Figures of the two Lower Reliefs on the Parsvanatha Temple at Khajuraho

Author(s): Klaus Bruhn
Publisher: Z_Vijay_Vallabh_suri_Smarak_Granth_012060.pdf
Catalog link: https://jainqq.org/explore/250093/1

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THE FIGURES OF THE TWO LOWER RELIEFS ON THE PARSVANATHA TEMPLE AT KHAJURAHO DR. KLAUS BRUHN, PH.D. Bibl.: B. L. Dhama and S. C. Chandra, Khajuraho (Published by the Manager of Publications, Delhi 1953), p. 36. Introduction and Plans p. 7. Description and Interpretation of the Figures p. 11. Statistics p. 25. Notes p. 26. Conclusion p. 31. INTRODUCTION The present article is a specialized study of the iconography of one of the Jaina temples at Khajuraho, but an attempt has been made in the last paragraphs to utilize the results for some general conclusions concerning iconography as subject and as method. A general description of the Jaina temples, especially of the Parsvanatha tempie, is given in Dhama/Chandra's monograph : (p. 28) "The Jaina temples are situated to the south-east of the vil. lage (Khajuraho]. They are, on the whole, architecturally similar to the Brahmanical examples except that the balconied openings of the transcepts, such pronounced features of the other group, are absent here. In the Parsvanatha temple, however, to admit light into the manqapa and the pradaksina-patha, small perforated windows have been introduced on all the sides." (p. 31) "The Parsvanatha temple is the largest and finest of the Jaina temples now surviving at Khajuraho. It is 68 ft. 2 in. long and 34 ft. 11 in. broad and faces east. The addition of a little shrine to the back of the sanctum is a distinguishing feature. The portico preceding this shrine is no longer extant. Internally, the temple consists of three chambers, the mahamandapa, antarala and garthagyha. These chambers are surrounded by a common ambulatory passage." To my knowledge only a small plan of the temple has been published so far (by Cunningham in the 10th Vol. of the Reports of the Archaeological Survey of India, Plate VIII). Our plans on p. 10 are only meant as guide to the sculptures. Of the three reliefs only the two lcwer ones are of interest for the student of iconography, the figures of the third one being of quite a

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8 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME different character. In rare cases the figures of the second relief reflect conceptions of the third relief just as the third relief contains some figures similar to those on the two lower panels. The sculptures of the superstructure could not be studied because they were inaccessible. -The maximum height of the lower figures (1st relief) is about 35 in., the maximum height of the upper ones (2nd relief) about 25 in. The figures on the walls of the back-shrine (sections VI and VIII in plan 3) are slightly smaller in the lower row and considerably smaller (height about 15 in.) in the upper row.--All figures in the two lower panels are standing. Whereas the women engaged in particular actions (removing of a thorn etc.) are seen in different attitudes, all the other figures show a more or less pronounced tribhanga. The subsidiary yaksinis on slab III 4u and XI 18u are seated in lalitasana. The dwarf IV 104 stands with crooked legs, and the three musicians VIII 3u sit. The tirtharkaras are either standing or sitting-All the sculptures of the temple are in a very good state of preservation. In the big plan (1) with distorted proportions the different figures are marked by Tirthamkara), D (ikpala), M (ale), F (emale), V(yala). W denotes a window, and special niches are indicated by a frame. Over the figures in the recesses there appears a (-), whereas a (+) is put over the figures on the projections. Since combinations (MF, FM, MMM, MFM, FMF) are very common, we have separated by an oblique (M/F) figures which are grouped together in the same recess or on the same projection, but are not connected with each other. The Roman number always refers to the section (see plan 3), the Arabic number to the place within the section, the letters u and I to the upper and lower reliefs. The reading of the figures goes from right to left (even if different sculptures are arranged on one and the same panel), but from left to right in the case of combined figures as couples etc. The reading of the attributes goes from left to right and from top to bottom. The sculptures on the outer walls of the garbhagyha are marked in the same way as those on the walls of the mandapa and pradaksinapatha, but for reasons of the context the eight single male figures have been specified as S (Siva, see plan 2 for garbhagTha). In the 'Description and Interpretation given below the sculptures are defined by a name, a Roman number, a question mark, or 'O' (zero). In the last case the figure has no 'iconographical value and, accordingly, no

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BRUHN: KHAJURAHO individuality (see below). Figures provided with a question mark m a y have individuality, but no identification was possible. The Roman numbers refer to certain types of sculptures (type with Siva-iconography, type characterized by lotus and citron, and so on). As some of the types are of a very doubtful character and as the assignment to a type is often questionable, we might have marked many figures with a '?' or '0' as well as with a number. On the other hand in many cases 'I' and 'II' means almost the same as 'Siva' and 'Visnu', and only because of the gradual transition to less and less distinct Sivas and Visnus which makes a decision often difficult the names are always avoided. Some figures, however, are explained by a name, not because of especially correct iconography but because transitional figures are not represented so that it was not necessary to introduce a special 'type'. In the 'Statistics' the members of the types are listed. In the case of types I and II those figures are mentioned first which bear the greatest resemblance with these gods, and the figures with few 'iconograms' peculiar to them are enumerated later. By 'iconogram' (in opposition to a mere attribute) I mean any feature (mudra, asana, attribute etc.) which identifies a being either as an individual strictly speaking (e.g. Rsabha generally to be recognized by the hair-locks) or as a member of an individual group (e.g. tirthamkaras largely to be recognized by their nudity). As some iconograms found with the sculptures of our temple (lotus, 'padmasarpa', snake, citron) have spread from certain figures to others they cannot, in any context, be taken as significant. They appear along with statues to whom they originally do not belong (Siva and Visnu with citron) or are found isolated (couple with 'padmasarpa' as sole attribute), and they lose, accordingly, their significance even in the proper context (lotus along with cakra gives no sufficient evidence that the figure is actually meant to be Visnu). Especially figures with such iconograms are defined by "?', '0' or are enumerated at the end of the lists for type I and II. For terms not explained here refer to Notes. 9

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PLANS 1-3 1 7 6 5 4 3 2 8 14 13 12 11 10 9 16 15 17 18 19 1 2 3 4 5 6 7 8 9 10 DVMW FIMF V F V FM WMF V F V FMF VMV MVM VMVFF EV MMF MF MF FMF MF MF MF MFF WMMM MMFFLENFEM MF MF M MF MF MFMFMFFLFF MEM 3* + + - - + MMF F DFW MF FMF F W ENTRANCE + 1 2 + - 3 - MF MFMIMF MF MF MF M+S 4 FW FIFM V MV D 5 - 6 + 7 FRONT FM STEPS 1 2 3 4 5 6 7 8 MVF VFUFV FM MF MFF MF FT FMF MFIM - + + + - + Front + DVF VFFVFVD n SMF F M FTF MF F MF S + - FMF F MF SA + - DVFVFTF VFVD Back + MMMMF .... M - MF 3 V 2 F 1 . + + JUA LIK STEPS + FFMF WE FVD 1 - + + + + - + - + SFM FMF FT FMF FMF S I DVFVFOFVFVD 11 10 9 8 7 6 5 4 3 2 1 BACK 1 2 3 MFM MF MF M F MMF F VMV MFF WF 4 5 6 7 1 - + - + - + - + -+ - + + - ++ MMFF EMEF MFM M M M MEME ME MFIM ME MFMF MWEM MF MF MF MIEMMF M MF M DVF FF-VM VMV MVM V IMEV F V FM WMF V F V FIMFW M VD 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 9 8 7 6 5 4 3 2 1

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BRUHN: KHAJURAHO DESCRIPTION AND INTERPRETATION OF THE FIGURES A THE FIGURES ON THE OUTER WALLS OF THE MANDAPA II 1 II 2 T(-:-) standing F=? amraphala (?)/kati or pata no sculpture FMF=0 beard (M)/head(M)//neck(1stF)/r.l.arm (1stF)//n.r./1.u. arm(M) MF M = V F = 0 dhanuskarsana/dhanus/ salingana (kantha) /pustaka padma/alingana window window F=0 bijapura/pata F = ? ./. / padmasarpa or padma rolled up MF=0 kati/alingana//alingana (kantha) /padmasarpa II 3 II 4 II 5 II 6 III 1 M= III (padmapani) padmasarpa/padmasarpa bijapura/kati M=dikpala (E) Indra (elephant) gada (perhaps mutilated ankusa) /sarpa (3) padmapani (form b) /vajra M=I (apasmarapurusa, padmapani) trisula/padmasarpa abhaya/kamandalu (hanging) M= dikpala (SE) Agni (mesa, knotted beard) gada (sakti? sruk ?) /pustaka (?) aksamala/kamandalu (hanging) MF M = II F = 0 sankha/cakra/ (ring)//alingana (kantha) /darpana gada/alingana III 2

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12 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME III 3 III 4 III 5 F = 0 bijapura/pata FO pointing downwards with stretched/pustaka forefinger and middle finger (as teaching) s. p. 24 F=0? padma (full-blown, stalk) or cakra (stick)/pata F=0 (n.f.) removing a thorn from her foot MF=0 = II 54, but darpana instead of padmasarpa III 6 III 7au III 71 F=0 III 7bu M =II pata/padmasarpa padma (half-opened, stylized): resting on gada M = ? (vahana) abhaya/kamandalu (hanging) MF M=IV F=0 padma (half-opened, stylized, stalk)/n.r.//al. (kantha)/padmas. bijapura/alingana III 8 III 9 III 10 MF M =I F=0 padma (half-opened, stalk) /sarpa (1)//al. (kantha)/darpana (?) kati/alingana M=I (Nandi) ! trisula/sarpa (3) padma (bud) /kati MF=0 = II 5u, but pata (hand lifted up) instead of padmasarpa V M = III padmasarpa/padmasarpa kati/padma (half-opened) M -I padma (bud)/sarpa (1) downwards/padma (half-opened, stylized) MF=0 = II 54, but darpana instead of padmasarpa V III 11 III 12

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BRUHN: KHAJURAHO 13 13 III 13 MF = 0 = II 5u M =I padmasarpa/sarpa (1) padma (half-opened, stylized)/kamandalu FM F=0 M =? bijapura/n. r. // ? /padmasarpa alingana/kati III 14 V III 15au III 15bu III 15a! FMF = 0 kati/alingana//al. (kantha) /al. (kantha) //al. (kantha)/pustaka F=0 pata/hand bent downwards, animal (probably bird) on wrist T=0 pata/kati FM F= M = Balarama (7 snake-hoods) padmasarpa/alingana (kantha)//kamandalu (resting) /hala alingana/kati MF=0 varada (towards the F) /alingana (kantha)//al. (kantha) /pata III 15b1 III 16 III 17 III 18 III 19au M =III = III 114 F=0 painting the eye/darpana MF=0 varada (towards the female) /alingana//al. (kantha)/? V M=VI bundle of lotus-stalks (with buds)/padmasarpa kati/padma (half-opened, stylized) M = IV padma (half-opened, stalk)/padmasarpa bijapura/kati MF M = II F= 0 (photo) sankha/cakra //alingana (kantha)/darpana padma (half-opened) /alingana window window III 19bu III 191 IV 1

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14 IV 2au IV 2bu IV 21 IV 3 IV 4 IV 5 IV 6au IV 6bu IV 6a1 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME IV 6bl IV 7 IV 8 F=0 bent downwards/padmasarpa MF MI F 0 padmasarpa/sarpa (1)//al. (k.)/padma (full-blown, stalk) kati/alingana FM F = 0 M Kubera (?) (photo) padmasarpa/alingana (kantha)//nakula/padmasarpa alingana/resting on gada creeper between F and M (padmapani) MF = 0 = II 5u V MF M1 F 0 padmasarpa/sarpa (1) // alingana (kantha)/bijapura kati/alingana F = Ambika lumbi/sisu MF0 left hand (F)/1. shoulder (F)//r. shoulder (M)/r. hand (M) V MF MIV F-0 padmasarpa/padma (half-opened)//r.shoulder (M)/padmasarpa bijapura/alingana MF MV F=0 dhanuskarsana/alingana//r.shoulder (M)/padmasarpa MF MII cakra/sankha resting on gada/alingana F-0 //alingana (kantha)/padmasarpa F0 (n.f.) touching the ear with her right hand F= 0 MF M=I sarpa (1)/sakti//alingana (kantha)/padma (full-blown, stalk) padma (bud)/n.r. window MF MI F=0 padmasarpa/sarpa (1)//r.shoulder (M) /bijapura abhaya/alingana

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Temple of Parsvanatha, Khajuraho Photo: R. Bharadwaj]

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1 IV. 21 The Figures of the two lower reliefs on the Parsvanatha Temple at Khajuraho 2. III. 191 Photos : Dr. Klaus Bruhn

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BRUHN: KHAJURAHO M=I (Nandi) padma (rolled up, animal in calyx) /sarpa (3) kati/padma (bud) MF=0 = II 5u V IV 9 IV 10 Vi M=dwart creeper in both arms (padmapani) M = dikpala (S) Yama (beard and moustache; skull and snakes on the head) padma (bud) /pustaka khatvanga (animal on top) /abhaya (bird on wrist) mrga (?) M = II abhaya/sankha resting on gada/ ./. M=dikpala (SW) Nirsti (naked, snakes round the neck and round the arms) padmasarpa/sarpa (1) khadga/siras svan V 2 MF M=II F=0 resting on gada/alingana//alingana (kantha) /padmasarpa V 3 MF M=IV F=0 padma (half-opened)/padmasarpa//alingana (kantha) /pustaka bijapura/alingana M= I (Nandi) padmasarpa/sarpa (3) aksamala/kamandalu (hanging) MF=0 =II 5u V V 4 u Bach MF M=II F=0 gada/padma (half-opened, stylized, stalk)//al. (kantha)/downw. bijapura/alingana V 5bu MII padmasarpa/cakra resting or. gada/sankha

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16 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME V 5a1 V 5b1 FM F = M = II padma (?)/n.r. // cakra/sankha t a lingana/resting on gada F=0 (n.f.) one long lotus-stalk (with bud) carried by both arms MF M = VI F = 0 padma (half-opened, stalk)/padmas.//al. (kantha)/darpana padma (bud) /alingana window V 6 V7 VI VI lau MF M=II F=0 resting on gada/1.shoulder (F) li n.r./padmasarpa F=0 (padmapani) bijapura/downwards (all figures smaller in size, refer to Introduction) M = 0 kati/padma (bud) or bijapura MF=0 = II 54 VI 1bu VI 11 FM F= M =II darpana/alingana (kantha)//cakra (ring) padma (half-op., stalk) alingana/saktighanta MF = 0 kati/n.r. // n.r./padmasarpa VI 2 VI 3 VI 4 F =0 pata/padmasarpa F=0 (n.f.) both hands holding braid of hair T(---) seated T(-:-) standing F=0 pata/padmasarpa or padma (full-blown, stalk) F=0 pata/hand bent downwards (with bird on wrist ) MF=0 touching his own chest/al.//al. (kantha) /between the legs VI 5 VI 6

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BRUHN: KHAJURAHO VI 7 VI 8ach VI 8bu F=0 padmasarpa/kati F=0 padmasarpa/kati MF = 0 = II 54, but pustaka instead of padmasarpa MF=0 = II 5u, but kati instead of padmasarpa V M = II (padmapani) sankha/padma (half-opened, stalk) resting on gada/cakra (all figures smaller in size, refer to Introduction) VI 8a1 VI 8b1 VIII VIII 1 no sculpture F=0 (n.f.) ?/pustaka VIII 2 MF=0 padma (bud) or bijapura (with head of a snake upon it)/al.// alingana (kantha) 1 ./. VIII 3 MMM =3 musicians venu//raised/pata//damaru MF M =V F=0 lotus-bundle/dhanus //al. (kantha) /padmasarpa sort of half-opened padma/al. lotus-bundle as in III 19au, but with three human skulls on the stalks below the buds IX 1 F=0 ./. / pata F=0 downwards/darpana to her left female attendant figure (with bijapura in her right hand) MF =0 (M with beard). : = II 5u window IX 2 IX Zach M =0 padmasarpa/downwards

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18 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME IX 3bu IX 3cu F=0 (animal to her right) hand touching right cheek (fore-finger and middle finger stretched upwards)/ pustaka M =III padmasarpa/padmasarpa bijapura/kati F=0 (n.f.) stick/collyrium vessel MF M=II F=0 ././cakra//alingana (kantha) /padma (half-opened, stalk) ././alingana IX 3a IX 3b1 IX 4 MF-0 = II 5u u IX 5 MF=0 bijapura/alingana // alingana (kantha) /patra (?) M =I (Nandi) padmasarpa/sarpa (1) ./. /kati FM F=0 M =? padmasarpa/alingana//n r./padma (bud, stalk) alingana/kamandalu (resting) IX 6 V IX 7 X1 M = II padmasarpa / ./. resting on gada / ./. M = dikpala (W) Varuna pasa/padmasarpa kati/kamandalu (hanging) M=II (padmapani) padma (half-opened, stalk)/cakra (stalk) abhaya/kati M= dikpala (NW) Vayu (mrga) ankusa/pustaka (dhvaja ?) varada/kamandalu (hanging) MF M=II F=0 sankha/sarpa //touching sankha (or neck) of M/padma resting on gada/n.r. (half-opened, stylized, stalk) X2

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BRUHN: KHAJURAHO X3 X4 X 5ach M =II sankha/padma (half-opened) resting on parasu/cakra M =I trisula/padmasarpa bijapura/kati MF M=II F-0. dhanuskarsana/padma (half-opened)//al. (kantha) padmas. resting on gada/alingana window FM = 0 (creeper between F and M,= padmapani) stick kept in patra/r.l.arm (M)// patra/padma (bud) (?) M =III padma (bud, stalk)/padma (bud, stalk) kati/bijapura . MF M=Kumara ? F=0 sakti/alingana //alingana (kantha) /padmasarpa kati/sakti (one weapon in two arms) F-0 (n.f.) engaged in her toilet MF M=VI F=0 padmasarpa/padma (bud, stalk)//alingana (kantha)/padmasarpa kati/alingana X5bu X 5a X 5b1 X6 X7 MF M=IF=0 padma (half-opened, stylized, stalk) /sarpa (1)// al. (k.)/bijap. bijapura/alingana F=0 (n.f.) removing a thorn MF MOI F=0 M=III gu // alingana (kantha) /padmasarpa X 8 X9 FM F=0 M =? padmasarpa/alingana (kantha)//n.r./cakra alingana/kati either cakra with three snake-hoods on top or bundle of lotusstalks (cf. VIIL 3) with cakra below the buds MF M =I F=0 padmasarpa/sarpa (3) //alingana (kantha) /darpana padma (bud) /alingana

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20ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME XI 1 XI 2 window window MF M=VI F=0 padma (half-opened, stylized, stalk)/padmasarpa or padma (fulldownwards/l. shoulder (F) // blown, stalk) alingana (kantha) /bijapura FM F=0 M= Brahma (3[=4] heads, beard, padmap.) padmasarpa/alingana (kantha)//sakti (sruk?)/pustaka alingana/kati XI 3 MF=0 1. hand (F)/r. hand (F)//beard/pustaka (?) XI 4 MF=0 = II 5u F=(n.f., padmapani) engaged in her toilet MF - 0 = II 5u V XI 5 XI 6au M = II sankha/padmasarpa bijapura/resting on mace XI 6bu MF = 0 = II 54 XI 61 MF M=Agni (beard) F-0 danda/sikha //alingana (kantha) /padmasarpa dhanuskarsana/alingana XI 7 MF=0 = II 54 V XI 8 MF=0 = II 54, but pustaka instead of padmasarpa M=I (Nandi) sarpa (3)/padmasarpa kati/bijapura MF M =? F=0 = II 54, but 'resting on ?' instead of 'kati' XI 9

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BRUHN: KHAJURAHO XI 10 M =II kati/sankha M =VI ? padmasarpa/padma (bud) (?) abhaya/kati MF=0 = II 54, but pustaka instead of padmasarpa XI 11 XI 12 M =? pustaka (?)/abhaya kati/padmasarpa M=II padmasarpa/sankha bijapura/resting on gada FM = 0 padma (?)/alingana (kantha)//n.r./kati XI 13 XI 14 M = II padmasarpa//padma (half-opened, stalk) resting on gada in varada pose/bijapura M =IV padma (bud)/padma (full-blown, stalk) bijapura/kati F=0 (n.f.) shown from the back XI 15 XI 16 M=I (Nandi) padma (half-opened) (?) /sarpa (3) abhaya/kamandalu (hanging) no sculpture XI 17 M=I (Nandi) gada/sarpa (3) abhaya/kamandalu (hanging) F=0 lekhani/pustaka s.p. 24 F=0 pata/padmasarpa F=0 (n.f.) XI 18 XI 19

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22 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME XI 20 MF M =IV padmasarpa/pata bijapura/alingana F=0 1/alingana (kantha) /darpana XI 21 M= (Brahma) sakti (sruk ?)/pustaka sort of varada/kamandalu (hanging) M=dikpala (N) Kubera padmasarpa/pustaka (?) bijapura/sarpa (1) XII 1 M = I trisula/padmasarpa aksamala/kamandalu (hanging) M = dikpala (NE) isana (Nandi) sakti/sarpa (3) aksamala/kamandalu (hanging) XII 2 MF=0 l.hand (F)/alingana (kantha)//al. (kantha) /in right hand (M) XII 3 F=0 pata/padmasarpa F=0 padmasarpa/downwards XII 4 window window XII 5 FMF=0 bijapura/1.shoulder (M)//alingana (1st F)/al. (k., 2nd F) // r.shoulder (M)/bijapura MF M =II F=0 ./. / sankha // alingana (kantha) /padmapani (cakra before kati/alingana creeper, cf. X gu) XII 6 F = ? ././ bijapura no sculpture XIII M=III padma (half-opened) /padma (half-opened) resting on gada/bijapura T(-:--) standing

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BRUHN : KHAJURAHO B THE FIGURES ON THE OUTER WALLS OF THE GARBHAGAHA a. The dik palas (order of succession : r.u. arm/1.u.//r.1./1.1.) ankusa/padma (half-opened, stalk)//kati/vajra (gaja) Agni: sakti (sruk?) /pustaka (?)//abhaya/kamandalu (hanging) (beard, mesa) Yama: pustaka/sarpa (1)//kati/khatvanga (moustache, mtga?) Nirsti : ./. /sarpa (1)//khadga (?)/siras (sarpa on the head, round the neck, and round the arms; svan) Varuna : pustaka (?) / ./. // kati/? (vahana) Vayu : mala (dhvaja?) kept in both upper arms// gada (ankusa?)/kamandalu (hanging) (hirana) Kubera padmasarpa/padma (half-opened)//kati/nakula (vahana) Isana: sarpa/padma (half-opened)//trisula / ./. (padmapani, Nandi) b. The Sivas (order of succession as in a.) trisula/sarpa (1), but I 2, I 13, II 11, III 12: sarpa (3) aksamala/kamandalu (hanging) (Nandi) c. The couples (all [except II 10] MF, all = 0, all only two arms) I 4u = II 5u (of mandapa), but pata instead of padmasarpa I 6 kati/alingana (kantha)//n.r./beard of the male I 10u = II 54, but padma (half-opened, stalk) instead of padmasarpa I 124 right arm of the female/alingana (kantha)//pata/abhaya II 2u = II 54, but padma (bud, stalk) instead of padmasarpa II 4u left arm of the female/al. (kantha) //al. (kantha)/sonkhala (?) II gu left hand of the female/alingana//al. (kantha) /hand empty II 104 (FM) right thigh of the male/pata/lalingana (kantha)/? III 24 right arm of the female/alingana (kantha)//touching her left breast/downwards III 4u dhanuskarsana/alingana//alingana (kantha) /pustaka III 84 maithuna III 104 outer hands put into one another, inner h. on outer shoulders d. The female figures: all = 0, all n.f. e. The tirtham k ar as etc. I 1 lower panel : T(-:-), upper panel : Bahubalin I 8 1.p. T(-:-), u.p. T( -) II 6 l.p. T with ardhacandra (=Candraprabha), u.p. T with makara (?,= Suvidhi ?) III 6 1.p. T with makara (?), u.p. T(-:-)

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24 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME C THE FIGURES IN THE NICHES AND ON THE LINTELS All figures are female, all except III 4u (middle), III 41, XI 18u (middle), and XI 181 in lalitasana. a. The figures in and below the two niches III 4u and XI 184 on the outer walls of the man dapa III 4u left figure = Sarasvati? padma (half-opened, stylized)/pustaka abhaya/bijapura middle figure = Laksmi ? ./. / padmasarpa abhaya/kamandalu (hanging) right figure= Cakresvari? cakra (stick)/padma (half-opened, stylized) dhanuskarsana/kamandalu (resting) III 41 padmasarpa / ./. varada /./. XI 18u left figure = ? padma (?)/padma (half-opened, stalk) abhaya/bijapura middle figure = Brahmani (3[=4] heads) right figure = Laksmi ? padma (?)/padma (half-opened, stalk) abhaya/kamandalu (resting) XI 181 = Laksmi ? padma (half-opened, stalk)/padma (half-opened, stalk) ./. / sankha b. The figures in the two niches below the reliefs south wall of the ---Sarasvati mandapa padma (half-opened, stalk)/pustaka v in a varada/kamandalu (hanging) north wall of the =Sarasvati (hamsa) mandapa rolled up padma/rolled up padma animals inside the two padmas

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BRUHN: KHAJURAHO 25 c. The figures on the three door-lintels door-way of the mandapa left figure = Brahmani (3[=4] heads, hamsa) sakti/pustaka ./. / kamandalu (resting) middle figure = Cakresvari (Garuda) padma (?) /cakra cakra (ring)/dhanus gada/khetaka khadga/gada abhaya/sankha right f. = Brahmani (3[=4] heads, hamsa?) sakti/pustaka bijapura (?)/kamandalu (hanging) door-way of the garbha- left figure = Laksmi grha (both figures on the padma (full-blown, stalk)/padma (f., st.) w alls in r. angle to abhaya/kamandalu (resting) the lintel) (elephants on the padmas facing each other) right figure = Sarasvati padmasarpa/pustaka v i na door-way of the back- left figure = Sarasvati shrine padmasarpa/pustaka v i na middle figure = Laksmi padmasarpa/padmasarpa ... / kamandalu (hanging) right figure = Sarasvati padmasarpa/pustaka varada/kamandalu (hanging) STATISTICS (The figures described under B c.-e. are left aside) Type I (Siva). 4 peculiar iconograms (Nandi not counted): 8 Sivas of the garbhagsha, XII 11 (= Isana), XII 14. 3: III 14, V 31, XI 174. 2: III 9I, III 13, IV 74, XI 164. 1: III gu (= X 8u), III 11, IV 2b4, IV 44, IV 89, IV 84, X 74, X 9. mutilated figures : (garbhagpha) III 121 (Isana), IX 51 figures with bijapura : X 31, X 74, IX 81

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26 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME Type II (V isnu). 4: V 5b4, VI 8b, X 3u. 3: III 2u, III 191, IV 6a!, V 5a!. 2: III 7bu, X 14, X 4u. 1: V 24, V 74, XI 10u. mutilated figures : V 14, IX 3b1, IX 74, XII figures with sarpa or bijapura: X 24 (sarpa); V 5au, XI 6au, XI 121, XI 144. Type III (male figures with two padmas of the same shape in the upper arms). II 6u (= IX 3cu), III 114 (= III 17u), X 5bu, XIIIU. Type IV (male figures with padma and bijapura). Cf. Type II last line and Type III No. 1, 2, 5, 6.- III 84, III 19bu, IV 6a4, V 34, XI 14', XI 204. Type V (male figures with dhanuskarsana and/or dhanus). (garbhagsha) III 44, II 2, IV 6b4, VIII 31, XI 61 (= Agni), X 4u. III 4u ('Cakresvari'). Type VI (male figures which do not belong to type I - V with two or more padmas). III 19a4, V 64, IX 24, X 64, XI 101. Identified figures (except the 2 x 8 dikpalas). Balarama (III 15bu), Kubera (?, IV 2), Ambika (IV 4'), Kumara (?, X 5a), Brahma (XI 24), Agni (XI 61), Brahma (XI 20u). Figures neither identified nor entered into the lists. II 14 (F), III 71, III 144, IX 64, X 94, XI 124, XII 64 (F). NOTES Explanation of the terms (ref. also to the Introduction) The following system has been adopted for the description of the figures in A and C: right upper arm (1st fig.) /left upper arm (1st fig.) right lower arm (1st fig) left lower arm (1st fig.) The 2nd (3rd) figure is described behind or below the preceding figure; the double oblique separates different figures forming a group : 1st fig. // 2nd fig. // 3rd fig.

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BRUHN: KHAJURAHO denotes uncertainty due to mutilation or due to difficulties in the interpretation missing or broken T(-:-) tirthamkara-image without cihna alingana arm put round the hip (or hip and breast) of the other figure alingana (kantha) arm put round the neck of the other figure brackets iconograms not kept in the hands are given in brackets behind the general definition, e.g. 'M=I (Nandi)'. If a hand of a figure touches a part of another figure, it is indicated thus : 'left hand (F)', i.e. touching the left hand of the accompanying female figure. Similarly 'beard' in the description of a female figure means 'grabbing the male by the beard'. cakra (ring) cakra in the simple form of a ring dhanuskarsana fore-finger touching the thumb; the interpretation dh. (in stead of jnanamudra or pravacanamudra) is chosen because the iconogram occurs along with weapons downwards hand hanging down (with thumb inwards as distinguishing mark from varada where the thumb is shown outwards); hand described as resting on a particular object is in this posi tion if not stated otherwise kamandalu either hanging (upper part grasped by the hand) or resting in the hand kati katy-avalambita-hasta n.f. not shown from the front n.r. not to be recognized (if in the case of alingana one arm is hidden behind the figure which it embraces) padmapani see note on (mandapa) II 64 padmasarpa blending of padma and sarpa : rolled up sarpa resembling a full-blown lotus with stalk pata hand keeping scarf or garment sarpa (1)/(3) snake with one or three hoods siras head (kept by a tuft of hair) in opposition to skull Remarks on single figures Mae phara II 51 etc. Ref. for vyalas (or sardulas) to St. Kramrisch, The Hindu Temple, II, p. 332 ff.

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28 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME II 6". padmapani motive. The old motive survives in later art in two forms: a. As a floral design (often influenced by animal motives) which generally does not reach the hand of the figure. It can be shown by the side of almost every statue, in temples of the northern and southern styles, Hindu and Jaina. b. In the form of two highly stylized leaves (always of the same shape) which the tirthamkara keeps in either hand. In a the lower part, in b the upper part of the design has become independent. Of our drawings Fig. 1 shows the original complete form, 2 and 3 show the two later forms a and b (a in Fig. 2 in its simplest shape, but combined with b; b alone in Fig. 3), whereas in 4 an example of blending of motive a with another motive (tree) is given. All the four drawings were prepared from photos: the first shows. the Bodhisattva Vajrapani (early 8th century, Naltigiri, Orissa). Taken from The Art of India and Pakistan, Edited by Sir Leigh Ashton, Plate 40 Fig. 243, by courtesy of the publisher.1 The second shows an acarya on the Digambara Jaina Temple No. 1 at Deogarh (U. P.), the third the lower portion of the main image in Deogarh Temple No. 28, and the fourth (Photo U. P. Shah) the lower portion of a late tirthamkara image in Baroda. See also our photo of IV 21 which gives an idea of the usual form of the padmapani-motive on our temple. The pattern is simply referred to as 'padmapani' (form a, if not stated otherwise). II 6. sarpa is not traceable for Indra. III 1". kamandalu instead of the common kapala? For the apasmarapurusa refer to G. Rao, Hindu Iconography II 1, 67. IV 2 padma is not traceable for Kubera. IV 10. Here and on the garbhagrha Yama's vahana looks like a deer, but probably we have to read 'buffalo' according to tradition. Padma is otherwise not found with Yama. V 1. The iconography of the upper arms is probably modelled up from the Siva-iconography ("Type I') VI 1. For 'saktighanta' compare the more common vajraghanta. X 2. sarpa not found with Visnu XI 21. The reading 'Kubera' is required by the context, but the iconography does not fit him. XII 1. The context permits here (and in III 121 of the garbhagrha) the reading 'Isana' (instead of mere 'T'). 1. Faber and Faber Ltd., London.

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BRUHN: KHAJURAHO GEDEEEE Nudiums Fig. 1

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30 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME RETURN Fig. 2 WM Lab Fig. 3 Fig. 4

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BRUHN: KHAJURAHO Garbhag?ha The reader may himself compare the dikpalas on the garbhagpha with the dikpalas on the mandapa. It is noteworthy that in some cases, it seems, padma and sarpa correspond to each other. Compare I 21 (g.) and II 61 (m.), I 131 and IV 101, III 111 and XI 211 Indra and Isana, the guardians of the eastern and north-eastern direction-and the two Sivas above them--are placed transversely (i.e, on the side wall of the projection for the following/preceding figure) so that they face the proper direction. Niches and Lintels The figures identified as Brahmani: According to my information no yaksi has three heads, whereas tradition ascribes three or more heads to several yaksas. The second figure described under C b. and identified as Sarasvati: I read the mutilated vahana as hamsa because I found the same animal as vahana of Brahma (and his consort) on a slab of the Siva temple at Chandpur (from Dhaura Station, Bina-Jhansi Line). CONCLUSIONS $1. Cunningham identified many of the figures on the Jaina temples more or less hesitatingly as brahmanical (ASI Reports Vol. X p. 17 on Ghantai temple "probably brahmanical", Vol. II p. 432 on two smaller Jaina temples "figure which looks like Laksmi", ibid. on Parsvanatha temple "amongst which [statues] I recognized several of the brahmanical gods"). In Burnier's work 'Hindu Medieval Sculpture', however, the figures are simply called by the names of the brahmanical models. We shall see that the iconography of the Parsvanatha temple is not brahmanical strictly speaking but highly influenced by brahmanical iconography. This solution almost suggests itself, but it is necessary to support it by such evidence which only a systematical analysis can give. The analysis has possibly also some general interest because investigations of this kind are comparatively rare. $2. The interpretation of figures other than tirthamkaras presents many difficulties. The artists were not bound to follow exactly the rules of the texts in the representation of yaksas, yaksinis, etc. Art and theory influenced each other, and there was no one-sided dependence. What renders the books even more inapplicable is the stress laid upon features

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32 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME which are not typical or which are not actually represented by the artists. The 'standard iconography' (U. P. Shah) has, therefore, to be found out by a combined study of art and literature. But local differences, differences even within one and the same temple, show that a general dictionary of iconography cannot be written so that it is at the end always the iconographical 'text' itself which must be utilized as dictionary. The artists have not only changed the details of the iconographical system. Following visual rather than abstract principles they have transformed the character of the system. What is different for the theologian has been made similar or identical by the artist (lotus and cakra), and what is more or less identical for the theologian has been differentiated by the artist (lotus). We have tried in our description to do justice to the dogmatical as well as to the aesthetic system. But dogmatical data are more general than aesthetic features. The latter are, therefore, of greater importance, if one has to study the expansion of local styles. 83. By a formal analysis we find that there are 4x2 separate male figures of a definite iconographical character on the four corners of the temple and of the garbhagTha (always in the lower relief). They are the eight dikpalas who are thus all represented twice (with more or less important alterations). Moreover above each dikpala of the garbhagpha there are identical figures of Siva. Otherwise no system can be traced in the arrangement of the sculptures, only a certain symmetry which makes it probable that the outer walls have not undergone too many changes in later times: All the three sides of the garbhagyha are symmetrical and correspond to each other (plan 2). The sides of the mandapa (and the pradaksinapatha) are not symmetrical, but the northern and southern half of the lower relief correspond to each other and the two halves of the upper relief are corresponding on the eastern portion of the temple (up to III 4 and XI 18 respectively). See plan 13. We have to distinguish between the figures of the garbhaglha and those of the manaapa (and the pra laksinapatha) : in the case of the former there is a clear distinction of iconographical and non-iconographical statues, and only the latter (the dikpalas and Sivas) have four arms. This 2. As beauty, facial expression on the one hand and colours on the other. 3. Two slight irregularities in the correspondence of the two parts of the lower relief have been marked with an arrow. A line divides the figures of the upper relief which correspond to each other from the rest.

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Rsabhanatha, the first Tirthankara, Museum, Khajuraho Photo: R. Bharadwaj}

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Rsabhanatha, the first Tirthankara, Khajuraho Photo : R. Bharadwaj]

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BRUHN: KHAJURAHO clear distinction is absent in the case of the sculptures on the mandapat. Again the figures of the current panels must be kept separate from the figures in the two niches interrupting the upper panel (III 4u and XI 18u), below these two niches (III 41 and XI 184), in the special niches below the reliefs on the north and south wall, on the three door-lintels (mandapa, garbhaglha, back-shrine). In the two current panels no female figure has more than two arms (except the just mentioned statues III 41 and XI 181), and females with an iconographical character are an exception (IV 41 !). Here, however, all the figures are females with more than two arms and have no doubt iconographical features. The conception of the garbhagTha is more systematic in symmetry and iconography than the conception of the manqapa. Again the figures on the lintels etc. form the only group which is iconographical throughout. A correlation between the place and the general character of the figures is therefore obvious. SS 4. Analysis of the iconography. If members of a certain group or class are being represented, we can expect among them the well known and characteristic representatives of that group. Amongst a series of yaksinis Cakresvari will not be missing, and she will facilitate the identification of the other group-members even if their general character is not shown by systematical arrangement. As no prominent member of any class of Jaina deities appears in our reliefs (except an isolated Ambika) we have to start in our interpretation from the many 'brahmanical' gods who catch the eye at once. An exact analysis of all the figures (as it is given above) shows that the majority of the sculptures can be explained as modelled up from brahmanical conceptions. The degree of similarity differs a lot, only the impression of absolute identity was probably nowhere aimed at. The gods are shown either separately or together with uniconographical wives, but never together with the wives assigned to them by Hindu traditione; they appear always in their simple form (no avataras 4. There are certain formal clues for the distinction of the iconographical and the non-iconographical sculptures on our temple. Figures with four arms and more are always iconographical. Non-iconographical are all figures shown from the side or from the back, and figures involved in an action. 5. Our method of derivation finds support in a figure like XI 81 where the artist added a Nandi-bull to a figure keeping snake, lotus, citron, thus showing that he kept in view the original conception. 6. There is, however, in Jainism a general aversion against the sanction of divine couples. Yaksa and yaksini are nowhere called husband and wife (U. P. Shah), and the 'happy twins', so common in Jaina art, have not found a dogmatical sanction which does justice to their actual importance.

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34 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME of Visnu) and are never seen as engaged in an action (no Asurasudana). It was, therefore, rather the intention of the artist to conceal than to stress the brahmanical nature of the figures. The present article is very limited in its scope, and we would not like to say that the statues must be explained as brahmanical. An investigation into the iconography of all Khajuraho temples will possibly lead to different conclusions concerning the iconography of the Parsvanatha temple. It can perhaps show that some of the less clear figures are representations of certain Jaina gods and that the figures with brahmanical character are not simple copies by the artists but adoptions with dogmatical background. But the difference between the last two alternatives concerns rather the form than the degree of brahmanization. The identification of the female figures on the lintels etc. is easier. It seems they are all rather correct representations of the goddesses Cakrevari?, Brahmani, Sarasvati, and Laksmi. These deities belong to the Jaina pantheon as well, both in theory and in art. $5. Details of Interpretation. Although it was sometimes tempting to read a single figure as a particular yaksa, the method explained in the last paragraph has always been followed : not to expect little known members of a class if there is no evidence for the class as such. The artists were not supposed to puzzle the worshippers but had to conform to the average knowledge of the educated lay-man. The yaksas of the 19th-21st tirthamkara and the graha Sani for example keep bow and lotus in their hands, but shall we for that corinect figure II 21 with any of them ? Book, abhaya, citron are according to some svetambara authorities iconograms of Siddhayika. but can we identify the left subsidiary figure of III 4u as yaksini of the 24th tirthamkara? The context (refer to the end of the last paragraph) shows only one yaksini, and nothing has been done by the artist to suggest that the doubtful figure is a yaksini and not related to the Hindu goddesses in the niches and on the lintels. Any attempt to identify the figures as particular adoptions has been avoided. A Siva is always understood as Siva (and not as Isvara Yaksa, or dikpala Isana [except garbhagyha III 127 and manqapa XII 11]), a Brahma always as Brahma (and not as Brahma Yaksa, dikpala Brahma or Brahmasanti Yaksa), The differences between the adoption and the model, be 7. Not to be taken as Vaisnavi. Cakresvari and Ambika are the only Jaina deities which I found on the temple.

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BRUHN: KHAJURAHO 35 tween the various adoptions themselves, and especially between the Digambara and Svetambara forms of the same adoption are so slight and so much obscured by the interfering of local peculiarities that generally the evidence of the context is required for a minute identification. On the other hand it is only in the context that such an identification gains importance. The principle of multiple adoption has led to an overlapping of the iconographical alphabets, and we cannot simply read a Brahma figure, we must know whether we shall read it according to the dikpala or according to the yaksa alphabet. . $ 6. What accounts for the two peculiarities of our figures, the semiiconographical character and the Hindu influence? It is well possible that intermediate figures between surasundaris etc. (who have no individuality) and devas or yaksas are not restricted to Khajuraho but are represented at other places as well. The answer to the second part of the question, however, must be found in Khajuraho itself. Whereas elsewhere 'brahmanical figures on Jaina temples conform to the official line of adoption (Sarasvati, Laksmi etc.), such a limitation is not apparent here. The impact of contemporaneous Hindu art is a necessary but not a sufficient reason for the strong influence. And admitted that the few artists especially trained for Jaina sculpture could not cope with the abundance of figures which was required by the style of the time, could they not at least prepare some statues of yaksas and yaksinis to be placed on prominent parts of the structure to demonstrate the non-Hindu character of the temple?-It is also excluded that Hindu temples were converted into Jaina temples here: the present Jaina temples form a group of their own, show architectural peculiarities (due to the different forms of worship : Cunningham), and are different from the point of view of sculptural art (few indecent figures). After all the Hindu influence was stronger than the Jaina influence so that the conversion of a Hindu temple into a Jaina temple is less probable than a certain susceptibility to Hindu influences or even some concern not to stress the Jaina character of the teniple more than necessary. This paper could not have been written without the help of Dr. U. P. Sh a h who introduced me into the study of Jaina iconography and placed his unpublished material at my disposal. 8. Moreover the maithuna groups generally had to be replaced by decent re presentations.