Elements of Hindu Iconography v4.c32: Brahma

Elements of Hindu Iconography v4.c32

Language: English

Brahma

v4.c32.2

THE history of Brahmā has incidentally been given here and there in the first volume of this work as also in a previous portion of the present one. It has already been stated that Brahmā was born in a golden egg and was therefore known as Hiraṇyagarbha; that he sprang from the waters and the ether; that he took the form of a boar and lifted up the earth from the ocean; that he took the avatār of a fish; that he was born from the lotus that issued from the navel of Viṣṇu; that he was the father of Dakṣa and other Prajāpatis (patriarchs), that he disputed the superiority of Viṣṇu over himself and that when, in connection with the dispute, Śiva appeared between them in the form of a pillar of fire, he (Brahmā) went up to search for its upper end and failed to do so; that he was born to the ṛishi Atri and his wife Anasūya as one of the aspects of Dattātrēya; that he served as a charioteer of Śiva when the latter attacked the Tripurāsuras; and that he acted as purōhita (officiating priest) in the marriage of Śiva and also of Subrahmaṇya; and many other things have also been mentioned about him.

v4.c32.3

It is well-known that Brahmā (who is to be carefully distinguished from Brahma in the neuter gender) is a member of the later Hindu Trinity; but he is not held now in such great importance as the other two members of the Trinity. No temples are dedicated for his exclusive worship, nor is there any sect or class owing special and exclusive allegiance to him; in other words, there is no Brahmā cult as we have the Vaiṣṇava and the Śaiva cults with a large number of adherents, ever quarrelling over the superiority of their own particular sect or god. Hence it is believed by some people that Brahmā is offered no pūjā on earth now, and is not worshipped at all. This opinion is far from the truth. As has been elsewhere remarked, there exists (and should exist), no temple which has not got all the three members of the Trinity, be it a Śiva’s temple or Viṣṇu’s. The niche on the northern wall of the central shrine of the Viṣṇu’s or Śiva’s temple should contain an image of Brahmā and must receive daily pūjā. He is one of the most important of the parivāra-dēvatās of the first prākāra of a Viṣṇu

v4.c32.4

or Śiva temple. Nor are instances of a separate temple dedicated exclusively to Brahmā wanting in India, though they are very few and far between. Even such a very late production on images and temples like the Rūpamaṇḍana has got a complete description of a temple of Brahmā and mentions its parivāra-dēvatas, the dvārapālakas etc., facts which clearly indicate that the building of separate temples for Brahmā had not yet become unknown. Elaborate descriptions of the images of Brahmā are found in almost all works of authority.

v4.c32.5

The Rūpamaṇḍana says that the four peaceful looking faces of Brahmā are symbolic of the four Vēdas, the four Yugas, and the four Varṇas. Formerly Brahmā had five heads, but one of them was cut off by Śiva. The four heads should be respectively facing the four quarters. Brahmā should have four arms; he may be standing, seated on either a padmāsana or a haṃsa (swan). The Śilparatna mentions another seat called the lamba-kūrchāsana for Brahmā; the phrase literally means a seat composed of long grass; it perhaps is meant to indicate a seat or mat made of grass. If he is to be represented as seated, he should be shown in the yōgāsana posture; if standing, then on a padma-pīṭha. The complexion of Brahmā should be chrome-yellow and the colour of his eyes a mixture of red and yellow (orange). On his head should be a *jaṭā-makuṭa* and he should be adorned with all ornaments; there should be on his chest a white *yajñōpavīta*. His body should be covered with a coat of white sandal paste and he should be wearing a garland of white flowers. A *kaṭisūtra* (or waist-band) should go round the loins. The undergarments should consist of white clothes and the upper portion of the body should be covered with a deer’s skin worn in the *upavīta* fashion. There should be golden or ruby *kuṇḍalas* in the ears. The *Suprabhēdāgama* states that the colour of *jaṭās* on his head should be of red colour and the *Śilparatna* and the *Viṣṇupurāṇa* would have the colour of Brahmā white and crimson respectively. The hands of Brahmā may carry the following articles or may be held in the following poses :—

v4.c32.6

(1) There may be the *akṣamālā* and the *kūrcha* (a handful of *kuśa* grass) in the right hands and *kuśa* and *kamaṇḍalu* in the left hands ; or

v4.c32.7

(2) the *sruk* and the *sruva* in the right hands and the *ājya-sthālī* (ghee-pot) and *kuśa* grass in the left ones ; or

v4.c32.8

(3) the front two hands may be held in the *abhaya* and *varada* poses the back hands carrying

v4.c32.9

Brahmā: Bronze: Madras Museum.

v4.c32.12

Fig. 1. Brahmā : Stone : Tiruvoṟṟiyūr.

v4.c32.13

Fig. 2. Brahmā : Stone : Madras Museum.

v4.c32.14

the *akshamālā* and the *kamaṇḍalu* (See Pl. CXLII); or

v4.c32.15

(4) the front right hand may be placed with its palm facing below on the palm of the front left hand which is facing above and both resting upon the crossed legs; and the back hands carrying, as in the former case, an *akshamālā* and a *kamaṇḍalu*; or

v4.c32.16

(5) the front right hand may be in the *varada* pose, the back right hand carrying a *sruva* and the back left hand a *sruk* and the front left hand a *kamaṇḍalu* (See fig. 2, Pl. CXLIII); or

v4.c32.17

(6) the front right hand should keep an *akshamālā*, the back right hand a *sruk*, the back left hand a *pustaka* (book) and the front left hand a *kamaṇḍalu*.

v4.c32.18

The *Vishṇupurāṇa* requires that Brahmā's eyes should be closed as in the attitude of *dhyāna* or meditation and the *Rūpamaṇḍana* prescribes a beard for him. The former authority also adds that he should be seated in a chariot drawn by seven swans. To the right and left of Brahmā should be his consorts Sarasvatī and Sāvitrī respectively. Their persons should be adorned with all ornaments and they must be naturally also very beautiful; or, it is enough to represent Sāvitrī alone with Brahmā seated on his left side or on his left lap. According to the *Śilparatna* there ought to be four *Vedas* and the *ājya-sthālī* placed in front of Brahmā and he should be surrounded on all sides by *rishis*.

v4.c32.19

The *Rūpamaṇḍana* gives the following description of Sāvitrī; she should have four faces and four arms; in the hands she should carry an *akshamālā*, a book, a *padma* and a *kamaṇḍalu*. She is a deity who is meant to bestow all good to the *Śrōtriya* Brāhmaṇas.

v4.c32.20

In a temple exclusively dedicated to Brahmā, there should be set up in the central shrine that aspect of his, named Viśvakarma. In this form Brahmā has, as usual, four heads and four arms; in his hands there should be the *akshamālā*, a book, a bundle of *kuśa* grass (?) and a *kamaṇḍalu*; and he should be seated upon a swan (See Pl. CXLIV). The following *parivāra-dēvatas* are required to be set up in the eight quarters beginning from the east and going round clockwise, namely, Ādiśēsha, Gaṇēśa, the Mātṛikās, Indra, Jalaśāyi, Pārvatī and Rudra, the Navagrahas and Lakshmī respectively. Below is given a table mentioning the names of the Dvārapālakas of the temple of Brahmā and the articles held by them in their hands :—

v4.c32.21

Brahmā : Stone : Aihoḷe.

v4.c32.22

v4.c32.23

All these eight Dvārapālakas should be represented as of terrific nature and with beards. There should be makuṭas on their heads. A large number of ṛishis also with moustaches and jaṭas, carrying in their hands the akṣamālā and the kamaṇḍalu, should be seated in the temple of Brahmā and be meditating upon him.

v4.c32.24

Nine photographs are given in illustration of the images of Brahmā; the originals belong to the various parts of India and are of different varieties; they exhibit the general natural characteristics of the country to which each belongs. Of these, the picture on Pl. CXLIV, is that of Brahmā found in the Śiva temple at Aihoḷe in the Bijāpūr district of the Bombay Presidency. Brahmā is here seated upon a padmāsana with his left leg hanging and the right one kept bent and supported on the seat. He has in his front right hand an *akshamālā*, in the back right hand a *pāśa* (?), in the back left hand a *kamaṇḍalu* and the front left hand is kept in the *varada* pose. He wears *jaṭā-makuṭas* on his heads and has an *yajñōpavīta*, *kaṭisūtra* and other ornaments. To the right and left are two women (whose arms alone are visible in the photograph) carrying flower garlands held over the head of Brahmā; probably they represent the goddesses Sarasvatī and Sāvitrī. At the base of the seat and on the left is seated a *rishi* with his hands held in the *añjali* pose (these alone are visible in the picture) and correspondingly on the right is a *hāmsa* (whose tail, one wing and one leg alone are visible in the photograph).

v4.c32.25

The second photograph, (Pl. CXLV), is that of a sculpture to be found in Sopāra in the Ṭhāṇa district of the same Presidency. It is a standing figure of Brahmā. As in other pieces of sculpture, this one also has a pointed beard for the middle face only. On the head are *jaṭāmakuṭas* and a *yajñōpavīta* graces his body; there are also the *kaṭisūtra* and other ornaments. In the right front hand of the image is held apparently a lotus; in the back right hand, is the *sruk*, in the back left hand a *kūrcha* and in the front left hand Brahmā: Bronze: Karachi Museum, Sind.

v4.c32.26

Brahmā : Stone : Sōpāra, Ṭhaṇa District.

v4.c32.27

Brahmā : Stone : Aihoḷe.

v4.c32.28

Brahmā : Stone : Haḷēbīḍu.

v4.c32.29

Brahmā : Stone : Kumbhakōṇam.

v4.c32.30

Left view.

v4.c32.31

Back view.

v4.c32.32

Front view.

v4.c32.33

Right view.

v4.c32.34

a *kamaṇḍalu*. On either side of the figure of Brahmā stands a female figure, apparently carrying in their hands bundles of *kuśa* grass. To the left of Brahmā is his vehicle, the swan, and to the right a *brahmachārin* boy. Here, the figure of Brahmā has a big belly, which is bound up, with a *udara-bandha*. Fig. 2, Pl. CXLIII is exactly similar to the Sopāra sculpture, but belongs to the Chālukya-Hoysaḷa style.

v4.c32.35

The illustration, fig. 1, (Pl. CXLVII), comes from the Nāgēśvarasvāmin temple at Kumbhakōṇam. It is almost like the Sopāra figure; the points of difference being that the central face has not got a beard; the front right hand is in the *abhaya* pose and the back right carries ana *kshamālā*; the back left hand has a *kamaṇḍalu* and the front left hand is resting upon the thigh (*katyavalambita hāsta*). The workmanship is excellent and the effect is very pleasing.

v4.c32.36

The next plate, (Pl. CXLVIII) contains the photographs of the front, back and the side views of a very beautiful figure of Brahmā; they were supplied to me by the Superintendent of Archæology of the Western Circle. This figure of Brahmā is peculiar in that it has only two arms instead of four as required by the *āgamas*: the right one of these is held bent with the palm turned inwards. What this hand-pose indicates is not plain. The other arm is also bent and is carrying a *kamaṇḍalu*, whose neck alone now remains in the sculpture. On the heads are *jaṭāmakuṭas* and the underwear is a fine cloth whose folds and creases are beautifully arranged by the artist. On the left shoulder is thrown in an artistic manner a deer-skin, the head and forelegs of the deer being well visible in the side view. On the whole this piece of old sculpture is an excellent specimen of the art of India.

v4.c32.37

The next illustration (Pl. CXLIV) is also from Aihoḷe. Brahmā is seated in the centre on a swan. He has in his hands an *akṣamālā*, a lotus (?), the *kūrcha* and a *kamaṇḍalu*. Surrounding him are *ṛishis*, three on either side, a young boy is taking lotus flowers in his hands to Brahmā and another is seen on the top right hand corner of the panel. The *ṛishis* are here represented as being very emaciated presumably by reason of their austerities. The photograph next reproduced is that of an image of Brahmā to be found in the Madras Museum. It belongs to the Chālukya-Hoysaḷa School and is a standing image, carrying in its hands an *akṣamālā*, *sruva*, *pāśa* and *kamaṇḍalu*. Here all the faces of Brahmā have pointed beards.

v4.c32.38

The original of the next photograph, fig. 2, Pl. CXLVII, is in the Hoysaḷēśvara temple at Haḷebīḍu

v4.c32.39

and is of the later Hoysaḷa period. It is also a standing figure, under a very artistically and delicately carved umbrella and *prabhāvaḷi* and ornamented with beautifully executed ornaments. It carries in its hands an *akshamālā*, a *pāśa* the *sruk* and the *sruva* and a *kamaṇḍalu*. On either side of Brahmā stands a woman carrying a *chāmara* (chauri); perhaps they represent Sarasvatī and Sāvitrī.

v4.c32.40

In the Madras Museum is preserved a beautiful bronze image of Brahmā seated under a *prabhāvaḷi*, whose photograph is reproduced in Pl. CXLII; this image has *kirīṭamakuṭas* instead of *jaṭāmakuṭas* on the heads. The front right hand is held in the *abhaya* pose and the front left hand in the *varada* pose; while the back right hand carries an *aksha-mālā* and the back left hand a *kamaṇḍalu*. Bronze images of Brahmā are very rare and especially the one like the Madras Museum image, which is an *utsava-vigraha*, is met with very rarely, if at all. This image clearly points to the existence of Brahmā worship, even with grand festivals and processions, as would appear to be unmistakably evidenced by this *utsava-vigraha*.

v4.c32.41

The next illustration, fig. 1, Pl. CXLIII, is from the temple at Tiruvorriyūr. The original is found in the niche in the north wall of the shrine of Gauḷēśvara in the Śiva temple at that place. It belongs to the latter part of the eleventh century A. D. and does not differ from the Kumbhakōṇam image.

v4.c32.42

The last illustration, Pl. CXLIX, is the reproduction of the photograph of the figure of Brahmā found in the north niche of the central shrine of the Śiva temple at Tiruvadi. In its back right hand, is the *akshamālā*; the front right one seems to have been held in the *abhaya* pose; the back left hand and the front left one are carrying the *kamaṇḍalu* and a book respectively. It is one of the finest pieces of sculpture of Southern India.

v4.c32.43

Brahmā: Stone: Tiruvadi.

Linked texts (6)

Suprabhedāgama — Sanskrit
Śvetāmbara Āgama — Ardhamāgadhī Prakrit
Viṣṇupurāṇa — Vyāsa, Sanskrit
Aihole
Śilparatna — Śrīkumāra (Śilparatna) 1500, Sanskrit
Rūpamaṇḍana — Maṇḍana, Sanskrit