Elements of Hindu Iconography v4.c26: Subrahmanya

Elements of Hindu Iconography v4.c26

Language: English

Subrahmanya

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S UBRAHMANYA is almost exclusively a South Indian deity. There is not a village, however small, which does not possess a shrine for Subrahmaṇya. In fact the popularity of this deity with the South Indian is so great as to induce him to build shrines for him in all places such as towns, villages, gardens, mountain tops and other odd places. Strangely enough Subrahmaṇya is less known and less worshipped in Northern India; there are not many temples of this god in Northern India. In Bengal it is stated that he is worshipped by disreputable women on certain occasions, while in the Bombay Presidency no sumaṅgali (a woman whose husband is alive) would visit the temple of Kārttikēyasvāmin (Subrahmaṇya).

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The birth of Kārttikēya or Subrahmaṇya is given at some length in the Bālakāṇḍa of the Rāmāyaṇa. Śiva, after he was married to Umā, began to indulge in gratifying his love towards her; a thousand years of the gods passed thus but no issue was born. The gods in the meanwhile becoming alarmed that the offspring which might be born to Mahādēva would be of an extraordinary character, entreated him to practise austerity. Śiva acceded to their prayer but inquired what would become of the seed which he had already discharged. The gods replied that this should be received by the earth and Agni and Vāyu should enter it. Agni accordingly entered it and produced a white mountain, where Kārttikēya was born. Out of gratitude, the gods worshipped Śiva; the consort of Śiva cursed the gods that their wives should become barren, because she was denied the pleasure of becoming a mother.

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In another place in the same work the birth of Kārttikēya is described differently. While Śiva, the lord of the gods, was performing penance, the other gods went to Brahmā and asked him to provide them with a general in the place of Śiva, their former commander, who had since taken to austerities. To this Brahmā replied that in consequence of the curse of Umā no sons could be born to the gods; but he suggested that Agni could beget a son on Gaṅgā and that the offspring might become the general of the gods. In obedience to the advice of Brahmā, the gods went to the mount Kailāsa and appointed Agni to carry out their wish. Agni accordingly consorted with Gaṅgā and begot Kārttikēya.

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The Vana-parvan of the *Mahābhārata* has another account of the birth of Kārttikēya. Indra, whose army (*dēvasēna*) was defeated by the *dānavas*, was meditating upon his reverses, when he heard the cry of a female calling for help and invoking a husband to afford her protection. Indra seeing that she had been seized by the demon Kēśin remonstrated with him. But the *asura* did not heed it but hurled his club against Indra. Indra cut it off with his *vajra* and Kēśin was finally defeated and driven away. Indra then learnt from the woman he had rescued that she was called Dēvasēna (the army of the gods) and that she had a sister named Daityasēna (the army of the demons) and that they both were the daughters of Prajāpati. She added that her sister liked Kēśin, but she herself did not; therefore she requested Indra to secure for her a proper husband who would be able to overcome all the enemies of the gods. Indra took Dēvasēna to Brahmā and desired him to provide her with a valorous husband; Brahmā promised that the help-mate of Dēvasēna would soon be born, under the circumstances described below.

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Vasisṭhtha and other *rishis* performed an *yājña* to which the gods headed by Indra went to receive oblations. Agni, being invoked, descended from the sun, entered the fire, received oblations of the *rishis* and presented them to the gods. Then he beheld the wives of the *rishis* and became perturbed by desires. His heart felt distressed because he failed to obtain the wives of these *brāhmaṇas*; he therefore resolved to abandon his corporeal form and went away to the forest. Meanwhile, Svāhā, the daughter of Daksha, who was loving Agni from her youth, discovering the cause of Agni's discomfiture resolved to take the forms of the wives of the *rishis* and to present herself to Agni. Assuming first the form of Śivā, the wife of Āṅgirasa, Svāhā addressed Agni thus: " Agni, you ought to love me, who am troubled with love for you. I am the wife of the *rishi* Āṅgirasa. If you will not do so, look upon me as dead ". Agni embraced her with joy and delighted her. Assuming the form of a Gāruḍi bird to avoid detection, Svāhā issued from the forest and beholding a white mountain surrounded by palisades of arrows, guarded by seven-hooded snakes and rākshasas and others, went quickly to its summit which was difficult of access and threw the seed into a golden receptacle. Thus did this goddess enjoy the company of Agni by assuming successively the forms of the wives of the *rishis*. But she could not take

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the divine form of Arundhati, the wife of Vasistha, owing to the power of the latter's austerity and her obedience to her husband. Six times was the seed of Agni thrown by the enamoured Svāhā into the receptacle from the pratipada day (the first day of a fortnight). The collected seed which was discharged (skanna) by Agni generated a son and gave to the child the character of Skanda. Kumāra was born with six heads, twelve arms, ears, eyes and feet, one neck and one belly. He was made the commander of the army of the gods and Dēvasēna was married to him.

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The wives of the six rishis who were discarded on suspicion by their husbands repaired to Skanda and complained to him that they were unjustly abandoned by their husbands and consequently became degraded from their former position and entreated him to secure for them heaven (svarga). Skanda granted them their desire and kept them with him. Svāhā then approached Skanda and informed him that she was his genuine mother and then told him that from her childhood she loved Agni but that her love was unrequited by him and desired that she should somehow be made to live perpetually with Agni. Skanda conferred this boon upon her saying that whatever oblations of brāhmanas was introduced by hymns, they should always lift it and throw it in the fire saying ‘Svāhā’ and that Agni should dwell continually with her.

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Then Prajāpati asked Skanda to go to Mahā-dēva, the vexer of Tripura. Addressing Skanda as the unconquered, Prajāpati informed him that he had been produced for the good of the gods and of all the world by Rudra who had entered Agni and Umā who had entered into Svāhā. Skanda was received with due honour by the bull-bannered Rudra with his consort Umā.

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It is stated about Skanda that because he was honoured by Rudra he was the son of Rudra. Again the brāhmaṇas call Agni Rudra; consequently Kārttikēya is the son of Rudra; the seed which was discharged by Rudra became a white mountain and this seed of Agni was formed by the Kṛittikās on the white mountain. Skanda, that most eminent deity, being born of Agni, who was Rudra and from Svāhā and the six wives of the ṛishis was the son of Rudra. Thus then it will be seen a sort of confusion arose about the real parentage of Skanda and attempts are made to establish the identity of Agni with Rudra. This identity is based upon the Vēdic assertions that Agni is the same as Rudra.

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Almost the same account is given in all the later works such as the *Kumārasambhava*, etc.

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The *āgamas* state that the temple for Subrahmaṇya may be constructed on all sides of a town except the east and it might face any direction. These temples may be built in capital cities, in towns, villages, on the tops of mountains, on the banks of rivers, in gardens, forests or under large trees. They may stand separately as a *svayampradhāna* temple or be attached to some others, such as that of Śiva. Different kinds of central shrines are prescribed for the temple of Subrahmaṇya; these may contain from one to seven *talas* (storeys) and may be surrounded by *prākāras* or circuits and adorned with *maṇḍapas* or pavilions, and other adjuncts. As usual the size of the shrine of this god is also determined with reference to the height of the image to be set up in it. The temples of Subrahmaṇya are to be adorned with either peacocks or elephants placed in the corners of the *vimāna*, where generally Garuḍa or Nandi is seen in the temple of Viṣṇu or Śiva respectively.

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In a *svayampradhāna* temple of Subrahmaṇya there are required to be set up eight *parivāra-dēvatas*, namely, Yakṣēndra, Rākṣasēndra, Piśācēndra, Bhūtarāṭ, Gandharva, Kinnara, Daityanāyaka and Dānavādhipa. The figures of these are to be placed on the eight cardinal points of the *prākāra*; Yakshēndra being on the east, Rākshasēndra on the south-east and so on. These *parivāra-dēvatās* are to be sculptured as having two or four arms and they should be of dark complexion and terrific look. If they have four arms, two of the hands are to be held in the *varada* and the *abhaya* poses, while the remaining two should carry the *khaḍga* and the *khēṭaka*. But if they have only two arms, the hands should keep the *khaḍga* and the *khēṭaka*.

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Besides the *parivāra-dēvatās* mentioned above, the temple of Subrahmaṇya is required to have eight *śarīra-pālakās* or body-guards. They are named Shaṇmukha, Śaktipāṇi, Kārttikēya, Guha, Skanda, Mayūravāhana, Sēnāni and Śaktihastavān. They are also, like the *parivāra-dēvatās*, required to be represented with four or two arms; if they have four arms, two hands out of the four should be held on the chest in the *añjali* pose and the remaining two are to keep in them the *vajra* and the *padma*. The *śarīra-pālakās* may have one or six faces and must be located on the eight cardinal points beginning from the east as in the case of the *parivāra-dēvatās*, but perhaps in a second *āvaraṇa*. If they cannot be represented regularly by sculptured figures, at least *pīṭhas* representing them must be set up, with a peacock or an elephant kept in front of them.

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The *Kumāra-tantra* mentions a much larger number of *parivāra-dēvatās*; eight, twelve, sixteen or thirty-two *dēvatas* are prescribed in it. If eight *dēvatas* are to be set up, we are told that on the east, facing the deity, should be the figure of an elephant that on the south-east, Śāsta; in the south, Brahmā; on the south-west, the Sapta-mātṛkās; on the west, Jyēṣṭhā; on the north-west Durgā; on the north, Kṣētrapa and on the north-east, Sumitraka. The names of the *parivāra-dēvatas* * of the groups of twelve, etc., are given in the foot-note below.

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* The names of the twelve *parivāra-dēvatās* are, the elephant, Sūrya, Śāsta, Brahmā, Yama, Sapta-mātṛkās, Varuṇa, Agastya, Durgā, Nārada, Śrīśa and Sumitra. The following are the names of the sixteen *parivāra-dēvatās* :—the elephant, Brahmā, Agastya, Nārada, Sumitraka, Śukra, Bṛhaspati, Durgā, Ditī, Aditī, Chandra, Sūrya, Śāsta, Mahālakṣmī and Bhāratī and the Sapta-mātṛkās.

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To make up the thirty-three *parivāra-dēvatas*, the following are added to the above mentioned sixteen deities, namely, the Aṣṭa-dikpālakas, Sudēha, Surēśa, Sumukha, Bhṛṅgi, Vāsuki, Aṣṭavara (vakra ?) Bhṛṅgi (Bhṛīgu ?) Dakṣa-Prajāpati, Vīrabhadra, Śukra, Bhū, Jyēṣṭha and two others.

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In the north-east corner of the temple of Subrahmaṇya should be set up either the image of Skanda-Caṇḍa or the famous Sākalya-pīṭha. Skanda-Caṇḍa might have four or two arms; in the first case, the two front hands are to be held in the abhaya and the varada poses respectively, while the back ones should carry the vajrāyudha and a lotus flower.

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The image of Subrahmaṇya is seen sculptured in different ways. We have instances of standing and seated figures of this deity; some have six faces while others only one; some have two arms while others have from four to twelve arms; sometimes the image of Subrahmaṇya is seen with that of one Śakti (goddess) and often with two. He is further represented as a boy who has not undergone the upanayana (or the initiation) ceremony or as one who has undergone it. Then again he appears as a youth of resplendent beauty. The seated figure is either on a padmāsana or on a peacock. It is laid down as a rule that if the figure is a seated one, it should have only two arms; if a standing one, four; and lastly, if it is seated upon a peacock, it may have six, eight or twelve arms. The sitting posture is recommended for representing the yōga (dhruva) bēra, the standing posture SUBRAHMAYNA.

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for the *bhōga* (*utsava*) *bēras* and the figure seated on vehicles for *dhyāna* *bēras* (images meant for fixing one’s thoughts upon and meditating). The image with two arms is said to be *sātvik*, one with four arms *rājasik* and one with more arms than four *tāmasik* in nature.

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Subrahmaṇya with two arms may be sculptured in any one of the five following manners:—

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(i) in the first mode the image might keep in the right hand a *padma* and the left hand may be resting upon the hip (*kaṭyavalambita*);

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(ii) in the second mode the right hand may be held in the *abhaya* pose and the left in the *kaṭyavalambita* pose;

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(iii) in the third mode the right hand may carry a *daṇḍa* and the left hand may be in the *kaṭyavalambita* pose;

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(iv) in the fourth mode the right hand may carry the *śaktyāyudha* and the left the *vajra*, and

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(v) in the fifth mode the right hand may carry a *śaktyāyudha* and the left a *kukkuṭa* (a fowl).

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In the case of the figure of Subrahmaṇya with four arms the hands are required to be kept in any one of the seven poses and to carry articles as given in the following table :—

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Subrahmaṇya with two or four arms is said to be capable of giving siddhi to his worshippers.

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The figure of Subrahmaṇya with six arms should have in its right hands abhaya, khaḍga and śakti; and in the left hands kheṭaka, akṣamālā and kukkuṭa. The image of Subrahmaṇya with eight arms should be represented as carrying in its hands the vajra, śakti, abhaya, varada, khaḍga, kheṭaka, bāṇa and dhanus; or, they may keep the padma, vajra, śakti, abhaya, varada, khaḍga, kheṭaka and pāśa.

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Subrahmaṇya with twelve arms may be sculptured in six different ways; the following table furnishes the information regarding the poses of the hands and the objects carried in them :—

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| No. | I. | II. | III. | IV. | V. | VI. |
| a. | Śakti | ... | Bāṇa | ... | Khaḍga | ... | Dhvaja | ... | Gaḍā | ... | Abhaya. |
| b. | Do. | ... | Do. | ... | Do. | ... | Chakra | ... | Pāśa | ... | Prasāritahasta. |
| c. | Do. | ... | Dhvaja | ... | Do. | ... | Do. | ... | Do. | ... | Abhaya. |
| d. | Do. | ... | Do. | ... | Do. | ... | Padma | ... | Abhava | ... | Bāṇa. |
| e. | Do. | ... | Vajra | ... | Chakra | ... | Pāśa | ... | Aṅkuśa | ... | Gaḍā. |
| f. | Do. | ... | Bāṇa | ... | Khaḍga | ... | Abhaya | ... | Dhanus | ... | Khēṭaka. |

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| No. | VII. | VIII. | IX. | X. | XI. | XII. |
| a. | Vajra | ... | Dhanus | ... | Khēṭaka | ... | Padma | ... | Śūla | ... | Varada. |
| b. | ? | ... | Śaṅkha | ... | Kukkuṭa | ... | Dhanus | ... | Daṇḍa | ... | Hala. |
| c. | Vajra | ... | Dhanus | ... | Khēṭaka | ... | Kukkuṭa | ... | Aṅkuśa | ... | Varada. |
| d. | Do. | ... | Pāśa | ... | Do. | ... | Daṇḍa | ... | Do. | ... | Do. |
| e. | Śūla. | ... | Abhaya | ... | Padma | ... | Do. | ... | Do. | ... | Do. |
| f. | Do. | ... | Kukkuṭa | ... | Chakra | ... | Pāśa | ... | ? | ... | Do. |

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The āgamas mentioned the appropriate forms of the image of Subrahmaṇya that should be set up in temples erected for that deity in towns of different kinds* the image that must grace a temple

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∗ According to the Kāmikāgama towns are divided into the following classes according to its residents, etc.:—

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The village resided in by learned brāhmaṇas is called a maṅgala or an agrahāra. The place which has a mixed population of brāhmaṇas and other castes is said to be grāma. The place where a rich landlord lives with only his tenants and dependants is called a kuṭika or an ēkabhōga; (kuṭika is a Tamil word, kuḍi, rendered thus in Sanskrit). That portion of a pura (town) which is inhabited by brāhmaṇas and surrounded by their gardens is called a kharvaṭa. A place full of trading population of all classes and is visited by maritime people of other nations and is situated on the sea-coast is called a paṭṭaṇa. The suburb in a vana (forest) or rājya solely inhabited by Śūdras is called a kaṇṭaka, khēṭaka or grāma. The capital of a subordinate chief is called a śibira and the town where the elephants and horses of the king are stationed is a sēnasthāna and that where the king lives and has a large population of all classes, and is provided with many secret passages is called a sēnāmukha. That portion of a town where travellers and sannyāsins are fed and lodged is called a maṭha. The town where large military forces are stationed is a vidyāsthāna; if the latter has in it the palace of the king also, it goes by the name of rājadhāni. Those places which adjoin grāmas, etc., are known by the names of kubja (Tam. kuppam) and chērika (Tam. chēri). The quarters occupied by weavers in a grāma, etc., is a nagari.

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constructed for this deity in the rājadhāni (the capital city) of a reigning sovereign is to be one with six faces, six arms, twelve eyes and twelve or six ears. It should keep in its hands the śakti, khaḍga, akṣamālā, abhaya, kukkuṭa and kheṭaka. The image that should be set up in a grāma or a prāsāda (palace) should have twelve arms; the right hands of this image should carry the śakti, musala, khaḍga, chakra, pāśa and abhaya; and the left hands, the vajra, dhanus, kheṭaka, śikhi-dhvaja (a banner made of peacock feathers), aṅkuśa and varada. (See Pl. CXXVIII.) This figure should be of the colour of the rising sun and be draped in red clothes and be adorned with a karaṇḍa-makuṭa, and the yajñōpavīta and be seated on a peacock with, on either side, a figure of a dēvī. Though different types of images of Subrahmaṇya are prescribed for consecration in different kinds of villages there is no positive objection to any of the five types of the image of this deity, namely, those with two, four, six, eight or twelve arms, being set up in any kind of town.

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Subrahmaṇya is known by several names, the chief among them are Kārttikēya, Shaṇmukha, or Shaḍānana, Śaravaṇabhava or Sarajanman, Sēnāni, Tārakajit, Krauñchabhēttā, Gaṅgāputra, Guha, Agnibhū, Skanda and Svāminātha. Most of his epithets have reference to the circumstances of his birth. Śiva cast his seed into Agni who being unable to bear it cast it into the river Ganges; hence Skanda is called Agnibhū and Gaṅgāputra. The seed was then transferred to the six Kṛttikas when they went to bathe in the Ganges, each of whom therefore conceived and begot a son; all these children afterwards became combined in one being having six heads and twelve arms and eyes. Hence he became known by the names of Kārttikēya, Shaṇmukha and Shaḍānana. According to another account the seed of Śiva was cast by the river Ganges into a thicket of reeds (śara) and the boy who came out of the thicket of grass came to be known as the Śarajanman. Subrahmaṇya pierced the Krauñcha mountain and hence he was called Krauñchabhētta. He commanded the army of the dēvas against the asura Tāraka whom he vanquished and killed. Therefore he got the names Dēvasēnāpati and Tārakāri. He is called Guha because he lived in a receptacle for six days before he was fully formed. Because he was born from the discharged seed (skanna) of Śiva he was known as Skanda.

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The most characteristic weapon of Subrahmaṇya is the śakti; the Mārkaṇḍeya-purāṇa gives a short account of the origin of this weapon thus: Sūrya

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(the sun) was once so powerful that his heat was causing damage to the world. Viśvakarman, the celestial mechanic, contrived to abstract a portion of the solar glory and rendered him innocuous. ‘From the power taken away from Sūrya, Viśvakarman fashioned’ the śaktyāyudha for the use of Subrahmaṇya. It is worth noting that a portion of the solar glory was transferred to Subrahmaṇya, who, according to the Bhavishyat-purāṇa, took his seat near Sūrya when the daityas attacked him and when the gods rallied round him for his support. The same purāṇa informs us that the dvārapālakas of Subrahmaṇya are Sūrya under the name of Rājña and Śiva under the name of Srausha. These facts coupled with the information regarding the origin of Subrahmaṇya distinctly point to its origin to the sun-myth. We saw in the first instance that Agni was invoked by the rishis for receiving the oblations in their yajña and that he descended from the sun; the Mahābhārata states that on the day the rishis began their yajña the sun and the moon were together, that is, the day was a new-moon day; beginning from the pratipada day the seed of Agni was gathered for six days and on the shashṭhi tithi Subrahmaṇya of the colour of the rising sun came into existence. His dvārapālakas, we saw above, are Sūrya and Śiva (who is the same as Agni or Rudra).

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A *dhyāna-śloka* current in some parts of S. India actually describes him as Sūrya. All these facts clearly point to the sun-myth as the origin of Subrahmaṇya; his six heads perhaps represent the six *ṛitus* or seasons, the twelve arms, the twelve months; the *kukkuṭa* or the fowl the harbinger of the rising sun and the peacock whose feathers display a marvellous blending of all colours represents the luminous glory of the sun; the *śaktyāyudha* is also of solar origin.

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Corresponding to the various names of Subrahmaṇya are images whose descriptions are found in almost all the *āgamas*. The following are some of the important aspects of Subrahmaṇya dealt with in the *Kumāra-tantra*, viz.,

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To this list are added a few more by the *Śritatvanidhi*; the descriptions of these are given briefly below.

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*Śaktidhara* : This aspect of Subrahmaṇya should have a single face and only two arms. The left hand should bear a *vajra* and the right one the *śakti*; the latter weapon is said to represent the *ichchhā*, *jñāna* and *kriyā śaktis*. The following description of Jñānaśakti-Subrahmaṇya is found in the *Śritatvanidhi* : this form of the deity should have only one face and four arms and his head adorned with a *jaṭāmakuṭa* ornamented with rubies, he should wear a garland of cactus flowers, and his body should be smeared with a paste of sandal and there must be on his chest a white *yajñopavīta*. In three out of the four hands there should be the *śakti*, *kukkuṭa* and *vajra* and the fourth hand should be held in the *abhaya* pose. It is therein stated that this aspect of Subrahmaṇya is the embodiment of *jñāna-śakti*.

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*Skanda* : According to the *Kumāra-tantra* this aspect should be represented with one face and two arms and should be of the colour of the lotus. The loins are to be bound by a broad belt and the only clothing which this figure should possess is the *kaupīna*. The right hand should keep a *daṇḍa* while the left one should rest upon the hip (*kaṭyavalambita*). This aspect of Subrahmaṇya is popularly known as the Palaniyāṇḍavar. This is the description which is given in the *Śrītavatnidhi* for Vēḷāyudha-Subrahmaṇya. This latter work, however, gives quite a different description of Skanda which is as follows. This aspect of Subrahmaṇya is required to possess, as in the previous one, one face set with two eyes, and four arms. He should be seated upon a lotus flower (*padmāsana*). His head is to be surrounded by a *prabhā-maṇḍala*; on the head there should be the usual *karaṇḍa-makuṭa* adorned with a wreath of flowers; there must also be ornaments made of rubies and on the waist a broad girdle of fine workmanship. The front two hands should be kept in the *varada* and the *abhaya* poses while the back hands should carry the *kukkuṭa* and the *vajra*. The colour of this aspect of the deity is said to be that of smoke.

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*Sēnāpati*: This aspect should have the brilliance of the sun and should possess six faces and twelve eyes. One of the arms of Sēnāpati should pass round the waist of his *dēvī*, who should be seated upon his left lap; the corresponding right hand should keep a lotus. The other hands should hold the following objects in them: *śūla*, *khēṭaka*, *vajra*, *dhanus*, *gadā*, *ghaṇṭā*, *kukkuṭa* and *abhaya*.

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Under the name Dēvasēnāpati, the *Śrītavatnidhi* gives the following description: He should have

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one face, two eyes and four arms : two of the hands should be held in the *abhaya* and *varada* poses respectively and the remaining two should carry the *śaṅkha* and the *chakra*; the colour of this aspect of Subrahmaṇya is said to be black. He should be adorned with all ornaments, and should have a white *yajñopavīta* and his body should have a coating of finely smelling sandal paste. The face must be very pretty and a smile must be playing about his lips.

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*Subrahmaṇya* : This aspect of Skanda should be of the colour of *kuṅkuma* (saffron) and be adorned with *keyūra*, *hāra* and other ornaments. One of the right hands should be held in the *abhaya* and in the rest must be the *śakti*, *kukkuṭa*, and a *padma*. The colour of this aspect of the deity should be that of the rising sun and that of the sandal paste and the clothing red. Or, the figure may have only two arms of which one should rest upon the hip (*kaṭyavalambita*) and the other hand be held in the *abhaya* pose.

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*Gajavāhana* has also only one face, two eyes and four arms; in one of the left hands he should hold the *kukkuṭa* while the other should be kept in the *varada* pose; in one of the right hands there should be the *śakti* and the other should be held in the *abhaya* pose.

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*Śaravaṇabhava* should have six heads, twelve eyes and twelve arms. Two of his hands are to be in the *abhaya* and the *varada* poses while the remaining ones should carry in them the *śakti*, *ghaṇṭa*, *dhvaja*, *padma*, *kukkuṭa*, *pāśa*, *daṇḍa*, *ṭaṅka*, *bāṇa* and *dhanus*. The complexion of this aspect is yellow; the face should resemble a full-blown lotus.

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The *Śritatvanidhi*, as usual, gives an entirely different description of *Śaravaṇabhava*. According to this authority *Śaravaṇabhava* should have only one face, three eyes and six arms, be of the colour of the rising sun and be seated upon a lion. The body should be covered with ashes (*bhasma* or *vibhūti*). There should be in the hands flowery arrows, a bow made of sugar-cane, *khaḍga*, *khēṭaka*, *vajra* and the *kukkuṭa*.

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*Kārttikēya* should have six faces and six arms and be of the colour of the rising sun. Two of his front hands should be kept in the *abhaya* and the *varada* poses, while the rest should carry *vajra*, *khēṭaka*, *śakti* and *khaḍga*.

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According to the *Śritatvanidhi* *Kārttikēya* should have one face with three eyes, ten arms and the complexion of the rising sun. There should be a fruit (or leaf) of the *bilva* tree on

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the head and in the right hands the śūla, the chakra, the aṅkuśa, and abhaya; in the left hands the tōmara, the pāśa, the śaṅkha, and the vajra and varada. He should have his peacock vehicle by his side. The complexion of this aspect of Subrahmaṇya should also be that of the rising sun.

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Kumāra should hold in his right hands the śakti and the khaḍga and in the left ones kukkuṭa and the khēṭaka. The Srītatvanidhi substitutes the abhaya and varada in the place of khaḍga and khēṭaka in the above description.

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Ṣaṇmukha: The colour of Ṣaṇmukha should be that of kuṅkuma (saffron) and he should be seated on the peacock. As his name indicates he should have six faces, twelve eyes and twelve arms; in the right hands he should have the śakti, bāṇa, the khaḍga, dhvaja, gadā and abhaya; and in the left ones dhanus, vajra, padma, kaṭaka-hasta and varada (and one more object which is perhaps the khēṭaka). Ṣaṇmukha is here mentioned as the nephew of Viṣṇu. The Srītatvanidhi mentions the śaṅkha, chakra, kukkuṭa, pāśa and hala as among the objects held by the hands of Ṣaṇmukha. It also states that on either side of Ṣaṇmukha there should be standing two dēvīs called Jayā and Vijayā.

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*Tārakāri*: The figure of Tārakāri is required to be sculptured with twelve arms, in the hands of which there should be the *aṅkuśa*, *dhvaja*, *khaḍga*, *kaṭaka-hasta*, *abhaya*, *pāśa*, *chakra*, *musala*, *śakti* *vajra*, *varada* and *khēṭaka*. The colour of Tārakāri, is described as equal to a crore of Aruṇas shining at the same time. According to the *Śrītattvanidhi*, Tārakāri should have only one face and three eyes and he should be seated upon an elephant carrying in two of the right hands the *khaḍga* and the *śakti* and one of them held in the *abhaya* pose; one of the left hands should be in the *varada* pose and the remaining hands should keep the *khēṭaka* and the *akshamālā*.

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*Krauñchabhēttā*: This aspect of Subrahmaṇya should have six faces and eight arms. In the right hands there should be the *khaḍga*, *śakti*, *abhaya* and *bāṇa*; and in the left ones *varada*, *vajra*, *dhanus* and *khēṭaka*. His complexion is to be that of the lotus flower.

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*Krauñchabhēttā* according to the *Śrītattvanidhi* should be represented with a single face and four arms and three eyes. Two of the hands should be kept in the *varada* and *abhaya* poses and the remaining hands should carry flowery arrows and a bow made of sugarcane; or, the front two hands should be shown as breaking the Krauñcha mountain. There should be near him his peacock vehicle.

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Sēnāni should also possess twelve arms and twelve eyes; the hands should have in them khaḍga, chakra, aṅkuśa, śakti, abhaya, śūla, varada, padma, daṇḍa and gadā.

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Brahma-śāstā: This is the aspect of Subrahmaṇya in which he put down the pride of Brahmā by exposing his ignorance of the Vēdas. He should be represented with a single face and four arms; he should have only two eyes. In the back hands there should be the akṣamālā and the kamaṇḍalu and the front hands should be held in the varada and abhaya poses. The colour of Brahma-śāstā should be the red of the lotus flower.

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Bālasvāmi is the aspect of Subrahmaṇya as a child. If he is sculptured as standing by the side of his parents, as in the Sōmāskanda aspect of Śiva, he should be represented as a child carrying a lotus in each hand; if, however, he is shown separately, he may be sculptured with a padma in his right hand and with the left hand resting upon the hip (kaṭyavalambita). The colour of this aspect is also red.

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Śikhivāhana is to be of the colour of coral and to have a single face and four arms. In one of the hands there should be held the *śakti* and in the other the *vajra*, while the remaining ones should be held in the *abhaya* and the *varada* poses respectively. He is said to be the destroyer of the enemies of the gods.

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*Vaḷḷikalyāṇasundara* : In this aspect Subrahmaṇya is sculptured as being married to Vaḷḷi. He should be represented in this case as carrying in the back right hand the *akṣamālā* and the front hand should be held in the *abhaya* pose; the front left hand should rest upon the hip and the back hand should carry a *kamaṇḍalu*. Brahmā with a *sruva* in his hand should be shown as officiating in the ceremonies in front of the fire that should be sculptured as burning in a *kuṇḍa*. Viṣṇu should keep in his hands a water-vessel ready to pour water in the act of giving the girl in marriage to the bridegroom. A host of gods and goddesses should be shown as offering praises to the married couple. Both the bride and the groom should be adorned with all ornaments appropriate to the occasion. The colour of Subrahmaṇya in this aspect also is red.

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The *Śrītattvanidhi* adds the description of the following aspects of Subrahmaṇya, namely, Agnijāta-Subrahmaṇya, Saurabhēya-S., Gāṅgēya-S. Guha-S., Brahmachāri-S., and Dēśika-S.

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*Agnijāta-Subrahmaṇya* should have two faces, eight arms and a white complexion; his neck should be of black colour; he should carry in three out of the four right hands the *sruva*, an *akṣamālā* and a *khaḍga* and the remaining hand should be kept in the *svastika* pose; in three of the left hands there should be the *vajra*, *kukkuṭa*, *khēṭaka* and an *ājya-pātra* (vessel of ghee or clarified butter). He should be sculptured as engaged in the act of offering fire sacrifice.

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*Saurabhēya-Subrahmaṇya* should have four faces, eight eyes and eight arms and should be seated upon a *kamalāsana*; in the right hands there should be the *śakti*, a lotus, flowery arrows and *abhaya*; and in the left hands *vajra*, a bow made of sugar-cane, a *śūla*, and *varada*. He should be standing with his right leg kept firmly on the ground and the left leg somewhat bent. His colour should be that of the lotus flower.

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*Gāngēya-Subrāhmaṇya* is required to be represented with a single face, three eyes and four arms. The head must be adorned with a *karaṇḍa-makuṭa*; he should be standing upon a *makara* (a kind of fish) and should be carrying a flag on which is painted a *kukkuṭa*, and should be adorned with *nīlōtpala* flowers. In his right hands should be a *paraśu* and a *pūrṇa-kumbha* (a vessel filled with water); in the left hands he should keep an araṇi (a piece of wood which is used in generating fire by friction) and a kukkuṭa. The colour of this aspect of Subrahmaṇya is that of gold.

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It might be noticed that in all these aspects the descriptions are such as to suit the nature of the aspect; for example Subrahmaṇya, the son of Agni, is said to have two faces, the same number as possessed by Agni; he carries an ājya-pātra sruva and other objects necessary for making fire-offerings. Similarly, in the case of the Gāṅgēya-Subrahmaṇya, or Subrahmaṇya the son of Gaṅgā, he is required, like Gaṅgā, to be standing upon a makara, carry a pūrṇakumbha and adorned with nilōtpala or water-lilies, objects characteristic of rivers.

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Guha-Subrahmaṇya should have one face, three eyes and four arms. His head should be adorned with a kirīṭa made of gold set with rubies. In the right hands there should be the vajra and the śula and the left hands should be held in the varada and the abhaya poses. The colour of Guha is black and that of his clothes white. His Dēvī should be by his side and they should look like a newly married couple.

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Brahmachāri-Subrahmaṇya: Subrahmaṇya in this aspect should have two eyes, two arms and be standing upon a *padma*. He must have a tuft of hair on his head, a *yajnōpavīta*, *mauñji* (grass girdle) and *kaupīna*. The right leg should be firmly placed upon the *padma* and the left one slightly bent and rested upon it. In the right hand there should be a *daṇḍa* and in the left a *vajra*. His complexion should be red.

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*Dēśika-Subrahmaṇya*: This is the aspect in which Subrahmaṇya taught Śiva, his own father, the significance of the sacred syllable *ōm*. As a teacher he should be represented as possessing one face, six arms and as seated upon the peacock. His head should be adorned with a *karaṇḍa-makuṭa*; two of his hands should carry the *śakti*, one an *akṣamālā* and two others kept in the *varada* and the *abhaya* poses; the remaining hand should perhaps be held in the *chinmudrā* pose. Śiva in the aspect of a disciple is called the *Śishya-bhāva-mūrti*. The *Mānasāra* gives a description of the form of *Śishyabhāvamūrti*. Śiva should be seated in front of his teacher Subrahmaṇya cross-legged, with one of his right hands kept closing his mouth and another kept on the chest in the *jñāna-mudrā* pose; the other two hands should carry the *ṭaṅka* and the *mṛiga*. He should have a white complexion and his face should resemble the full-moon. His head should be adorned with a crescent moon. Pārvatī, his consort, should also be standing by his side.

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Pls. CXXI-CXXIX illustrate the various aspects of Subrahmaṇya. Fig. 1, Pl. CXXI, belongs to the collection of the late Mr. M. K. Nārāyaṇa-svāmi Ayyar and represents Skanda or Vēlāyudha-Subrahmaṇya. In the right hand of the image is a daṇḍa and a śakti is kept resting on his right arm. The left hand rests upon the hip. The image is clothed with only a kaupīna and wears the ornaments generally worn by boys. This is a modern piece of work.

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Fig. 2 on the same plate is the photograph of the image of Kumāra belonging to the Śiva temple at Tiruppālatturai. The image has four arms; in the right hand at the back there is the śakti and in the back left hand the vajra; the front right and the left hands are kept in the abhaya and the varada poses respectively. A śaktyāyudha rests upon the right front arm.

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Pl. CXXII is the reproduction of the photograph of Subrahmaṇya with his two consorts Dēvasēnā and Vaḷḷi to be found in the Nāgēśvarasvāmin temple at Kumbhakōṇam. It is precisely similar to the figure of the Tiruppālatturai temple. Herein, Subrahmaṇya has behind him his peacock.

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Fig. 1. Skanda or Vēḷāyudha-Subrahmaṇya : Bronze : Mr. M. K. Nārāyaṇasvāmi Ayyar's Collection

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Fig. 2. Kumāra : Bronze : Tirunāḷatturai

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Vallī. Subrahmaṇya. Dēvasēnā. Subrahmaṇya with his consorts Dēvasēnā and Vallī: Stone: Kumbhakōṇam.

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[Figure: Mahāvalli. Subrahmaṇya. Dēvasēnā. Subrahmaṇya with his consorts Dēvasēnā and Vaḷḷi: Bronze: Tiruvorriyūr.]

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PLATE XXXVII. THE TEMPLE OF THE SUN

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Subrahmanya : Stone : Ellora.

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The description of the Dēvis of Subrahmanya is given as follows in the *Kumāra-tantra*: Mahāvalli should be of black complexion and should have a smiling face. She should stand with her right leg kept firmly on the ground and the left leg kept somewhat bent and placed on it. She should be holding in her left hand a *padma* (lotus) and her right hand should be hanging by her side. The complexion of Dēvasēna is red and she should also have a smiling face and standing with her left leg kept firmly on the ground and the right one somewhat bent. She should carry in her right hand a *nīlōtpala* flower, and the left one should be hanging. These descriptions are rigidly observed in the sculpture of the Nāgēśvarasvamin temple.

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Pl. CXXIII is exactly similar to the previous one. The original of this sculpture is in the Śiva temple at Tiruvorriyūr and is executed very skilfully.

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The photograph reproduced on Pl. CXXIV is that of a piece of sculpture belonging to one of the rock temples at Ellora. The central figure, Subrahmanya, has four arms and a single face. The front right hand which is broken seems to have held the *śakti*, whose head is visible near the figures of a Dēva and his Dēvi sculptured on the upper left corner. The back right hand rests upon the hip;

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the front left hand carries a *kukkuṭa* and the back left hand embraces the peacock which stands to the left of Subrahmaṇya. There are on either side a goat-headed attendant of Subrahmaṇya; one of these must be Dakṣa-Prajāpati, who is said to be one of the *parivāra-devatās* of Subrahmaṇya. The figure on the left has its left arm crossed against its chest and keeps its right one as if going to close his mouth,—attitudes which show a great deal of reverence. The figure on the left of Subrahmaṇya has its left hand resting upon its hip and keeps something in its right hand. On either side of the figure of Subrahmaṇya and soring in the air are two Devas with their Devīs praising him. The central figure of Subrahmaṇya has an *yajñopavīta*, a *udarabandha* and a fine *hāra*; the ears are adorned with two different kinds of *kuṇḍalas* and the head is surmounted with a *karaṇḍa-makuṭa*, round which there is a *prabhā-maṇḍala*.

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Pl. CXXV is the photograph of Subrahmaṇya with his consorts and resembles the other two photographs described above. The only difference consists in that the figure of Subrahmaṇya in this instance bears the *śakti* and the *kukkuṭa* in its back right and left hands respectively, while, as in the other instances, the front right and left hands are kept in the *abhaya* and the *varada* poses [Figure: Subrahmaṇya with his consorts Dēvasēnā and Vallī: Stone: Kumbhakōṇam.]

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Fig. 1. Subrahmaṇya with his two consorts : Ivory : Trivandrum.

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Fig. 2. Sikhivāhana : Stone : Kumbhakōṇam.

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Fig. 3. Sēnāpati : Stone : Madras Museum.

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Shanmukha : Stone : Paṭṭīśvaram.

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respectively. The person of Subrahmaṇya is elaborately adorned with all sorts of ornaments.

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Fig. 1, Pl. CXXVI is a piece of ivory carving executed in the School of Arts at Trivandram and closely resembles the previous sculpture. Fig. 2 on the same plate represents Subrahmaṇya as seated upon the peacock; the right leg is hanging while the left one is bent and rested upon the peacock. The front hands are in the abhaya and the varada poses, and the back hands keep in them the śakti and the vajra. Fig. 3 on the same plate portrays Subrahmaṇya as seated upon the peacock, embracing his consort with his right arm and keeping in his left hand a bow; whereas the Dēvī embraces her lord with her left arm and carries in her right hand an arrow. Fig. 2 may be taken as Śikhivāhana and fig. 3 as Sēnāpati.

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Pl. CXXVII illustrates the description of Shaṇmukha. This beautifully carved figure belongs to the Śiva temple at Paṭṭīśvaram. It has twelve arms of which two are held in the abhaya and the varada poses and the remaining ones carry the śakti, ṭaṅka, chakra, khaḍga and musala (or pāśa?) and vajra, dhanus, bāṇa, khēṭaka and śaṅkha. The figure has six heads of which three are visible in the photograph. Behind the figure of Subrahmaṇya is his peacock.

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Pl. CXXVIII is almost similar to the previous one; in addition to the weapons mentioned in the last plate, there is in this a śaktyāyudha made separately and kept leaning on the back arms. The padmāsana upon which this image stands is hexagonal, specially so made to agree with the six faced nature of the deity for whom it serves as a pedestal.

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Pl. CXXVIIIa is a piece of sculpture which is to be found in the temple at Aihole and represents Tārakāri. In this Subrahmaṇya is seen riding a peacock and spiritedly attacking the fallen Tārakāsura with his śaktyāyudha which he wields with his right hand. The left hand carries the vajra. On either side of Subrahmaṇya are two Dēvas in the āḷiḍhāsana posture, flying in the air and praising him. Above and on either side of the central figure are two persons carrying offerings and flower garlands.

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Pl. CXXIX is a fine piece of sculpture to be seen in the front maṇḍapa of the temple of Śiva at Tirupparankuṉṟam near Madura. It represents the scene of the marriage of Subrahmaṇya with Dēvasēna. Subrahmaṇya is standing on the right with his right hand stretched out to receive the water which Indra is ready to pour from a water vessel, standing behind Dēvasēna on the left.

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Shanmukha Bronze: Nallūr.

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Tārakāri-Subrahmaṇya : Stone : Aihoḷe.

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Dēvasēnā-Kalyāṇasundaramūrti : Stone : Tirupparaṅkuṉṟam.

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Subrahmaṇya has in the front left hand a lotus and in the back left one the śakti; it is not apparent from the photograph what other object is held in the back right hand.

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Indra is seen keeping in the right hand the ṭaṅka and in the left the vajra and with his right hand he is pouring water into the hand of Subrahmaṇya.

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Brahmā is seated in a countersunk surface below doing hōma (fire offerings) in connection with the marriage of Subrahmaṇya.

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The modesty of the bride is very well portrayed in this piece of sculpture.

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The Kumāra-tantra gives the description of the dvārapālakas of the shrine of Subrahmaṇya. They are called Sudēha and Sumukha; both of these are said to be brāhmaṇas. They should be represented with one face and two or four arms. If they possess two arms only, the right hand should be held in the abhaya pose and the left hand should keep a gadā. If they have four arms, the back hands should keep in them the vajra and the śakti and the front hands as in the case of the two-armed figure. One of these should be of red complexion and the other black; they must be adorned with all ornaments and should have side-tusks. Their head must have the karaṇḍa-makuṭas.

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Sudēha should be to the right and Sumukha to the left of the entrance.

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Another attendant of Subrahmaṇya is called Sumitra. His story is given thus in the Kumāra-tantra. There once lived a good brāhmaṇa named Svarṇāksha in Kāśi; he had a son named Sumitra who had been worshipping Skanda in due form during his three consecutive births. Subrahmaṇya was pleased with his devotion to himself (Subrahmaṇya) and gave him the name Sumitra (a good friend) and made him the head of the gaṇas and gave him a place near him. Then follows a description of the image of Sumitra; Sumitra should be sculptured according to the uttama-nava-tāla measure, with two eyes, two arms and a red complexion. He should have a fine looking face and should be youthful possessing side-tusks. The head should be covered with a karaṇḍa-makuṭa hiding his tuft of hair or a jaṭā-makuṭa. The right hand should carry the śakti and the left hand should be kept on the hip (kaṭyavalambita). Or, the hands may be kept in the añjali pose on the chest. He may be sculptured either as seated or as standing on a padmāsana.

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Pl. CXXX is the reproduction of the photograph of Sumukha the left gate-keeper of the shrine of Subrahmaṇya in the great Śiva temple at

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Dvārapālaka of the Subrahmanya shrine; Stone : Tanjore.

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Tanjore. The front right hand of the image bears a short sword, while the front left hand carries a shield; the back right hand is in the *sūchi* pose and the back left hand in the *vismaya* pose. The right leg of the figure of Sumukha rests upon the head of a lion, and the left foot of the image stands upon a *padmāsana*. It is one of the finest pieces of sculpture to be found in the Brihadīśvara temple at Tanjore.

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Uniform. The front of the tunic is fastened by a row of buttons, while the back is cut in two pieces; the skirt is short, and the sleeves are tight. The coat is fastened in front by a row of buttons, and the skirt is short. The figure on the right wears a tunic, a short coat, and a pair of trousers. It is one of the finest pieces of sculpture.

Linked texts (9)

Kāmikāgama — Sanskrit
Mānasāra — Sanskrit
Mārkaṇḍeyapurāṇa — Vyāsa, Sanskrit
Kumārasaṃbhava — Kālidāsa, Sanskrit
Bhaviṣyapurāṇa — Vyāsa, Sanskrit
Mahābhārata — Vyāsa, Sanskrit
Vālmīkirāmāyaṇa — Vālmīki, Sanskrit
Tattvanidhi — Kṛṣṇadevarāya, Sanskrit
Kumāratantra (Rāvaṇa) — Rāvaṇa, Sanskrit