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South-Indian Images of Gods and Goddesses c8.s4: VI

South-Indian Images of Gods and Goddesses c8.s4

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English

VI

c8.s4.1

We now come to the *avatār* of Rāma, Rāmachandra or Rāmabhadra, the hero of the beautiful epic *Rāmāyaṇa*, which in its various aspects has permeated the life of the Indian people and moulded their character to a great extent. Rāma was the eldest son of Dasaratha, the king of Ayōdhyā (Oudh). As such, his images do not, like those of the *avatārs* so far described,—*avatārs* which were sudden outbursts of divine energy—exhibit either the four arms of the gods or the distinguishing Vaishnavite symbols of conch, discus, club and lotus. Human in form, but god in essence, Rāma is always represented as a royal personage of bewitching beauty, well developed in body, having broad eyes, long arms, curly tresses, ornaments and auspicious marks that indicate high birth and noble character. Paintings of Rāma’s life are numerous and cover the whole period of his history from his birth to his passing away bodily from this world into the depths of the Sarayū river. In many South-Indian temples may be observed scenes from the *Rāmāyaṇa*, either painted on the walls or cut into panels, forming continuous belts round the central shrine or the *prākāra* wall.¹ When represented as the consecrated deity within a temple, Rāma is generally seen to be a standing figure with his queen Sītā on the left and his faithful brother Lakshmana on the right. He and his brother hold bows and arrows. The bow is called *kōdanda* and so Rāma with the bow is sometimes known as Kōdanda-Rāma.

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¹ For example, in the Hazāra-Rāmasvāmin temple at Hampi; in the Rāmasvāmin temple at Kumbakōnam; and in the Tennapuram temple at Chandragiri, Chittoor district.

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In the accompanying illustration of metallic images from Rāmēsvaram (fig. 23) the positions of Sītā and Lakshmana are interchanged and the arrows and quivers are missing. The two images at either extreme represent their faithful servant Hanumān (see below p. 64). As stated in the *Silpasangraha*, the figures of Rāma are distinguished as independent and dependent. In the former case he stands alone and has four arms, two of which hold the bow and the arrow and the other two, the conch and the discus. In the latter he has two arms and may be accompanied by his three brothers, his queen Sītā, the monkey hosts and the Rākshasa chiefs headed by Vibhīshana. Rāma with Sītā on his side is generally contemplated upon as seated in the aerial car Pushpaka in the virāsana posture within a golden pavilion and underneath the celestial tree (kalpa-vriksha). In his front stands Hanumān reading, while Rāma is explaining the mystery of philosophy to the crowds of sages who gather round him along with his royal brothers Bharata, Lakshmana and Satrughna.¹

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¹ This conception of Rāma is perhaps to be traced to the fact that in the work called Vāsistharāmāyana, Rāma is stated to have given lessons in philosophy to his family priest Vasishtha. The story of the Rāmāyana as described by the poet Vālmiki, is said to be referred to in the Mantra of the Rig-Vēda, beginning with the words bhadrō bhadrayā, etc. The explanatory comment (nirukta) is, however, not included in Yāska’s Nirukta. The historical development of Rāma and Krishna cults have been fully dealt with by Dr. R. G. Bhandarkar in his Vaishnavism, Saivism, etc.

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FIG. 23.—Rama and group (metal); Rāmesvaram.

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