Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c74.s8.60

v2.c74.s8.60

Now in the end a word about the ideology underlying this custom may again be repeated. These manifold mudrās of multiple hands and abundant decorative items were regarded by writers like Smith, etc., as monstrosity of the Indian iconographic art. A deeper examination, keeping in view the philosophy and symbolism of Indian culture, will however give quite another estimation and this estimation of the Western critics like Smith and others will seem misconceived (cf. Coomarswamy’s observations in this regard—Dance of Śiva). Dr. Bannerjea also holds : The idea of symbolising the manifold activities of the deity, in however imperfect manner, undoubtedly lies at the root of placing in these multiple hands the variety of objects noted above. In the developed concepts about the numerous members of the Hindu pantheon, particular activities were associated with the individual units among them. It is no wonder then that one or more of these objects came to be regarded as special to different gods, though it must not be forgotten that the same objects could also appear in the hands of other deities in secondary role. The mythology at the root of divinities also determined the allocation of the objects.