Elements of Hindu Iconography v2.c16.s3.31

v2.c16.s3.31

of family likeness could be noticed in these three pieces of elaborately carved panels. The Dēva and the Dēvī, the central figures are shaped rather larger than the others, seated in the middle; and around them a number of other deities attending upon them. In the lower section is the big bull of Śiva tended or rather overtended, by the most humorously carved impish gaṇas. The artists of these master-pieces have spared no pains to cover the panels with a profusion both of vigorous figure sculpture and minute ornamental designs. Nothing short of the highest praise is due to the long gone artists who executed these immortal pieces of art. In Pl. XXVII Śiva has four arms, the left one of which is holding the right arm of Umā and another is seen resting upon the seat. What the two right hands carried cannot be guessed, as they are broken; evidently, the one resting upon the right thigh was left empty and the other perhaps carried a snake as in fig. 2, Pl. XXVI. Between the figures of Śiva and Umā stands Kumāra, who keeps both his hands crossed on the chest. Gaṇēśa is standing on the right of Śiva. There are two lady attendants, one carrying a cāmara and another a water-vessel (?) On either side of the panel are standing two divine figures, who cannot be identified as Viṣṇu and Brahmā, because both of them have jaṭā-makuṭas on their head and because neither of them has four faces. They are in all probability two *dvārapālakas*. Pl. XXVIII is almost similar to the previous plate. Herein there are sculptured a number of *Dēvas*, shown as hovering in the air carrying different kinds of offerings in their hands. It is worthy of notice that to the left of Umā is seen standing a dwarfish woman servant. This dwarfish woman is a characteristic feature of the sculptures at Ellora. In the lower section of the panel is the bull in the centre. The dwarfish *gaṇas* are taking care of it; one peculiarity worth noticing is that these *gaṇas* are supporting the legs of the bull—an idea apparently borrowed from the Buddhist sculptures wherein the hoofs of the horse of Buddha are borne by *dēvas* lest they, treading on the earth, might produce noise and awaken the guards and stop Buddha from renouncing the world. The sculptors of all these panels are curiously agreed in representing one of the *gaṇas* as biting the tail of the bull, another as catching hold of its horns, others tumbling about and playing with each other. In Pl. XXIX one is seen in the extreme left and behind the figure of a lady, widening his eyes with both his hands, thereby to frighten all others, while another in the extreme right over the figure of another lady is exposing his back in an obscene manner. Of the lady attendants in this