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Elements of Hindu Iconography v1.c12: Garuda and Ayudha-Purushas

Elements of Hindu Iconography v1.c12

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Garuda and Ayudha-Purushas

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THE following is a summary of the account found in the *Mahābhārata* about Garuḍa, the bird-vehicle of Viṣṇu. Garuḍa was born to Kaśyapa and Vinatā and was the younger brother of Aruṇa, the charioteer of the sun-god Sūrya. When Garuḍa first 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 Aruṇa on his back, Garuḍa 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 Kadrū. The sons of Kadrū who were all snakes promised to free Vinatā, if Garuḍa managed to bring for their use the ambrosia of the gods from their celestial world. Garuḍa started out at once on this mission of securing the ambrosia for his step-brothers, and on his way lived upon the Niṣādas. When he approached the lake called Ālamba, he caught there an elephant named Supratika and a tortoise named Vibhāvasu, and seizing both of them in his talons, he alighted upon a large banyan tree. The branch of the tree could not bear the weight and gave way. On this branch were the *rishis* Vālakhilyas suspended with their head downwards and doing penance. Fearing he would cause the death of these sages, Garuḍa himself held up and carried the branch to the hermitage of his father Kaśyapa. There Kaśyapa exhorted the Vālakhilyas to quit that tree-branch. They quitted it, and Garuḍa then threw down the branch and made a hearty meal of the two animals—the elephant and the tortoise. Then he proceeded to the capital of Indra, the chief of the gods; and after a hard fight there with the appointed guards of the pot of ambrosia succeeded in taking away from their possession the pot of *amṛita*. On the way from the world of the gods he met Viṣṇu, and promised to serve him as his vehicle and also as the device on his banner. Garuḍa thus brought to his step-brothers, the snakes, the pot of ambrosia and placed it on a heap of *kuśa* grass. On seeing this, the snake-sons of Kadrū set Vinatā free, and went to attend to the religious rites preparatory to their partaking of the ambrosia. Meanwhile Indra came and took away his pot of *amṛita*. The snakes returned, and were disappointed at the disappearance of the much coveted pot of ambrosia, and licked the grass upon which that pot had been placed. The sharp edges of the grass cleft their tongues, and the snakes came to possess split tongues. Thereby the kuśa grass also became sacred, because the pot of amṛita was placed upon it by Garuḍa. This mythical kite really represents the sun, and is therefore associated with Viṣṇu, who is a solar god in origin.

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The image of Garuḍa should have the colour of the emerald, and the beak and the legs should be made to resemble those of a kite. The eyes should be roundish, and the image should have four arms and possess also a pair of powerful wings of golden yellow colour and bright lustre. In one of the hands there should be held an umbrella and in another the pot of amṛita; the two remaining hands are to be in the añjali pose. Garuḍa should be fashioned with a flabby belly. Such is evidently the description of the image of Garuḍa, when he is sculptured independently as apart from Viṣṇu. When the image is associated with Viṣṇu, the two hands, carrying respectively the pot of ambrosia and the umbrella, should both be engaged in supporting the feet of Viṣṇu, riding astride on the shoulders of Garuḍa.

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The *Śilparatna* gives two somewhat different descriptions of Garuḍa. According to one description the image should have the golden yellow colour from the feet to the knees, should be snow-white from the knees to the navel, scarlet from the navel to the neck and jet black from the neck to the head; the eyes should be yellow and the beak blue; there must be a terrific look in the eyes of Garuḍa, and he should have only two hands one of which is to be in the *abhaya* pose. In the other description, the *Śilparatna* states that Garuḍa should have eight hands in six of which he should be carrying respectively the pot of ambrosia, the *gadā*, the *śaṅkha*, the *chakra*, the sword and a snake. Nothing is said of the two other hands. Instances of Garuḍas of this description have not been met with in actual sculptures.

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Yet another description of Garuḍa is met with in the *Śrī-tatva-nidhi*. Therein it is stated that Garuḍa should be kneeling on his left knee, and that his crown should be adorned with snakes. His legs and knees should be made stout. Garuḍa should possess the face and body of human beings, but his nose should be raised and pointed prominently. He should have only two hands held in the *añjali* pose. Obviously this is the description of the image of Garuḍa as found set up generally in front of the central shrine in Vishnu temples.

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Garuḍa : Stone : Bādāmi.

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Of the two illustrations of Garuda given on Pls. LXXXIV and LXXXV; the first is found in the rock-cut cave No. III at Bādāmi carved on the front gable; the second one, which is carved in wood, is preserved in the Śiva temple at Pālūr in the Native State of Travancore. In both the instances Garuda has a beak-like nose, round eyes, two outstretched wings and a pair of arms. In addition to these, the Bādāmi sculpture has a flabby belly and is seen holding in his right hand a snake, and wearing various ornaments. The Pālūr Garuda is one of the finest specimens of wood-carving of the Malabar country; it is less than two centuries old. It is seen carrying in the right hand the elephant Supratika, one of whose legs is held between the talons of Garuda. In the left hand of Garuda is to be seen the tortoise Vibhavāsu; the left wing of this image of Garuda is lost. The Pālūr Garuda is carved so as to be hung on the ceiling by means of a chain.

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The various weapons and emblems, such as vajra, śakti, daṇḍa, khaḍga, pāśa, aṅkuśa, gadā, triśūla, padma, chakra and dhvaja, which are generally found in the hands of the images of Vishnu, Śiva, and the other gods, are personified Ayudha-purushas.

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under the name of Āyudha-purushas and are also concretised as images. Some of them are represented as males, some as females and some as eunuchs. For instance, the Śakti and the Gadā are worked out as females; the Aṅkuśa, the Pāśa, the Śūla, the Vajra, the Khaḍga and the Daṇḍa as males; and the Chakra and the Padma as eunuchs. The sex of a personified Āyudha is however determined merely with reference to the gender of its name in Sanskrit. Thus, the gender of the words śakti and gadā is the feminine, hence the Āyudha-purushas representing them are to be females: similarly, the words chakra and padma are in the neuter gender, and the weapons denoted by them are consequently represented as eunuchs. In the same way vajra and the other words mentioned above are in the masculine gender and the corresponding Āyudha-purushas are sculptured as males. It is required that the Āyudha-purushas should be made according to the aṣṭa-tāla measure, that they should each have only one face with a pair of eyes, that the head should be adorned with the karaṇḍa-makuṭa and that each of them should have only two hands held over the chest in the añjali pose. When their hands are in the añjali pose the particular emblem or weapon which each of them is intended to represent, is shown over the crown worn on the head; otherwise, the weapon or emblem is placed between the hands.

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(Fig. 2.) Sudarśana Chakra : Bronze :

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(Fig. 1.) Garuḍa : Wood : Pāḷūr.

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Plate 1. Pablo Picasso: *Les Demoiselles d'Avignon* (1907)

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The *Śakti* has to be, as has already been stated a female figure: it should be of red colour and seated upon a *vṛika* or wolf. The *Daṇḍa* is to be a male of black colour, with red eyes and a fearful look. The *Khaḍga* should be a male figure of dark complexion and angry look. The *Pāśa* should be sculptured as a male snake with seven hoods. The *Dhvaja* should be a sturdy looking male of yellow complexion with the mouth wide open. The *Gadā* should be a female figure of yellow colour with large glutials; the *Viṣṇudharmōttara* says that she must have a slender waist, and be adorned with various ornaments; she should be made to carry a *chāmara* in her hands. The right hand of Viṣṇu should be made to touch the head of *Gadā*. The *Triśūla* has to be a good-looking black complexioned male, with handsome brows. The *Śaṅkha* should be represented as a white male figure with pretty eyes. The *Hēti*—a weapon like the hatchet—is a female, while the *Bhindi*—the sling for throwing stones, is a male. The *Bāṇa* has to be a male figure with a red body and with good looking eyes; the *Vaikhānasāgama* states that the *Bāṇa* is *napumsaka*—a eunuch—

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and should be of black complexion with three eyes, should be draped in white clothes and capable of producing the fearful noise of the sea. The *vāhana* or vehicle of this personified weapon is the wind, *Vāyu*, and its banner is the feather. It must carry an actual arrow on its head. The birth star of *Bāṇa*, whatever it means, is given as the *Śata-bhishang-nakshatra* in the month *Māgha* and its *bījākshara* is said to be *sa*. The personified *Dhanus* is a female figure carrying a stringed bow on her head; her complexion should have the red colour of the lotus. *Chakra* is described in the *Vishṇu-dharmōttara* as a male figure with round eyes and a drooping belly; this image of *Chakra* should be adorned with various ornaments and should carry a *chāmara*. It should be sculptured so as to indicate that it is evincing a desire to gaze upon Vishṇu; and the left hand of Vishṇu should be made to rest upon the head of the *Chakra-purusha*.

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Another characteristic form of the *Chakra* which is found in all important Vishṇu temples is called the *Sudarśana-chakra*. In Tamil it is known as *Chakrattāḷvār*. This is occasionally set up as a main image in a shrine attached to certain Vaishṇava temples. It is in outline a *chakra* of the ordinary non-personified form with a fearful figure of Vishṇu with eight hands in a standing posture occupying the interior of a *ṣaṭ-koṇa-chakra* consisting of two interlacing equilateral triangles. On the reverse there is the figure of a Yōga-Narasiṁha, seated on a *tri-koṇa-chakra*, that is, on an equilateral triangle with its apex pointing to the top. (See fig. 2, Pl. LXXXV and Pl. LXXXVI.) The description of Sudarśana as given in the *Śilparatna* is as follows:—"The Chakra-rūpi Viṣṇu* should have in his hands the *chakra*, the *gadā*, the *uraga* (a snake), the *padma*, the *musala*, the *tramśa*, the *pāśa* and the *aṅkuśa*. He should have his hair standing out in twenty *jaṭās* or plaits which are like the flames of the flaming god of fire. His body should be resplendent as the sun and should enlighten all the quarters of the universe. He should have a terrific look, and the face should have clearly visible curved tusks. According to another description of Sudarśana, the obverse should exhibit the terrific figure of Viṣṇu, with sixteen hands, holding the weapons *chakra*, *śaṅkha*, *dhanus*, *paraśu*, *asi** (a sword), *bāṇa*, *śūla*, *pāśa*, *aṅkuśa*, *agni*, *khaḍga*, *khēṭaka*, *hala*, *musala*, *gadā* and *kunta*. He should have fearful tusks and the hair on his head should be represented as shining and highly towering. He should possess three eyes and have a golden coloured body, resting on the back of a *ṣaṭ-kōṇa-chakra*. On the reverse there should be the figure of Nṛisiṁha in the *yōga* attitude, with his two front hands resting upon the knees, the bent legs being crossed in front. In the back pair of hands he should be holding the *chakra*, and the *śaṅkha*. He should be bright like the fire and be surrounded by streams of flames. This killer of Hiraṇyakaśipu should have brightly resplendent nails. His three eyes are the sun, the moon and the fire; he should have a brilliant tongue and also very bright tusks which strike terror into the mind of the wicked; and his hair should be like flaming fire.

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∗ The *Ahirbudhnya-saṁhitā* deals largely with the greatness of the Sudarśana-chakra; in it Sudarśana is defined as the original thought of Para-brahman when it, of its own accord, conceived the idea of expanding into space and thus bringing into existence the universe. This thought of the Supreme Being which is indestructible is called Sudarśana.

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Obverse. Sudarśana Chakra : Bronze : Dādikkumbu. Reverse.

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This Sudarśana-chakra is praised as the destroyer of the life of all enemies—*ripu-jana prāṇa-saṁhāra-chakram*. The weapons described above have all a symbolic meaning underlying them.

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∗ Vajra according to the Pāñcharātrāgama which appears to be correct.

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This meaning is variously described in several Sanskrit works. For instance, the *Vishnu-purāna* says that the *gadā* represents the *Sānkhya* principle called *buddhi* and the *śankha* indicates the principle *ahankāra* viewed in relation to the *bhūta-tanmātras* (in the material aspect): the *manas* (mind) and its changeability is represented by the *chakra*, which is besides an emblem of power. The *bāṇa* symbolises the *karmēndriyas* and the *jñānēndriyas*. The *asi* or *khaḍga* is emblematic of *vidyā* (spiritual wisdom) while the scabbard in which it is kept represents *avidyā* (ignorance). The lord of the *indriyas*, Hṛishikēśa, though personally bodiless assumes a body for the sake and benefit of his creatures. The idea intended is obviously to denote that the powers of *prakṛiti* or nature are in fact the powers of God who is the Lord of Nature.

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The *Kāmikāgama* and following it, some of the other *Śaivāgamas* attach the following significance to the various *āyudhas* of Śiva; the *triśūla* indicates the three *guṇas* of *prakṛiti* respectively called *satva*, *rajas* and *tamas*. The *paraśu* represents Śiva's divine strength and power (*śakti*), the *khaḍga*, his valour; the *vahni* (fire) his *samhāra-śakti* or power of destruction; this last one, namely, the *vahni* is further conceived to destroy all *pāśas* or bonds and attachments, and is consequently emblematic of the enlightenment which comes after the bonds of sin and sorrow are broken asunder and destroyed. The nāgas serving as ornaments on his body show the fortitude of Śiva as also the inviolability of vidhi, or his commandments and laws. The pāśa, which is a threefold cord or rope, indicates the threefold bondage of incarnated life consisting of karma, māyā and mala, that is, of work, delusion and impurity. The ghaṇṭa (bell) is the symbol of sound looked upon as the original cause of creation, and is indicative of the mantra-svarūpa of Śiva, which is his mystic sound-form. The aṅkuśa stands for the selective faculty in choosing what is enjoyable for the ātman as soul. In the Śaivāgamas the weapons and emblems of Śiva are made to convey the same fundamental conception as the weapons and emblems of Viṣṇu do in the Vaiṣṇavāgamas, namely, that Śiva, as the Lord of Nature, is the wielder of his own powers as well as of the powers of Prakṛti.

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Bhāskararāya in his commentary on the Lalitāsahasranāma, explains in his own way the symbolic meaning underlying the pāśa, the aṅkuśa and other weapons and emblems which are usually carried by the goddess Śakti, who herself symbolises Nature or *prakṛiti* as they would say in Sanskrit. He of course quotes authorities in favour of the explanation he gives; and even here what we are led to see is that these weapons and emblems symbolise the powers of Nature and also of this goddess as the Supreme Mistress of Nature.

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The *Varāha-purāṇa* says that the *śaṅkha* is the destroyer of *avidyā* or ignorance, the *khaḍga* is the sunderer of *ajñāna* or unwisdom, the *chakra* is the wheel of time, and lastly the *gadā* is the destroyer of *adharma* or unrighteousness. It is worthy of note that here the symbolism is made to be more markedly ethical than in the previous interpretations to which we have referred.

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Thus we may see that, in relation to these various weapons and emblems found in the hands of the images of Hindu gods and goddesses there is a consensus of opinion showing that the early Hindus had probably a systematised symbolism as appertaining to their iconoclastic art in its application to religion. The key to this symbology is evidently lost and cannot be easily recovered. Yet, even here, research need not despair; and to the earnest investigator nothing is more valuable asset than his unabated optimism and untiring hopefulness. Till this lost key is recovered and established to be the true key according to strict scientific canons, nothing more than making mere guesses in the dark regarding the meaning and moral aim of Hindu icons is really possible. However, it is worth remembering that even such guesses have their value to those who earnestly try to find out the truth and proclaim it after it is discovered.

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