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Elements of Hindu Iconography v4.c35.s2: (ii) Nagādeva and the Nagas

Elements of Hindu Iconography v4.c35.s2

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(ii) Nagādeva and the Nagas

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The Nāgas are, according to the purāṇic authorities, a race of serpents who inhabited the Pātāla-lōka or the nether regions. The Mahābhārata and the Varāhapurāṇa give the origin of the Nāgas. By Dākshayaṇī, the daughter of Daksha, Kaśyapa begot the seven serpents beginning with Vāsuki. Their progeny increased and the world was flooded with serpents to the great detriment of man. The latter complained to Brahmā about the hardship caused to them by the serpents. Brahmā summoned the serpents to his presence and cursed them to be ruined by the imprecations of their mother which she uttered in the Svāyambhuva-manvantara and banished them to the Pātāla-lōka with the command that they should not bite any human beings, except those who were predestined to die a premature death and those that were really bad. We learn from the Mahābhārata that the Nāgas were the sons of Kadru and Kaśyapa, that they induced their step-brother Vainatēya (Garuḍa) to fetch for them the amṛita (ambrosia) preserved in the kingdom of Indra, that they were made to grant freedom to Vinata and her sons from the voluntary bondage they had entered into under Kadru, that they were deprived of the amṛita brought down by Garuḍa, that Indra carried it away once again to his abode, that by licking the *kuśa* grass on which the vessel of *amṛita* was placed they had their tongues split in twain and other accounts. In historical times, portions of India were inhabited by a race of men who went by the name of the Nāgas and they are said to have formed the majority of persons who joined the newly started Buddhistic religion. Some scholars of Malabar are inclined to believe that the modern Nāyars (Śudras) of Malabar might be descendants of the early Nāgas, a name which, in modern times might have been corrupted into Nāyars. The hypothesis is more fictitious and fanciful, than real and tenable.

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The Nāgas are believed to have been born on the Pañchamī *tithi* of the bright half of the month Śrāvaṇa and the whole of India offers *pūjās* to the Nāgas on this day, except the Draviḍa brāhmaṇas; in Southern India the Mahrāṭa and the Kannaḍa women observe the previous day, the *chaturthi*, also as sacred to the Nāgas, a custom which is nowhere seen to be observed. It is a common sight all over India to meet with the Nāga images set up under big pipal trees by scores and worshipped occasionally. Childless people take a vow to set up the images of Nāgas in anticipation of being blessed with children and celebrate the Nāgapratishṭhā ceremony with great pomp and at great expenditure.

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A description is found in the *Amśumadbhēdāgama* of Nāgadēva, which appears to be that of the chief of the Nāgas. It states that the image of Nāgadēva should have three eyes, four arms, a beautiful countenance and be of red colour. The image should be adorned with a *karaṇḍa-makuṭa* on its head and all other ornaments on its person and should be standing upon a *padma-pīṭha*. The hands of the front arms should be kept in the *varada* and *abhaya* poses, while the back hands should be keeping each a snake in it. Over the head of Nāgarāja should be a hood of a five headed cobra and he must be draped in white clothes.

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The *Śilparatna* adds that the Nāgas should be half human and half serpentine in shape, the lower part, below the navel being that of a snake. Their heads must be covered with hoods having one, three, five or seven heads and they should have split tongues like those of snakes. In their hands they must carry a sword and a shield respectively. The *Maya-śilpa* gives the detailed descriptions of the seven great Nāgas, Vāsuki, Takshaka, Kārkoṭaka, Padma, Mahāpadma, Śaṅkhapāla and Kuḷika as follows:—

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Fig. 1. Nāga and Nāgiṇī: Stone: Halebīḍu.

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Fig. 2. Nāgiṇī: Stone: Madras Museum.

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The colour of Vāsuki is pearl-white; that of Takshaka glistening red and he must have on his hood the mark of the *svastika*. The colour of Kārkoṭaka is black and on his hood there should be three white stripes; Padma is of the rosy hue of the lotus flower, with a white streak and adorned with coral ornaments. The colour of Mahāpadma is white with the mark of *triśūla* on his hood; whereas that of Śaṅkhapāla, is yellow with a white streak on his hood; the colour of Kuḷika is also red and his hood bears the mark of the crescent moon. All these seven great serpents should have two tongues and two arms and a hood with seven heads held over their human heads bearing on them gems. They must all be clad in one or three coats and carry in their hands an *akshamālā* and a *kamaṇḍalu*.

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Two photographs are reproduced in illustration of the descriptions given above. Fig. 1, Pl. CLVII, is the photograph of the Nāga and Nāgiṇī to be found in the Hoysaḷēśvara temple at Haḷebīḍu. The lower parts of these are in the form of snakes and are entwined with each other. The head of the Nāga has over it a hood of cobra with seven heads, whereas that of the Nāgiṇī one of three heads. The Nāga bears in his right hand a sword and is embracing with his left arm his consort. The Nāgiṇī bears a lotus flower in her left hand and embraces with her right arm her consort. The human head of the Nāga is adorned with a karaṇḍa-makuṭa and that of the Nāgiṇī with a knot of hair.

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Fig. 2 on the same plate is that of a piece of sculpture of a Nāgiṇī preserved in the Madras Museum. As in the previous instance the Nāgiṇī has her lower half that of the snake. She has on her head a karaṇḍa-makuṭa which is covered by a cobra hood with three heads in it. She carries a sword and a shield in her right and left hands respectively.

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(iii) SĀDHYAS.

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According to the Nirukta the word Sādhya means a ray of light. The gods who abide in the sky and absorb water and other liquids are said to be the Sādhyas. They are said to be adorable even by the gods.

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The Sādhyas are twelve in number and are named, according to the Agnipurāṇa, Māna, Manta, Prāṇa, Nara, Apāna, Vīryavān, Vinirbhaya, Naya, Daṃśa, Nārāyaṇa, Vṛisha and Prabhi. These are said to be the sons of Dharma and were great souls (mahātmas). The images of Sādhyas should be represented as seated upon padmāsanas and as carrying in their hands the *akṣamālā* and the *kamaṇḍalu*.

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(iv) ASURAS.

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The Asuras and Rākṣasas are very old demi-gods. They are often mentioned in the Vēdic period. The Nirukta says that the word *asura* implies a cloud that sprinkles water. The dark mass of cloud was evidently personified into a wicked being which required to be chastened by Indra to pour down rain. The *asuras* are included in the Pañchajana which, according to the Nirukta was composed of the Gandharvas, the Pitṛis, the Dēvas, the Asuras and the Rākṣasas ; but Śāyaṇa enumerates them as the gods, men, serpents, Gandharvas including the Apsarasas and the Pitṛis. From the *Taittirīyasaṃhitā* we learn that the earth once belonged to the *asuras* and the gods had only a very small place on it. The gods asked the *asuras* for more, upon which the *asuras* desired to know how much of the land they would require. The Dēvas replied “as much as this she-jackal can go round in three steps.” The *asuras* consented to grant this request of the Dēvas and Indra assumed for the occasion the form of a she-jackal and stepped round the whole of the earth in three strides. Then again we learn from the *Śatapatha Brāhmaṇa* that the gods became distinguished from the *asuras* under the following circumstances : being the descendants of Prajāpati, they both obtained their father’s inheritance, namely, speech,—true and false; they both spoke truth and falsehood. The gods then abandoned falsehood and took exclusively to truth. As a consequence, the gods became weaker and poorer. The poet admits naively that truth certainly reduces people at first to the conditions mentioned above, but that the gods ultimately became prosperous. The asuras, on the other hand, took to falsehood and indulged solely in it. Truth became in after-times the triple science (trayīvidyā). In other ways also the asuras sank lower in status than their brothers the devas. In striving to attain higher positions, the asuras did not know to whom they should offer their oblations and through presumption went on taking them into their own mouths, whereas the gods offered the oblations to each other. Because of their presumption, the asuras were overcome by the devas. In the Aitihāsic period the Rākshasas are often described as dark, ugly, impure people, addicted to man-eating.

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The images of asuras are required to be made in a variety of forms with terrific appearances, having fearful side tusks, ugly eyes surmounted with curling awkward brows, and carrying several kinds of weapons. They should be adorned with all ornaments, including the kiriṭa and the kuṇḍalas.

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Fig. 1. Dvārapālaka of the Śiva Temple: Stone: Kāvērīpākkam.

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Fig. 2. Apsaras: Stone: Śrīnivāsanallūr.

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(v) APSARASAS.

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The Apsarasas are so called because they are said to have sprung from the waters when the ocean was churned for obtaining ambrosia (amṛta). They are believed to be celestial nymphs with no one as their particular husbands and that they were courting human heroes as they ascended the heaven. In the Uttara-kāṇḍa of the Rāmāyaṇa we are told that Rāvaṇa considered the apsarasas as mere courtezans, without any husbands and with this conviction he ravished against her protestations Rambhā, the most beautiful of all the apsarasas, even though she pointed to him that she being the wife of Naḷakuvēra, the son of his (Rāvaṇa's) brother Kubēra. The apsarasas are said to be seven in number and the names of the most important of these are given as Rambhā, Vipulā, Urvasī, and Tilōttama.

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In sculpturing the images of the apsarasas they should be represented as having slender waists, large gluteals and well developed busts. They should all look very pretty with a smiling countenance and adorned with all ornaments and draped in silk garments. They must be standing erect (sama-bhaṅga) on bhadra-pīṭhas.

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(vi) PIŚĀCHAS.

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Who this class of beings are is not clearly known; but that they are known to have been referred to from very early times is evident from literature. Their images are required to be represented as of extremely emaciated appearance, with the knobs of the bones jutting out and the veins visible under the surface of the skins; they must be composed of the bones, tendons and skin only. The hair on their head should be stiff and spread out.

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(vii) VĒTĀḶAS.

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Another obscure class of beings are the Vētāḷas, whose descriptions in the āgamas are not very different from those of the Piśāchas. The only difference between them is that the latter should be tall in stature, with parched up belly and projecting cheek-bones.

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(viii) PITṚIS.

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Hiraṇyagarbha Manu had Marīchi and other sons; the sons of these latter are known as the Pitṛis or Pitṛigaṇas. Mention is made of seven such gaṇas and they are as follows:—

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(a) Virāṭ's sons were the Pitṛis of the Sādhyas and were called the Sōmasad.

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(b) Marīchi's sons, those of the Dēvatas and were called the Agnishvātta.
(c) Atri's sons, those of the Daityas, Dānavas, Yakshas, Gandharvas, Uragas and the Rākshasas and were called the Barhishad.
(d) Kavi's (Śukrāchārya's) sons, those of the Brāhmaṇas and were called the Sōmapa.
(e) Aṅgiras' sons, those of Kshatriyas and were called the Havirbhuja.
(f) Pulastya's sons, those of the Vaiśyas and were called the Ājyapa, and
(g) Vasisṭha's sons, those of the Śūdras and were called the Sukalins.

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In giving the description of the Pitṛis, the āgamas state that they are three in number and that they must be seated either on the same wooden seat or on a bhadra-pīṭha; the three pitṛis are the father, the grandfather and the great grandfather. These must be sculptured as old but good looking and strong people of yellow colour, draped in yellow garments and wearing each an yajñōpavīta. On their head must be the kēśa-bandha and they should be adorned with all ornaments: their body should be smeared with ashes (bhasma). They should have nice teeth and have with them a walking stick and an umbrella. The pitṛis should have only two arms of which the left one should be kept stretched out on the knee of the bent left leg; the right hand should be held in the sūchi-hasta pose. The Viṣṇudharmōttara states that the pitṛis should be seated upon kuśāsana (mat made of kuśa or on spread out kuśa grass) and that they should carry the piṇḍapātra or the vessel to receive the rice-balls offered to them by their living descendants.

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(ix) ṚIṢIṢ.

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The word ṛiṣi, according to the Nirukta, means the rays of the sun and these are said to be seven in number. By an extension of meaning the term came to be applied to the ṛiṣis, the seers; just as the sun's rays spread everywhere and disclose the existence of all things, the seers or the ṛiṣis are able to perceive everything. Again, the Śatapatha Brāhmaṇa considers the ṛiṣis as breaths and derives the word ṛiṣi thus: “In as much as before all this Universe, they, desiring this Universe, were worn out (arishan) with toil and austerity therefore they are ṛiṣis.” Later on, the ṛiṣis were regarded as those who had reached the other end (pāragas) of jñāna and saṃsāra. The origin of the ṛiṣis according to the Nirukta is as follows:—Brahmā took some dirt from his

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body and sacrificed it to the fire. From the flames there emanated the *rishi* Bhr̥igu (=fried in the fire). After the fire subsided, another *rishi* arose from the live charcoal (*angāra*) and was therefore called Āṅgiras. A third *rishi* was predicted to be born after the two former from the same fire and was called Atri; the name Atri is also capable of meaning not-three and hence that the number of *rishis* was not going to stop with three and that some more were to be born from the *kuṇḍa* (fire-pit). When the *agni* was removed and the *kuṇḍa* dug out a *rishi* came into existence from the place where the *kuṇḍa* stood. He was known as Vaikhānasa. The *Brahmāṇḍapurāṇa* gives a slightly different account of the birth of the *rishis*. Marīchi was born first; at the time of the *yāga* was born Kratu. A third came into existence saying *aham tritiya*, I am the third, and was hence known as Atri. Then again a fourth with thick hair was born and was called Pulastya; a fifth with flowing hair and called Pulaha was next born. From the heap of coins and other *dakshiṇas* (presents) placed in the *yāga-śālā* (sacrificial ground) was born another *rishi* and he was called Vasisṭhtha. All these were the mind-begotten sons of Brahmā and it is from these all other beings including the Pitr̥is were generated.

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The *rishis* are grouped into seven classes. Vyāsa and others are called the Mahārishis; Bhēla and others, the Paramarishis; Kaṇva and others, the Dēvarishis; Vasisṭhtha and others, the Brahmarishis; Śuśruta and others, the Śrutarishis; Ṛituparṇa and others, the Rājarishis and Jaimini and others, the Kāṇḍarishis.

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The names of the seven *rishis* differ from *manvantara* to *manvantara*.

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Jñāna or opinion is of two kinds, *vidyā* (true) and *avidyā* (false); the former of these arises from perception, inference and recollection and the infallible intuition peculiar to the *rishis*. The *rishis* possessed an intuition which was peculiarly their own and was shared slightly by the ordinary mortals. We learn that the *rishis* who lived of old and who conversed about sacred truths with the gods directly, led a conjugal life; whenever they wanted anything they approached straight the gods with metrical composition in praise of these gods; thus supernatural powers came to be attributed to these sages. The *rishis* seem also to be divided into the ancient and the modern, the former being Bhṛigu, Āṅgiras and others. It is worth noting that the *rishis* were called also *kavis* (poets) *mēdhāvins* (wise men), *vipra* (learned men) *vipaśchit*, *vēdhas*, (words meaning also the learned men), *muni* (the thoughtful), etc.

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The *āgamas* give the names of the seven *rishis* differently; thus, the *Amśumadbhēdāgama* has Manu, Agastya, Vasisṭha, Gautama, Āṅgiras, Viśvāmitra and Bhāradvāja; whereas the *Supra-bhēdāgama* enumerates them as Bhṛigu, Vasisṭha, Pulastya, Pulaha, Kratu, Kaśyapa, Kauśika and Āṅgiras; and the *Pūrvakāraṇāgama*, Agastya, Pulastya, Viśvāmitra, Parāśara, Jamadagni, Vālmīki and Sanatkumāra. We have perhaps to understand that each of these authorities gives the names as they obtained in different *Manvantaras*.

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The images of the *rishis* should be sculptured as either seated or standing on a *padma-pīṭha*; they must be shown as peaceful old people with flowing beards reaching up to the chest, with *jaṭāmakuṭas* on their heads, *yajñōpavītas*, and with their foreheads marked with three streaks of *vibhūti* (*bhasma* or ashes). They may have in their hands a walking stick and an umbrella or they may keep the right hands in the *jñāna-mudrā* pose and rest the left arms on the knee of the left leg which must be bent and resting upon the seat. They should be clothed in garments made of barks of trees, which should be held in position by *kaṭi-sūtrās*; their upper wear should be white clothes.

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