paṇḍharinātha or Viṭhōbā. The name of his goddess is Rukmābāyi. The following legend explains how Viṭhōbā or Viṭhala happened to appear in Paṇḍharipura. A Brāhmaṇa named Puṇḍali started out on a pilgrimage to Benares with his wife and his aged parents. On the way he paid little or no attention to his old father and mother but was all attention to his wife. His conduct pained the parents very much at heart, and still they followed their son to Benares. One day the party halted on their way for the night at Paṇḍharipura in the house of a Brāhmaṇa. There Puṇḍali noticed the deference shown by the host to his own parents and his host's superior filial feeling made Puṇḍali go to bed with a depressed heart. On rising early in the morning, he noticed three very beautiful women doing domestic duties in the house of his Brāhmaṇa host; Puṇḍali approached them and questioned them who they were. They replied that they were the river goddesses Gaṅgā, Yamunā and Sarasvatī, who had come to the house of that excellent householder, the host of Puṇḍali, and at the same time asking him not to approach them, because he was a sinner whose very presence they detested. Puṇḍali immediately felt a shock of remorse for his past remissness in the matter of his duty towards his parents, gave up the idea of approaching by going to Benares the rivers Gaṅgā, Yamunā and Sarasvatī, and set himself to serve his parents then and there in an ideal manner. Viṣṇu thereupon became pleased with the genuine devotion of Puṇḍali to his parents, appeared before him and blessed him. It is this Viṣṇu, who so appeared, that is enshrined in the temple at Paṇḍharipura.

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The image of Viṭhōbā is about three feet in height and is made of stone. It is a standing figure with two hands. The feet rest firmly on the floor and there are no bends in the body; it belongs therefore to the *samabhaṅga* variety of images. The two hands rest upon the hips; the head is Viṭḥala and Rakhmābāyi.

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adorned with a *kiriṭa* which is said to have a *liṅga* mark upon it. (See Pl. LXXXVI.)

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Equally famous with the temples of Raṅganātha in the south and Viṭhobā in the west is that of Jagannātha in the east of peninsular India. This celebrated temple is situated at Puri and is visited by innumerable pilgrims from all parts of India. The temple of Jagannātha is believed to have belonged to the Buddhists at one time and to have been converted into a Vishnu temple at a later date. The image of Jagannātha is an ill-shaped log of wood with two big eyes marked on it rather prominently. Once in twelve years the log is renewed, the log being every time brought mysteriously from some unknown land. This is utilised for carving a new image of Jagannātha, in which some ancient relic is considered to be embedded. It is the insertion of this relic which sanctifies the new image. This relic is believed by some to be a relic of Buddha. The Hindu conception is that it is Kṛiṣhṇa, who is worshipped at Puri as Jagannātha or Lord of the World in company with his sister Subhadrā.

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It is said in the *Mahābhārata* that Arjuna and Kṛiṣhṇa were in one of their former incarnations Nara and Nārāyaṇa, two *rishis* or sages who resided in Badari on the Himalayas performing severe religious penances; they were possessed of divine powers and always lived and acted together. In the *Vana-parvan* it is stated by Śiva that Nara and Nārāyaṇa were the most supreme among men and that the world was being upheld by their power. The greatness of Nara and Nārāyaṇa is brought out by the defeat inflicted by them on Dambōdbhava as described in the *Udyōga-parvan*. Dambōdbhava was once ruling as a universal sovereign and was full of conceit and of the pride of his own power. He learnt that on the heights of mount Gandhamādana there were two very great sages, Nara and Nārāyaṇa, who were invincible even to Indra. He wanted to put their greatness to test, went thither and challenged them to fight. They tried to avoid having to do anything with him by telling him that they had divested themselves of all earthly passion and were living in an atmosphere of spiritual peace. This answer did not satisfy Dambōdbhava; he still insisted on their accepting his challenge. Then Nārāyaṇa took a handful of grass and threw it against Dambōdbhava, which rendered him at once weak and powerless. Nārāyaṇa afterwards admonished him for his haughtiness and advised him to be humble in the future and to lead a righteous life. Many such stories are told of them. They probably represent the inseparable association of love between the individual soul and the Supreme Soul, that is, between man and God. In the *Bhīshma-parvan*, Nārāyaṇa is praised as the Being who forms the highest mystery, the highest existence, the highest Brahman and the highest renown. This Being is further said to be undecaying, undiscernible and eternal. This Being is hymned as the Purusha, but is not known. This Being is celebrated by Viśvakarman as the highest power, as the highest joy, as the highest truth. In the *Śānti-parvan*, Nara and Nārāyaṇa are concretely described thus: ‘The most excellent *rishis* performing penance and of surpassing splendour, bearing the *śrīvatsa* mark, wearing a circle of matted hair, web-footed and web-armed, with the mark of the *chakra* on their feet, broad-chested, long-armed, with four testicles, sixty teeth and eight grinders, with voices sonorous as the clouds, with beautiful countenances, broad foreheads, handsome brows, chins and noses, were beheld by Nārada’.

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The manner in which the images of Nara and Nārāyaṇa to be made is given in the *Vishṇudharmōttara*. It is stated therein that the image of Nara should be of grass colour and have two heads; it should be made to look powerful. Nārāyaṇa should possess four arms and be of blue complexion. Both of them should be seated under a badara tree. They should be clad in *kṛṣṇājina* (deer-skin) and wear the *jaṭā-maṇḍalas*. Or, they might be seated in a chariot having eight wheels, with their legs crossed.

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The image of Manmatha, who, as already stated, is identical with the Pradyumna of the *Śakti-maya-vyūha*, should, according to the *Silparatna*,* be

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वक्ष्ये मनसिजं देवमिक्षुचापधरं सदा ।
पञ्चपुष्पमयान्बाणान्बिभ्राणं दक्षिणे करे ॥
हरितं लोहितं वापि दिव्याभरणभूषितम् ।
किंचिजटिलसंस्थानपुष्पमालाभिरन्वितम् ॥
पीतवस्त्रं वसानं च वसन्तेन समन्वितम् ।
नानाकुसुमभूषेण कङ्केलीपलवाससा ॥
दाडिमीकर्णपूरेण कण्ठे वकुलमालिना ।
परेकस्वर्णसाकाशैः (?) कृतशेखरशोभिना ॥
पार्श्वे चाश्वमुखः कार्यो मकरध्वजधारकः ।
प्रीतिर्दक्षिणभागेऽस्य भोजनोपस्करान्विता ॥
वामभागे रतिः कार्या रन्तुकामा निरन्तरम् ।
शङ्खं तु सारसैर्युक्ता वापिका नन्दनं वनम् ॥

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∗ वक्ष्ये मनसिजं देवमिक्षुचापधरं सदा । पञ्चपुष्पमयान्बाणान्बिभ्राणं दक्षिणे करे ॥ हरितं लोहितं वापि दिव्याभरणभूषितम् । किंचिजटिलसंस्थानपुष्पमालाभिरन्वितम् ॥ पीतवस्त्रं वसानं च वसन्तेन समन्वितम् । नानाकुसुमभूषेण कङ्केलीपलवाससा ॥ दाडिमीकर्णपूरेण कण्ठे वकुलमालिना । परेकस्वर्णसाकाशैः (?) कृतशेखरशोभिना ॥ पार्श्वे चाश्वमुखः कार्यो मकरध्वजधारकः । प्रीतिर्दक्षिणभागेऽस्य भोजनोपस्करान्विता ॥ वामभागे रतिः कार्या रन्तुकामा निरन्तरम् । शङ्खं तु सारसैर्युक्ता वापिका नन्दनं वनम् ॥

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(Fig. 1.) Manmatha and Rati : Stone : Haḷēbīḍu.

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(Fig. 2.) Manmatha and Rati : Stone : Aṅgūr.

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made to carry a bow of sugar-cane in the left hand and to hold in the right hand five flowery arrows. The complexion of Manmatha should be either green or red; and his beautiful form should be adorned with appropriate ornaments and a closely knit garland of flowers. Vasantha, the personification of the spring season, should be standing on one side of Manmatha as his friend. He should be adorned with various kinds of flowers and dressed in the leaves of the aśōka tree; he should have for his ear-rings two pomegranate flowers, and round his neck there should be a garland of the kēsara flower. On the other side of Manmatha there should be the figure of his flag-bearer having the face of a horse carrying the makara banner; this flag-bearer is looked upon as the producer of the erotic feelings. Besides these two companions there should be on the right and left of Manmatha his two goddesses Prīti and Rati translatable as Love and Delight. Of these the former should 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 company of her lord. There should also be by the side of Manmatha a soft bed placed near a canal associated with sārasa birds and running through a fine pleasure garden.

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The *Viṣṇudharmōttara** gives, however, a different description of Manmatha. According to it, the image of Manmatha should have eight hands, four of which should be made to carry the *śaṅkha*, *chakra*, *dhanus* and *bāṇa*, while the remaining four should be placed on the bosoms of his four highly beautiful consorts Rati, Priti, Śakti and Mada-Śakti. His eyes should be expressive of thoughts of love. The emblem on his banner should be the fish shown as carrying in its mouth his five flowery arrows.

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Four pictures of Rati and Manmatha are given on Pls. LXXXII and LXXXIII.

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The images represented as figs. 1 and 2, Pl. LXXXII and fig. 1, Pl. LXXXIII belong to the same period, and are almost similar in their characteristics. The piece of sculpture represented as fig. 1 on Pl. LXXXII belongs to the Hoy-salēśvara temple at Haḷēbidu. In this Manmatha

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* कामदेवस्तु कर्तव्यो रूपेणाप्रतिमो भुवि ।
अष्टबाहुः प्रकर्तव्यश्शङ्खपद्मविभूषणः ॥
चापबाणकरश्चैव मदोन्म्चितलोचनः ।
रतिः प्रीतिस्तथा शक्तिर्मदशक्तिस्तथोज्वला ॥
चतस्रस्तस्य कर्तव्याः पत्न्यो रूपमनोहराः ।
चत्वारश्च करास्तस्य कार्या भार्यास्तनोपगाः ॥
केतुश्च मकरः कार्यः पञ्चबाणमुखो महान् ।

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∗ कामदेवस्तु कर्तव्यो रूपेणाप्रतिमो भुवि । अष्टबाहुः प्रकर्तव्यश्शङ्खपद्मविभूषणः ॥ चापबाणकरश्चैव मदोन्म्चितलोचनः । रतिः प्रीतिस्तथा शक्तिर्मदशक्तिस्तथोज्वला ॥ चतस्रस्तस्य कर्तव्याः पत्न्यो रूपमनोहराः । चत्वारश्च करास्तस्य कार्या भार्यास्तनोपगाः ॥ केतुश्च मकरः कार्यः पञ्चबाणमुखो महान् ।

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(Fig. 2.) Manmatha : Stone : Tenkāśi.

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(Fig. 1.) Manmatha and Rati : Stone : Nuggehalli.

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is seen standing with a bow of sugar-cane in his left hand and an arrow of flowers in the right hand. To the left of Manmatha is the figure of his wife Rati holding a fruit in her right hand and a lotus in the left hand. On the right of Manmatha may be seen his standard-bearer holding with both of his hands the banner peculiar to this Hindu god of love. It is worthy of note that the flag-bearer is found in the Halēbīḍu sculpture and in none of them is Vasanta shown. The photograph reproduced as fig. 2 on Pl. LXXXII is that of an image of Manmatha found in Āṅgūr in the Bellary district of the Madras Presidency, and the photograph marked fig. 1, Pl. LXXXIII belongs to Nuggehaḷḷi in the Native State of Mysore. The picture shown as fig. 2 on Pl. LXXXIII represents an image to be found in the Viśvanāthasvāmin temple at Tenkāśi and like all the other pieces of sculpture of that temple, belongs to the latter Pāṇḍya period (15th Century A.D.). Manmatha in this sculpture has four hands, in three of which he holds his flowery arrows and in the fourth carries the sugarcane bow. The manner of the moustaches, the long conical head-gear and other ornaments are characteristic of the sculpture of this period and of the part of the country to which the image belongs.

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The main body of the text is extremely faint and largely illegible due to the poor quality of the scan. However, based on the visible text, here is the transcription:

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is a series of flowers in the right hand. To the left is a standing figure of the wife holding a lotus in her hand and a fly-whisk in the other. On the right is a female figure of the same height holding a lotus in her hand. On the extreme right is the figure of a devotee in the attitude of adoration. The inscription is in characters of the period, i.e., of the 11th-12th century A.D. It reads: *Om namo Bhagavate Vasudevaya*. The image is carved in the same stone as the pedestal. The pedestal is carved with the figures of a devotee and a female figure on the right and a female figure on the left. The image is in a good state of preservation. The image is carved in the same stone as the pedestal. The image is carved in the same stone as the pedestal.

Cites (16)