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Elements of Hindu Iconography v3.c18: Adityas and the Nava-Grahas

Elements of Hindu Iconography v3.c18

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Adityas and the Nava-Grahas

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The Adityas are a very ancient class of deities in India, as they are found praised in the Vedas. The earliest references to them say that they are seven or eight in number. In the *Śatapatha-brāhmaṇa*, for instance, they are said to be eight in one place and twelve in another; and in the latter case it is conceived that they correspond to the twelve months of the year. Different accounts are given regarding the origin of the Adityas. The most commonly accepted meaning of their name is that they are all so called because they are the sons of Aditi; and in the *Purāṇas* they are all evidently solar deities. Owing to the existence in Northern India of the Maga-Brāhmaṇas, who in all probability are related to the Mitra-worshipping Magi of Persia and are worshippers of the sun, it is not strange that we meet there temples dedicated exclusively to Sūrya the sun-god. But it is certainly curious to find a temple in the South Indian village of Sūryanārkōyil in the Tanjore district dedicated entirely to the worship of the sun-god and the planets, the former being the object of worship as the principal deity and the latter as attendant deities. This village must have evidently received its name from the temple of Sūrya therein built; it is stated in one of the inscriptions found in the temple that it was built in the reign of Kulōttuṅgachōḷadēva (A. D. 1060—1118) and was called Kulōttuṅgachōḷa-Mārttāṇḍālaya.

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The nine planets Sūrya, Chandra, Bhauma, Budha, Śukra, Bṛihaspati, Śani, Rāhu and Kētu are also worshipped by the Hindus, and their images are generally found in all important Śaiva temples in S. India. They are invariably placed in a separate maṇḍapa having a pediment of about three feet in height; and no two of them are made to face each other. It is stated by some that the images of the planets are set up in temples in the order in which they are in the zodiacal circle at the time of the construction of the temple. If there is any truth in this statement, these planet-figures may serve as a new means for calculating the probable dates of the construction of the temples wherein they are installed for worship.

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Regarding the worship of Sūrya in ancient times in India Mr. Nāgēndranāth Vāsu has collected much valuable information in his *Archaeological Survey of Mayūrabhañja*. He attempts to prove that the Magas or Scythic Brāhmaṇas were the first to introduce the worship of the Sun into India; and from the references found in Pāḷi works like the *Bambhajāla Sutta* he shows that at the time of Buddha the Maga-Brāhmaṇa astrologers were held in disrepute. It is stated in the *Bhavishyat-purāṇa*, as he says, that Sāmba one of the sons of Śrī Kṛiṣṇa was suffering from leprosy and that he was cured of it by worshipping Sūrya and that some Brāhmaṇas of the Śākadvīpa were worshippers of that deity. The same *Puraṇa* relates "that Zārathustra, who acknowledged the superiority of fire, was born of that element. He also used to interpret the *Vēda* in a perverted way, which led to a quarrel between him and the Magas who worshipped Mitra, the Sun-god." Mr. Nāgēndranāth Vāsu adds further—"In the Zend Avesta, the oldest record of the fire-worshippers, Mitra is known as only one of the minor gods. But on the other hand in Mihir Yast, we find a faint reference to the effect that at one time Mitra was worshipped as the highest god. Be that as it may, on a dispute arising between the followers of the Mitra cult and the fire worshippers, those of the Śākadvīpa Brāhmaṇas who belonged to the former sect, migrated to India with their families.”

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The description of Mitra or the Sun-god, as taken from the *Viśvakarma-śilpa*, is given by Nāgēndranāth Vāsu in the following words:— “His great chariot has one wheel and is drawn by seven horses, he has a lotus in each hand, wears an armour and has a shield over his breast, has beautiful straight hair, is surrounded by a halo of light, has good hair and apparel, is decorated with gold ornaments and jewels, has on his right side the figure of Nikshubhā and on the left that of Rājñī (queen), with all sorts of ornaments and whose hair and necklace are bright. His chariot mentioned above is called by the name of Makaradhvaja. He wears a crown. The figure is surrounded by a halo. Daṇḍa (Yama) is represented as one-faced and Skanda as having a bright conch-shell. These two figures with the form of man are placed in front. Vārcha on a lotus is placed on a horse. His body is represented as lustrous, and he is the one giver of light to all the worlds. A Sūrya-maṇḍala is to be made by placing nutmeg and vermillion. He (Mitra) has four hands or only two with jewels adorning them. In both of his hands there are lotuses. He is seated on a chariot drawn by horses of variegated colour. His two gate-keepers Daṇḍa (Yama) and Piṅgala (Agni) have swords in their hands.’”*

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* एकचक्रं सप्तअश्वं ससारथिं महारथम् ।
हस्तद्वयं पद्मधरं कञ्चुकम्मर्वक्षसम् ॥
अकुञ्चितसुकेशस्तु प्रभामण्डलमाण्डतम् ।
केशवेशसमायुक्तं स्वर्णरत्नविभूषितम् ॥
निक्षुभा दक्षिणे पार्श्वे वामे राज्ञी प्रकीर्त्तिता ।
सर्वाभरणसंयुक्ता केशहारसमुज्ज्वला ॥
एवमुक्तरथस्तस्य मकरध्वज इष्यते ।
मकुटञ्चापि दातव्यमन्यत् सर्वं समण्डलम् ॥
एकवक्त्राङ्कितो दण्डस्कन्दस्तेजोकराम्बुजम् (?) ।
कृत्वा तु स्थापयेत् पूर्वं पुरुषाकृतिरूपिणौ ॥
हयारूढस्तु (न्तु ?) कुर्वीत पद्मस्थं वार्चनामकम् ।
सदीव्यमानवपुषं सर्वलोकैकदीपकम् ॥
जातिहिङ्गुल्यसंस्थाप्य (?) कारयेत् सूर्यमण्डलम् ।
चतुर्बाहुर्द्विहस्तो वा रेखामणिविभाजना ॥
द्विहस्तस्थसरोजन्म शबलाश्वरस्थितः ।
दण्डश्च पिङ्गलश्चैव द्वारपालौ च खङ्गिनौ ॥

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In the description given above, Mr. Nāgendranāth Vāsu treats the word *Rājñī* as meaning a queen. It however appears to be the name of the goddess associated with Sūrya. Again, he takes Daṇḍa to mean Yama; from the description found in the *Bhaviṣyat-purāṇa* it appears to be probable that Daṇḍa is evidently a contraction of Daṇḍanāyaka, the In the *Bhavishyat-purāṇa* it is stated that Sūrya began to burn the *asuras* with his heat; the latter thereupon attacked Sūrya. The gods then felt bound to help Sūrya; and with this object in view they placed Skanda on the left of Sūrya and Agni on the right. Since Skanda is the punisher of the wicked in the universe, he is called Daṇḍanāyaka; and from his reddish yellow colour Agni, the god of fire, obtains the name Piṅgala. The same authority also gives the names of the attendants of Sūrya as Rājña and Srōsha and identifies these with Skanda and Śiva respectively. The names are also derived and explained therein. ‘Because Kārtikēya shines always as the commander of the army of the celestials, he is known by the name of Rājña.” Such is the explanation of the name Rājña, which is here evidently conceived to be derived from the root *raj* meaning to shine. The explanation of the name Srōsha is—‘The root *sru* is known to be employed to denote movement, and to this the suffix *sa* is added. Because he

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∗ एकचक्रं सप्तअश्वं ससारथिं महारथम् । हस्तद्वयं पद्मधरं कञ्चुकम्मर्वक्षसम् ॥ अकुञ्चितसुकेशस्तु प्रभामण्डलमाण्डतम् । केशवेशसमायुक्तं स्वर्णरत्नविभूषितम् ॥ निक्षुभा दक्षिणे पार्श्वे वामे राज्ञी प्रकीर्त्तिता । सर्वाभरणसंयुक्ता केशहारसमुज्ज्वला ॥ एवमुक्तरथस्तस्य मकरध्वज इष्यते । मकुटञ्चापि दातव्यमन्यत् सर्वं समण्डलम् ॥ एकवक्त्राङ्कितो दण्डस्कन्दस्तेजोकराम्बुजम् (?) । कृत्वा तु स्थापयेत् पूर्वं पुरुषाकृतिरूपिणौ ॥ हयारूढस्तु (न्तु ?) कुर्वीत पद्मस्थं वार्चनामकम् । सदीव्यमानवपुषं सर्वलोकैकदीपकम् ॥ जातिहिङ्गुल्यसंस्थाप्य (?) कारयेत् सूर्यमण्डलम् । चतुर्बाहुर्द्विहस्तो वा रेखामणिविभाजना ॥ द्विहस्तस्थसरोजन्म शबलाश्वरस्थितः । दण्डश्च पिङ्गलश्चैव द्वारपालौ च खङ्गिनौ ॥

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commander-in-chief of the celestial hosts, and should therefore be understood to refer to Skanda. In the Sanskrit passage of the *Bhavishyat-purāṇa* quoted by him, the reading of the latter half of the line beginning with *hayārūḍhastu* appears to be *padmastham-vārka-nāmakam*.

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goes he is known by the alternative appellation of Srausha'. It is worthy of note here that Mr. Nāgēndranāth Vāsu has pointed out that the name of the attendant of the Sun, as known in the Avesta is, Sraoshavareza or simply Srosh sometimes. The same Bhavishyat-purāṇa adds further that the Aśvinidēvatās may also he made to be standing, one on each side of Sūrya, or, on the right of Sūrya, there might be Piṅgala with an inkbottle and a pen and on the left Daṇḍi with a daṇḍa in his hand. The goddesses Rājñī and Nikshubhā are also required to be made to stand on either side of Sūrya. It is said that these two goddesses represent the air and the earth.

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In the temple of Sūrya or the Sun-god, Śoma and the other grahas should be, it is said, established in the following manner:—on the east there should be Śoma; on the south-east, Bhauma; on the south, Bṛihaspati; on the south-west, Rāhu; on the west, Śukra; on the north-west, Kētu; on the north, Budha; and on the north-east, Śani. If such should always be the various positions assigned to these planetary deities, the belief, that the Nava-grahas are arranged in temples according to their position in the zodiacal circle at the time of the building of the temple, turns out to be unfounded. The names of the door-keepers at the four gates of the temple of Sūrya are given thus in the *Bhavishyat-purāṇa*: those at the first gate are called Dharma and Artha; at the second, Garuḍa and Yama; at the third, Kubēra and Vināyaka; and at the fourth, Raivata and Diṇḍi. Raivata is said to be a son of Sūrya, while Diṇḍi is said to be Śiva.

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According to the *Aṃśumadbhēdāgama* and the *suprabhēdāgama* the figure of the sun-god should be sculptured with two hands, each holding a lotus. The hands should be so held up as to cause the fists holding the lotuses reach the level of the shoulders. His head is to be surrounded by a halo (*kāntimaṇḍala*) and his person should be adorned with many ornaments; on his head there should be a *karaṇḍa-makuṭa* and the garment worn by him should be red in colour. He should wear a pair of ruby ear-rings (*kuṇḍalas*) and over his chest there should lie a *hāra* (necklace). He should wear only one cloth and the body should be covered (with a coat) as ‘in Northern India’. The fabric of this coat should be so delicate in texture as to make portions of the body visible through it. There should also be a *yajñōpavīta* on his person. The figure of Sūrya should be made to stand on a *padma-pīṭha* by itself or should be placed in a hexagonal chariot drawn by seven horses fully caparisoned. The chariot should have only one wheel and be shown to be driven by the lame Aruṇa. On the right side of Sūrya there should stand Uṣā; and on the left, Pratyuṣā. A second authority mentions four consorts to Sūrya; namely, Rājñī, Suvarṇā, Suvarchasā and Chhāyā, while a third says that one half, taken vertically, of the body of Sūrya should have the shape of a dark complexion-ed woman, probably indicating that the sun in spite of his being the god of light, is inseparably wedded to night and its darkness.

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The Śilparatna states that on each side of Sūrya there should be a dvārapālaka, named Maṇḍala and Piṅgala respectively. According to this same authority the material of which the kirīṭa of Sūrya is made should be pushparāga, or ruby.

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In sculpturing the image of Āditya attention has to be paid to the instruction that the nose, the forehead, the chest, the knees, the thighs and the neck should all be raised and prominent; the diameter of the halo should be twice the height of the kirīṭa. If the figure be made so as to be one cubit in height it would be a saumyamūrti, that is, a handsome, gentle figure; if it be of two cubits, it would be productive of wealth; if of three or four cubits, it would bestow happiness and prosperity.

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The following is another description of Sūrya based upon the *Matsya-purāṇa*. According to this authority, the figure of Sūrya should have a fine moustache and should be dressed as men are in North India. Sūrya should have four arms, a lustrous body of red colour covered with a coat. He should be decked with all appropriate ornaments. In the right and left hands he should hold the sunbeams as the bridles and should wear round his waist a girdle named *Pāṇiyāṅga*.* He should be wearing a garland made up of all kinds of flowers, and should also wear anklets. On the left of Sūrya there should be the good-looking figure of Daṇḍa, and on the right the dark coloured figure of Piṅgala, both dressed in the North Indian fashion; and two of the hands of Sūrya should be placed upon the heads of these two figures. Piṅgala should be shown as carrying in his hands a palm leaf and a stile. When two of the hands of Sūrya are not placed upon the heads of Daṇḍa and Piṅgala, they should carry a shield and a śūla. The device on the banner of Sūrya is the lion; and the banner should be placed on the left of Sūrya. It is also stated that Rēvanta, Yama and two Manus, all of whom are understood to be the sons of Sūrya, should be standing two on each side of Sūrya. Or, as he is the lord of the planets, he might be surrounded by the planets.

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∗ The reading *pāṇiyāṅga* is evidently incorrect, as might be gathered from the following account of Sūrya obtaining the *avyaṅga* or *ahyaṅga* from Vāsuki found in the *Bhaviṣyat-purāṇa*. The origin of *avyaṅga* or *ahyaṅga*, the *avyonhana* of the Pārsis, is given as follows: during each *ṛitu* (season) there came to the Sūrya-maṇḍala one each from among the *ṛiṣis*, *dēvatās*, *nāgas*, *gandharvas*, *apsarasas*, *yakṣas* and *rākṣasas*. In one of these turns Vāsuki, the *nāga*, presented Sūrya with a cord called the *avyaṅga* or *ahyaṅga* which was produced from his body. This cord was composed of gold and had the colour half white and half red. From this time forwards the followers of the Sūrya-cult were required to wear a similar cord round their loins.

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As we have already seen the Ādityas are twelve in number; and each of them is said to preside over a month of the year. Their names are given variously in various works; and a good many of them agree in naming them in order as Dhātri, Mitra, Aryaman, Rudra, Varuṇa, Sūrya, Bhaga, Vivasvān, Pūshan, Savitri, Tvashtri, and Viṣṇu. The image of each of these twelve Ādityas is described in the Viśvakārma-śāstra; and the description in so far as it relates to their hands and the objects to be carried in them, may conveniently be summarised in the form of a table thus:—

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| No. | Names of the Adityas. | Back Right Hand. | Back Left Hand. | Front Left Hand. | Front Right Hand. |
| 1 | Dhātṛi | Lotus garland | Kaman-dalu | Lotus | Lotus |
| 2 | Mitra | Sōma | Śūla | Do. | Do. |
| 3 | Aryaman | Chakra | Kaumō-daki | Do. | Do. |
| 4 | Rudra | Akshamālā | Chakra | Do. | Do. |
| 5 | Varuṇa | Chakra | Pāśa | Do. | Do. |
| 6 | Sūrya | Kamaṇḍalu | Aksha-mālā | Do. | Do. |
| 7 | Bhaga | Śūla | Chakra | Do. | Do. |
| 8 | Vivasvān | Śūla | Garland | Do. | Do. |
| 9 | Pūshan | Lotus | Lotus | Do. | Do. |
| 10 | Savitṛi | Gadā | Chakra | Do. | Do. |
| 11 | Tvashtṛi | Sruk | Hōmaja-kalika(?) | Do. | Do. |
| 12 | Vishṇu | Chakra | Lotus | Do. | Do. |

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Of these, Mitra, it is said, should have three eyes; Rudra is considered to be an important Āditya. Pūshan is required to be sculptured beautifully; he is declared to be the destroyer of all sins. Savitṛi is the Āditya who is capable of fulfilling the wishes of his devotees and bestowing boons on them. Of all the Ādityas the most lustrous one is Viṣṇu. It cannot fail to be interesting to note here that the names of some of the Ādityas according to the Indian Āryas are the same as those according to Iranian Āryas: the Mitra, Aryaman and Bhaga of the Hindus are identical with the Mithra, Airyaman and Baga or Bagho of the Parsis.

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Sūrya : Stone : Mēlchēri.

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The photographs of some of the images of Sūrya or the Sun-god may be seen reproduced here on Pls. LXXXVI to XCIV. It may be seen that there are two varieties among these images, namely, the North Indian and the South Indian. Each of these possesses very marked peculiarities which are easy of recognition. The South Indian figures of Sūrya have, as a rule, their hands lifted up as high as the shoulders, and are made to hold lotus flowers which are only half blossomed; the images have invariably the udara-bandha, and their legs and feet are always left bare. The North Indian images, on the other hand, have generally their hands at the natural level of the hips or the elbows, and are made to carry full-blown lotuses which rise up to the level of the shoulders, and their forelegs have coverings resembling modern socks more or less in appearance and the feet are protected with a pair of footwear resembling boots. The *udara-bandha* is not found in the northern variety of the images of the Sun-god, but there is a thin cloth or a sort of coat of mail shown as being worn on the body. The South Indian images are as often with the seven horses and their driver Aruṇa as not; those which belong to the extreme south of South India, to such parts as the Tamil districts of the Madras Presidency, do not possess any attendant deities like Daṇḍa, Piṅgala and the goddesses. The images of the Sun-god as found in the Karṇāṭadēśa and the Southern Mahratta country, corresponding roughly to the ancient Chālukya and Hoysaḷa kingdoms, have invariably two goddesses sculptured one on each side of Sūrya. The common features of both Southern and Northern varieties of Sūrya are that the head is in all cases adorned with a *kirīṭa* surrounded by a circular halo or *prabhāmaṇḍala*, and that in several instances the characteristic seven horses and their driver Aruṇa are not missing.

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The image of Sūrya on Pl. LXXXVI appears to be the oldest among those whose illustrations are published here. It belongs to the Paraśurāmēśvara temple at Guḍimallam in the Madras Presidency. It has its hands lifted up to the level of the shoulders, and from the features of the face This page appears to be blank or contains only extremely faint, illegible markings that do not constitute readable text.

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Sūrya : Stone : Guḍimallam.

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(Fig. 1.) Sūrya : Bronze : Madras Museum.

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(Fig. 2.) Sūrya : Stone : Ellora. (Taken from Cave Temples of India by Fergusson and Burgess).

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(Fig. 3.) Sūrya : Marble : Rūpnagar Kishangarh District, Rājaputāna.

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and the peculiarities of the modelling in general this image may well be taken to belong to a period anterior to the seventh century A. D. The image whose drawing is reproduced on Pl. LXXXVIII is found in the Śiva temple at Mēlchēri near Kāvēripākkam and belongs to the later Pallava period (A. D. 800). Here Sūrya may be seen standing upon a flat seat under which are worked out the seven horses and the driver Aruṇa. Fig. 2, Pl. LXXXVIII is a fine piece of sculpture found in Ellora. In this Sūrya is seen standing within a chariot drawn by the seven horses driven by Aruṇa. As in the case of all South Indian images of this god the hands of Sūrya are, in this instance also, lifted up to the level of the shoulders and carry each a lotus flower. On the right and left of Sūrya are Ushā and Pratyushā driving away the darkness before them with their bows and arrows. The chariot of Sūrya has here two wheels instead of only one as required by the Sanskrit authorities. This sculpture may be assigned to the eighth century. Of about the same time is the seated figure of Sūrya whose photograph is reproduced on Pl. LXXXIX. In this sculpture Sūrya is seated cross-legged in his chariot drawn by seven horses driven by Aruṇa. Around him are to be seen the figures of the goddesses Rājñī, Suvarṇā, Suvarchasā and Chhāyā, as also the figures of Daṇḍa and Piṅgala. The photographs reproduced on Pl. XC are interesting and represent the North Indian type of the image of the sun-god.

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The images of Sūrya illustrated by them wear a curiously shaped *kirīṭa-makuṭa* with a flat top, and have the characteristic round face associated with North Indian sculptures. Their hands are placed at the level of the hip and a lotus with a long stalk is held in each of them, the flower itself being at the level of the shoulders. In figs. 1 and 2, the goddesses Rājñī and Nikshubhā are seen on the extreme right and left of Sūrya, while nearer him on either side are Daṇḍa and Piṅgala. In fig. 1, the Aśvinī-dēvatās with horse-faces are shown seated in small niches specially provided for them, whereas in fig. 2, the figures of Ushā and Pratyushā are seen as if engaged in chasing darkness with their bows and arrows. Below these are seen the somewhat damaged figures of the goddesses Rājñī and Nikshubhā; and immediately below the feet of Sūrya are worked out the seven horses of the Sun-god's chariot. The images of Sūrya in figs. 1 and 2 on this plate have a broad belt round their waist which is perhaps the *avyaṅga* or *ahyaṅga* mentioned in the *Bhavishyat-purāṇa*. Fig. 3 contains the central image of Sūrya and surrounding it are the images of Daṇḍa and Piṅgala and the horse-faced Aśvini-dēvatās, as also Ushā and Pratyushā: the latter are as usual chasing away darkness with their bows and arrows, and are sculptured near the kāntimaṇḍala of Sūrya. The body of Sūrya is shown as covered with a thin fabric through which the body of Sūrya is clearly visible.

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The ahyanga in this figure is not a broad band but a narrow belt encircling the waist. The three figures on this plate are seen wearing socks and boots. The photographs reproduced on Pls. XCI and XCII are of Sūrya of the South Indian variety belonging to the Chālukya-Hoysaḷa country. The hands of Sūrya in these cases are lifted up to the level of the shoulders and are found to carry half-blown lotuses. There are the udara-bandha and the ahyanga, but no sort of footwear. In Pl. XCI the goddesses Rājñi and Nikshubhā are worked out as standing one on each side of Sūrya with a chāmara in their hands. In Pl. XCII the goddesses Ushā and Pratyushā are, as usual, driving away darkness with bows and arrows. Besides these, a number of small figures are carved probably to represent Daṇḍa and Piṅgala and others. On the top-most tier of the sculpture stand five figures resembling boys; these are perhaps the rishis Sanaka and others. In the tier below this first one are a set of musicians playing upon different musical instruments. In Pls. XCI and XCII are the seven horses, but in the latter alone is the figure of Aruṇa shown. Fig. 1, Pl. XCIII and figs. 1 and 2 on Pl. XCIV also belong to the South Indian variety of Sūrya and to the Tamil country. In these the absence of the attendant deities may be noticed; these images, excepting fig. 1, Pl. XCIV, wear udara-bandha and ahyanga; the figures of the seven horses carved below the seat of Sūrya are not seen in the remaining images. Fig.

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1, Pl. LXXXVIII is the reproduction of the photograph of a bronze statuette of Sūrya preserved in the Madras Museum. In this, Sūrya is seen seated upon a chariot having a single wheel drawn by seven horses and driven by Aruṇa. This figure is encircled by a prabhāvaḷi. The goddesses Rājñī waving a chāmara and Nikshubhā with what appears to be an umbrella are seen standing on either side of Sūrya. Fig. 2 on the same plate is a piece of sculpture belonging to the modern Bombay school. It is carved in marble; Sūrya is here shown with four hands carrying a lotus each in the back hands and the akshamālā and the kamaṇḍalu in the front ones, and seated upon a chariot drawn by seven horses driven by Aruṇa. Fig. 2, Pl. XCIII belongs to the North Indian [To face page 317]

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Seated Sūrya : Stone : Chitorgarh : Marwar.

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(Fig. 3.)

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(Fig. 1 and 2.) Images of Sūrya : Stone : Ajmere, Rājputāna Museum.

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Sūrya : Stone : Havēri, Dharwar District.

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Sūrya : Stone : Nuggehaḷḷi.

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(Fig. 1.)

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(Fig. 2.) Sūrya : Stone : Ajmere, Rajputana Museum. Compare this with the Fig. on Pl. XL of V.A.Smith's Hist. of Fine Arts.

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(Fig. 1.) Sūrya-Nārāyaṇa : Stone : Bēlūr.

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(Fig. 2.) Surya : Stone : Madras Museum.

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Tōraṇa of a Sūrya Temple: Stone: Junagarh Museum.

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variety; the figure of Sūrya has a face belonging to the pān type. Strangely enough it is seen holding the hands as high as its shoulders and the lotuses carried in them are at the higher level than the shoulders. Near the legs of the image of Sūrya are those of Daṇḍa and Piṅgala and the goddesses Rājñī and Nikshubhā and one other between the legs of Sūrya; it is difficult to say whom this figure is meant to represent. Fig. 1, Pl. XCIV belongs to the Hoysaḷa country; the image of Sūrya has in this instance four hands, in the front two of which are the lotuses and the back ones are seen carrying the chakra and the śankha. The seven horses and Aruṇa are sculptured below the foot of Sūrya. Pl. XCV represents the toraṇa or gateway of a Sūrya temple. On the columns and the archway of this toraṇa are sculptured the figures of eleven Ādityas, which together with the one in the central shrine make up the usual number of twelve Ādityas. Some of the Ādityas have two, others four goddesses attending upon them; each one is enshrined in a small fane and are seen carrying lotuses in their hands. All except the central figure on the archway are standing; the central figure is seated in a chariot to which are yoked the seven horses characteristic of Sūrya. In the niches below the two Ādityas on either side of the central one are some figures whose significance is not known.

The Eight Other Grahas

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In Hindu astronomy as well as astrology, the sun, the moon, the five planets—Mercury, Venus, Mars, Jupiter and Saturn, and also the ascending and the descending nodes of the moon, called Rāhu and Kētu, constitute the well known *nava-grahas* or nine *grahas*. It has been stated that all these are worshipped in certain Hindu temples, where there are special images installed in representation of them. The sun is the chief of the *grahas*, and the description of the sun-god and of his images has therefore been given first in some fulness. The other eight *grahas* are now taken up for consideration.

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Chandra or the moon is also known as Sōma.

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Chandra or the Moon. His figure according to the *Aṃśumadbhēdāgama* may be represented either as standing or sitting. In the latter case, the seat, upon which he is to sit, should be a *siṃhāsana*. The colour of Chandra should be perfectly white and his head should be surrounded by a halo or *prabhāmaṇḍala*. He should also be adorned with various ornaments and a garland composed of all sorts of flowers, and should be clothed in white garments. He should have two hands, each of which should hold a white water-lily (*kumuda*). On his chest there should be shown a golden *yajñōpavīta* and his countenance should be beautiful and possess a peaceful look. The *Śilparatna* requires that the figure of Chandra should be shown as seated in a chariot drawn by ten horses, that this deity should hold a *gadā* in the right hand and that the left should be held in the *varada* pose. The *Matsya-purāṇa* agrees with the *Śilparatna* in stating that Chandra should be seated in a chariot to which ten horses are yoked, and adds that on the right and left of Chandra there should be the goddesses Kānti and Śōbhā, and that the lion banner of this god should also be placed on his left. The *Pūrva-kāraṇāgama* gives the name of the only goddess, who is to be by the side of Chandra as Rōhiṇī.

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Diferent authorities give different descriptions of the figure of Bhauma. Some say that it should be seated upon a goat, some upon a *simhāsana*, and some again in a golden chariot drawn by eight horses. The colour of the image of this planetary deity should be red like the fire; it should have four arms; one of the right hands should be in the *abhaya* or the *varada* pose, while the other should carry the weapon śakti. In the left hands, the gadā and the śūla should be held. It should be adorned with garlands of red colour, and should be clothed in red garments.

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Budha is sometimes known as Grahapati and is said to be the son of Chandra. His image should be seated upon a lion and should be adorned with garlands of yellow flowers and ornaments of gold. The colour of the body of Budha should be the yellow of the karṇikāra flower, and that of his garments should be also yellow. Budha should have four arms; one of the right hands should be in the varada pose, and the other three hands should carry the weapons known as khaḍga, kheṭaka and gadā. The Viṣṇudharmōttara, however, states that the image of Budha should resemble that of Viṣṇu and be seated in a chariot resembling that of Bhauma.

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The two planetary deities Bṛihaspati and Śukra should each be represented with four arms; one of the hands should be in the varada pose and the remaining three hands should carry the kamaṇḍalu, the akṣamālā, and a daṇḍa. The colour of Bṛihaspati is golden yellow. According to the Viṣṇudharmōttara, however, Bṛihaspati should have only two arms, and in his two hands he should carry a *pustaka* and the *akshamālā*. He should be adorned with all suitable ornaments and also clothed in yellow garments. The same authority says that Śukra, the son of Bhr̥igu, should be of white complexion, should have only two arms; in his two hands he should carry a *nidhi* (treasure?) and a *pustaka* (book), and should be seated in a silver chariot drawn by eight horses. The colour of his clothings also should be white.

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The complexion of Śanaiśchara and also the colour of his garments should be black. He should be small in stature and somewhat lame in one leg. He should have two arms; in the right hand he should hold a *daṇḍa*, and the left should be in the varada pose. This is according to the *Amśumadbhēdāgama*; but the *Vishṇudharmōttara* requires that there should be the *daṇḍa* in the one hand and the *akshamālā* in the other. The former authority prescribes the *padma-pīṭha* as the seat appropriate for Śanaiśchara, while the latter prescribes an iron chariot drawn by eight horses.

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The figure of Rāhu should, according to the *Śilparatna*, be seated upon a *siṃhāsana*, while according to the *Vishṇudharmōttara*, a silver chariot drawn by

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Sanaischar or Saturn.

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Rahu.

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eight horses has to be his seat. According to the first of these authorities, Rāhu should possess four arms, one of his hands should be in the *varada* pose and the remaining three should carry the *khaḍga*, *khēṭaka* and *śūla*. But according to the second authority, Rāhu should have only two hands, in the right of which there should be a book and a woollen blanket while the left hand should carry nothing at all.

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Ketu. Kētu is to be of dark colour and should have two arms, one of his hands is to be in the *abhaya* pose and the other should carry a *gadā*. He should be mounted upon a kite. The *Viśvakarma-Śilpa* states that Kētu should resemble Bhauma in all respects, but that his chariot should be drawn by ten horses.

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The *Rūpamaṇḍana* gives a summary of the description of the colours, weapons and emblems and vehicles and seats of the nine *grahas*, which may be tabularly presented thus:—

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| Name of the deity. | Colour. | Weapons etc. | Seat and Vehicle. | Remarks |
| | | Right hand. | Left hand. | | |
| Sūrya | White | Padma | Padma | Chariot with seven horses | |
| Sōma | Do. | Kumuda | Kumuda | Chariot with ten horses | |

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Sūrya.

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Bṛhaspati. Bhauma. Śani. Budha.

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Rāhu. Śukra. Kētu. Sōma.

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| Name of the deity. | Colour. | Weapons etc. | Seat and Vehicle | Remarks. |
| | | Right hand. | Left hand. | | |
| Bhauma | Red. | Daṇḍa | Kamaṇḍalu | A goat | All the nine deities should be adorned with kīriṭa and ratna-kuṇḍalas. |
| Budha | Yellow | Hands in yōga-mudrā | Sarpāsana | | |
| Guru | Do. | Akṣamālā | Kamaṇḍalu | Haṃsa | |
| Śukra | White | Do. | Do. | A frog | |
| Śani | Black | Daṇḍa | Do. | | |
| Rāhu | Smoke-colour | | | A sacrificial pit (kuṇḍa) | |
| Kētu | Do. | Arms folded as in the añjali attitude. | The lower portion of the body of Rāhu should be that of a snake. | |

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Pl. XCVI contains the reproductions of the photographs of the bronze images of the Nava-grahas to be found in the Sūrya temple at Sūryanārkōyil in the Tanjore district. The central shrine of this temple, which faces the west, is dedicated to Sūrya, the sun-god; near the image of the Sun-god are also placed those of Viśvēśvara and his consort Viśālākshi. The figure of Bṛhaspati is set up in front of the central and those of the other grahas in small shrines constructed round the central shrine.

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