Iconography of Hindus Buddhist and Jains

Author(s): R S Gupte
Publisher: D B Taraporewale Sons and Co Pvt Ltd
Catalog link: https://jainqq.org/explore/011008/1

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ICONOGRAPHY
OF THE HINDUS BUDDHISTS AND JAINS
CUTTUU

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ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
With 202 line drawings and 201 half-tone illustrations
There are very few books on Indian Iconography in the English language and none dealing with the iconography of the Hindus, Buddhists and Jains in one compact volume, illustrated with a large number of line drawings and half-tone illustrations, the latter of temple sculptures and bronzes.
The very few books that are available are scholarly but do not help the reader in identifying the deity he may come across in sculpture, painting. or metal art. In this book a unique method has been followed by presenting all the information required for identification in the form of tables indicating the number of heads and hands, the symbols of the gods and goddesses, their vehicles, and other relevant information. As the ancient Indian texts differ in their descriptions of the deities, the variations have also been given in the tables whenever of sufficient importance. The tables follow general and introductory information on all the major Hindu gods and goddesses, their different forms, the Buddhas and Bodhisat. tvas, their Shaktis and emanations, minor Buddhist images, the Jain Tirthankaras, and other figures of Jain mythology like the Yakshas and Yakshinis. And all this information is once again summarised in tabular form to simplify identification. Two hundred and two line drawings depicting the asanas, mudras, objects held in the hands, the crowns, Buddhist and Jain divinities, etc., supplemented by 201 half-tone illustrations of temple sculpture in stone and bronze icons have been given to further help the reader in his identification and create a greater interest in the subject. The Index runs to fifteen large pages.
Identification of religious figures is not only essential for the proper understanding of Indian mythology, but it is also essential for the student of Indian art and all interested in Indian culture in general-Indians and non-Indians alike. And in that respect, this exceptional book is a great contribution to the study of Hindu, Buddhist, and Jain mythology and iconography. The author is well known as an authority on the subject. He is the Professor and Head, Department of History and Ancient Indian Culture, Marathwada University. Aurangabad; he was a Visiting Lecturer in Indian Art, Wake Forest College, Winston-Salem, U.S.A., and also Visiting Lecturer in Asian Studies
(Continued on back flap)

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ICONOGRAPHY
OF THE HINDUS, BUDDHISTS AND JAINS

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ICONOGRAPHY
OF THE HINDUS BUDDHISTS AND JAINS
R. S. GUPTE, M.A., Ph.D.
Professor and Head, Department of History and Ancient Indian Culture, Marathwada
University
D. B. TARAPOREVALA SONS & CO. PRIVATE LTD.
210 Dr. Dadabhai Naoroji Road -
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Bombay 1

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COPYRIGHT © 1972 1900. D. B. TARAPOREVALA SONS & CO. PRIVATE LTD.
2nd Edition 1980
This book can be exported from India only by the publishers, D. B. Taraporevala Sons & Co. Private Ltd. and this constitutes a condition of its initial sale and its subsequent sales. Infringement of this condition of sale will lead to civil and/or criminal legal action and prosecution.
PRINTED IN INDIA
Printed by Russi J. Taraporevala at Electrographic Industries, Division of D. B. Taraporevala Sons & Co. Private Ltd., Apte Industrial Estate, Worli, Bombay 400018, and published by him for D. B. Taraporevala Sons & Co. Private Ltd., 210, Dr. Dadabhai Naoroji Road, Bombay 400 001.

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To
DADA AND VAHINI
and
NATHA AND KAMALAVAHINI
with affection

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FOREWORD
DR. R. S. GUPTE'S publication of The Hindu, Buddhist and Jain Iconography acquires seminal significance in view of the current interest in reviewing the Indian cultural heritage through a new perspective. This volume not only bridges the yawning gap in properly evaluating the representations of the icons belonging to the three major religions of India but also provides a thorough and comprehensive survey of the subject matter. Dr. Gupte's perceptive treatment of a rather complex subject and his lucid exposition of the subject enable the general reader to comprehend a host of intricate religicus and cultural configurations.
The plan and the structuring of this book together with diagrammatic illustrations and the relevant photographic reproductions, provide an overview of the significance and the temporal and spatial variations of the icons, and might well shape and establish the attitudes and responses of both the general readers and the researchers in this area of knowledge. The reader might discover for himself, how Dr. Gupte's treatment of the Hindu, Buddhist and Jain iconography, beginning with exploratory suggestions becomes gradually comprehensive. The plethora of gods and goddesses and numerous minor deities in Hinduism with their variant names and special attributes are categorised and succinctly presented in the discursive segment of the chapter dealing with Hindu iconography. The tabulated segment makes it easier for the reader to readily recognize and identify the several godheads. The chapters on Buddhist and Jain iconographies also serve a similar purpose. The book has several merits and the excellent and comprehensive treatment of the iconographies of the three major religions of India in a single volume makes it singularly handy and is thus doubly welcome. I greet this latest scholastic venture of Dr. Gupte and have great pleasure in recommending it to students of Indian art and architecture.
R. P. NATH Vice-Chancellor, Marathwada University
Aurangabad

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PREFACE
I need no excuse for writing this book. There is no single book at present which covers the iconographies of the Hindus, the Buddhists and the Jains in its entirety. This is the first book which covers this area in a single volume. A book which would provide information about the icons of the three Indian religions was perhaps not only necessary but also overdue.
During millennias, the Indian sub-continent produced vast mythologies of gods and goddesses, semi-divine beings, rakshasas and rakshasis. The Westerner is baffled by the numberless deities he sees looking at him from the walls of its numerous rock and structural temples. Many of these deities have numerous hands, and heads while quite a few of them are zoomorphic. It is difficult for a non-Indian to comprehend how the God of Learning could have the head of an elephant or how a God could take the form of a boar. The Westerner can understand God with anthropomorphic forms. The Bible says that God made man in his own image. So a God who looks like man is atleast credible. Any deviation from this man-like ideal therefore seems a departure from Godliness. If, however, it is accepted that God does not or need not resemble man, and that the form of the Homo sapiens is merely used as a tool to comprehend the idea of deity, then it may not become necessary to insist on a photographic resemblance between God and man.
To the Indian God is nirākāra (formless or without form), nirguna (without attributes), and nirvikalpa (beyond Time). When the artist tried to translate the idea of God in plastic terms, he gave him attributes to suggest his power. Since it was imagined that the power of God was great, he was given numerous hands to hold the physical symbols of power like the bow and the arrow, the trisula and the chakra. The numerous heads of the deity are merely suggestive of his great wisdom. The nimbus of the Buddha is merely a receptable for his Bodhi.
Generally God is represented as standing on a lotus. It is not a human god standing on a real lotus. The pictorial representations are mainly symbolic. The artist was aware that a lotus cannot sustain the weight of a human being. The artist used the lotus as a symbol of purity and of self-creation. As the lotus springs from the water, God too springs from the Primeval Waters.
This book attempts to introduce the layman, both foreign and Indian, to the iconography of the three important Indian religions. In the introductory chapters, the meanings of the various objects held by Indian deities in their hands and their significance has been explained. Many illustrations have been provided to make the discussion simple. Information concerning the deities has been provided in tabular form to make identification easy. Most visitors to the cave and structural temples find it difficult to identify the various deities carved there. This book will enable them to identify the numerous deities of India. That is why the book is so profusely illustrated.
The author has benefited by many excellent books on iconography. Gopinath Rao's work, Elements of Hindu Iconography, is a classic on the subject. But nobody could possibly handle his four volumes with ease. Khare has an excellent book on iconography, but it is in Marathi, and so is inaccessible to those who cannot read that language. Bhattashali's book is concerned primarily with the images in the

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PREFACE
Dacca Museum, whereas Banerjea's book, The Development of Hindu Iconography, though it is a very scholarly work, is not helpful for identifying images. For Buddhist iconography, the best book is that of B. Bhattacharya. Some of my line drawings of Buddhist deities are after those appearing in this book, published by Firma K. L. Mukhopadhyaya, Calcutta. I gratefully acknowledge their courtesy. I am personally grateful to Mr. Mukhopadhyaya for permission to reproduce the line drawings. Other excellent books are those by Alice Getty, The Gods of Northern Buddhism, and Antoinette Gordon's Iconography of Tibetan Lamaism. On Jainism, Bhattacharya wrote a book in 1932 and no work has been published since then, though several scholars like U. P. Shah, Coomaraswamy, Sankalia and Settar have published articles on Jain deities,
The main credit for this book must go to Dr. Rustam J. Mehta of D. B. Taraporevala Sons & Co. Private Ltd., who made me write this book when I was engaged in my studies on Chalukya art. It was from him that the idea of the book and its unique tabular treatment originated. He has also seen the book through the press with his usual efficiency.
I have to thank many people for many things. I am grateful to Principal R. P. Nath, Vice-Chancellor of the Marathwada University, for writing the Foreword and to Mr. Russi Taraporevala, Chief Executive of D. B. Taraporevala Sons & Co. Private Ltd. for publishing the book.
Shri P. L. Barwal, Stenographer of the Department of History, typed the manuscript and Shri B. H. Shinde prepared the line drawings. Shri S. R. Kulkarni, Research Assistant in the Department, prepared the index. I am grateful to all of them. Shri N. A. Gore, former Librarian of the Marathwada University, Shri R. G. Jogdeo, the present Librarian, and Shri Subhedar rendered valuable library assistance. Shri T. V. Pathy and Dr. V. R. N. Prasad who belong to the University Faculty have also been of great help. Lastly I must thank my wife Nalini for her constant encouragement.
RAMESH S. GUPTE

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Foreword VII
Preface IX
Illustrations XVII
Key to pronunciation of Indian words XIX
Technical Terms and Symbols 1 Hand-Poses (Mudrās or Hastas) 3 Objects Held in the Hands 4 Asanas (Sitting Postures) 10 Pedestals or Seats 20
Musical Instruments 20
Crowns (Mukutas) 20
The Mount or Vehicle 20
CONTENTS
BRAHMA 27
The Tala System of Measurement 21
Key to the Identification of Major Hindu Gods and Goddesses 24
Iconography 27
INTRODUCTION
HINDU ICONOGRAPHY
VISHNU 28
Iconography 29, Vishnu's Incarnations 29, Modes or Expressions of Murtis 35 GARUDA AND AYUDHA-PURUSHAS 35
SIVA 36
Anugraha-Murtis 38, Lingodbhava-Mürti 40

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CONTENTS
Samhāra-Mirtis 40, Other Aspects of Siva 43, Dakshiņa-Mürtis 45, Nritta-Mürtis 45, Siva
as Mahāyogi 45, Chandrasekhara-Mürtis 46, Siva-Sakti 46 SKANDA, KARTTIKEYA OR SUBRAHMANYA 46 VIRABHADRA 46 GANESA 47
MINOR DEITIES
DIKPALAS OR LOKA-PALAS 49 INDRA 49, AGNI 50. YAMA 50, VARUNA 50, NIRRUTI 51, VAYU 51, KUBERA SI, SURYA 52
THE GODDESSES 54
Sarasvati 54 Părvati 55 Chāmundā 55 Mahishamardini 55 Mahālakshmi 56 Bhū 56 Sri or Lakshmi 56 The Sapta-Mātrikas 56
ICONOGRAPHICAL TABLES
The Hindu Triad 58 Forms of Brahmă 59 Sadhārana Siva (Usual Forms) 60 Urdhva-Linga Siva 60 Siva-Chandrasekhara-Mürtis 61 Siva-Asana-Mirtis 62 Siva---Mahesa-Mürti 62 Siva-Nritta-Mürtis 63 Siva-Dakshiņa-Mürtis 64 Siva-Anugraha-Mūrtis 65 Siva-Different Forms 66 Siva- Aggressive Forms 70 Siva-Panchabrahmas Išānādayah 72 Ekādaśa Rudras 73 The Eight Väsus 73 Sāsta or Arya 74 Abbreviations 74 Siva as Bhairava-Different Forms 75 Sixty-four Bhairavas 76 Kśetrapāla 76

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CONTENTS
Subrahmanya 77
Different Aspects of Subrahmanya 78
Virabhadra 80
Various Images of Ganapati 80
Vishnu-Sādhārana (Common Forms) 82 Vishnu Four-headed Images 83 Vishnu-Other Forms 84
Vishnu-Seated (Asana) Images 85 Vishnu-Standing (Sthanaka) Images 86
Vishnu-Sleeping (Sayana) Images 87
Vishnu-Vasudeva Panchaka 88
Vishnu Incarnations and Minor Avataras 89
Vishnu as Varaha 89
Vishnu as Narasimha 93
Images of Krishna 94
The Twenty-four Images of Vishnu 95
The Twenty-four Images of Vishnu (According to the Padma-Purana) 96 The Twenty-four Images of Vishnu (According to the Rupamanana) 97
The Divine Mothers (Sapta-Matrikas) 98
The Goddesses 99
Forms of Devi 102
Special Forms of Durga 104
The Ashta-Dikpalas 105
Sun and the Planets (Surya and Grahas) 106
The Twelve Adityas 107
BUDDHIST ICONOGRAPHY
Buddha Sculptures 108
Dyani Buddhas 108
Mortal (Manushi) Buddhas 109
Gautama Šakyamuni 110
Bodhisattvas
110
Maitreya 110
Avalokitesvara Padmapāņi 112
Mañjuśri 113
Vajrapāni 114
Jambhala 114
The Buddha Saktis 115
Jañguli (Manasā) 115 Cunda 116
xiii

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xiv
Tārā 116
Mahāmāyūri 117
Sarasvati 117
Bhrkuti 118
Hariti and Pañcikā 119
The Philosophical Deities 119
The Minor Deities and Their Iconography 120
Guardians of the Gate 120, Six Goddesses of Direction 120, Eight Uşnisa Gods 121, Five Protectress (Pancharaksha) Goddesses 121, Tārās of Five Colours 121, Eight Gauri Group 121, Four Dance Deities 121, Four Musical Instruments 121, Four Door Goddesses 121, The Dakinis 121
Hindu Gods in Vajrayana Buddhism 121
ICONOGRAPHICAL TABLES 122
Dhyani Buddhas 122
The Mortal (Manushi) Buddhas 122 Bodhisattvas 123
Dyani Buddhas and Major Bodhisattvas 125 Buddhist Goddesses (Saktis) 126 Bodhisattva Mañjuśri-His Forms 127 Bodhisattva Avalokitesvara-His Forms 129 Dhyani Buddha Amitabha-His Emanations 131 Dhyani Buddha Akṣobhya-His Emanations 132 Dhyani Buddha Vairocana-His Emanations 138 Dhyani Buddha Amoghasiddhi-His Emanations 140 Dhyani Buddha Ratnasambhava-His Emanations 141 Saktis of Dhyani Buddhas 142
CONTENTS
Pancharaksha Mandala (Five Protectresses) 142
The Twelve Pāramitās
143
Tārās of Five Colours 144
Twelve Vaśità Goddesses 145
Twelve Bhūmis 145
Twelve Dhāriņis 146
Four Pratisamvits 146
Ten Buddhist Gods of Direction 147
Six Buddhist Goddesses of Direction 147
Eight Usnisa Gods 148
Six Dākiņis
148
Eight Mothers 148
Four Goddesses of the Seasons 148
Four Dance Deities 149

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CONTENTS
Four Musical Instruments 149 Four Door Goddesses 149 Four Light Goddesses 149 Hindu Deities of Vajrayāna 150
The Principal Gods and Goddesses 150
Sarasvati-Her Forms 152 The Nine Planets 152
JAIN ICONOGRAPHY
Twenty-four Tirthankaras 174
Bahubali Gommatesvara 175
Pārsvanātha 175 Yakshas 175 Yakshiņis 176 Sruta-devi and Vidyā-devis 176 Hindu Gods and Goddesses 176
ICONOGRAPHICAL TABLES
The Tirthankaras 177 Jain Yakshas 179 Jain Yakshinis 181 Sruta-devi and Sixteen Vidyā-devis 183 Other Jain Divinities 184 Jain Dikpalas 185 Nine Planets (Navagrahas) 185
INDEX 187

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ILLUSTRATIONS
PLATES
(between pages 1/2 and 113)
XIT
XIII
ху
1, 2, Brahni (Halebid). 3, 4, Brahma (Ellora). 5, 6, Vishnu (Ellora). 7. 9, Vishou on Garuda (Ellora). 8. Vishyu (Os. XI manabad). 10, Srinivasa (Tanjore), 11, Vishyu as Bhuvarāha (Ellora). 12. Vishuu as Bhuvarāha (Badami). 13, Vishnu as Bhuvarāha (Aihole). 14, Vishwu as Bhuvarāha (Badami). 15. Vishou as Narasimha (Halebid). 16, Vishnu as Narasimha (Aihole). 17, Vishnu as Narasimha (Pattadakal). 18, Vishou as Narasimha (Ellora). 19, Vishyu as Narasiriha (Ellora). 20, Vishnu as Narasimha (Aihole). Vamana incarnation of XIV Vishnu (Badami). 22, Vishyu as Trivikrama (Ellora). 23, 24, Vishnu as Vamana and Trivikrana (Badami). 25, Rāma. 26, 27, Sitā. 28. Hanumava. 29. Krishwa. 30, Satyabhāmā (All Bronzes). 31, 32, Kirātārjuna-murti of Siva (Ellora), 33, 36. Rāvavānugraha-mūrti (Ellora). 34. Råvavānugraha-mūrti (Pattadakal). 35, Rāvanānugrahamūrti (Halebid). 37, Rāvanānugraha-murti (Ellora). 38, 39, Lingodbhava-mūrti of Kiva (Ellora). 40. Lingodbhava-murti, of Siva (Bronze). 41. Śiva as Bhairava (Halebid). 42, Siva as Bhairava (Bronze). 43, Gajāsura-samhāra-murti of Niva (Ellora). 44, Gajāsura-samhāra-murti of siva (Pattadakal) 45, Gajāsura-sarhāra-mūrti of siva (Halebid) 46, Tripurāntaka-mūrti of Siva (Ellora). 47, 48 Tripurantaka-mūrti of Siva (Ellora).
XIX 49, Tripurāntaka-mūrti of Siva (Halebid). 50, 51, 52, 53, Kālāri-mūrti of Niva (Ellora), 54, Andhakasura-vadha-murti of Siva (Ellora). 55, Andhakasura-vadha-mūrti of Siva (Halebid). 56, 57, Andhakāsura-vadha-murti of Siva (Ellora) 58, Gangadhara-murti of siva (Ellora). 59,
xvii
Gangadhara-muri of Siva (Aihole). 60, Ardha närikvara (Elephanta). 61, Ardhanarīśvara (Bronze). 62, Ardhanariávara (Aihole). 63, Ardhanāri vara (Mysore). 64. Ardhanāriávara (Badami). 65, Harihara (Mysore). 67, 70A, B, C, Kalyānasundara-murti of siva, 68, 69, Kalyanasundara-murti of Siva (Elephanta). 71, 72, Vishapaharawa-mūrti of siva (Bronze). 73, Vishapaharaja-murti of Siva (Aihole). 74, Jñana Dakshiva-mūrti of siva (Bronze). 75, Vyāk hāna Dakshina-mūrti of siva (Bronze). 76, Siva Natarāja (Bronze). 77, 78, 79, Śiva Nataraja (Bronze). 80, Śiva as Mahayogi (Ellora). 81, Kärttikeya on peacock (Halebid). 82, Subrahmanya or Kärttikeya (Ellora). 83. Subrahmanya or Kärttikoya (Badami). 84, Subraiuanya or Kärttikeya (Ellora). 85, Skanda or Kartikeya (Aihole). 86, Subrahmanya (Bronze). 87. Standing Ganesa (Bronze). 88, Sitting García (Halebid). 89, 90, 91, Nritta-Gawapati (Halebid). 92, Indra on Airavata (Halebid). 93, Indra on Airāvata (Badami). 94, Agni on ram (Ellora). 95, Vārua on makara (Ellora), 96, Vāyu on stag (Ellora), 97, Sürya (Ellora). 98, 99, Sarasvati (Halebid). 100, Nritta-Sarasvati (Halebid). 101, 102, 103, Nritta-Sarasvati (Halebid), 104, Mahishamardini (Aihole). 105, 106, Mahishamardini (Ellora). 107, 108, Mahishamardini (Halebid). 109, Mahishamardini (Ellora). 110, Lakshmi or Kri (Ellora). III, Vishnu with Bhū and Lakshmi (Halebid). 112. Varadaraja Vishnu with Sri and Bhū (Bronze). 113, Vishnu with Lakshmi (Halebid). 114, Mātrika slab (Aiholc). 115. Sapta-mātikas
XVI
VII
XVII
VIII
XX

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xviii
ILLUSTRATIONS
(Ellora). 116, Mātrikas (Ellora). 117, Fragment
of Matrika slab (Aihole). XXI 118, 119, Mātrikas (Aihole). 120, 121, 122, River
goddess Ganga on makara (Ellora). 125, River
goddess Yamuna on tortoise (Ellora). XXII 124, River-goddess Yamunā on tortoise (Ellora)
125, River-goddess Sarasvati on lotus (Ellora). 126, 127, 128, Sadhārava siva (Halebid). 129.
Sådhārana Siva (Ellora). XXIII 130, Sadhārana siva (Ellora). 131, Urdhva-linga
Śiva (Mahakuta). 132, 133, 134, Oma-Sahita
Siva (Ellora). 135, Alingana-mūrti of siva (Ellora). XXIV 136, 137, 138, Alingana-mūrti of Siva (Halebid).
139, Mahega-mūrti (Elephanta). XXV 140, siva dancing the Katisama (Ellora). 141, 142,
Siva dancing the Lalitam (Ellora). 143, Siva
dancing the Lalitam (Halebid). XXVI 144, Siva dancing the Chaturam (Badami). 145,
Siva dancing the Talasamsphofitam (Pattadakal). 146, Siva as Nritta-mūrti dancing the Talasamsphatitam (Osmanabad). 147, Sheshashayi
Vishnu (Ellora). XXVII 148, Sheshashayi Vishnu (Ellora), 149 Vishnu
Virasani-mūrti (Badami). 150, 151, Vishņu as
Venugopala (Halebid). XXVIII 152, Kaliya-mardaka Krishwa (Bronze). 153,
Govardhana-dhara Krishna (Halebid). 154,
Mahäkäli (Bronze). 155, Bhadrakáll (Bronze). XXIX 156, Buddha (Ellora). 157, Buddha (Ajanta). 158,
Buddha and Bodhisattvas (Ellora). 159, Mānushi
Buddhas (Ellora). 160, Vajrasattva (Ellora), 161.
Maitreya (Ellora). XXX 162, Maitreya (Ellora), 163, 164, Sadaksari
Loke vara (Ellora), 165, Avalokitesvara with Arya-Sarasvati (Ellora). 166, 167, Rakta-Loket
vara (Ellora). XXXI 168, Rakta-Lokesvara (Ellora). 169, Avalokites
vara with Tārā and Cunda (Ellora), 170, Litany of Avalokitesvara (Aurangabad). 171, Mañjusri as Manjuvāra (Ellora). 172, Manjusri as Siddhai
kavīra (Ellora). 173, Vajrapāni (Ajanta). XXXII 174. Vajrapāni (Ellora). 175, Vajrapävi with four
hands (Ellora). 176, Jñanaketu (Ellora). 177, 178, Bodhisattva attendants (Ellora). 179, Jambhala
(Ellora). XXXIII 180, Vajradhātiśvari and Cundā (Ellora). 181,
Jānguli, Mahāmāyūri, Vasudhārā (Ellora). 182, Bhrkuti, Pandara, Tārā (Ellora). 183, Cunda with Six arms (Ellora). 184, Four-handed Cundā
(Ellora). 185, Hāriti and Panchikā (Ajanta). XXXIV 186, Häriti (Ajanta). 187, Pāñchikā (Ajanta).
188, 189, Tārā (Ellora). 190, Mahämäyuri (Ellora).
191, Bhikuti (Ellora). XXXV 192, Mahāvira (Ellora). 193, Yaksha Matanga
and a Jina (Badami). 194, Gommatesvara (Ellora). 195, Pärsvanātha (Badami). 196, Yaksha Matanga
(Ellora). 197. Yakshi Siddhayikā (Ellora). XXXVI 198, Chakreśvari (Ellora). 199, Prajñāpti (Ellora),
200, Bhrikuti or Jvālāmālint (Ellora). 201, Jina figures with Padmavati (Badami).
TEXT FIGURES
154
Hand-poses
5-9 Objects held in hands
11-19 Asanas (Pedestals)
19, 22 Crowns (Mukutas) 1 Adi-Buddha, 2 Påndarā, 3 Mämaki, 4 Locana 153 5 Tara, 6 Vajradhātiavari, 7 Samantabhadra, 8 Ratna
sambhava 9 Vajrasattva, 10 Maitreya, 11 Aksayamati, 12 Kşiti
garbha 13 Akasagarbha, 14 Gaganaganja, 15 Ratnapani, 16
Sāgarmati 17 Vajragarbha, 18 Mahāsthämaprāpta, 19 Chandra prabha, 20 Jaliniprabha or Suryaprabha
157 21 Amitaprabha, 22 Pratibhānakūta, 23 Sarvasokata
monirghātamati, 24 Sarvanirvana-Viskambhi 158 25 Gandhahasti, 26 Jñanaketu, 27 Surangama, 28
Amoghasiddhi 29 Manjusri, 30 Nāmasaügiti Mañjusri, 31 Manjuvajra 32 Simhanāda
160 33 Lokanatha, 34 Harihariharivāhana, 35 Hayagriva, 36 Jänguli
161 37 Parnasabari. 38 Ubhayavarähänana, 39 Mahāsarasvati, 40 Vajravinā Sarasvati
162
41 Vajrasărada, 42 Vajra Sarasvati, 43 Rishabhanatha,
44 Ajitanatha 45 Sambhavanatha, 46 Abhinandanatha, 47 Sumati
nātha, 48 Padmaprabha 49 Supārsavanātha, 50 Chandraprabha, 51 Suvidhinatha,
52 Sitalanatha 53 $reyamsanatha, 54 Vāsupūjya, 55 Vimalanätha, 56
Anantanātha 57 Dharmanatha, 58 Santinātha, 59 Kunthunatha, 60
Aranātha 61 Mallinātha, 62 Munisuvirata, 63 Naminátha, 64
Neminatha 65 Pārsvanātha, 66 Mahāvira, 67 Mätanga Yaksha, 68
Siddhayika Devi 69 Achyupta Yakshini, 70 Pārshva Yaksha, 71 Vijaya Yaksha, 72 Vairoti Devi
170 73 Yaksesvara Yaksha, 74 Mahămănasi Devi,75 Manasi
Devi, 76 Kusuma or Pushpa Yaksha 77 Pätāja Yaksha, 78 Gandharva Yaksha, 79 Garuda Yaksha, 80 Kinnara Yaksha
172 81 Gomukha Yaksha, 82 Tumbara Yaksha, 83 Ambikā Yakshini, 84 Sarasvati
173
159
171

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KEY TO PRONUNCIATION OF INDIAN WORDS
a-short as in ‘nut'. a-long as in 'calm'. i-short as in "pin'. |--long as in 'machine'. u-short as in 'bull'. ī—long as in 'rule'.
as in 'rich'. ai--as in 'time'. 0-as in 'go'. au-as in 'cow. ch-as in "church'. ñ-nasal palatal. n-as in 'sing'. n-nasal retroflex. t--as in 'town', but dental. d-as in 'dunce', but retroflex. d-as in 'the', but dental. th-as in pothole', aspirated 't'. t-as in 'hot', but retroflex. ph-as in "pin', but strongly aspirated. s-as in 'shine'. Ş-as in 'sheet', but retroflex.
Accents have been omitted in the case of headings and sub-headings in bold capitals and small capital letters due to technical reasons. The correct pronunciation of a word can be found from the Index.

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INTRODUCTION
TECHNICAL TERMS AND SYMBOLS
INDIAN religious and Shilpa texts make frequent mention of the hand poses (Mudras or Hastas). pedestals, weapons, and other objects which are associated with Indian deities. These have great significance in iconography. Each god or goddess has his or her cognizance symbols which help to distinguish him or her from other gods and goddesses of the pantheon. The Indian sculptor was thus required to be fully conversant with religious texts which described the various Indian icons. Every posture of the hand is full of meaning, every stance of a god is suggestive of some mood, every object carried in the hand has some purpose.
Gods and goddesses preside over the universe and aid ailing humanity. God protects and so one of the most common hand pose is that of protection or Abhaya. But gods also confer grace, i.e., boon. The Varada is therefore the boon-giving posture. The hand posture of Vismaya is indicative of astonishment. surprise; whereas the Yoga or Dhyana mudra of the hands is indicative of deep meditation. A god may be engaged in meditation or may be surprised. The various moods of the gods are thus suggested by the numerous hand postures.
Deities may sit, stand, or be in a lying down posture. The posture of a deity has to suit his mood. If he is in an aggressive mood, he may stand in the Alidha posture, with one leg moved menacingly forward; if he is engaged in meditation, he would sit cross-legged, with the soles pointing upwards; if he is watching sports, he may sit with one leg pendant; if he is resting, he may
1
be reclining on a couch. These postures are called Asanas. Here the word asana refers to the position of the legs; a god may be seated, standing or sleeping.
But the word asana is also used to mean pedestal or seat on which a deity is seated, standing, or sleeping. The pedestal on which a deity sits may represent a lotus, when it is called a padmāsana. The simhasana is a lion-pedestal. (See page 20.)
Indian deities carry a number of objects in their hands. They hold weapons and other objects. which sometimes have deep symbolism. Indian gods carry numerous weapons, like the conch (sankha), lotus (padma), mace (gadā), wheel (chakra), goad (ankusa), noose (pāśa), bow (dhanus), arrow (bāņa), shield (kheṭaka), thunderbolt (vajra). trident (triśüla). sword (khadga). spear (śakti), plough (hala), pestle (musala). chisel (tanka), club made of bone (khatvänga), battle-axe (parašu), javelin or trident (śûla), fire (agni), etc. Some of these symbols are very meaningful. A few of them are described below:
1. Akshamālā: The Akshamālā is a rosary and is made of beads. It may be either of the rudraksha' variety, in which case it may be associated with the Rudra cult, or the 'kamalaksha' variety, probably associated with the Vishnu cult. The Hindu Creator-god Brahma also carries a rosary in one of his hands. The rosary he carries is representative of 'Time'. Sarasvati, the consort of Brahma, and Siva also carry it, as also do other deities.
The rosary is also held by some of the Buddhist deities. Beal tells the story of the Bodhisattva Akshyamati who thus addressed the Buddha:

Page #24

ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
'World Honoured One, let me now present an offering to the Bodhisattva Avalokitesvara. Thus saying, he offered to the Bodhisattva a valuable necklace, who accepted it and dividing it into two parts, he presented one to Šakyamuni and another to the Buddha Prabhutaratna. The rosary is the special symbol of Avalokitesvara, Prajñāpāramitā, Cundā, Bhrikuti, Vasudhară, etc.
2. Chakra: The chakra or wheel symbolises the rotation of the world, and also represents the Wheel of Dharma. It also stands for air.
In Buddhism, the chakra is symbolic of the Wheel of Law, which turns twelve times, or three revolutions, for each of the Four Noble Truths. It is represented with eight spokes, indicating the Eightfold path of salvation.
3. Citron: This is the 'seed' of the universe.
4. Danda: A staff. If it is held by Siva, it is indicative either of death or of Siva teaching.
5. Gadā: The gadā represents 'light'.
6. Garuda: The Garuda is symbolic of the human mind which can soar to the sky in an instant. It is the mind that pervades the bodies of all creatures.
7. Jaja: Jatās of Siva and Brahmă represent the variegated Brahman.
8. Kalasa: Vase. The Hindus believe that in the beginning the universe was all water. The Earth issued out of the Primeval Water. Brahmā, the Creator-god, therefore, carries this primeval water in his vase.
In the Buddhist pantheon, the kalasa holds ampita or the Elixir of Life. It is the special symbol of the Bodhisattva Padmapani, the Bud- dhist Creator-god as also of Maitreya, Bhrikuti, etc.
9. Khadga: The khadga is a sword. It is the symbol of enlightenment. As the sword cuts knots, so does the intellect pierce the deepest recesses of Buddhist thoughts. It is the special symbol of Manjusri. With his sword, he destroys ignorance.
10. Khețaka: The khetaka is a shield. It represents Dharma, which protects like a shield.
11. Nandi: The Nandi is Siva's Bull and symbolizes Dharma
12. Padma: In the Hindu pantheon, the lotus arising from Vishnu's navel represents Maņithe Earth. Padma also symbolizes water and creation.
The lotus has much importance in Hindu and Buddhist pantheons. It symbolizes self-creation.
This is why the Hindu Brahmã sits on a lotus. When the Buddha was born, he took seven steps and immediately lotus flowers sprang up underneath his feet. Every Buddha is 'Svayambhu', i.e., self-existent. The padma or lotus pedestal is indicative of divinity. The Adi-Buddha manifested himself in the form of a flame arising from a lotus. The lotus also represents the Active Female Principle or in Vajrayāna, the female sex organ.
13. Patra: The Buddhist monks carry a pătra or bowl which is used for begging alms. The Indian tradition has it that when the Buddha completed four weeks of Buddha-hood, Tapussa and Bhallika, two merchants of Ukkula in Orissa, were warned by a deity that they were approaching a Buddha. The merchants came to the Buddha and offered him rice and honey cakes. The Buddha could not accept food in his hands; whereupon, the four gods of the quarters brought him a stone bowl from which he ate the food.
The pătra is semi-circular in shape. It is usually held in the hands when these rest on the lap.
14. Pustaka: The pustaka is a book of palmleaves cut long and narrow or a manuscript which looks like one. In Buddhist tradition, it represents the Prajñāpāramită scripture of Transcendental Wisdom. This book is supposed to have been given by the Buddha to the Nagas for safe keeping. Năgărjuna recovered it from them and founded the Mahāyāna school on its teachings. The pustaka is the symbol of Mañjuśri, Cundā, Prajñāpāramita, etc.
The Hindu God Brahmă holds a sacred manuscript in one of his hands. It is the symbol of wisdom.
15. Tričūlā: The trisüla represents either the triple functions of God-Creation, Protection and Destruction or the three attributes or gunasSattva, Rajas and Tamas. Also called süla.
16. Vajra: The vajra is the special symbol of the Hindu God Indra. With this thunderbolt, he destroys the enemies of Hinduism.
Vajrapāni, the Buddhist Bodhisattva, also destroys the enemies of Buddhism with his vajra or thunderbolt. In Mesopotamia, the gods hold a double-trident. In India, it is the special symbol of siva. 'The Northern Buddhists believe that Buddha wrested the thunderbolt from the Hindu god Indra, and adopted it as a Buddhist symbol with the slight change of closing the points of the darts. The vajras of Hindu gods show three

Page #25

INTRODUCTION
darts which are flat and the points of which do not touch like those of the Tibetan vajras. The Tibetan variety is round, has four darts and the points are closed. This gives it the appearance of a lotus bud. A fifth dart runs through the centre of the vajra, from end to end, making five darts, which represent the five bodies of Dhyāni Buddhas.
In Vajrayāna Buddhism, the vajra becomes the symbol of linga, the male sex organ.
Vajra means "diamond'. It is indestructible. It cannot bend, it cannot break. Like the Vajrayānist Sunyada it cannot break or bend.
17. Vyāghra-Chamara: The vyāghra-chamara is a tiger-skin. It represents Desire (Trishna).
HAND-POSES (MUDRAS OR HASTAS)
Abhaya: The 'fear not' or protection-assuring posture of the hand. In this hand-pose, the hand is lifted and the palm of the hand with the fingers extended upwards, faces outwards. (Page 5.)
Añjali: This is the hand-pose of salutation. In this hand-gesture, the two hands are folded leaving a hollow between them. The hands thus folded rest on the chest and are kept parallel to the ground. (Page 5.)
Bhuddhasramana: This is the hand-pose of salutation. In this, the hand is held level with the head, with the palm facing up and all fingers fully extended. It is the mudră of Vasudhără and Uşnisavijaya. (Page 5.)
Bhūsparsa or Bhūmisparsa: The attitude of 'touching the earth,' calling her to witness the virtue of Gautama. In this hand-pose, the right hand is placed over the right knee. The hand, with palm inward, all fingers down, touches the lotus seat below. It is the characteristic pose of Gautama and Akşobhya, one of the five Dhyani Buddhas. (Page 5.)
Bhūtadāmara: The hand-pose that inspires awe. In this, the wrists are crossed in front of the chest. It is one of the mudrās of Vajrapāņi. (Page 5.)
Chin-mudră: In this hand-pose, the tips of the thumb and the forefinger touch each other to form a circle, while the other fingers are kept open. The palm faces outwards. This is the hand-pose of teaching or exposition. That is why it is also called Vyåkhyāna-mudră or Sandarśana-mudra.
Danda-hasta or Gaja-hasta: In this band-posc, the arm and hand are thrown across the chest and
held straight like a staff (danda) or the trunk of an elephant (gaja-hasta). (Page 6.)
Dharmachakra: The hand-pose of preaching the Law. It signifies the turning of the Wheel of Law. In this hand-pose, both the hands are held against the chest, the left hand covering the right. It is the mudrā of Gautama, the Dhyāni Buddha Vairocana, and the future Buddha Maitreya. (Page 6.)
Dhyana or Samadhi: The attitude of meditation. In this hand-pose, both hands are placed on the lap, right hand on left, with the fingers fully extended and the palm facing upwards. Also called Yoga-mudra. (Page 6.)
Harina-mudră: In this hand-pose, a ring is formed by joining the thumb with the middle and ring fingers. The index and little fingers are kept straight. (Page 6.)
Jñāna-mudra: In this hand gesture, the tips of the middle or index fingeb and of the thumb are joined together and held near the chest, with the palm turned inward. (Page 6.)
Kartart-hasta: In this hand-pose the hand is kept level with the shoulder. The thumb and the ring finger form a ring and the index and middle fingers are kept straight up to look like the horns of a deer, in which an emblem may be held. (Page 7.)
Katyavalambita: This is the posture of ease. The arm hangs loose and the hand is placed on the waist. Also called Kati-hasta. (Page 7.)
Kataka-hasta or Simhakarna-mudra: In this hand-pose, the tips of the fingers are loosely joined to the thumb to form a ring. This is done with a view to inserting a fresh flower in the hand of the icon every day. (Page 7.)
Keepana: This is the gesture for sprinkling ambrosia. In this hand-pose the hands are joined palm to palm, with the tips of the index fingers touching and turned down towards the vase containing nectar. It is the mudrå of Nämasangiti. (Page 8.)
Namaskāra: This is the attitude of adoration or prayer. The two hands are kept close to the chest, touching palm to palm, in an attitude of prayer. (Page 8.)
Santi: Similar to Abhaya. Siṁhakarna-mudră: See Kataka-hasta.
Sücht-hasta: In this hand-pose, the projected forefinger points to an object below. (Page 8.)
Tarjant: In this hand-pose, the projected forefinger points to an object above. It is also

Page #26

4
used for warning or scolding someone. (Page 8.) Tarpana: The hand-pose of homage. The arm is kept level with the shoulder. The palm is turned in, and the fingers slightly bent and point towards the shoulders. This is the mudra of Namasangiti. (Page 8.)
Uttarabodhi: This is the hand-pose of perfection. In this all the fingers are locked, palms together, with the thumbs and index fingers touching at the tips, with the fingers extended upwards. It is the mudra of Gautama and Namasangiti. (Page 9.)
Varada or Vara: The hand-pose which confers. grace or boon. In this gesture of the hand. the palm of the hand with fingers extended downward, is held below the waist, as far as the hand can reach. (Page 9.)
Vajrahumkara: This is symbolic of the Supreme and Eternal Buddha. The wrists are crossed at the chest and hold the vajra and ghanță (thunderbolt and bell). (Page 9.)
Vismaya: This hand-pose is indicative of astonishment and wonder. In this hand-gesture. the fore-arm is lifted and the palm turned inward with the fingers spread out in a circular manner to denote inquiry. (Page 9.)
Vitarka: The mudra of argument. In this hand-pose, the thumb and index finger are joined to make a ring. All the other fingers are extended upwards. (Page 9.)
Yoga-mudra: In this gesture of the hand, the palm of the right hand is placed in the palm of the left hand. Both hands rest on the crossed legs of the seated image. This is the hand gesture of meditation and is also known as Dhyanamudra. (Page 6.)
ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
with a metallic point and has feathers at its tail-end. (Page 11.)
OBJECTS HELD IN THE HANDS
Agni: Fire. It is used as a weapon of war. It is also used for making offerings. Śiva frequently carries Agni in one of his hands. (Page 11.) Akshamālā: Rosary of beads. It is of two types. 1. Rudraksha and 2. Kamalaksha. The rosary is usually found in the hands of Brahma, Siva and Sarasvati. (Page 11.)
Ankusa: Elephant goad. It is made of a small wooden handle topped by a strong and sharp metal hook. (Page 11.)
Atapatra Parasol. This is the symbol of Buddhist goddesses like Usnīṣasitā. Pañcarakṣā, etc. (Page 11.)
Bāna: Arrow. It is made up of wood, tipped
Bhenḍipala: A vegetable.
Bilvafala: Wood-apple. (Page 12.)
Chakra: Wheel. This is normally associated with Vishnu. A legend from the Siva-purana narrates the story of how Vishnu secured the Wheel as a gift from Siva to destroy the demons. In sculptural representations. it looks like the miniature wheel of a cart with spokes and all. Sometimes it is very ornamental, with jewelled ribbons running round it. (Page 12.)
Chaitya: Buddhist stupa, the symbol of Maitreya, the Future Buddha. and others. (Page 13.)
Chami: Fly-whisk. (Page 12.)
Chintamani flag: Flag with the Chintamani jewel.
Damaru: Drum. (Pages 12. 13.)
Darpana: Mirror. (Page 13.) Dhanus: Bow. (Page 13.) Dhvaja: Flag. (Page 13.)
Gada: The Indian mace. Sometimes it is held in the hand and at other times, the hand is merely placed upon the top of the mace. The gadā may be plain or ornamental. Usually it is plain. It has a tapering top, where it is held by the hand. It has a heavy and swollen bottom. It is used as a weapon in close combat. (Pages 13, 14.)
Ghanta-Bell. (Page 14.)
Hala: The Indian plough. (Page 14.) Jambhara: Lemon. This is the symbol of Jambhala, the Buddhist Kubera. (Page 14.) Kalasa: Vase. (Page 14.)
Kalpalata: Wish fulfilling tree.
Kamandalu: A vessel to hold water. It is of different shapes and in some cases has a spout. (Pages 14, 15.)
Kapala: Skull-cup, usually of Brahma when it is carried by Siva. In sculptural representations it looks like a spherical or oval bowl. (Page 15.) Kätri: a small knife.
Karttrka: Chopper, the symbol of Tantric goddesses like Buddhaśaktis, Dakinis, etc. (Page 14.) Kaumudi: Half-moon.
Khadga: Sword. It may be long or short, single-edged or double-edged. (Page 15.)
Khakkhara: Alarm staff, It is a long wooden staff with a metal top with a number of metal rings attached to it. Shaken to give warning. (Page 16.)

Page #27

Hand-poses
Añjali
Abhaya
Buddhasramana
Bhutadamara
Bhūmisparsa

Page #28

Hand-poses
Gajahasta or Dandahasta
Dharmachakra
SA
.
2
.
Jnana-mudra
Harina naudra
Dhyana or Yoga-mudra

Page #29

#
Karana
Kataka-hasta or Sunha-karna
Hand-poses
W
Katyavalambita
Karana
Kartari-hasta
Kataka-hasta or Sinuha-karna
7

Page #30

DO
Hand-poses
Tarjani
Nainaskara
Tarpana
Kșepana
a
Tarjani
Suchi-hasta

Page #31

Hand--poses
Uttarabodhi
Varada
Vajrahunkára
2
TEST
Ular
Vismaya
Vismaya
Vitarka

Page #32

ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
Khafvänga: A kind of a club made up of the bone of the forearm or leg. To the end of this is attached a skull. It is probably a weapon which comes from antiquity. Sometimes the bone shaft is replaced by a wooden handle. It may also have been used as a ritual wand. (Pages 15 and 16.)
Khelaka: A shield. It may be circular or rectangular. It has a handle at the back. The face of the shield shows a variety of faces and emblems. (Page 15.)
Kukkuta: Cock. Held by Subrahmanya (Kärttikeya).
Laddu or Ladduka: A round sweetmeat dear to Ganesa.
Mahālunga: A fruit held by Devi. Mayūrapiccha: Peacock-feathers. (Page 16.)
Mera: Ram. Carried by Siva in earlier images. Later images show a buck (Mriga). (Page 16.)
Mriga: Deer or buck. Siva carries a Mriga in one of his hands in later sculptures. In earlier ones he carries a ram (Mesa).
Musala: The Indian wooden pestle. (Page
terrifies the enemies of Vishnu. In sculptural representations, the conch appears plain or ornamental. In the latter case, its head is covered with a decorative metal cap, surmounted by a lion-head and having a cloth tied round it. Tassels of pearls may also hang from the sides. (Page 18.)
Sankha-pătra: A shell cut cross-wise, producing a spiral ring. Used as an ear-ornament. (Page 18.)
Sasah: Rabbit. (Page 18.) Srifala: Coconut. (Page 18.)
Sruk: A circular shaped sacrificial spoon. (Page 18.)
Sruv: An oval shaped sacrificial spoon.
Sūla: The weapon of Śiva. It may look like a javelin and have one pointed dart or it may be a trident.
Tanka: Chisel used by the stone-masons of India. (Page 18.)
Tomara: Iron club. Tridandi: Triple shaft.
Triratna: The Three Jewels symbolising the Buddhist Trinity of the Buddha, Dharma (Law), and the Sangha (the community of Buddhist monks and nuns)(Page 18.)
Triáūla: Trident, the favourite weapon of Siva. 'Trit means three and 'süla' means point. It consists of a long wooden handle topped by three sharp metal pikes. (Page 18.)
Upavita: Deer skin worn from over left shoulder, across the body and below the right arm, coming up again at the back to the left shoulder.
Vajra: The thunderbolt, the favourite weapon of Indra. It looks like a double-trident without a wooden handle. (Page 19.)
Vajra on Padma: Thunderbolt placed vertically on a lotus. (Page 19.)
Visva-vajra: Double thunderbolt. (Page 19.)
16.)
Myrobalan: A fruit. (Page 16.) Nakula: Mongoose. (Page 16.) Padma: Lotus. (Pages, 16, 17.)
Parašu: Battle-axe. It is made up of a strong biade of steel fitted to a wooden handle. The blade is curved and may have a hole at one end to fit onto the wooden handle. In later forms the tip of the Parasu looks like a mace and into this the steel is fitted. In these later forms, the blade is small. (Page 17.)
Parigha: A kind of club.
Pasa: A noose of ropes. In sculptural representations, two or three ropes are shown tied together in a single or double loop. (Page 17.)
Pātra: Bowl. (Page 17.) Pattika: A layer of the pedestal.
Pattişa: A long steel rod with a very sharp point at one end.
Pustaka: Book. It is usually a palm-leaf book and is held by Brahmā, Sarasvati, etc.
Pustaka on Padma: Book on lotus. (Page 17.)
Sakti: Spear. It consists of a rectangular or elliptical and sharp metallic piece attached to a long wooden handle. (Page 18.)
Sankha: Conch-shell. This is the special symbol of Vishnu. His conch is known as Panchajanya, being made from the body of the demon Panchajana. It makes a frightening noise and
ASANAS (SITTING POSTURES)
Ardhaparyanka: Sitting with one leg folded and the other raised with the heel on the seat, the arın resting on the knee. Same as Mahārājalila.
Alidha: Left leg bent at knee, and right leg straight but slanting at an angle to the back. This is a standing pose.
Utkutika: A sitting posture in which the heels are brought together and kept close to the bottom, with the back slightly bent for comfort.

Page #33

Objects held in Hand
COLD
Common
Agni
Aksamala
Atapatra
Agni
A
llow
w
Agni
Bana
Ankusa

Page #34

Objects held in Hand
Bilvafala
இ
Chakra
Chakra
யான்
Chakra
Chakra
MAAMILIES SaiITH
*
பாபமாயாயாயாயாயால் ne-III இ
ரUURIST
UUIPP
TAMIL
Damaru
Chauri
Chakra

Page #35

Objects held in Hand
O
Damaru
SOUT
WARUMIN
Damaru
W
Chaitya
When
Dhvaja
Darpana
Gada
Dhanus
Dhanus
Dhanus
Gada

Page #36

Objeets held in Hand
Hala
Gada
Cadā
1. AIVAN
Kairandalu
Ghanta
Jambhara
NAS
Karlıçka
Kalass
Cada

Page #37

Objects held in Hand
Kapala
AD
Kamandalu
Kamandalu
Khatvanga
Khetaka
WIN
-
22
DALIANO
WWW
Khetaka
a
VNN
22
Khadga
Khetaka
Khatvanga

Page #38

16
Khakkhara
Murali or Venu
VI
Padma
Mesa
Objects held in Hand
Occ
Mayurapicchu
Myrobalan
Когда
A
Nakula
RUT
Khatvänga
Musala

Page #39

Padma
200
Parasu
Padma
Objects held in Hand
Patra-kundala
Pasa
Padma
O
Pătra
Padma
Pasa
Pustaka on Padma
17

Page #40

18
buk
Trisula
Tanka
Objects held in Hand
Cox9
Make
Sankha
Sankha-patra
Sakti
Sakti
Sankha
Er
Triratna
Sruk Sruk
Sasah
Srifala
Sruk

Page #41

Objects held in Hand
Patra-kundala
F1
DINA
Vajra on Padma
Visva--vajra
71
Padmasana

Page #42

20
Kurma: Sitting cross-legged with the soles of the feet touching the bottom.
Dhyana: Seated in Padmasana in the attitude of meditation. In this sitting position, the legs are crossed, with soles of the feet turned upwards, resting on the thighs.
Padmasana: See Paryanka.
Paryanka: Sitting cross-legged. Padmasana. Pralambapada: Sitting on a seat with both legs pendant in the Western manner.
Pratyalidha: Opposite of the Alidha posture. Right leg bent at the knee and the left leg stretched behind and kept straight at an angle.
Bhadra: Sitting cross-legged as in Kurmāsana and holding the toes with the hands. Mahārājalila: Same as Ardhaparyanka. Sitting at ease.
Yoga: Seated cross-legged, with soles of the feet turned upwards, with two hands on the lap, one upon the other, in an attitude of meditation.
Lalita: Sitting on a high pedestal as on a stool, with one leg hanging down and the other folded and resting on a cushion or a pedestal. Also called Savya-lalita or Sukhāsana.
If the left leg is folded and the right kept dangling below, it is called Vama-lalitāsana.
Vira: Sitting with the left leg resting upon the right thigh.
Vajra: Sitting cross-legged with the soles of the feet turned upwards, the two hands resting on the knees.
Simha: Sitting cross-legged as in Kurmāsana. The palms of the hands are kept on the thigh, with the fingers stretched; the eyes are closed or concentrated on the tip of the nose and the mouth kept open.
Sukha: Sitting in any comfortable position. Sopasraya: Sitting with legs loosely locked, the soles of the feet resting in the front.
Sukhasana: See Lalita.
Swastika: Sitting cross-legged with the toes of the feet touching the opposite knees.
PEDESTALS OR SEATS
The word 'asana' is also used to denote the pedestal or seat on which an icon is seated or standing. These are described below:
Anantasana: Triangular in shape. It is usually used when viewing sports or amusements. Kurmāsana: Oval in shape and is made of
ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
wood. It has the face and feet of a tortoise. (Page 22.)
Padmasana: Circular or oval in shape, and is generally used for worship. (Page 19.)
Bhadrapitha: Rectangular or circular in shape. Yogasana: Octagonal in shape. It is used for worship.
Vimalasana: Hexagonal in shape, and is used when offerings are to be made.
Viśva-padmasana: Double-petalled lotus pedes
tal.
Simhasana: Four-legged and is rectangular or circular in shape. Its four legs are made up of four small lions.
Makarasana: Contrived like a Makara, a seamonster. (Page 22.)
MUSICAL INSTRUMENTS
Damaru: A small drum. Its two ends are covered tightly with membranes which are held in that position by a string which passes over the body of the drum. Sometimes a string is attached to the narrow middle of the drum and to its ends are attached small heads. These strike the membranes at the two ends and produce a variety of notes. (Pages 12 and 13.)
Ghanta: Bell. (Page 14.)
Murali or Venu: A flute made from a thin and hollow bamboo. (Page 16.)
Vina: A stringed musical instrument, the favourite of Sarasvati. It consists of a longish hollow cylindrical shaft, with a number of keys on its sides. A string or wire is attached to cach of these keys and they are stretched to be tied at the lower end, where there is a square sounding box. At the upper end is a hollow gourd which serves as a resonator. (Page 19.)
CROWNS (MUKUTAS)
For illustrations of head-gear, see page 23.
THE MOUNT OR VEHICLE
The deities are often accompanied by a 'vehicle' or mount which help in their identification. The bull Nandi is the vehicle of Siva, Garuda of Vishnu, the parrot of Rati, the goddess of love, and so forth. The vehicles are mentioned in the tabular matter that follows.

Page #43

INTRODUCTION
THE TĀLA SYSTEM OF
MEASUREMENT
Major gods arc ten times the face (Dasa-tāla), and the minor divinities and goddesses in a measure of nine Tälas (Nava-tāla). Major gods in their heroic or ferocious aspects could be in a measure of even twelve or fourteen Tälas. A Panchatåla figure is only five Tālas high.
In Indian iconometry, the Tāla system of measurement is used for sculpture or casting icons in metal. The face, from the top of the forehead to the bottom of the chin, is the unit of measurement and is known as thc Tāla. Each Tala is further divided into twelve Angulas, which are further sub-divided into still smaller units. Ordinary human beings are in a measure of eight Tälas (Ashta-tāla), i.c., cight times the size of the face.
Within cach Täla measure, the image may be Uttama (highest), Madhyama (middle) and Adhama (lowest). Thus in the Daśa-tāla, the Madhyama is 120 Angulas, but the Uttama is 124 Angulas and the Adhama, 116 Angulas,

Page #44

Asanas (Pedestals)
S.
23
12/23
W
.:
.
SS
A
Kurmāsana
ILM
Makarāsana

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Crowns (Mukutas)
WDS
(TID
TEA
Jaţă-mukuta
od Bobby
CUISINE
Karanda-mukuta
Kirita-mukuta

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Symbols
mul
Vehicle Hands
Faces
Hair-dress
Misc.
Symbols
Vehicle
Hands
Faces
Posture
Misc.
BRAHMA
KEY TO THE IDENTIFICATION OF MAJOR HINDU GODS AND GODDESSES
Rosary, vase, ladle, book
Goose
Four
Four. Actually only three seen Matted hair
Generally shown with a short pointed beard
NATARAJA-SIVA
R.h.-protection pose and drum
L.h.-in Gajahasta and fire
VISHNU
Mace, lotus, conch, wheel
Eagle (Garuda)
Four
One
Kirita crown
Wears sometimes a flowergarland as the sacred thread
KARTTIKEYA (SUBRAHMANYA)
Stands on dwarf Apasmāra. Peacock left leg lifted, turned towards right leg and kept across it
Four
One
Six
Two or Six
SIVA
Sometimes with four faces. The peacock identifies him from Brahma. Sometimes with one head and four hands but without a deer or serpents
Trident, wheel, battle-axe, club. Often a deer in one hand
Bull
Two, four or more
One
Matted hair
Often a crescent and serpent in the hair and third eye in forehead
GANESA
Rat
MAHESA-MURTI
Four
One
Two hands in boon-giving and protection postures
noose
Two hands in protection Elephant tooth, goad, laddu, Protection pose, trident, and boon-giving poses. Others carry thunderbolt, shield, spear and sword
mace and boon-giving pose
Four right hands-ūla, battle-axe, thunderbolt and sword
Four left hands-shield, goad, noose and shield
Ten
Five. Only four visible
VIRABHADRA
Bull
Four
One
DAKSHINA-MURTI-SIVA
Right hand-one in Jñana mudra and one carries a rosary
Left hand-boon-giving pose and fire, snake or lotus
Four
Seated with one leg pendant
SHESHASHAHI-VISHNU
Conch, wheel; one hand on head of serpent Shesha and one on knee
Serpent Shesha
Four
Sleeping
One foot held by consort Sri on her lap: Brahmä on lotus springing out of his navel. Demons Madhu and Kaitabha near stalk of lotus

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MAJOR HINDU GODS AND GODDESSES—(contd.)
BRAHMANI Rosary, ladle, vase, vase
KRISHNA R.H. -curved stick L.H.---lifted up and
bent at elbow
MAHESVAKI Bow, arrow, wheel and bow
KAUMARI Spear in both hands
Symbols
LAKSHMI-NARAYANARAMA Lotus, conch, wheel. Bow and arrow Fourth hand embraces Lakshmi Eagle (Garuda) Four
Vehicle
Goose
Bull Four or six
Peacock Two, four, twelve
Hands
Two
Two
Four
Faces
Four
Posture
Sitting
Misc.
Accompanied by Sita, Lakshmana, Bharata and Shatrughna
Rukmini on right Satyabham on left
VAISHNAVI Wheel, mace. conch. lotus
Symbols
VARAHI Stall, conch. wheel. mace
INDRANI Thunderbolt in both hands
GAURI Śūla and mirror
CHAMUNDA Javelin, kātri. skull cup, steel staff with sharp point Corpse
PARVATI Rosary. Siva, Ganapati, vase
Vehicle
Bull
Eagle Four or six
Elephant Four
Hands
Four or ten
Four
Two
Faces
Boar-face
MAHALAKSHMI Mahālunga. mace. shield, bowl of leaves
INDRA Thunderbolt, lotus
AGNI Rosary, vase
YAMA Staff, noose
NIRRUTI Sword, shield, kātri, head
Symbols
SARASVATI Bow, mace, noose, lute, wheel, conch, pestle, goad. Sometimes a rosary Peacock Four or eight
Vehicle
Elephant Airavata Two or four
Goat Two or four
Buffalo Two or four
Man, ass or camel Two or four
Hands
Four
VARUNA Noose, lotus
VAYU Boon-giving and banner
Symbols
KUBERA
ISANA Mace and boon-giving Trident and boon
giving Man. goat (?) or horse White bull
SURYA Lotus in each of two hands
Vehicle
Crocodile
Stag
Two or four
Two or four
Two or four
Two or four
Hands Misc.
One-wheeled chariot driven by seven horses Two Danda and Pingala on two sides carrying sword and shield

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HINDU ICONOGRAPHY
BRAHMĀ
THE HINDU Triad comprises Brahma, Vishnu and Siva-Creator, Protector, and Destroyer, representing the creative, preservative and destructive energies of God. Brahma embodies 'Rajo- guna,' the quality of passion or desire, the cause of creation. Siva is the embodiment of the 'Tamo-guna,' the attribute of darkness, and the destructive fire by which the world is consumed. Vishnu is the embodiment of 'Sattva-guna,' the property of mercy and goodness, by which the world is preserved.
Creation began with the Universal Spirit wishing to multiply itself, prompted by Desire. Out of Käma or Desire came forth the primeval male god Brahmă, who created the three worlds and all life. But the act of creation involves the acts of preservation and dissolution, hence the need for a Protector-God Vishnu, and a Destroyer- God Siva. These three gods, charged with the tasks of creation, preservation and dissolution, constitute the primary group of deities. Around these has grown the great system of Hindu gods and goddesses with all their countless ramifications.
Kamalasana since he sits on the lotus which springs from the navel of Vishnu. He is called "four-headed."
In the Vedic period, Brahmå was not an important god. The idea of the Creator was present, but this creator was not yet identified with Brahmă.
The Rig Veda speaks of Vishvakarman. He is God the Father. He has heads in all the four directions. The Puranic Brahmă probably originated from Vishvakarman. It is interesting to note that Vishvakarman was related to the sun, since the rays of the sun were considered beneficial to human life and creation. In one hymn, the Rig Veda mentions Prajāpati as Creator. That is why later when Brahmă came to be considered the Creator, he was identified with the Rig Vedic Prajāpati.
In the Sutra literature Prajapati and Brahma become synonymous.
In the Rig Veda, Hiranya-garbha is mentioned as the cause of Creation. So Brahmă became Hiranya-garbha.
In Purăņic literature, Brahma is called Creator. He is said to have created Prajāpatis (their number and names are different in different Puranas) for the purpose of creation. Thus Brahmă became the Grandfather Pitāmaha.
He fell in love with his own daughter named variously Såvitri, Brahmäni, Sarasvati, etc., and became one with her. To look at her wherever she turned he got four faces in the four directions and the fifth on top. This is apparently a
ICONOGRAPHY (Pls. 1-4)
Brahma is one of the important gods of the Hindu pantheon. Brahman is the cause of creation. Brahmå is the creator. He is called Svayambhù-self-born. In the beginning he was the Hiranya-garbha-the Golden Germ. He is called Pitamaha- the Great Father. He is called
26

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HINDU ICONOGRAPHY
story invented to bring him into contempt. He had another wife called Gayatri.
Both the Saivites and the Vaishnavites have tried to belittle his importance. He springs from the navel of Vishnu and sits on a lotus. Siva cuts off his fifth head as punishment for incest. These stories are indicative of the attitude of both these sects towards Brahma.
Till the Middle Ages, Brahma was important. After the coming of Islam, he lost his importance. Many stories were circulated about his personal character which may have led to a loss of faith in his respectability. The Puranas accuse him of falsely claiming to have traced the end of the Agnistambha, when he had not. Another story tells us how when his wife Savitri was delayed in coming for Yaksha's sacrifice, he took another wife promptly. Savitri, highly incensed, cursed him equally promptly !
Actually, Brahma enjoyed respectability many centuries after these stories became current.
Brahmä has four faces, four arms, matted hair. and the skin of a black antelope as garment. He sits in Padmasana in a chariot drawn by seven swans. One right hand holds rosary, another right hand holds kamandalu. He looks Saumya and Toshmya-happy and worthy of propitiation. His eyes are closed in meditation.
His four faces represent the four Vedas: the eastern-Rig Veda; southern-Yajur Veda; western-Sama Veda; and the northern-Atharva Veda.
His four arms represent the four directions.
The whole universe evolves out of water. Therefore Brahmă carries water in a kamandalu (vase). (FOR ICONOGRAPHICAL DETAILS, SEE TABLES ON
PAGES 24 and 25.) The rosary which he is counting represents Time.
The seven Lokas (worlds) are represented by seven swans.
The lotus arising out of the navel of Vishnu represents Mani----the Earth.

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VISHNU
HINDUS are either Vaishnavites (followers of eagle is also called Suparna. In the Rig Veda, Vishnu). Saivites (followers of Siva) or Sāktās Suparna is the attribute of the sun. This in(those who offer worship to Sakti, the Divine Mother). This would indicate the great impor- In the Puranic period, Vishnu became a very tance of Vishnu, probably the most popular of influential god, the most important of the Hindu the Hindu gods. Though in the Hindu Trinity Trinity. According to Dr. Banerjea, this new he comes after Brahmā, Vishņu remains pre- Vishnu was the amalgam of three god-concepts eminent. He is the Protector-God. Of the three (the man-god Vasudeva-Krishņa, the Vedic Sungods of the Hindu Triad, Vishņu, being the Pre- god Vishyu and the cosmic god Nārāyana of the server, appears most humane. In his sympathies Brāhmaṇas). and attributes, he is very humane and so he is Vishụu is conceived in his five main aspects the most popular.
Para the highest, Vyuha the emanatory, Vibhava The Rig Vedic Vishnu is conceived as the sun the incarnatory, Antaryāmin the inner controller in its three stages-rising, zenith and setting. The of all beings, and Arochă the iconic representaVedic Vishnu strides through the heavens in three tion of the god. steps. This is Vishnu's great deed and constitutes Vishnu's supreme task is that of preservation. his great glory. With these three steps Vishnu, His incarnations avatāras) were necessary to a solar deity, courses through the three divisions carry out the supreme work of preservation of the of the universe, "the god being manifest in a three- human race. Whenever the forces of Evil began sold form, as Agni on earth, Indra or Väyu in the to rule the world of men, Vishnu, the Great atmosphere and Surya in the sky.' He is said to Preserver, left the Heavens, descended to the world have taken these three steps for the preservation of men and rescued men from Evil. Sometimes and benefit of mortals. The zenith is appro- he assumed forms for the attainment of particular priately called Vishnu's place. His third step objectives. A study of Vishnu's incarnations would cannot be seen with human eyes. It is here that show that some of these forms are cosmic in charIndra dwells.
acter, while some are obviously based on historical The idea of swift motion is consistently as events. Historical personages came to be endowed sociated with Vishnu in the Vedas.
with divine attributes and later came to be regardHis association with sacrifice made him an im- ed as incarnations of the deity himself. It is also portant deity later as the importance of sacrifices of interest to note the evolution of these incarnaincreased. In post-Vedic literature, the wheel in tions from the lower to higher forms of life-fish his hand is compared to the Sun. The Eagle, (Matsya), tortoise (Kurma), boar (Varaha), to (Garuda), the king of the birds, is his vehicle. The half-man, half-animal (Narasimha), to the Dwarf
28

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HINDU ICONOGRAPHY
29
incarnation (Vämana), and to great heroes, endowed with many superhuman qualities.
The doctrine of Vishnu's incarnations satisfied the great need of a people for a religion of faith in a personal God, 'for a God sympathising with humanity and meeting it in its need. It expresses the desire for a divine deliverer, amid the evils and miseries of life.'
Seven Divine Rishis (the Mānas-putrās or mindborn sons of Brahmä) along with their wives were also saved and these repopulated the world afterwards.
In plastic representations of the incarnation, Vishnu appears as half-fish and half-man, the lower half being fish. In his four hands he carries the conch and wheel and two hands are in the hoongiving and protection mudrās. He wears a kirtla crown and the other usual ornaments.
H. THE TORTOISE INCARNATION (THE KURMA
AVATARA)
ICONOGRAPHY (Pls. 5-10) Vishņu should be seated on Garuda (Eagle). He has one face and four or more arms. He carries in his right hands an arrow, a rosary, a club; and in his left hands a hide, a cloth and rainbow. He also holds a chakra (wheel) and gadā (mace).
The chakra represents rotation of the world, as also the Wheel of Dharma, the Wheel of Time and the Wheel of the Planets.
Garuda is the mind pervading the bodies of all the creatures. There is nothing quicker and stronger than the mind.
Vishnu's eight hands symbolise the four quarters and the intermediate directions.
Sankha (conch) represents the sky, chakra the air, gadi the light and padma (lotus) the waters.
VISHNU'S INCARNATIONS
The gods of the Hindus were constantly engaged in wars with the demons. The demons practised severe austerities, obtained all kinds of boons from the gods, and then fought with them. On one such occasion when the demons were triumphant, the gods implored Vishnu to help them regain their lost power. Vishnu advised the gods to make peace with the demons and unite with them in churning the ocean to produce the nectar (Amritā) that would make them immortal. Thereupon, the gods made peace with the demons (Asuras), collected all kinds of plants and herbs and threw these into the ocean. Then they lifted the great Mandāra mountain and used it like a churning rod, using the serpent Vasuki as the rope. But the earth began to sink under its weight. So Vishņu assumed the form of a giant tortoise and got underneath the Mandāra mountain. His huge back served as base on which the mountain could pivot. Out of the churning of the ocean came the nectar that brought immortality and power to the Gods.
In representations of this incarnation, Vishnu is shown as half-tortoise and half-man, the lower half being tortoise. He carries in two hands the conch and the wheel, while the other two hands are in the boon-giving and protection attitudes.
Vishnu's incarnations are normally ten, but sometimes are said to be upto twenty-two or more (see Tables). Different texts mention different names. The ten most generally accepted are as follows: Matsya (fish), Kurma (tortoise), Varāha (boar), Narasimha (Man-lion), Vāmana (dwarf), Paraśurāma, Dasaratharama, Krishna, the Buddha, and Kalki which is yet to come.
. THE FISH INCARNATION (MATSYA
AVATARA)
III. THE BOAR INCARNATION (THE VARAHA
AVATARA)
The sacred books of the Hindus frequently refer to the story of the Great Flood that devastated the world. The account greatly resembles the flood described in the Book of Genesis. Vishnu, the Preserver, appeared in the form of a great fish and rescued Manu, the progenitor of the new human race. Like Noah, Manu was chosen on account of his great piety in an age of universal depravity.
Various accounts of the flood are given. The Puranic accounts tell us that besides Manu, the
Vishnu took the form of a boar to save the Earth-goddess Prithvi from the clutches of the demon Hiranyaksha. During the Great Flood, the earth was submerged under the water. This posed an imminent threat to all life on earth. At such a crucial moment, Vishnu took the form of a huge boar and diving into the deep water, slew

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the demon after a long struggle and rescued the earth.
In plastic representations the Earth-goddess is shown in human form being elevated on the tusks of a man-boar. This symbolises the 'extrication of the world from the deluge of sin by the power of the Supreme Being."
The epic Rāmāyaṇa ascribes the lifting of the earth to Brahma. The Vishnu, the Linga and the Garuda-Puranas also ascribe the deed to Brahma, but they identify Brahma with Vishnu. The boar incarnation is differently described in different texts. The sculptural representation also differs in these texts. There are three types described in the various texts: (1) Bhuvaraha, Adivaraha or Nrivaraha; (2) Yajñavarāha; and (3) Pralayavaraha
(1) Bhuvaraha (Pls. 11-14)
Appearance
He has the face of a boar with the body of man. The boar face should be tilted up so as to touch the bosom of the Earth-goddess.
Position of legs
The right leg should be bent and rest upon the jewelled hood of the serpent Adisesha, who must be accompanied by his wife.
Hands
He is four-handed. Two hands hold conch and wheel. One left hand supports the Goddess Earth, who is seated on the Lord's right leg which is bent. One right hand is placed round the waist of the goddess.
Goddess Earth
She should be decked with flowers and ornaments. She should be seated on the right leg of the Lord with both legs pendant. Her uplifted face should be turned towards the Lord and show great joy at her deliverance. The top of her head should reach the chest of the Lord. She should be conceived in the Pañcha-tala measure.
Variations
Bhuvaraha may be represented in other ways. He may hold a mace and a lotus in his two hands, and support Goddess Prithvi on his tusk. In this variation, one of his feet should rest upon the serpent Adisesha and the other on a tortoise. One
ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
of his right hands should rest on his hip. Alternately, Goddess Earth may sit on the left elbow of the Lord, holding a blue lotus in her hand.
(2) Yajnavaraha
Appearance
Vishnu as Varaha should sit on a simhasana. with the right foot pendant. He should be decked in ornaments.
Hands
Four. Two should carry conch and wheel.
Lakshmi
On his right is his consort Lakshmi. She sits with her right leg pendant, carrying a lotus in her left hand with the right resting on the lotus.
Goddess Earth
Bhudevi is shown on his left, seated with her left leg pendant. She carries a blue lotus in her right hand, with the right resting on the seat. Her face is turned towards the Lord and expresses surprise.
(3) Pralayavaráha
Appearance
Here Vishnu as Varaha sits on a simhasana, with the right leg pendant.
Hands
Four. Two hold conch and wheel. Front right is in the protection attitude, while the front left rests on the thigh.
Goddess Earth
She sits on the same seat as Varaha, with the right leg pendant. She carries a blue lotus in her left hand, while her right rests on the seat.
IV THE MAN-LION INCARNATION (THE NARASIMHA AVATARA) (PL.S. 15-20)
Vishnu took the form of half-man and half-lion to destroy the demon Hiranyakasipu, who was harassing the gods. Hiranyaksha and Hiranyakasipu were the two sons of Kasyapa and Diti. The Puranic accounts tell us that these two were Jaya and Vijaya, the two door-keepers of Vishnu, who having incurred his displeasure were cursed

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HINDU ICONOGRAPHY
to be born as demons, and to become the enemies of Vishnu is several births. Hiranyakasipu had obtained several boons from Brahma, making him so invulnerable that he could be killed neither by man nor beast, neither in the day nor by night, neither inside a house nor outside, and no weapon could do him injury. Having granted all these boons, Brahma was helpless when the demon turned against the gods. Vishnu took the man-lion form, tore Hiranyakasipu with his claws, at twilight time, sitting on the door-sill of the demon's palace.
Narasimha images are of three types: (1) GirijaNarasimha, (2) Sthauna-Narasimha, and (3) Yanaka Narasimha.
(1) Girija-Narasimha
General Posture
Narasimha sits on a lotus seat, with heels kept close to the bottom, and the back slightly curved. His legs are held in position by a belt (Yogapaṭṭā).
Hands
Kevala-Narasimha (his other name) has two or four arms. When he has four arms, the upper right hand holds a wheel, and the upper left a conch. The remaining two hands are stretched forward to rest on the knees.
(2) Sthauna-Narasimha
General posture
Narasimha sits on a lion-seat, with the right leg pendant. His neck is covered by a thick mane. He has sharp curved teeth.
Hands
Four. In two back hands, he holds a conch and a wheel. His front right hand is in the protection attitude, while the front left is in the boongiving attitude.
OR
General Posture
Hiranyakasipu should be stretched on the left thigh of Narasimha, who must be in the tribhanga (body bent at three places) posture. With two hands he rips open the belly of the demon.
Hands
He should have twelve or sixteen hands. With two hands, he opens the belly of the demon, two lift out the entrails of the demon upto the ears. One right hand holds the legs of the demon, one holds a sword, while another is held in the attitude of protection. One left hand holds the crown of the demon, and is lifted to administer a blow to him.
If a Narasimha image has eight hands, two open up the belly of the demon, two draw out the entrails of the demon and the remaining four carry the conch, the mace, the wheel and the lotus.
The demon Hiranyakasipu is armed with a sword and a shield.
31
Attendant Gods
Śridevi, Bhudevi, Narada with his lute, and Pralhada, the son of the demon, who was a worshipper of Vishnu, are shown on either side of the God. The eight guardians of the quarters are also seen in attendance.
(3) Yanaka-Narasimha
Vehicle
Eagle or Serpent Adisesha.
Hands
Four. Two carry conch and wheel.
Nothing is said in the texts about the other two hands.
V. THE DWARF INCARNATION (THE VAMANA AVATARA). TRIVIKRAMA (Pls. 21-24)
The origin of Vishnu's Vamana incarnation can be traced to the special characteristic of Vishnu, his ability to conquer Earth, Heaven, etc., by his immense strides. Bali, the grandson of Pralhäda, by his long austerities won many favours from the gods. By virtue of his great struggle, he acquired dominion over the three worlds-heaven, earth and the lower or nether regions. Indra lost his heavenly kingdom, whereupon his mother Aditi implored Vishnu to help her son and the gods to win back their kingdom. The Lord was hence born to Aditi as her son. As a young Brāhmaṇa boy, he approached King Bali, who was engaged in offering a sacrifice to Vishnu, as

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Yajña-Purusha.
Bali's preceptor Sukracharya asked him not to make any promises to the young Brāhmaṇa, since he was none other than Vishnu himself. The generous Bali, however, considered Vishnu's presence as a great honour. He asked the young Brāhmaṇa boy to ask for anything, whereupon the boy asked for just three paces of space on which to sit and meditate. Upon the request being granted Vamana, the Dwarf, became Trivikrama (the gigantic form). With one step he strode over the heavens, and with the second the earth. King Bali asked him to place the third step on his royal head as there was no other spot left. Pleased with Bali, Vamana allowed him to proceed to the nether world with his demon hosts and rule there, and Indra got back his heavenly kingdom.
SCULPTURAL REPRESENTATIONS
Vamana
Height
Vamana should be executed in the Pañcha-tāla measure. His height should be 56 angulas (Pls. 21-24).
Hands
Two. In one he carries a vase and in the other an umbrella. He wears a ring of Kusa grass on the third finger. He also carries a book.
General
Vamana has his tuft tied into a knot. He wears ear-ornaments and a deer-skin. He wears a
loin-cloth to cover his body.
Trivikrama
Height
He should be gigantic. His height should be 124 angulas.
Posture of legs
His right leg is firmly planted on the earth. The left is lifted to take strides. It should be raised upto the level of the right knee, the navel or the forehead.
Hands
Four or eight. If he has four hands, one right hand holds a conch while the other is held with
ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
the palm upwards. One left hand carries a wheel. The other left hand is stretched out and is parallel to the uplifted leg. Alternately, this hand may exhibit protection or boon-giving attitude.
If he is eight-handed: five of them carry conch, wheel, mace, bow and plough.
Attendants
Indra is shown holding an umbrella over Trivikrama's head. Varuna and Vayu hold flywhisks on either side. Over them are the Sun and Moon. Close to them are Sanyasa, Sanaka and Sanatkumāra. Brahma holds the uplifted foot of Trivikrama, and washes it with water flowing down from a vase. Śiva sits a little above the navel of Trivikrama with folded hands. The rakshasa Namuchi stands near the foot of Trivikrama with folded hands. On the left, Vishnu's vehicle Garuda is shown beating Sukracharya for his advice to Bali. On the right, Vamana stands holding his umbrella, waiting to receive Bali's gift. Bali stands carrying a golden vessel in his hands, with his wife behind him. Above Trivikrama is Jambavan, sounding the drum of victory.
VI. RAMA WITH THE BATTLE-AXE (PARASURAMA AVATARA)
Vishnu was born as Parasurama for the sole purpose of exterminating the Kshatriya caste. Early India witnessed a long and intense power struggle between the priest class (the Brahmanas) and the soldier class (the Kshatriyas) for supremacy. The kings tried to assert their authority over the priest class. In this struggle between the two classes, the priest class ultimately succeeded in establishing the pre-eminence of their caste. The story of Parasurama is the story of this ultimate triumph of the priestly caste over the soldier caste of India.
The Vishnu-Purana amongst others narrates in great detail the Parasurama story. Parasurama was the son of Reņuka and Jamadagni. Once, a king named Kartavirya, while on a hunt, visited the hermitage of Jamadagni. Jamadagni entertained the royal company lavishly by means of his cow Sabalā, who could fulfil any wish. The king, impressed by the cow's performance, requested the sage to give him the cow. On being refused, Jamadagni was slain by the son of Kartavirya. Parasutama, on his return, learnt of

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HINDU ICONOGRAPHY
this and enraged at this outrage, pursued Kartavirya and killed him in battle. Parasurama vowed vengeance against the whole Kshatriya race and twenty-one times cleared the world of every male member of the soldier caste. To expiate for all this killing, he performed expiatory rites, handed over the world to Brahmanas, and retired to the mountains.
Parasurama in Sculpture
General
Parasurama should be 120 angulas in height. He should wear a jaṭā-crown and a sacred thread; he should also wear a deer-skin.
Hands
Two or four. If he has two hands, the right should hold a Parāsu (battle-axe) and the left should exhibit the suchi mudrā (pointing to something). If he has four hands, he should carry in them the battle-axe, sword, bow and
arrow.
VII. INCARNATION AS KING RAMA (RAMACHANDRA AVATARA) (Pl. 25)
This is one of the most popular incarnations of Vishnu. Rāma, the son of Dasaratha, the king of Ayodhya, is the hero of the great Indian epic, Rāmāyaṇa, which tells the story of the Aryan migration to the south. Rāma is the ideal king, son and brother. The Rāmāyaṇa tells the story of this peerless prince and his beautiful and virtuous wife Sitā.
Sculptural Representations.
General
Śri-Rama stands in the tribhanga pose (bent at three places) (Pl. 25).
Hands
Two. The right holds an arrow and the left a bow.
Crown
He wears a kirița-crown.
Companions
(1) Stta-His wife Sitä stands erect on his right side. She should reach the shoulder of Rāma
33
in height. She holds a blue lotus in her left hand while the right hangs loosely on the right. She wears a karanda-crown (Pls. 26, 27).
(2) Lakshmana-He stands on the left of his elder brother Rama. He reaches the ears of his brother in height. He is richly ornamented and holds the bow and the arrow in his two hands.
(3) Hanumana-The monkey-god stands a little in front of Rama's right and reaches upto the chest, navel or hip of Rama in height. He has two hands. The right hand is placed upon the mouth while the left is allowed to hang loosely to reach the knees (Pl. 28).
(4) Rama's other two brothers, Bharata and Shatrughna, also keep him company. Both have two hands which hold bows and arrows.
VIII. INCARNATION AS KRISHNA (KRISHNA AVATARA) (Pl. 29)
This is another extremely popular incarnation of Vishnu. His worship is so popular that his devotees regard him not as a mere incarnation of Vishnu but as the Supreme Lord himself. Born to Vasudeva and Devaki, he was carried to the couch of Yasoda by his father to escape the clutches of his brother-in-law king Kamsa, for it had been predicted that the eighth-born child of Devaki would be the cause of the death of Kamsa. The Harivamsa, the Srimad Bhagavata, the VishnuPurāṇa, etc., narrate the exploits of Krishna. To the average Hindu, Krishna is the great symbol of many virtues. He is the supreme statesman, warrior and hero, a great philosopher and teacher. He is the great expounder of the "Song Celestial," the Bhagavat Geetä.
Images of Krishna
General
Krishna is to be clothed in red garments and richly ornamented. He wears a kirița-crown.
Hands
Two. The right hand holds a curved stick, while the left is lifted and bent at the elbow. He may carry a conch in this hand.
Companions
Rukmini on right of Krishna. She has a decorative hair-dress adorned with flowers. She carries a lotus flower in the left hand, while the left hangs

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ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
ming Vedic sacrifices, etc. Foreign barbarians will establish their supremacy. Then Vishņu will appear as Kalki, riding a white horse, with drawn sword, blazing like a comet. He will destroy the barbarians, re-establish the four orders and the castes. He will usher in a new era of purity, rightness and peace and then return to heaven.
Sculptural Representation
loosely to the side. She is one wife of Kishna.
Satyabhāmā, the other wife of Krishna, appears on his left. She wears a decorative hair-dress. She holds a flower in her right hand, while her left hangs loosely below (Pl. 30).
The wives of Krishna may wear the karanda crown. IX. VISHNU'S INCARNATION AS BUDDHA
(THE BUDDHA AVATARA) The incarnation of Vishņu as Gautam Buddha does not flatter the Buddhists. This incarnation is symbolic of the deep hatred that the Hindus felt for the Buddhists and their profound contempt for Buddhist teachings. The Bhagavata Purana says that 'as Buddha, Vishnu deludes the heretics (i.e., the Buddhists). In short, the incarnate Deity preaches damnable error. The Purāņa refers to Buddha as the son of Ignorance (Ajñāna), born to deceive the enemies of the gods. As Buddha, Vishnu advised the Asuras to abandon the Vedas, whereupon they lost all their power, and enabled the Suras (Gods) to establish their supremacy. The Buddhists are referred to as naked people, since they do not wear the covering of the Vedas.
General
Face of a horse and body of a man. Or like an ordinary Vishnu image. Hands
He holds a conch, wheel, sword and a shield (khetaka). When he rides a horse, he carries a bow and an arrow. Kalki may also carry a sword, bow, wheel and conch.
OTHER COMMON ICONOGRAPHICAL REPRESENTATIONS
OF VISHNU
Buddha in Representations
General
Short curly hair. Feet and palms should have marks of the lotus. He should be calm and graceful in appearance.
He should be seated on a lotus seat. The lobes of his ears must be pendant. He should wear a yellow rohe. Hands
In boon-giving and protection attitudes.
ADIMURTI-Seated in sukhāsana on the coils
of Serpent Sesha, its head forming a canopy over the god. With four hands holding the
usual emblems. DATTATREYA-Representation of Vishnu as the
Trinity. Represented either as three separate gods standing or sitting side by side, holding their emblems and riding their vehicles; or shown as Vishnu in sitting pose but wearing Siva's crown and ornaments; or shown with three heads, one of each of the three gods of the Hindu Trinity and accompanied by four
dogs-the four Vedas. DHANVANTARIN-Deity of Hindu medicine. Shown
as a handsome figure holding a pot of ambrosia and seated in front of Vishnu's special
emblems. HAYAGRIVA-Vishnu with the head of a horse
on a human body, considered the god of learning. This manifestation must be distinguished from that of Kalki in which the latter has only two
hands. Hayagriva has four hands. LAKSHMI - NARAYANA-A composite representa
tion of Vishnu sitting with the right leg hanging down and the left folded up on which is supported his consort Lakshmi. She holds a lotus in the left hand and embraces Vishnu with
X. THE KALKI INCARNATION (THE KALKI AVATARA)
Vishnu is yet to accomplish this incarnation. Vishnu will descend upon the earth at the end of the present age, which is the Kali-yuga or the Age of Darkness. As the Jews await the coming of a Messiah, the Hindus await the arrival of Kalki, who will destroy all evil, dispel darkness, and once again usher in the Golden Age (the Krita- yuga).
The Agni-Purāna tells us that thoughtless men will begin to do wrong things like inter-caste marriages, not following the Vedas, not perfor.

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35
the right. The latter has four hands, two holding the discus and the conch-shell, the lower right in the boon bestowing pose, and the lower left
round the goddess. MANMATHA-A representation of Vishnu as the
god of love, shown holding a bow and five flower-arrows. Accompanied by Priti and
Rati. MOHINI -The beautiful female form assumed
by Vishnu to deprive the Asuras of their legitimate share of the ambrosia obtained by the
churning of the ocean. VAIKUNTHA-Vishnu with eight arms and four
heads, riding on his vehicle Eagle. The heads are of a man, a woman, Narasimha (lion), and Varaha (boar). Thus this form is a combina-
tion of two of his incarnations. VARADARAJA-Vishnu riding on his vehicle Garuda,
with eight hands carrying emblems. Vishnu
as the bestower of boons and benefactor. VENKATESA-Also called Balaji in the North.
One half is Vishnu, the other half Siva, each half with its own special emblems and ornaments. This form is worshipped by followers of both the gods.
her freedom. He proceeded to Indra's kingdom, killed the guards who were protecting the pot of nectar, and returned to earth. On his way, he met Vishnu, and agreed to become his vehicle. Garuda came to his step-brothers and placed the vessel of nectar on a heap of Kuša grass. Delighted, they set Garula's mother Vinată free. While they had gone away to perform religious rites which had to be performed before drinking the ambrosia, Indra descended to earth and carried away the vessel of nectar. Kadrū's sons were disappointed to find the vessel carried away and satisfied themselves by licking the Kusa grass on which the pot of nectar had been placed. The placing of the pot of nectar on the Kusa grass made it sacred to the Hindus. Sculptural Representation
In sculptural representations, Garudla may have four hands. In one he holds an umbrella and in the other a pot of nectar. The remaining two hands are in an attitude of adoration. When he carries Vishnu on his back, the hands which carry the umbrella and the vessel of nectar support Vishnu's feet.
According to the text Silparatna, Garuda may also have two hands, one of which is held in the protection-giving attitude. He may also have eight hands, in six of which he carries the pot of nectar, mace, conch, wheel, sword and snake.
Garuda also appears in anthropomorphic form. This scems to be a more popular form of depicting him in sculpture. He has a pointed nose, and two hands which are held in the attitude of adoration. This is in accordance with his form as described in the Sri-tatva-nidhi. Ayudha-Purushas
Ayudha-purushas are anthropomorphic personifications of the weapons (Ayudhas) used by Siva or Vishnu. Some of these take male forms, others female forms, while still others assume the third gender form, depending upon their gender in the Sanskrit language. Male , yudha-purushas: Ankusa, Paka, Sūla, Vajra,
Kharga, Danda. Female A yudhas: Sakti, Gadā. Neuter A yudhas: Chakra, Padma.
In sculptural representations, they have one face and two hands, which are held in an attitude of adoration. They wear a karanda-mukuta. The weapon they represent is shown either in the crown or in their folded hands.
MODES OR EXPRESSIONS OF
MURTIS
Images of Vishnu are in four forms: Yoga-- Meditation. Worshipped by saints and ascetics; Bhoga---images expressing enjoyment of worldly pleasures and hence worshipped by the masses; Vira-expressive of valour and hence the favourite of kings and warriors; Abhicharika--the terrific aspects, worshipped by those with evil intent.
Sthānaka-standing images. Asana-seated images. Sayana-sleeping images.
GARUDA AND
AYUDHA-PURUSHAS Garuda (Eagle) is the Vehicle of Vishnu, the second of the Hindu Triad. He has a very respectable ancestry, being the son of the sage Kasyapa and his wife Vinată. His younger brother Aruna is the Sun-god Surya's charioteer. When Garuda learnt that his mother Vinată was held in bondage by his step-mother Kadri, he decided to free her. But his step-brothers, the sons of Kadrů, who were serpents, demanded nectar as the price for

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SIVA
ŠIVA IS one of the most important and popular gods of India. The Amarakosha gives a list of his forty-eight names. Siva is identified with the Vedic Rudra, who is clothed in a skin and inhabits the mountains. His favourite weapons are the bow and arrow. He also uses a Thunderbolt occasionally. He is the father of the Maruts. He is also called Tryambak, son of Three Mothers. The Three Mothers of Tryambak are Earth, Atmosphere and Heaven. Siva's wife is Ambikā. Rudra is also identified with Agni. The Vājasaney Samhitā says that Agni, Asani, Pasupati, Bhava, Sarva, Išāna, Mahādeva, Ugradeva, are all forms of the same god.
The Vedic Rudra appears to be a terrible god who has to be constantly pacified. Many Vedic hymns are addressed to him wherein he is asked not to destroy our cattle' or 'our children, relatives, people,' etc. He is also asked to protect people from disease, thieves, etc. When worshipped, Rudra becomes a beneficent deity. He is the supreme Medicine Man, and the God of Medicine. He protects human beings and animals from disease. Since he takes care of the animals he is called Pasupati (Lord of Animals). Worship is offered to him constantly and he is asked to be beneficent always, to become 'Siva' (Auspicious).
Rudra took birth to punish Prajāpati who committed the great sin of incest with his own daughter. He pursued his own daughter Sarasvati who was fleeing in the form of a deer. To pursue her he himself became a fleet-footed animal.
36
Till the period of the Smritis and the Dharmasūtras (6th century B.C.) Rudra was a terrible god. Offerings to Rudra were made outside the town limits. Rudra being a non-Aryan god, ho continued to be described as a deity more to be feared than to be respected and revered. This was in a way symbolic of the early conflicts between the Aryan and Dravidian cultures. Gradually, as a synthesis was effected, Rudra the Inauspicious became Siva, the Auspicious. He was even married to the daughter of the Aryan deity Daksha Prajāpati. In spite of this, however, the character of the God changed only slightly. He was still the inhabitant of cemeteries, who applied ashes to his naked body covered only by a deer-skin and ornamented with a garland of skulls, wandered about in the jungles and over mountains, carrying an alms bowl made of a skull top, accompanied by dogs. His father-in-law Prajāpati was repelled by his looks and once refused to invite him to a sacrifice. Incensed, Siva produced a son who destroyed Daksha's sacrifice. In spite of this sacrilege Siva ultimately became Aryanised and became as important as Vishnu. The Aryans, while assimilating Siva into Aryanism, gave him the function of Destruction.
Siva is today one of the most popular gods to whom a very large number of temples are dedicated. He has a very large following. His followers are today divided into a number of sects, viz., Saiva, Pāśupata, Käpälika, Kalamukha, Lakulisa, Virasaiva, etc.
The Siva-Puräna regards Siva as performing

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the triple functions of creation, protection and destruction.
The early Aryans worshipped nature-Ushas the Dawn, Mitra, the friendly Sun-god, Agni, the Fire-god, Varuna, the god of Air, Indra, etc. Side by side there were some natural elements which were not so friendly. The storms which uproot trees and demolish houses, lightening, and epidemics which kill cattle and men. These were natural elements which were feared and sought to be appeased. These became Rudra who went howling with the stormy winds (Maruts), bis sons. But an angry god can always be appeased by
Since he protocts the non-Aryan Vrátyás, the Aitareya and Satapatha Brāhmaṇas do not like him. They regard him as a frightful and evil god who is not to be trusted with cattle or anything else. Worship is to be offered to him merely to keep him from doing mischief. The Shatarudriya offering is made to him only to pacify him. He is the dreaded hundred-headed Rudra.
The Aitareya Brāhmana says he is the embodiment of all the dread-forms, created conjointly by all the gods to punish Prajāpati (Brahmä) who was trying to consort with his own daughter.
prayer.
The Satapatha Brāhmana tells the story of Rudra's birth. He is the son of Prajāpati and Ushas. When he was born he began to cry be- cause he had no name. He was called Rudra because he wept ('rud,' to weep).
The Vedic Rudra was sometimes identified with Agni. Both could destroy prosperity and suffering and were feared. 'Slay not our men in thine anger,' 'Far from us be thy cow-slaying and man- slaying weapon.' But Rudra is also capable of being good and so his help is sought. "We invoke to our succour the impetuous Rudra, the fulfiller of sacrifice, the swift, the wise.' "We present thou prayer Rudra ... that there be prosperity to our two-footed and four-footed creatures, that everything in this village be well-fed and free from disease.' Rudra confers favours upon his devotees and as physician cures people of their diseases.
In the Shatarudriya text, he is called the dweller of the mountain (Girish). He roams the forests and is lord of the medicinal herb. He is the divine physician. As lord of the open fields he is the lord of the cattle-Pāśupati. His sons, the Rudras, traverse all quarters. So he is the lord of quarters.
In his kindly form he is Shambhû. He is Siva, the Auspicious.
Rudra means one who drives away suffering and sin. Siva also means the same thing. This is why Rudra of the Vedic period became Siva of the later period.
The Atharva Veda makes Rudra the ruler of all two-footed and four-footed beings. He is a swift archer and nobody can avoid him. He is thousand-eyed, i.e., All-seeing. He is everywhere, on the earth, the atmosphere, the sky, i.e., he is Omnipresent. He also protects the Vrátyás, those who do not perform Vedic sacrifices.
UPANISHADIC CHANGE
This period saw a transformation in the attitude towards Rudra. The Brāhmanas were primarily concerned with rituals. They failed to comprehend the true idea of the Universal Spirit.
The Upanishads developed the doctrine of Atman and Brahman. The soul was regarded as an immortal category, wbich emanates from the Brahman and finally merges with it. One who attains Brahman need not fear the gods.
With the development of devotional worship, Siva, now considered Auspicious, came to be regarded by some as the one and only lord, Jøvara. There is only one Rudra, 'who is the inmost soul of all men, who creates all beings and protects them. Rudra is the highest Brahman and encompasses the whole universe. He uses Māyā (Prakriti) and becomes Maheśvara. There is not another like him. He is knowable by faith and love. He promotes virtue and dispels sin. He created Brahmā, and sent forth the Vedas. I n the Purānic period Rudra becomes Siva, a Supreme Deity. He assumes the forms of the gods Vishnu and Brahmă. He is the soul of the universe. He carries a discus, a trident, a club, an axe, and wears a girdle and a yajñopavita (the sacred thread of the Hindus) made of serpents; he laughs, sings and dances in ecstasy. As dancer, he is Nataraja.
SIVA AND PHALLIC WORSHIP
Siva is also worshipped in phallic form. This has been the subject of much controversy.
According to Dr. R. G. Bhandarkar, the Aryans may have borrowed 'phallic worship from some aboriginal tribes. The Rig Veda makes reference to people whose god was the phallus (Shishna-Devatā). The Shvetashvatara Upanishad speaks of god Ibāna as presiding over every Yoni

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ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
Staf-represents death. Citron-is seed of the world. Trident-means grammar. Shield-represents Dharma. Trisula-the three sūlas represent Sattva, Rajas
and Tamas guņas. Matted hair--the variegated Brahman, the Ab
solute. Digit of the moon-symbolises his Divinity. Serpent Vasuki Yajñopavita-his anger which
subdues evil. Tiger skin-Trishņā (Desire). Bull-symbolizes Dharma.
(the female generative organ). This may merely be an allusion to god presiding over every creative cause.
According to Dr. Aiyyar, Linga does not mean the phallus. Siva is the formless or the 'all-formed.' Being possessed of all forms, there is nothing in the world not pervaded by him. Every form worshipped, therefore, has the stamp or mark of Siva. It was to represent the idea of the 'formless' and the "all-formed that the Siva-linga, which looks like a phallus, was chosen. It has a thousand heads, a thousand eyes, a thousand feet. It has a hand and foot on every side, on every side an eye and an ear on every side. The hemispherical top of the Siva-linga consists of thousands of heads, cach of the size of a point. The sides of the cylindrical feet are his eyes, hands and faces. The circular bottom represents his feet. Though the image has hundreds of hands, feet, etc., it has really no hands, heads or feet.
The Siva-linga is thus the closest possible approximation to the cosmic Purusha.
If the Linga is identified with the human phallus, it will mean that god looks like man, which is absurd. Gods have different shapes as the shape of man is different from that of a worm.
It is possible that originally Linga worship may have had the connotation suggested by Dr. Aiyyar. Later on, when the Aryans came into contact with tribal communities who worshipped the phallus as the symbol of creative power, Linga worship may have gained a new meaning.
Phallic worship existed in all ancient civilizations. Sir John Marshall has discovered numerous Lingas and Yonis in the Mohenjodaro civilization. Dr. Stein has found them in Baluchistan.
Existence was conceived as being the result of the union of the male and female principles. The creative and generative power of the phallus was sought for the sake of offsprings and for making the soil yield good crops. The festival of Saturnalia (agricultural festival) gives proof of this. The dormant powers of nature have to be aroused by fertility rites. The phallus, symbolic of generative power, was considered the cause of creation, animate and inanimate. So when Siva came to be regarded as the cause of causes, the Linga became his mark.
ANUGRAHA-MURTIS
SIVA IN HIS BOON-GIVING FORMS (For iconographical details, see following Tables)
On occasions Siva can be merciful and grant boons to his devotees when pleased. The sculptural compositions recording such acts of grace are known as Anugraha-mūrtis. 1. Chandesanugraha-mirti
'Anugraha' means grace. This is the story of the attainment of grace by a Brahman boy named Vicharasarman. He got the job of tending cows from a cowherd boy who was very harsh with the cows. Under his loving care, the cows began to give more milk than their udders could hold. This milk began to get spilt. The Brahman boy began to collect this extra milk in vessels and with this milk he began to bathe Lingas made of sand and offer worship to Śiva. This matter was reported to Vicharasarman's father, Yajñadatta. The latter, when he found his son pouring milk over a mound of sand, kicked the mound in great anger. His son, aroused from his deep reverie, saw the sacrilege and cut off his father's leg which had kicked the sacred object of worship.
Siva was greatly pleased and appeared before his young devotee with his consort Pärvati, and granted him grace. He made Vicharasarman the head of his ganas (dwarf attendants) and the steward of his household and called him Chandesa.
VARIOUS SYMBOLS OF SIVA
The symbolic meaning of some of the chief symbols of Siva are as follows:
2. Vishnuvanugraha-mūrti or Chakradāna-marti
The Siva-Purāņa tells us how Siva, pleased with the worship of Vishnu, granted him his own Wheel or Discus to be used as a weapon. Once, when Vishnu was fighting with the Asuras (the enemies of the gods), he found that he could not conquer

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them. He, therefore, offered worship to Siva and asked for Siva's Wheel. Vishnu daily offered one thousand lotus flowers to Siva. One day he found that he was short of one flower. He promptly plucked one of his eyes which were comparable to the lotus (Kamala-nayana) and offered it to Śiva. Greatly pleased, Siva presented to Vishņu his own Wheel.
front hands which are held in the añjali mudra (folded hands before the chest). In the other two hands he carries a battle-axe and black deer. He is accompanied by his consort Suyasu.
Nandikeśvara is often also represented as a bull-faced human being.
3. Nandisanugraha-mūrti
This is the story of how Nandikesvara or Adhikaranandi attained grace at the hands of Siva.
According to one account, the sage Sălankāyana, who for a long time was without a son, practised severe austerities to get one. Vishnu, pleased with his devotion, blessed him with a son of great virtue, who sprang up from the right side of Vishnu and resembled Siva. He was given the name Nandikeśvara.
In another account, a pishi (sage) named Nandi is said to have performed great penance on the Mandāra mountain. Siva was mightily pleased and appeared before Nandi. The latter requested Siva to make him the head of his gaņas. Siva granted him the boon asked for.
Another story tells us about a blind sage named Silada who began to practise severe austerities with a view to getting a son not born of mortal parents. On god Indra's advice, he began to offer worship to Siva. The latter was so pleased with his devotion that he himself offered to be born as his son. And so as Silada was performing a sacrifice, a young lad appeared in the room, who looked the duplicate of Siva, carrying in his hands the trident, chisel, mace and the thunder- bolt. Siva gave the lad the name Nandi.
Nandi began to live in the ashrama (hermitage) of his father and became well-versed in the Vedas. He now looked like any other boy. Learning that he was short-lived, the boy Nandi began to offer worship to Siva very fervently. Greatly pleased, Siva appeared before him and embracing him threw his own garland round his neck. The boy now began to look an exact duplicate of Siva, with three eyes, ten arms, etc. Siva now exempted Nandi from old age and death and made him head of his ganas. Nandi was then married to Suyasu, the daughter of the Maruts.
In many Saiva temples of South India, Nandi appears as an exact duplicate of Siva. He can be recognized as Nandi by the position of his two
4. Vighnesvaranugraha-mūrti
Vighnesvara is the name of Ganapati when he had a human head on bis shoulders. The SivaPurāna tells us that he was created by Parvati during the absence of her consort Siva to guard her privacy. When Siva returned, he found his path to the apartments of Parvati blocked by a new gate-keeper, who would not allow him entry. Incensed, Siva sent his ganas (attendants) to destroy the troublesome gate-keeper. But Siva's hosts returned discomfited. Then Vishnu tried, and after him Kärttikeya, but to no purpose. Finally, Vishnu through his māyā (Illusion) created confusion, and then Siva cut off the head of the gate-keeper.
When Pārvati learnt of this, she was so furious that she created numerous powerful goddesses to fight the gods. Närada finally interceded on behalf of the gods, and promised to bring Vighnesvara back to life. Siva asked the gods to proceed to the north and bring to him the head of the first living being they met. They saw an elephant and promptly cut off his head. Siva fixed this on to the shoulders of Vighnesvara, who now became Gajānana (with the face of an elephant). Siva made him the chief commander of his ganas and called him Ganapati (the lord of the ganas). He also promised his son a place of importance among the gods. Henceforth, Ganapati was to be the first to be worshipped on all occasions, otherwise, the object and prayers of the Yajamāna or sacrificer would not bear fruit.
5. Kirātārjuna-murti (Pls. 31-32)
Arjuna, the third of the Pandava princes, desired to acquire from Siva his powerful päsupatāstra and therefore proceeded to the Himalayas to offer him worship. Pleased with his austerities Siva approached Arjuna as a hunter (kirāta). At this moment an asura assumed the form of a boar to attack Arjuna. As the latter aimed his arrow against the boar, the hunter asked him to refrain from shooting it, since he had seen the boar first. The two could not agree and both shot the boar and killed it. Highly incensed, Arjuna started a

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ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
fight with the hunter. To his surprise, he found himself losing to the hunter. Suddenly he recognized in the hunter Siva himself, whereupon he fell at his feet and worshipped him. Siva, pleased both with his devotion and skill as an archer, gave him his powerful pāśupatāstra, a terrible war wcapon.
6. Rāvananugraha-marti (Pls. 33-37)
Once Rāvana, king of Lankā (modern Ceylon) was returning after a successful expedition against Kubcra, the God of Wealth. In the Himalayas, he located a beautiful garden and proceeded to go there in his Vimāna (aeroplane) Pushpaka. Surprisingly, he found that his vehicle could not move any further. Here Rāvana met Nandikeśvara, the powerful leader of the ganas of Siva. Rāvaņa was informed that he could not go any further as Siva was sporting on the mountain with his con- sort Umā, and therefore nobody was allowed to cross over. Rāvana spoke of Siva with contempt and belittled Nandikeśvara as a more monkey. Furious, Nandikeśvara cursed Rāvana that he would ultimately be destroyed by monkeys like himself. Highly incensed and inordinately proud of his own strength, Rāvana decided to lift the mountain Kailāsa from its very roots. He did move the mountain which began to shake. As it began to shake, everybody on it became frightened. Umā, in great fear, clung to her lord. Siva, who knew who was responsible for this mischief, put the toe of his foot gently down, which put the mountain firmly in place. Rāvana became im- prisoned under the mountain and could not escape from there. Rāvana, realizing the great power of Siva and his own helplessness, now began to praise Siva. He offered worship to Siva for a thousand years, when Siva, pleased, presented Råvana with a sword and allowed him to return to Lankā.
mordial waters. Vishnu asked him who he was. He replied that he was the Creator. Vishnu disputed his claim and asserted that He and not Brahma was the Creator. A quarrel ensued between the two. As they were engaged in verbal combat, a huge Linga appeared before them which looked like a great cosmic fire. The two stopped quarrelling and set to discover the beginning and end of the great Linga. Brahmă assumed the form of a boar and went down into the earth, while Vishnu as Garuda went towards the top. But neither Vishnu nor Brahmă could discover the top or the bottom of this great cosmic fire. This made them realise that there was someone greater than them. In all humility they now offered worship to the great pillar of fire. Pleased with their worship, Siva appeared on the body of the Linga, with 'a thousand arms and legs, with the sun, moon and the fire as his three eyes.' Siva then told them as to how both Vishnu and Brahmã were born out of his left and right loins respectively, and the three of them were in reality one. Having said this, the Great Mahadeva disappeared. From this time, the Linga became the object of universal worship.
Lingodbhava-murti in Sculptural Form
Śiva should be carved on the front of the Linga. His legs below the knees should not be carved. Of his four hands, one should be in the protection attitude, another in the boon-giving attitude. The third should carry a battle-axe while the fourth should carry a black deer (krishnampiga).
Brahmă should appear on Siva's right, near the top, in the form of a swan (hamsa). The size of the swan should be of the size of Siva's face.
Vishnu as a boar should be sculptured on the left, at the foot of the Linga. The boar should be shown digging into the earth.
Brahma and Vishnu should be sculptured in thcir anthropomorphic forms on the right and left respectively of the Linga, facing it, in an attitude of adoration.
· LINGODBHAVA-MURTI (Pls. 38-40)
In the deep abyss of the primeval waters, Vishnu lay in deep slumber. From the navel of the God sprang up the stalk of a lotus. Here Brahma was born. He looked around him and could see only the vast expanse of the water. He was happy in the thought that he was the Firstborn. He traced the stalk of the lotus on which he was born to the navel of Vishnu who lay on the serpent Ananta (Eternity) floating on the pri-
SANHARA-MURTIS SIVA IN HIS TERRIFIC AND DESTRUCTIVE ASPECTS (For iconographical details, see following Tables) 1. Kankāla-murti Bhairava (Pls. 41-42)
Once it so happened that the learned men of

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the demon Andhaka himself after this incident This is also called Gajāsura-vadha-murti.
the past, in their desire to know the truth, began to speculate as to who might have created the universe. They approached Brahmã and asked him to enlighten them on this matter. Brahmä replied that he was the creator. Siva, who had arrived on the scene in the meanwhile, was highly incensed by this assertion of Brahmā. He there fore asked Brahmā to admit the falsity of his statement, which Brahmă refused to do. Siva tried to demonstrate his greatness in various ways. but Brahmă remained obstinate. Greatly infuriated, Siva assumed the form of Bhairava and cut off one of the five heads that reviled him. This killed Brahmā only for a short while, since by means of his great virtue he was soon revived. But Siva had unwittingly committed the sin of Brahmahatyā (the sin of killing a Brāhmana) for which he had to atone. To wash off the sin, Siva had to wander for twelve years, begging alms and using Brahmā's kapāla (skull) for the purpose. Siva went to Vishnu to seek his advise as to how he could wash off his sin. But when he got to Vishnu's residence, the gate-keeper Vishvaksena, who was a Brāhmaṇa, would not admit him. Siva assaulted the gate-keeper and killed him, thus committing another Brahmahatyä. Vishņu advised Siva to proceed to Vārānasi with the body of Vishvaksena. On reaching that sacred place, Siva's sin fell off and he once again became pure and retired to his abode on Kailasa (Mt. Everest).
3. Tripurāntaka-mūrti (the Destruction of the
Three Castles) (Pls. 46-49)
The Mahabharata, the great Indian epic, tells the story of the destruction of the three castles built by the powerful sons of the demon Andhakasura-Vidyunmali, Tarakaksha and Kamaläksha. These three sons performed very severe penances and pleased Brahmā so much that he offered to grant them any boon they wished. They wanted three castles built of metal, one of gold in heaven, another of silver in the air, and a third of iron on earth, each one of them to be impenetrable, and which could be joined to become one huge castle connecting earth, air and heaven after a thousand years. Without much thought, Brahmä granted this boon to the three brothers. They also demanded that this one huge castle after it was joined should be destructible only by a single arrow.
The three brothers now began to harass the gods from these indestructible castles. Indra's thunderbolt was of no avail against these demons. In utter despair, the gods approached Brahmă, who was really responsible for this since he had granted the original boon to the demons. Brahma told the gods that the demons could be destroyed only with a single arrow, and that none excepting Siva was strong enough to wield such a weapon. The gods now offered prayers to Siva. The latter, pleased with their worship, agreed to undertake the work of destroying the demons. Siva asked the gods to surrender half of their powers to him, which they did. Now Siva became stronger than all the other gods, and thus became 'Mahadeva,' the 'Great God.' He made Vishnu his arrow, Agni its barb, and Yama its feather; he made the Vedas his bow and Savitri his bow-string. Brahma had to accept the position of his charioteer. Using his great strength, he then discharged the arrow and destroyed the three castles of the demons.
2. Gajāsura-samhāra-mūrti (Killing of the Demon
Gajāsura---the Elephant Demon) (Pls. 43-45)
The Kurma-Purāna tells the story of how Siva came to wear an elephant-skin. Once while the Brāhmaṇas were seated round a Siva-linga, offering prayers, a demon appeared in the form of an elephant and began to harass the Brāhmanas. Highly incensed at this, Siva came out of the Linga, killed the elephant and wore his skin as an upper garment. Another text (Suprabhedagama) gives a different account of this. The king of the demons, Andhaka, decided to carry away Parvati, the wife of Siva. To assist Andhaka, another demon called Nila took the form of an elephant with a view to killing Siva. When Nandi, the Bull of Siva, heard of this plan, he revealed it to Virabhadra, son of Siva (see page 46). Virabhadra then took the form of a lion and killed Nila in his elephant-form. Then he presented the skin of the elephant to his sire Siva, who used it as an upper garment. Siva also set out to destroy
4. Sarabhesa-mūrti (Śiva as Sarabha, an Imaginary
Animal Destroying the Narasimha form of Vishnu)
This form was obviously conceived by the followers of Siva to assert the supremacy of Siva over Vishnu. The latter took the form of halflion, half-man to destroy Hiranyakaśipu, who was

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harassing the gods (sce Narasimha avatāra of Vishnu). Vishnu in this form killed the demon but then could not shed off the violent character he had assumed and became very destructive. The whole world turned to Siva for help. Śiva at once assumed the form of Sarabha, a ferocious monster with two heads, two wings, cight lion legs with claws, and a long tail. He then attacked Narasimha and tore him up. He wore the skin of Narasimha as his garment. This brought Vishnu to his senses and he quietly returned to his abode, praising Siva.
Brahmå who ultimately accepted the superiority of Siva.
Another story tells us that Siva cut off the fifth head of Brahmă because the latter addressed him as 'Kapali' (skull-cup bearer). He felt insulted and so promptly cut off Brahma's head. By so doing however he committed the great sin of Brahmahatyä, the sin of killing a Brahmin. of course, Brahmă survived by the power of bis penance, but the crime had been committed and the head would not fall away from the hands. Then Rudra asked Brahmă how the sin could be wiped out and the head fall off from his hands. He was advised by Brahma to wander about carrying the Kapāla of Brahmā (Brahma's skull. cup) for twelve years After this period, the head would automatically fall off. After this period was over, Rudra-Siva arrived at Käsi. Here, the skull-cup of Brahmă fell away from his hands. He then bathed in the holy waters of the Ganges and returned to Kailasa, his heavenly home.
5. Käläri-müri (Siva Reprimanding Käla or Yama)
(Pls. 50-53)
This story narrates the circumstances leading to the chastisement of Kāla or Yama by his master Siva. Once the Rishi Mrikandu prayed to Siva for a son. Siva while promising to give him a son asked him to make a difficult choice. He offered the rishi numerous useless progeny or one re- markable son with a short life. The sishi chose the latter alternative. In due course his wife bore him a son who was named Märkandeya. As he began to grow his parents, aware of his short life of only sixteen years, became worried. Somehow Märkandeya got to know of this and fervently began to pray to Siva. As he was absorbed in offering worship to the Linga in a shrine, Kāla or Yama, the lord of Death, arrived to take him away from earth. When he started binding him, Siva burst forth from the Linga in great anger and kicked Yama on the chest. Yama went away and Siva blessed Märkandeya with cternal youth so that he became immortal.
6. Brulma-širga-chchedaka-mūrti (Śiva Cutting off
the Fifth Head of Brahmā)
The Kurma-Purāņa describes the dispute between Siva and Brahmã which led to Brahmă losing his fifth head. Once the sages approached Brahm, and asked him as to who had created the universe. Brahmä asserted that he had created the universe. Siva suddenly appeared before this gathering of the rishis and claimed that he and not Brahmä had created the universe. The Vedas themselves supported the claims of Siva. But Brabmå refused to accept the testimony even of the Veda. Then there appeared a huge apparition, Bhairava, the aggressive form of Siva. The latter asked Bhairava to eut off that head of Brahma which had lied repeatedly. Bhairava cut off the fifth head of
7. Kāmāntaka-marti (the Destruction of Kāma, the
God of Lore)
This is the story which tells how Kāma, the God of Love, had to sacrifice his life in order to save the gods from the demon Täraka. Daksha Prajāpati's daughter Sati had been married to Siva, about which her father was not really very happy. When therefore she went to her father's sacrifice uninvited, he insulted her and she committed suicide by jumping into the sacrificial fire-pit. This annoyed Siva, who created the terrible Virabhadra, who destroyed the sacrifice of Daksha and made him submit to Siva. After this incident, Siva began to practise severe penance.
In these circumstances, the demon Tåraka becoming very powerful, began to harass the gods. Unfortunately for the gods, the only person who could kill Tāraka was to be a son born to Siva who was then practising austerities. It was obvious that Siva had to be persuaded to stop his penance and beget a son. The gods feared the wrath of Siva, so that nobody dared disturb him. They deputed Kāma, the God of Love, to create thoughts of love in the mind of the Great Yogi. He, with his characteristic thoroughness, used his flowery darts and made Siva forget his penance, and made him think of female company. But this made Siva very angry. In his anger, he burnt Kāma to ashes. But Kāma had already done his work, so that Siva fell in love with Parvati, who was born to

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43
Himavan. He married her and begot Kumāra or Subrahmanya, who ultimately killed the demon Täraka. Kāma's wife Rati pleaded for her husband and Siva promised that he would be re-born as Pradyumna.
8. Andhakāsura-vadha-murti (the Destruction of
the Demon Andhaka) (Pls. 54-57)
A number of panels in Ellora depict the killing of the demon Andhaka at the hands of Siva. It is possible that the Asura Andhaka of the Purānas might be the Ardhaka of the Vedas and the Andhaka of the Mahābhārata. The Atharva Veda describes Rudra as 'Ardhaka-ghatin' or the 'slayer of Ardhaka.' The story runs thus: Andhakasura was a great king who fell in love with Pārvati, Siva's consort, and cultivated a strong desire for her person. This led to a war between Andhaka and Siva. Out of every drop of blood shed by the demon Andhaka, a fresh and mighty demon was created and this made Siva's job extremely difficult. Siva thereupon created Chamundā and the Sap- ta-matsikas (Seven Divine Mothers) to drink up the blood. But after they had become gorged with this drink, demons again began to be created from the blood-drops of Andhaka. Siva then sought the help of Vishnu and was about to kill Andhaka with his spear when the demon praised him and obtained his pardon. He then became the chief commander of the gaņas of Siva (dwarf attendants) and was named Bhringisa or Bhringirishi.
Sagara sent his grandson Amsumat to find them. He reached the hermitage of Kapilā, found the horse, and very courteously requested the sage to permit him to take away the horse. Pleased with his manners, the rishi allowed him to take away the horse, and informed him how his uncles had met their destiny at his hands, promising however that all of them would go to heaven in the time of his grandson. He told him that this would happen only after the holy waters of the Ganges had been brought to the nether world and allowed to flow on his uncles. The grandson of Amsumat was Bhagiratha. To bring down the Ganges from heaven to earth, he practised very severe austerities. Gangā, pleased with this worship, agreed to leave her celestial abode if he could find somebody to receive her fall, as otherwise, by the force of her fall, the earth would break in the middle. Bhagiratha told her that Siva could bear her fall and now began to pray to Siva to persuade him to receive Gangā on his head. Siva came to the Himalayas to receive her. The haughty Gangā came down in great force, thinking thus to humble Siva. The latter, annoyed at her behaviour, made Ganga wind through his matted hair (jațā) and would not let her descend. Bhagiratha thereupon again prayed Siva to let Gangă descend to earth. Śiva let her down, and Bhagiratha led her to the ashes of his ancestors, who attained heaven by her touch. That is why Siva always reveals the head of Ganga in his jață.
OTHER ASPECTS OF SIVA (For iconographical details, see following Tables) 9. Gangadhara-mūrti (Śiva Receiving the River
Ganges or Gangă in his Jatā) (Pls. 58-59)
A king called Sagara had sixty thousand sons by his second wife and one by his first wife. The latter was named Asamañjasa, meaning 'one of little commonsense. His bad example spoiled all the sons of Sagara who therefore soon came to grief. Sagara decided to have a horse-sacrifice and so let loose the sacrificial horse. This wandered away to a hermitage. To mislead the sons of Sagara, Indra placed the horse in Kapila's hermitage. When the sons of Sagara reached the nether world, they found the horse in the hermitage. They thought that Kapilā had carried away the horse and so rushed to destroy him. The rishi in his great anger reduced them to ashes.
10. Ardhanāriśvara (the Half-male, Hall-female
Form of Siva) (Pls. 60-64)
The Siva-Purāna tells us that Brahmä created a number of Prajāpatis-males-expecting them to begin the task of creation. By themselves these male beings could not undertake the task of creation. Brahmă could not understand as to why the Prajāpatis could not multiply and so he wor. shipped Siva, who appeared before him in the form of Ardhanāri (half-male, half-female). On seeing him, Brahmă realised his error. Only with the creation of the female, could he begin the task of creation. The idea behind it all is that the union of the inale and female principles alone leads to creation. This is so in the Greek tradition too as well as in the Chinese and Persian traditions. The Linga and Yoni to whom worship is offered are symbolic of the male and female generative organs. They symbolise the supreme creative principle.

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Another account of the Ardhanāri form states that Parvati, the consort of Siva became one with him when the rishi Bhringi persisted in offering worship to Siva alone and not to Siva and Pārvati both as others did.
11. Harihara Form of Siva (Pls. 65-66)
There is in rcality only one supreme deity. God is one. People may call him by different names. To some he may be Brahmā, to some Vishnu and to some Siva, but they are really all one. But sometimes the worshippers of these various forms forget this and then they engage in sectarian quarrels. To avoid this and to emphasise the oneness of God, this syncretic god came into being-the combination of Hari (Vishnu) and Hara (Śiva). In a sculpture of Harihara or Haryaddha, the right half is Siva and the left half is Vishnu.
fore, it was necessary to get Siva married. Käma, the God of Love, was deputed by the gods to break Siva's penance, which he did. But he became the victim of Siva's anger and got burnt up in the process. Kāma, however, had succeeded in making Siva feel amorous. Siva married Pärvati. (See page 42, Kämäntaka-murti.)
Before he did this, he decided to test the stead. fastness of Pärvati, and taking the form of an old man, he approached her, begging for food. As he proceeded to take a bath, he contrived to get caught by a crocodile and called out to Pärvati for help. Pärvati hesitated to stretch out her arm to help as she had vowed not to touch any hand but that of Siva. But when she feared the old Brahmin's life might be lost, she begged forgiveness of her Lord and extended her arm for help. Siva was much gratified at this and revealed his true form. Pärvati felt happy that her vow had not been broken.
12. Kalyanasundara-mūrti (the Marriage of siva
and Pārvall) (Pls. 67-70a, b, c)
A famous Saiva legend narrated in the Santi Parva of the epic Mahabharata tells us how Daksha, one of the twelve Prajapatis created by Brahma, cursed his own son-in-law, Siva, when the latter failed to show him proper respect on the occasion of the Prajapati sacrifice. Before the entire assembly of the gods he declared that henceforth no oblations were to be offered to Siva. When Daksha performed another sacrifice, he did not invite Siva. Siva's wife Sati felt greatly humiliated at this. She alleged that her husband did nothing to vindicate his honour. Śiva tried to pacify his angry spouse by telling her that those who knew, knew that he was the Supreme Deity. The Devi refused to be pacified and taunted her spouse by saying, 'Every common man praises himself in an assembly of women.' She then proceeded to attend the sacrifice of her father, where she was again humiliated; whereupon, she burnt herself. Greatly incensed, Siva created Virabhadra, who destroyed Daksha's sacrifice and made him submit to Siva.
Sati was re-born the daughter of Himavan. As soon as she attained age, she started penance to attain Siva. Śiva also was then engaged in practising severe austerities. At about this time the demon Täraka began to harass the gods armed with the boon of Brahma. This demon was destined to die at the hands of the son of Siva and, there
Sculptural Representations In the sculptures of the Siva-Pärvati marriage the two form the central figures and face the east. In composite stone sculptures, Vishnu and his two wives, Lakshmi and Bhu, act as Pärvati's parents and give away the bride. Vishnu's wives stand behind Pārvati and touch her waist, which is indicative of the act of giving away the bride. Vishnu stands behind Siva and Parvati, holding a golden pot of water. In the foreground are sculptured the eight guardians of the Quarters (Astadik pālās), the Siddhas (persons of great power), Yakshas (semi-divine beings), other semidivine beings called Gandharvas, the Seven Divine Mothers (the Sapta-matỊikās) etc. However, all sculptural compositions may not be so complete. In bronzes, only Śiva and Parvati are usually seen.
In the standing figures of Siva taking the hand of Pärvati in marriage, the latter generally stands on the right of the god whose front right arm holds Parvati's hand. If, however, Pärvati stands on the left, Siva's right arm is stretched across the body to clasp her hand.
13. Vrishabhārudha-mūrti (Siva Seated or Re
clining on a Bull)
The sculpture is highly venerated since it is believed that it is in this form that Siva most frequently appears before his devotees.

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14. Vishapaharana-mürti (Śiva Drinking Poison to
Save the World) (Pls. 71-73) During the churning of the ocean by the gods and the demons, among other things, poison emerged, which threatened to destroy the world. Then Siva offered to drink the poison in order to save it from destruction.
DAKSHIŅA-MURTIS (For iconographical details, see following Tubles)
Siva is the great master of Yoga, music, dancing and of other sciences. As a universal teacher, he is called Dakshina-murti. Dakshina means south, and since Siva was seated facing the south when he taught the sages, he came to be known by this name.
Siva is an expounder of the Sāstras. As JñanaDakshiņa-murti he is represented as seated in the savya lalitāsana (with the right leg pendant), with the left one bent and resting on the right thigh (Pl. 74). As a teacher of Sastras he is known as Vyakhyana-Dakshina-murti (PL. 75). He has four arms, of which one right is held in the jñāna mudrā and the other holds a rosary. One left hand is in the boon-giving pose, while one other left hand holds either fire or snake. Rishis, seeking knowledge, surround the teacher-god.
Siva is master not only of the Sastras, but he is also a great master of music, both vocal and instrumental. Siva, as a music teacher is called Vinādhara-Dakshina-murti.
As Yoga-Dakshina-murti, Siva practises penance. So his eyes are fixed on the tip of the nose. One of his right hands is held near the chest in the yogamudrā, while a left hand rests upon the lap in the typical yogic posture.
NRITTA-MURTIS (For iconographical details, see following Tables)
Siva is a great master of the art of dancing. The Bharata-Natyaśāstra mentions 108 different kinds of dance poses and in the Saivagamas it is stated that Siva danced in 108 modes. These modes as mentioned by the two texts may be identical.
Though the Saivagamas mention 108 modes of Siva's dances they actually describe only nine. One is that of Natarāja described in the Amáumabhēdāgama. The Dance of Siva as Natarāja (Pls 76-79)
Siva, the Mabāyogi, is also Natarāja, the Lord
of Dancers. Dancing is a form of magic in which the personality of the dancer becomes transformed, the dancer becoming endowed with supra-terrestrial powers in the process. Dancing is an act of creation. Siva, in his dance manifestation, is the Cosmic Dancer and gives manifestation to Eternal Energy. Through his frantic motions he generates the powers of evolution, maintenance and dissolution of the world.
The Natarāja figures are meaningful. Siva carries a drum in the upper right hand (Pls. 78-79). This connotes Sound, the vehicle of speech. Sound is associated with Ether, the primary manifestation of the Brahman, the Universal Soul. From Ether are generated a number of other elements like Air, Fire, Water and Earth. When the process of manifestation begins, it is with Sound and Ether.
The upper left hand of Nataraja bears on its palm a tongue of flame. At the end of the Kali Age, Fire will consume creation. While the drum is symbolic of the act of creation, the flame of fire is suggestive of destruction.
The second right hand of Siva is in the protection attitude. This hand is pointed downwards to the uplifted left foot. This foot is suggestive of salvation.
Siva dances on the prostrate body of the dwarf Apasmāra Purusha, who symbolises ignorance or darkness. The Darkness of ignorance can be destroyed by the attainment of knowledge, which releases man from the bondage of existence.
The figure of Natarāja is encompassed by a ring of flame and light, which is symbolic of the holy syllable AUM. This is an affirmation of creation. 'A is the state of waking consciousness, together with its world of gross experience, U is the state of dreaming consciousness, together with its experience of the subtle shapes of dreams, M is the state of dreamless sleep, the natural condition of undifferentiated consciousness. The Silence following the pronunciation of the three A, U, and M is the ultimate unmanifest.'
Siva as the cosmic dancer is the embodiment and manifestation of eternal energy in its five activities: (1) Creation, (2) Maintenance, (3) Destruction, (4) Concealment, and (5) Favour.
SIVA AS MAHĀYOGI (PL. 80) According to the Saivites, Siva is CreatorProtector-Destroyer. He sits in deep meditation,

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as Mahayogi, but when he does so, the guardians of the Quarters become worried since His Divine Presence is required to conduct the affairs of the cosmos. They come and request him to protect the world from Evil.
CHANDRASEKHARA-MURTIS (For iconographical details, see following Tables) These are benign forms of Siva in a standing or sitting posture, smiling, handsome, with a crescent in the hair. The five most important representations are:
Standing Images
Kevala-Chandrasekhara-murti. Siva standing alone with the usual emblems.
Umä-Sahita-mürti. With consort Umā. Alingana-murti. Šiva embracing standing Devi (holding flower) with front left hand.
Pasupata-murti. Holds a rosary and trident in the back hands.
Rudra-Pasupata-murti. With serious expression and carries a sword, chisel, skull-cup and trident. This image is rare.
Sitting Images
Sukhasana-murti. Sitting alone in Sukhasana. Uma-Sahita-murti. Sitting with consort Uma
on left.
Soma-Skanda-mürti. As above but with their son Skanda present between them.
Uma-Maheśvara-murti. Consort seated on left thigh of seated Siva, his arm embracing her.
ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
SIVA-SAKTI
"In Indian sculpture, Šiva and Sakti sit in close embrace, regarding each other with intense emotion. Gazing with deep and everlasting rapture. they are imbued with the secret knowledge that though, seemingly two, they are fundamentally one."
For the sake of the universe and its creatures, the Absolute has unfolded into this duality, and out of their union derive all the polarities and antagonisms that characterise life.
The God and Goddess are the first self-revelation of the Absolute, the male being the personification of the passive aspect we know as Eternity, the female activating energy being Time. Though apparently opposites, they are in essence
one.
The God dwells in the Lingam-the phallus. The Goddess is the Yoni, 'mother-womb of the ever cycling eons, of all the universes endlessly extending in space, of every atom in the living cell.'
SKANDA, KARTTIKEYA OR SUBRAHMANYA (Pls. 81-86)
Skanda, who is more popularly known in the South as God Subrahmanya, is avoided by ladies living in Maharashtra, as his darshana (seeing him) would bring them widowhood. In the South, Subrahmanya temples are very common. In the North, he is not so popular and so his temples
are rare.
In the Gayatri hymns, he is called by various names: Kumāra, Kärttikeya, and Skanda. The Puranic legends associate him with the Sun-god. He is described as the son of Agni and his wife Sväha. In Hindu legends, Agni is one of the names of Rudra and the latter is also another name of Siva. Parvati had taken the form of Svähä. So Skanda became the son of Siva and Pārvati.
Many Puranic legends tell stories of his bravery. He leads the army of the gods and destroys the Demon Taraka, and Krauñcha. So he is called Skanda, Kumāra, Kärttikeya, Shanmukha, Guha, Agnibhü, Subrahmanya, Gängeya, Tarakāri, Mahasena, Krauñchaṇḍarana, etc.
Iconography of Skanda
Symbols
Cock (Kukkuta), varada or abhaya mudras, Sakti, noose, sword, arrow, śüla, flag, bow, shield, closed fist, outstretched palm; peacock feather and sword; lotus in both hands.
Vehicle Peacock.
Hands
Two, four, six, eight, or twelve.
VIRABHADRA
Virabhadra is a form of Siva. He was created by Siva to destroy the sacrifice of his father-inlaw Daksha (see pages 42, 44). Many accounts mention the enmity between Siva and Daksha. Once the latter paid a visit to Siva accompanied

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not be given any portion of the sacrilice offered to the gods. Siva returned to his abode without saying a word. After a few years, Daksha began to offer an important sacrifice to which he did not invite Siva and his wife. But when his wife Sati saw all the gods with their consorts going to her father's 'yāga', she insisted on going too. Siva narrated to her the incident of his last humiliation, yet she persisted. Sati was insulted by her father, and feeling greatly humiliated, she jumped into the fire and committed self-immolation. When Siva learnt of this tragedy, he was furious and created Virabhadra out of a lock of his matted hair. Virabhadra destroyed the sacrifice and made Daksha submit to Siva.
by his wife. Siva tried his best to be a good host and please his wife's father, who was not pleased When Siva's wife went to visit her father, he spoke very ill of her husband and ultimately asked her to leave his house when she tried to defend her spouse. This action of her father so deeply humili ated her that she burnt herself and was re-born to Himavan and named Pārvati. When Siva learnt of this, his sorrow was great and he cursed his father-in-law to be born as a Kshatriya and commit incest with his own daughter in that birth. Thus Daksha became King Prachetās. He began to perform a great sacrifice and made offerings to all the gods excepting Siva. When the great sage Dadhicha noticed this, he tried to persuade the king to make offerings to Śiva also, but the latter refused. Dadhicha then cursed the king and all those who were present there. He then invoked Siva. Pārvati also came there and asked Siva to destroy the sacrifice. Śiva then created Virabhadra with a thousand heads, a thousand arms, a thousand eyes, powerful shoulders, and resembling in brightness the fire that devours the universe at the end of an aeon; having side-tusks, carrying the Kankha, the chakra and a bow and besmeared with ashes.' Virabhadra was now asked to destroy the sacrifice of Prachetās who was Daksha. Pārvati created Bhadrakāli to help Virabhadra. Virabhadra was asbolutely irresistible. He destroyed the sacrifice, and played great havoc with the army of the gods. He pulled out the teeth and plucked out the eyes of Surya, severed the hands and tongue of the Fire-god Agni, made Indra's arm stiff, crushed the Moon-god with his big toe and made Garuda, the vehicle of Vishnu, run for his life. Daksha was so completely demoralised that he now prayed to Siva and offered him apologies. Siva pardoned him his error and promised him leadership of his ganas at a later date.
Another story describes the events leading to an open conflict between Daksha and Siva in a different manner. Once while the gods and the sages had assembled for a sacrifice, Daksha entered the hall of sacrifice. All the gods paid their respects to Daksha Prajāpati. But Brahma and Siva kept their seats. Daksha' made his obeisance to Brahma and took his seat, but he was highly incensed that Siva should have failed to pay him respects. In his great anger, he reviled Siva in the most objectionable language and ultimately ended by cursing him that he would
Virabhadra in Sculptural Form Hands-Four. Eyes-Three. Objects in hands-R.h., sword and arrow.
L.h., bow and mace. Misc.-Terrific face with fierce side-tusks.
Wears a garland of skulls. Companions -Bhadrakäli on the side. On the
right side of Virabhadra is Daksha with a goat's head, two eyes and two borns, and with hands held in
anjali pose. Virabhadra may also carry sword and shield, how and arrow.
GANESA (Pls. 87-91)
The word 'Ganapati is mentioned twice in the Rig Veda. But it does not refer to Ganesa, but to Brihaspati. In the 10th Manilala, the word Ganapati is used with reference to Indra.
in the Maitrāyani Samhita, however, reference is made to Gānapatyas, i.e., worshippers of Ganapati. Ganapati is also referred to as Hastimukha, Danti. The Taittiriya Aranyaka, and the Nārāyaṇa Upanishad refer to Vakratunda, Danti, etc. In the Ganesa Atharva-shirsha, he is referred to as Ekdanța, Vakratunda, and Danti.
The Mänava-Grihya-Sutra speaks of four types of Vinayakas (mildly nalevolent forms of Ganesa). When a person is possessed by any one of them, he starts behaving like a madman, dreams bad dreams, feels that he is being followed. Princes do not inherit their patrimonies; girls do not get husbands; married women do not get children; the preceptor and teacher forget all they know.

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ICONOGRAPHY OF THE HINDUS. BUDDHISTS AND JAINS
Certain magic formulacs are prescribed to drive away the evil Vinayakas.
In the Baudhāyana-Dharma-Sutra, Ganapati is referred to as Vighna, Vinayaka, Sthüla, Hasti. mukha, Vakratunda, Ekdanta, and Lambodara.
In the Yajnyayalk ya-smriti, Vināyaka is appointed as chief of Siva's Gaņas. His job is to create difficulties in the performance of sacrifices. His mother is Ambika-Parvati. He has to be placated to keep him out of mischief.
In the course of his assimilation into Aryan worship, the character of Ganesa changed. From being an evil and inauspicious deity he became an auspicious one; so much so that every ceremony has to begin with his invocation. The education of a Hindu child begins with 'Shri Ganesāya Namah. His images are carved on houses, temples, etc.
Sociologically, the Saivite gods may have been non-Aryans who resolutely opposed Aryan worship; or they may have been the gods (if not tribal Teaders) of the non-Aryans. In the course of time, they stopped harassing Yajñya worship or des. troying Yajñic sacrifices. The two cultures became reconciled. In the process, the non-Aryan deities became absorbed into Aryan worship, and the character of the gods changed and became auspicious.
The early descriptions of the god were not flattering. His elephant head, Hastha-mukha, was described as crooked (Vakratundla); he was described as having only one tooth (Ekdanta). He is Lambodara--with a hanging belly.
Iconography: 4-handed-holding parašu, laddus, tooth and lotus.

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MINOR DEITIES
1. INDRA (Pls. 92-93)
DIK-PĀLAS OR LOKA-PĀLAS
(THE GUARDIANS OF THE QUARTERS) INDRA. Agni, Yama, Nirruti, Varuna, Väyu. Kubera and isäna are the eight guardians of the Quarters.
The Sun rises in the east. It is the source of all Energy. All the gods, therefore, live in the east. So Indra, the King of the Gods, became the guardian of the Eastern Quarter.
The Aryans had a great contempt for the nonAryans. They lived in South India. The south was therefore considered inauspicious because it was inhabited by people who did not follow Aryan worship. Death is most inauspicious: therefore Yama, the God of Death, became the guardian of the Southern Quarter.
On the west, India is girdled by the (Arabian) sea. Varuna is the water-deity and so the guardian of the Western Quarter.
The Yakshās are supposed to live in the north. So the chief of the Yakshās, Kubera, became the guardian of the Northern Quarter.
lśāna is another name of Siva. His vehicle is the Bull Nandi.
West
Indra was one of the most prominent deities of Vedic times. He is the 'rainer' or 'irrigator,' the word 'Indra' being derived from the word 'Indu' meaning drops of rain. He corresponds to the Roman Jupiter Pluvius. Indra is king of the starry heavens, the god of thunder and of the natural elements, with inferior genii at his command; he governs the Eastern Quarter of the world, and also presides over the celestial bands stationed on the golden Mount Meru where he solaces the gods with nectar and heavenly music. "He resides in the celestial city... There are to be found Apsaras, the celestial dancing girls ... His consort is Indrāni, and he rides the elephant Airāvata ...'
Indra's popularity as a rain-god can be appreciated only in the tropics, where the great heat of the sun dries up all vegetation, river systems, lakes, wells, and does not leave anything even for the starving cattle. For want of water all suffer-man, animal and Nature-and all call out for rain, the life-giving water. At such time, the people address hymns to the rain-god Indra to avert the calamity of famine and starvation and to break the power of the demon Vittra, who holds the waters in his coils. They offer him his favourite drink--the soma juice. Then a flash of lightning is seen as Indra begins to hurl his bolts against the demon Vittra. Vittra howls as he flees. Then the waters come pouring down on the parched dry land and all rejoice-man, beast, and vegetation.
Nirruti
Varuna
Väyu
South
Yama
Kubera
North
Agni
|
Indra
Isana
East

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ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
Indra of the Vedas is the son of Father Heaven (Dyaus Pitao) and Mother Earth (Prithvi) and the twin-brother of Agni.
In the post-Vedic period, Indra lost his importance and was reduced to the inferior position of a mere guardian of the Eastern Quarter.
faces. He has three legs and seven arms. He rides a ram. From his mouth flames issue, by means of which he licks up the butter used in sacrifices. Agni's two faces represent the two fires-solar and terrestrial. His three legs represent the three sacred fires—the nuptial, the ceremonial, and the sacrificial. His seven arms may denote the universal power of the all-pervading fire.
Iconographic Representations
Indra is represented as a fair man riding a white elephant, Airāvata. He is four-armed. In one hand he carries the vajra, the terrible thunderbolt, and in the others are seen a conch-shell, bow and arrows, a hook and a net.
3. YAMA-JUDGE AND REGENT OF THE DEAD
2. AGNI, THE FIRE-GOD (Pl. 94)
Yama is the first of the mortals. He is the Hindu Pluto. As he was the first born, he was the first to depart this life. He is the son of the Sun-Vivasvat. According to Max Muller, the Sun, conceived as setting or dying every day, was the first who had trodden the path of life from east to west-the first mortal—the first to show us the way when our course is run and our sun sets in the far west. He presides over the dead. As a Judge, he presides over his Court. His record-keeper is Chitragupta who reads out his register, the Agra-Sandhani, the tale of a man's life. After the record is read, Yama balances good and evil, and the soul of the dead man either ascends to Heaven (Swarga) or descends to the twenty-one hells (Naraka) of Hinduism.
After death all souls go directly to Yama. This journey takes four hours and forty minutes. The dead body must not be cremated till this journey is accomplished.
Agni's popularity in the Vedic period is attested to by the large number of hymns addressed to him in the Vedas. The discovery of fire revolutionized human life. It made cooking possible and also provided heat and light to the people. It leapt forth out of hard rock or by friction of two pieces of wood. Its origin seemed so mysterious. The Vedic poets identified Agni with the warmth of the fire on the hearth and altar. They identified it with light and heat, and so with the Dawn and the Sun. So the Fire-god appeared in its many phases: in heaven as the Sun, in midair as lightning, and on earth as ordinary fire.
Out of human imagination arose a magnificent Godhead. Agni came to be regarded as an im- mortal who lived with mortal men. He was the domestic priest who rose before dawn. He radiated warmth when kindled, in the domestic hearth. He was a visible god, who lived in the dwellings of men, was witness to their actions, their counsellor and director.' He it was who kindled the sacrificial fire and conveyed the oblation and sacrifices of the mortals to the gods above. Agni thus became the mediator between god and man. He dispelled the darkness and terror of the night and gave courage to men.
Agni lost the pre-eminence he enjoyed in the Vedic period. The Epics say that he had exhausted himself by devouring too many oblations. Though the Fire-god has lost his early importance, he is invoked even today on all important occasions.
4. VARUNA (Pl. 95)
Varuņa enjoyed great prestige in the Vedic period. He is the chief of the Adityas, 'inviolable, imperishable, eternal beings, sons of Aditi (representing Infinity). In the Vedic period, Varuna was the supreme deity. 'He it is who makes the sun to shine in the heavens; the winds that blow are but his breath; he has hollowed out the channels of the rivers which flow at his command, and he has made the depths of the sea. His ordinances are fixed and unassailable; through their operation the moon walks in brightness, and the stars which appear in the nightly sky vanish in daylight. ... He knows the flights of the birds in the sky, the course of the far travelling wind, the path of ships on the ocean, and beholds all the socret things that have buen, or shall be, done. He witnesses men's truth and falsehood'.
Iconographic Representations
In sculpture and paintings, Agni is represented as pot-bellied, red in colour, with one or two

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HINDU ICONOGRAPHY
Varuna, the omniscient deity of the Vedas was gradually superseded by the war-like and tumultous Indra. In the Puranic times, Varuna, from being the highest god, became a mere god of the ocean, a second-rate Neptune.
Iconographic Representations
Varuna is represented as a white man sitting on a fabulous monster with the head and front legs of an antelope and the body and tail of a fish. He carries a noose in his right hand.
5. NIRRUTI
Though Nirruti is an ancient god mentioned in the Rig-Veda, not much is known about him. In later Hindu mythology, he becomes the guardian of the South-Western quarter.
Iconographic Representations
Hands-Two.
Objects in hands-R.h., sword; L.h.. shield or staff.
Vehicle Lion or man, or an ass. Misc. Decked with ornaments. Surrounded by rakshasas (demons) and seven celestial damsels (apsaras). Also by his four wives-Devi, Krishnangi, Krishnavadanā, and Krishnapāśa. The apsaras who accompany him must be pretty, have smiling faces, and must have welldeveloped breasts, thick thighs, slender waists, etc.
6. VAYU (Pl. 96)
Vayu is a Vedic deity. He belongs to the elements. In early literature, Indra appears as the father of the Maruts, the deities of the wind. The epic Mahabharata makes him the sire of the valiant Pandava prince Bhima, and also of Hanuman the Monkey-god.
Iconographic Representations
Vehicle Sits on a lion-seat or on deer, the latter vehicle being more common in sculptural representations.
Hands -Two or four.
Objects in hands-R.h., flag; L.h., staff.
If four-handed: R.h. in patākā-hasta pose or holds a goad. He may also carry a wheel.
51
Misc. Youthful and powerful. Decked in ornaments. To his left may be seated his consort.
7. KUBERA
The epic Rāmāyana narrates the story of Kubera or Vaisravana. The God Brahma begot a mānasaputra (mind-born son). He was named Pulastya. His son was Vaisravana. He became very much attached to his grandfather Brahma. This should not have made his father jealous, but it did. The grandfather was of course greatly flattered, made Vaisravana immortal. gave him lordship over wealth and installed him in Lanka (modern Ceylon). Furious, his father Pulastya begot himself another son, and named him Vaisravas, who disliked his brother Vaisravana as much as his father. Vaisravana was sorry that he annoyed his father so much, and so to pacify him, presented him with three very pretty rakshasis (female demons). One of these gave birth to Rāvana and Kumbhakarna, another to Vibhishana and the third to Raka, Khara and Surpanakha. These sons were jealous of the prosperity of their brother Vaisravana, practised austerities, and got boons from their grandfather Brahma. This additional power was then used against Vaisravana, who was himself Brahma's favourite. Rāvana attacked Vaisravana and expelled him from Lanka.
In Hindu mythology, Kubera appears as the God of wealth. In Buddhist literature also be appears in the same capacity. He becomes the lord of the Yakshãs and becomes the husband of Hariti. He is also known as Jambhala.
Iconographic Representations
Vehicle Lotus seat, or a chariot driven by men or riding on shoulders of man. Sometimes on a ram or elephant. Hands-Two or four.
Objects in hands-Two hands: one in boongiving attitude and one in the protection pose, or the left hand may carry a mace.
Four hands: with one he embraces his consort Vibhava, and with the other, he embraces another spouse Vriddhi, who sit on the left and right laps respectively of their Lord.
Misc. -Big and pendant belly. To right and left of Kubera should be the two Nidhis,

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ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
Sankha and Padma, the former to the right and the latter to the left. His two consorts Vibhavā and Vriddhi embrace Kubera with one hand and carry in the
other a bowl containing jewels. Variation-Kubera may have the elephant as
his vehicle and may carry in his four hands, a mace, a purse containing money, a pomegranate fruit and a vase.
SURYA (Pl. 97)
Sürya was an important solar deity in the early Vedic period. The Vedas refer to him frequently as Savitri, Puşan, Bhaga, Vivasvat, Mitra, Arya- man, and Vishnu. As Saviti, he is 'stimulator of everything. The term Pügan implies his bene- ficent power. As Bhaga he becomes the distributor of wealth. As Vivasvat, he becomes the first sacrificer and the ancestor of the human race.'
He is referred to as one of the Adityas (sons of Aditi, an abstract, mysterious creation, represent ing Infinity), who are praised in Vedic literature. Sürya is mentioned as an Aditya along with Mitra (an important Indo-Iranian god), Aryaman (meaning a friend), Bhaga (giver of wealth), Varuna (supreme deity of the Heavens and the giver of the Rit, the Law of Nature), Daksha (symbolizing Wisdom), Amsa (has the same attri- butes as Bhaga) and Surya (he has a chariot drawn by innumerable horses. Sometimes, the number of horses is said to be seven or one with seven heads).
The Rigvedic Surya is described as a beautiful- winged bird' or as 'moving in a car drawn by one, seven, or several fleet and sturdy horses. The Epics and the Puranas narrate the story of Sürya's marriage with Samjñā, the daughter of Vishva- karmā, the Divine Architect. Unable to bear the intense effulgence of her Lord, she deserts him, leaving behind her shadow (Chhāyā). The fraud is discovered only after Chhaya had borne three children to Sürya. Sürya goes in search of his wife, finds her in the cold regions of the north. Vishvakarma persuades Sürya to be refashioned at his hands. Out of the effulgent Sürya, the Divine Architect produces a beautiful form His legs, however, remained unfashioned.
To those who offered worship to the Sun, he seemed to be the cause of Being. He was the life- giver, the supreme soul and the creator of the
universe. Much earlier, in Egypt, a heretic king Amenhotep IV (1380 B.C.) had proclaimed the supremacy of the Sun-god, the source of all earthly life and light.' The cult of the Sun owed much to Iranian Sun-worship. It is interesting to note that the priests who were entitled to instal images of the Sun-god were the Magi, the SunPriests of Iran. In Iran, Sun-worship was extremely popular. The Iranian Mitra is a Sun-god. The Brihat-Samhitā gives detailed instructions concerning the installation of Surya images. The worshippers of the Sun-god are known as Sauras.
Sürya rose to eminence in the Purānic period. His wives are listed: Samjña, Rājni, Prabhā, Dyau, Nikshubhā, Chhäyä, etc. His children too are mentioned: Yama, Srutashravasa, Srutakarman, Ashvinau, Revanta, Vivasvat, Manu, Yamunā, Tapati, Prabhat, Ilapati, Pirxalapati.
Apart from separate temples dedicated to the Sun-god, he is also included in the Hindu Panchāyatana system. Panchāyatana is the worship of five gods installed in one main and four side temples located in the subsidiary quarters. In the Sürya-Pañchāyatana, small temples dedicated to Ganesa, Vishnu, Devi and Siva are erected in the subsidiary quarters, with the Sürya temple in the centre.
In the evolution of Hindu worship, Sürya lost his importance by the 12th century A.D. The last important temples dedicated to him are located in the extreme east (Konārak in Orissa) and the extreme west (Modhera in Gujarat). Now he was reduced to the position of a planet (Graha). Nava-graha slabs are found at many places, like Sapta-mātrikā slabs. Sometimes the planets are carved on ceilings of temples.
The icons of the Sun-god evolved in the South became popular in the North. Those found in certain places like Bodhgaya, Bhumara and Afghanistan show the influence of the Greek Sungod Helios.
Iconographic Representations
Sürya stands erect on a lotus pedestal, holding in his two hands two full-blown lotuses which rise just above the shoulders. He has a smiling countenance and a halo around his head. He wears a protective armour. His feet and part of the two legs are covered by high boots, a peculiar feature only of the Sun-god. In front of the god stands a miniature female figure, in front of which is represented the legless Aruna, the charioteer

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HINDU ICONOGRAPHY
of the Sun, holding a whip in his right hand, and the reins of the horses in his left. The horses are seven in number and the chariot moves on a single wheel. To the right of the Sun-god, a female is shown standing, holding either a lotus or a fly-whisk in her right hand. To her right is shown a bearded man with protruding belly, carrying pen and inkstand in his hands. To his right again is shown another female, shooting arrows. To the left of the Sun-god are represented three similar figures, but the male one is without a beard and holds either a staff or sword or a conch-shell in one of his hands.
All these figures, except the two females shooting arrows, wear boots like the Sun-god. Eleven
53
miniature figures, exactly like the Sun-god, are sometimes represented near the edges of the carved slab, generally five on cach side of the god and one over his head.
The Matsya-Purana tells us that Surya's two attendants are to be Danda and Pingala, with swords in their hands. The god Brahma is to be placed on one side with a pen in his hands. On no account are the feet of the Sun-god to be represented. Anyone who infringes this sacred injunction would be smitten with leprosy. Surya's body is to be covered by a coat of mail. He has a girdle called Paliyanga.
Sometimes, instead of seven horses, only one is depicted but with seven heads.

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THE GODDESSES
THE PART played by the woman in the perpetua
1. SARASVATI (Pls. 98-103) tion of the species was not ignored by the Vedic scers. This had to be recognised in religion. The She is the goddess of learning and culture. Her intellect of the Vedic seer had been illumined by other names are: Vāk, Vägdevi, Vägišvari, the vision of the ONE whom the motionless, Bhārati, Vāni, etc. inscrutable, deep, dark void in labour gave birth She is popular with the Hindus, the Buddhists to. The majesty of this August Mother could not and the Jains. The Buddhists have made her the but be realised early. She is called Aditi-Bound- consort of Manjusri, the Bodhisattva of Wisdom. lessness personified.
In Hindu mythology, she is sometimes consorted Aditi is Universal Nature. She is the spouse with Brahma and sometimes with Vishyu or of Rita, the cosmic order or Law prevailing in Ganesa. She is ordinarily represented sitting on Nature. She is the sky, the air, the mother, the a lotus seat with one leg pendant, playing on a father, the son. She is whatever has been born; Vină a lute-like stringed musical instrument. she is whatever shall be born. She is not only The Rigvedic Sarasvati is the manifestation the Universal Nature but also the Universal of a river of that name. In the course of time, Mother.
she came to be identified with the Vedic goddess The Purāņic conception of the Devi is the saine Vāk (Speech). as that of Aditi. Through the course of the deve- When she appears as an individual goddess, lopment of the theory of Sakti, her maternal she becomes the wife of Brahma. The Matsyaaspect is never lost sight of. The next develop- Purina tells the story of her creation by Brahma. ment of this line of thought is reached when the Brahmå became cnamoured of his own daughter, maternal aspect of Sakti led to her inevitable and as she began to move round him in devotion, characterisation as wife. Here even her conception out of a keen desire to stare at her, a face sprang does not subordinate her to the husband. Sakti is up in each direction, to enable Brahma to look the female counterpart of Siva: Prakriti is the at her. This is how Brahma got five faces. The female energy of Puruşa; but it is she who is the myth of Brahma's incest with his own daughter. dynamic principle. Siva is powerful and active only however, owes its origin to the Rig Veda, where with Sakti, otherwise he is in torpor and inactive. the Vedic Prajāpati copulates with his daughter
This wifely aspect of the Original Mother has Uşas. been accounted for in the Purăņas by the story Later, Sarasvati is consorted with Vishnu. These of the birth of the Triad, Brahmå. Vishnu and later legends are concerned with Krishna. Siva, from the Devi, who ultimately took Siva as She appears as the wife of either Brahma, her consort,
Vishnu or Ganesa. Sometimes she appears alone. 54

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HINDU ICONOGRAPHY
55
When she appears with any of the gods mentioned above, she stands on their left holding a viņā. When she is alone, she is usually seated. She is now worshipped as the Goddess of Speech and Learning.
Since she is primarily associated with Brahmā, her vehicle is the swan (hamsa). In popular mind, she is now associated with the peacock. The texts do not mention her vehicle.
If she is four-handed she holds: book, rosary, lute (viņā) and lotus; or book, aksasūtra (Rudrāksha malā), lotus, with one hand in the teaching attitude (vyākhyāna mudrā); or book, rosary, lute and vase; or sudanda (sacred staff), rosary, book, with one hand in the kataka mudra (fingers forming a ring); or one hand in the boon-giving attitude with rosary, lotus and book in the other hands; or rosary, noose, goad, and one hand in the protection attitude.
If she is eight-handed she carries in them: bow, mace, noose, lute, wheel, conch, wooden pestle and goad.
If she has ten hands she holds: wheel, conch, skull-cup, noose, battle-axe, vessel of ambrosia, Veda, rosary, Vidyā (emblem of knowledge) and Jotus.
2. PĀRVATI
beautiful. When the two demon brothers heard of the beauty of Kausiki, they desired to possess her. Sumbha asked her to become his wife. She replied that anyone who wished to make her his wife would have to conquer her in battle. She destroyed a servant of Sumbha. Then Chanda and Munda were sent to fight and seize her. Furious, Kausiki created the goddess Chamunda, black and scowling, with drawn sword and lasso, holding a mace (khatvānga), wearing a necklace of skulls, clothed in a tiger-skin, mouth hideously distorted and the tongue protruding out. She plucked off the heads of Chanda and Munda.
Her general characteristics are as follows: she should be like a skeleton in appearance-flesh dried up, bones showing through the skin, eyes sunken and abdomen contracted. Her hair should be standing on end with snakes peeping out of them. She should be depicted as laughing horribly, with the teeth prominent and the tongue protruding. She should wear a necklace of skulls and bones. She should be dressed in a tiger's skin and have a corpse and an owl as her vehicles.
4. MAHISHAMARDINI (Pls. 104-109)
Pärvati has twenty-four names. The names Haimavati, Parvati, Arya, Daksāyaṇi, Sati, are indicative of her origin; the names Sivā, Bhavāni, Rudrāni, Midāni, tell us that she is the consort of Siva. Her aggressive forms like Katyāyani, Durgā, Chandikā, Ambikā, became necessary to destroy evil. In the Amarakoša, Mahishamardini is a form of Parvati.
It is not customary to crect separate temples for Pärvati. Usually she appears in the company of Siva. If she is alone, she may hold a javelin (6ūla) and mrror in her two hands. If she is four- handed, two of her hands exhibit the protection and boon-giving attitudes and two carry a javelin (śūla) and a chisel (tanka).
The Amarakośa regards her as a form of Pārvati. In the Mahābhārata and the Harivaṁsa, she is referred to as the sister of Kşishna (an incarnation of Vishnu) and the daughter of Yashoda. In the Matsya-Purāna, she is described as being born out of the union of three goddesses, while as the Märkandeya Purāņa says, she is made up of the essence of all the gods.
The Mahabharata, the Harivarsa and the Märkandeya Purāna all tell us that she is very fond of wine, flesh and of mundamålā (garland of heads), vyāghracharma (tiger-skin) and kbatvānga (mace). Obviously, she was originally a non-Aryan deity.
When she was absorbed into the Aryan pantheon, she was assigned the function of destroying demons like Mahișa, Chanda, Muņda, Sumbha, Nisumbha, etc.
Mahishamardini occupies an important place in the Hindu pantheon. She either appears alone or in company in temples. In the Panchāyatana (temples of five gods grouped together) her temple is built in the centre, while in other directions (south-east, south-west, north-east, north-west) smaller temples are erected to Sankara, Ganesa, Surya and Vishnu.
3. CHĀMUNDĀ
The Märkandeya Purāņa tells the story of the origin of Chămundā. Once the demon brothers Sumbha and Nisumbha became very powerful and dispossessed the gods; whereupon they in- voked the Supreme Goddess. From the latter sprang the goddess Kaukiki who looked dazzlingly

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ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
either Sri or Lakshmi. In the former form she appears more frequently. Independent sculptures of Lakshmi are rare. Lakshmi is the senior wife of Vishnu. It is difficult to understand why sculptures of Lakshmi and Sri should be differently portrayed though they are one.
The texts refer to her as Durga, Candi, Mahisha- mardini, Mahishasuramardini, Katyayani, ctc. If she is eight-handed, she holds in them javelin. sword, arrow, wheel, noose, shield, bow and conch. If she has four hands, two carry a wheel and a conch, while two are in the protec- tion and boon-giving attitudes or one of the four hands may exhibit the kataka mudra instead of the boon-giving mudra.
If she is ten-handed, she holds in them: spear (sakti), arrow, javelin, sword, whcelmoon (chandrabimba). shield. skull-cup, javelin and wheel.
If she is twenty-handed she holds: spear, mudgara (a kind of club), javelin (süla), thunder- bolt, sword, conch, arrow, goad, javelin, wheel, noose, drum, flag, bow, abhaya and tarjani mudrás, mirror, bell, shield and hair of rakshasa. If she has cighteen hands, she does not carry the javelin or drum or arrow.
5. MAHALAKSHMI
SRI
In her two-handed representations, he holds a srifala and lotus. She is accompanied by two female chauri-bearers (fly-whisk attendants) and two or four elephants carrying ghatas (pitehers).
LAKSHMI
If she is eight-handed, she holds in them: bow, mace, arrow, lotus, wheel, conch. wooden pestle, and goad.
if she is four-handed she holds: wheel, conch, lotus, and macc; or mahālunga (a lemon-like fruit), lotus, lotus and vessel of nectar; or lotus, bilwa fruit (wood-apple), conch and vessel of ambrosia.
If she is two-handed she holds: conch and lotus. Vidyadharas accompany her on two sides as also Rājasri, Svargalakshmi, Brāhmi, Lakshmi and Jayalakshmi.
Mahālakshni is associated both with Vishnu and Siva. In her four hands she holds a mahālunga (a fruit which resembles a lemon), macc, shield and a bowl of Icaves. She may also carry a lotus, dindima (big drum), and have one hand in the protection attitude, or may carry a vase, mace, shield and srifala (coconut).
LAKSHMI WITH VISHNU (Pls. 111-113)
If Lakshmi is two-handed she holds: lotus and srisala or lotuses in both. She sits on the left lap of Vishnu or on the serpent Ananta or on the Eagle.
6. BHŪ
THE SAPTA-MĀTRIKAS (Pls. 114-119)
Bhù never appears alonc in sculptures. When she appears in the company of Vishnu, the latter is always accompanied either by Sri or by Lakshmi. She is the junior consort of Vishnu; his senior consort is either Lakshmi or Sri.
When she is shown to have two hands, she carries in one a lotus, is shown seated or standing and wears a karanda mukuta. When she is shown with four hands, she holds in them a bowl of jewels, a bowl of corn, a bowl of medicine and a lotus.
7. SRI OR LAKSHMI (PI. 110)
The legend of the seven Divine Mothers is interesting. The account is an allegory which is aimed to emphasize a point, to draw a moral. In this world of men, Knowledge and Ignorance continuously battle for dominance. In this story Andhakāsura is the symbol of Ignorance and Siva the symbol of Wisdom. In this struggle, Wisdom ultimately triumphs over the Darkness of Ignorance.
Andhakasura, the grandson of Hiranyakasipu, had become very powerful by obtaining several boons from Brahma. He then began to harass the gods, who sought redress from Siva. In the meanwhile, the king of the demons himself appeared before Mount Kailasa to carry away Parvati, the consort of Siva. A fight ensued. A demon named Nila took the form of an elephant
Sri or Lakshmi is the goddess of Wealth and Prosperity. She appears either alone or with Vishnu. If Vishnu is accompanied by Bhù or Sarasvati, she inevitably keeps him company and is then called Sri. When she appears alone with Vishnu, she is called Lakshmi.
When she appears by herself she may be called

Page #79

HINDU ICONOGRAPHY
to kill Śiva. But Śiva's son Virabhadra took the form of a lion and killed him, presenting its skin to his father. Vishnu and the other gods joined the battle against Andhakasura, but soon had to flce. Enraged, Siva shot the demon-king with an arrow. As the demon began to bleed profusely. every drop as it touched the earth assumed the form of another Andhakasura. Siva thrust his trident through the body of the original Andhakasura while Vishnu with his wheel destroyed all the secondary Andhakāsuras. To drink the demon's blood and thus prevent it from falling on the earth, Siva created a Sakti called Yogeśvari. Brahma, Vishnu and the other gods followed suit and created Brahmani, Mähe vari, Kaumārī, Vaishnavi. Vārāhi, Indrāni, and Chamunda, the female counterparts of Brahma, Maheśvara. Kumāra, Vishnu, Varaha, Indra and Yama. They carry the same weapons and ride the same mounts as the male gods.
The Varaha-Purana mentions cight Matrikas and says that they represent eight mental qualities which are morally bad:
1. Yogesvari
2. Mäheśvari 3. Vaishnavi 4. Brahmāņi
5. Kaumāri
Kāma or desire Krodha or anger Lobha or covetousness Mada or pride Moha or illusion Matsarya or fault-finding Paisunya or tale-bearing
6. Indrāni
7. Chamunda 8. Vārāhi - Asuya or envy
The assistance of the Seven Mothers stopped the multiplication of Andhakasuras. When, however, the demon-king was about to be killed, he praised Siva and obtained grace.
Afterwards, the destructive qualities of the Divine Mothers were withdrawn by SŚiva, whereupon the Divine Mothers became worthy of prayer.
The entire episode is symbolic of the struggle between spiritual wisdom represented by Siva and Ignorance symbolised by Andhakasura. In the struggle between these two forces, the forces of Ignorance are strengthened by evil qualities like desire, anger, covetousness, etc., possessed by men. Unless these are completely brought under restraint, Wisdom can never triumph over the Darkness of Ignorance which leads men away from the Ultimate Truth.
57
RIVER GODDESSES (Pls. 120-125)
In India, rivers are given a divine status. The civilization of India was nurtured in the GangaJumna doab. This has been the heart of ancient India. The two rivers Ganga and Jumna (Yamuna) have, therefore, been worshipped since ancient times. The Gangadhara legend traces the origin of the river Ganges to Heaven. Ganga had to be persuaded to descend to the earth to enable the ancestors of king Bhagiratha to ascend to heaven (see Gangadhara-Śiva, p. 43). The Ganges is known for her purity and divinity. The Hindus believe that a bath in her holy water cleanses one of all one's sins. The river Jumna is known for her devotion. In Hindu legend, she is the sister of Yama, the first of the mortals and the king of the Dead. The river Sarasvati was worshipped in early times, when the Aryans lived in the Punjab by the side of the river. At the time it flowed broad and strong. It changed its course in later ages and gradually disappeared in the deserts of Rajasthan.
These three rivers have been worshipped for a long time. During the reign of the Imperial Guptas (4th-6th centuries A.D), architects began to carve anthropomorphic figures of Ganga and Jumna (Yamuna) on two sides of the shrine door. This was very symbolic. Ganga is known for her purity and Jumna for her devotion. The devotee who enters the sanctum sanctorum, enters the divine presence. But only the pure and the devoted have entrance here. This is the significance of their presence. The Gupta sculptor who thought of this idea must have been very imaginative. At a later period, it became a common practice to represent the two river goddesses on the two sides of the shrine door both in the north and the south.
At Ellora, in the Lankeśvara shrine, these two appear on either side of the shrine entrance (Pl. 122). In the courtyard of Kailasa is a shrine of the three river goddesses, Ganga, Jumna and Sarasvati (Pls. 121-125). This shrine was carved after the Rashtrakuta king Indra had conquered Kanauj, the capital of Aryavarta, in A.D. 800. He succeeded in reaching Prayag (modern Allahabad). where the three rivers are supposed to meet. This shrine immortalised his great feat.

Page #80

0
THE HINDU TRIAD
COGNIZANCE
BRAHMA
VISHNU
SIVA
Symbols
Rosary, vase, ladle, book. Antelope skin on shoulder
Mace, lotus, conch, wheel
Trident, discus, battle-axe, club, serpent girdle, serpent necklace
Vehicle
Goose, Swan
Eagle
Bull
Asuna
Padmasana
Hunds
Four
Four
Two, four or more
Hand pose
Consort
Savitri or Sarasvati
Sri & Lakshmi
Uma or Parvati
Faces
Four
One
One or three
Hair-dress
Matted hair
Matted hair
Kirita crown (Fez-type crown worn by Vishnu)

Page #81

Hands
Fuces
Colour
Vehicle
Objects in hands
Misc.
Four
Four
White
Swan (hamsa) Boon-giving attitude. sacrificial ladle, vase & ladle (AC)
Black deer-skin. Sarasvati on right, Savitri on left & rishis (AC)
Variations 1-4-handed-rosary. ladle, vase. pot of ghee; Savitri on right & Sarasvati on left (AGP)
II-Seated or
standing on lotus 4-handed-rosary & grass, sruk & sruv (sacrificial spoons). vase & grass & Ajyasthali & Kusa: or boon-giving and protection mudras, vase & rosary, sruk & sruv. Sarasvati
& Savitri (AB)
III-White; chariot of seven swans, 4-handed -two in dhyana mudra, rosary & vase. 4 faces (VID)
IV-Book, aksasūtra.
sruk and kalaŝa (RP & RM)
PRAJAPATI
Four
Suvarni on left lap Savitri carrying rosary
FORMS OF BRAHMA
LOKAPALA BRAHMA
Four
Rosary, book, lotus & vase
Four-faced Savitri (VID)
VISHWAKARMA
Four
Aksasūtra, book. vase & sruk (ladle) (RP & RM)
KAMALASANA
Four
Aksasút. sruk, book & vase (RP & RM;
NOTE: The abbreviations in brackets in the following Tables refer to the different ancient texts, a list of which is given on page 74.
PITAMAHA
Four
Aksasūtra, book, ladle (sruk) & vase (RP & RM)
59

Page #82

SADHARANA SIVA (USUAL FORMS)
(Pls. 126-130)
III
IV
VI
Hands
Four
Eight
Four
Two
Four
Two
Fuces
Eyes
Two
Three
Three
Three
Objects in hands
"Trident, drum, boon- giving and rosary (AC)
Boon-giving, protec- tion, javelin or trident (śüla), noose Karanda crown (AB)
Javelin or trident (sula) & bow (BS)
Protection. boongiving, deer & drum. Accompanied by Parvati (MS)
Trident & rosary (VID)
R.h.---rosary, spear (sakti), staff (dayda) & javelin or trident (súla) L.h.-ritual wand (khatavānga) skullcup, boon-giving & cobra Elephant-skin & mooncrescent (AC)
URDHVA-LINGA SIVA (SIVA WITH ERECT PHALLUS)
(Pl. 131)
Hands
Two
Faces
One
Objects in hands
Serpent & battle-axe
Misc.
Stands on dwarf Apasmārapurusha

Page #83

SIVA-CHANDRASEKHARA-MURTIS
BENIGN FORMS IN STANDING POSTURE
KEVALA-MURTI
UMA-SAHITA-MURTI (Pl. 132)
ALINGANA-MURTI (Pls. 135-138)
Hunds
Four
Eyes
Ohjerts in hunds
R.h.-protection, and chisel L.h.-boon-giving, black deer & chisel held
in hands which are in kartari-hasta pose
Mise.
Stands erect in samabhanga. Jaļā crown shows crescent moon. Right front hand may be held in the simhakarya, kataka hasta or katyávalam- bita pose Left ear ornament should be of pearls, conch-
shell or lotus Right ear ornament of makara, lion-face or
leaf (SR)
Devi by side, either on same pedestal or another. Chandrasekhara as described in Kevala-murti. Uma holds a lotus in one hand, the other hanging by her side (AB & SR)
In this aspeet, Siva embraces his consort Uma with one of his left hands. This arm rests just below her breast, or on the left arm of Umā. Uma holds in her right hand a red lotus OR Umā may embrace Śiva with her right hand and carry a flower in her left OR śiva and Umā may embrace each other, one with the left and the other with the right hand
PASUPATA-MURTI
RAUDRAPASUPATI-MURTI
Hands
Four
Four
Faces
Eyes
Three
Objects in hands
R.h.-protection and trident L.h.--boon-giving & rosary
Trident held head downward in one hand, skull-cup in another OR front two hands hold trident in horizontal position, while the other two hands hold a chisel and sword
Mise.
Standing erect or sitting and sometimes holds skull-cupin place of rosary

Page #84

SIVA-ASANA-MURTIS
BENIGN FORMS OF SIVA IN SITTING POSTURE
SUKHASANA-MURTI
UMA-SAHITA-MURTI (Pls. 132-134)
SOMASK ANDA-MURTI
UMA-MAHESVARA-MURTI
Four
Two or four
Hands Fuces Eves Ohjecis in hands
Three R.h-protection and battle-axc L.H.- boon-giving or sirihakarva
(tips of four fingers touch the tip of the thumb to form a semi-circle) and deer (mriga)
Uma has two arms R.h.-holds a lotus
rests straight on the seat or in the simhakara pose or in boon-giving attitude
Mixc.
Seated erect upon a bhadrapitha as on a stool. Right leg pendant. Left leg bent to rest upon the scat Right ear-makara or lion
ornament Lefi ear--leaf-ornament
Devi or Skanda must NOT accompany Siva in this form (PK)
Uma sits on the same pedestal as Siva to his left, facing him, with left leg pendant Wears a karanda crown (AB) Parvali on left: Indra. Vishyu. Brahma, Bhringi. Narada. Bhairava, Gane-a. Skanda. Vira- bhadra behind (ST)
R.h. of Siva-blue lotus L.h. of Siva-on left shoulder of
Uma Or R.11.-trident & mahulunga
fruit (kind of citron) L.h.-snake & one on left shoulder
of Uma Siva, Umå with their son Shanda. Siva & Umá sit embracing each Latter may be standing, sitting on other. Uma should have full breasts the pedestal or on the lap of Uma & hips. She should embrace Siva or dancing (UK)
with the right hand & carry a If child Skanda is standing, hc m irror or lotus in the left carries a lotus in the right hand. In this group, there may be Siva's while the left is kept hanging, or Bull, Ganesa. Kumāra & Bhringi
Bull, Ganesa, Kumāra & Bhringi both hands may hold lotus: or left dancing hand held in boon-giving attitude Oma may sit on the lap of Siva and right hand in simhakarna pose carrying a book. Child Skanda wears no clothes (SR) Dancing Skanda carries a fruit in the left hand, while the right is in sūchi pose (SR)
SIVA-MAHESAMURTI
(PI. 1.39)
Hands Objects in hands
Colour Misc.
Yajnopavita Sarments
Ten Two in boon-giving and protection poses Four r.H.-Güla, battle-axe. thunderbolt and sword Four I. h.-shield, goad, noose and hell Crystal clear Five heads; faces of only four visible: each face has three cyes: clothed in white garments and wears a white sacred thread (yajnopavita); symbolizes creation, protection and destruction Śakti on one side. She has three eyes and four arms Wears a karanda crown; four hands: two in boon-giving and protection poses, while two hold blue lolus and rosary
protection
*Siva as the supreme deity responsible for creation. preservation and destruction of the universe.

Page #85

Objects in hand
Jață variations
Ganga
Crescent moon Earrings
Bhringi or Bhadrakall
Position of hands
Position of legs
Siva's head
Jaţă crown adorned with flower garlands, snake, skull, ornaments, crescent moon, etc.
Parvati (Not in bronzes)
Dwarf Apasmara-purusa Should have his head on the right side of Siva. His left leg on left side of Siva should hold a snake Left of Nataraja Variations
Uttara-Kamikäāgama
Jațăs should be spread around. These may vary from 5 to 30
Upper half is female while lower half is running water, in Siva's jatas on right
Located in Siva's jatās on left
R.E. crocodile-earrings (makara-kundala)
Position of legs
Front L.h.-gajahasta attitude
Back L.h.-carries fire (Agni) either in a vessel or upon the palm. The fire should be at the end, middle or the root of the middle finger Front R.h.-in protection attitude. Top of the middle finger should touch the hikka-sutra (life-line). On the forearm of this hand should be Sarpa (serpent)
Back R.h.-drum (damaru)
Right leg--bent and placed upon back of Apasmara-purusa. Knee should reach näbhisūtra (navel-band)
Left leg-lifted up, somewhat turned towards the right leg and kept across it
L.E.-leaf-earring (patra-kundala)
On right side of Nataraja (Not in bronzes)
KATISAMA DANCE (Pl. 140)
SIVA-NRITTAMURTIS
SIVA-NATARAJA
(Pls. 76-79)
R.h. one right hand should be near the navel in kataka-hasta pose. One holds a drum, another lower down supports the lower garment of Siva L.h.-one left hand raised in the tripataka pose (palm outwards, fingers together with third finger bent into the palm), another rests on thigh in the ardhachandra pose (in which the thumb and the other fingers are held so as to resemble a bow or crescent moon)
Two legs kept a little apart from each other in the svastika-pasrita pose
LALITAM
(Pl. 141-143)
L.h.-in gajahasta pose, (upper arm lifted up as high as the shoulder horizontally and the forearm held at right angles to the upper arm and facing upwards) i.e., hand stretched right across the chest towards the other shoulder R.h.-in pravartita pose (uplifted arm)
Ku!!itam-one leg rests firmly on the ground and the other, resting upon the toe, strikes the ground with the heel
LALATA-TILAKAM
One left arm is lifted up in the patākā pose (held like a flag, open palm facing outwards, fingers closed) and the other holds a skull-cup. One right hand holds a drum while the other is kept in the attitude of protection
One of the legs is lifted as if going to mark the forehead with its toe with a tilaka mark. This position of the legs looks like the tail of a scorpion and is called the vrischika pose
CHATURAM
(Pl. 144)
One left arm is held in the gajahasta pose. The lowermost right hand is held in the chatura pose (palm outwards and hollowed into semi-circle). Another right hand is held in the archita pose (with the palm open and facing the visitor)
The left leg is in the kuttitam pose (with the leg bent at the knee, and the toes touching the earth)
TALASAMSPHOTTTAM (Pls. 145-146)
One hand must be in the patākā pose (held like a flag, palm outwards)
Left leg stamped vehemently on the ground, the right leg lifted high up
63

Page #86

SIVA-DAKSHINA-MURTIS ŚIVA AS THE GREAT TEACHER
(Seated Poses)
VINADHARA-DAKSHINA-MURTI
YOGA-DAKSHINA-MURTI (Three types)
VYAKHYANA-DAKSHINA-MURTI
Seat
Lotus seat Right leg pendant, resting on dwarf Apasmārapurusha, on lotus pedestal or on the floor
all
Asana
Seated cross-legged (padmāsana)
Hands
Four
Eyes
Three
Objects in hands
Front R.h.-in jñāna mudră Front R.h.-near the chest Front L.h.-in boon-giving in yoga-mudra
or stretched straight in Front L..--upon lap in the danda pose, the elbow yogic posture resting upon the left knee Back R.h.--rosary Back R.h.-rosary
Back L.h.-lotus Back L.H.-fire or snake or
lotus
Front L.h.-stretched to rest on elbow on the knee of the bent left leg. Other hands identical with the first type
Front right and left hands held in kataka pose, the former with its palm facing below and the latter facing above. The viva should be held at the top by the left hand and by the right hand at the lower end; the viņā should rest on the right thigh. The lower right hand should be manipulating the strings of the viņā
Position of legs
Seated in sukhāsana, right Jeg pendant
Legs bent and crossed in ancarly vertical position
Left leg bent in utkurikásana Left leg and left side of the body held together by a yogapattă Right leg is pendant
the left leg should be kept in the utkuţika posture. The viņā may not be shown
Crown
Companions
Jaţă with flowers, serpent on left, skull-cup and moon crescent on right. Ganga in middle of jată crown Niva as teacher-god has 4 to 7 companions. These are rishis. They wear jată crowns
Gaze fixed on tip of nose. A few jatās on shoulder. A number of rishis adore him
Misc.

Page #87

CHANDESANUGRAHA-MURTI
(Page 38)
Šiva seated with Parvati as in the Uma-sahita-mürti (p. 63). Siva's face is turned a little to the left. His right hand is in boon-giving pose, while his left is placed on head of Chandesa. Siva holds a garland in one right hand and ties it round the neck of Chandesa with his left
SIVA-ANUGRAHA-MURTIS
SIVA AS GRANTING BOONS TO DEVOTEES
VISHNUVANUGRAHA-MURTI (Page 38)
Śiva has three eyes, four arms and is pacific in appearance. Right leg pendant, while the left is bent and rests on the seat
R.h. chisel and wheel
L.h.-in boon-giving pose and black deer Parvati seated on left of Śiva. Brahma standing on right
Chandesa stands on lotus pedestal in front of Siva, or
sits before him. His hands are folded in the añjali pose Vishnu stands with hands folded in añjali mudrā
VIGHNESVARANUGRAHA-MURTI
(Page 39)
Šiva has three eyes, four arms and wears a jață crown. Two hands carry a battle-axe and deer. One right hand is in protection attitude and placed on the head of Vighnesvara and one left hand is in boon-giving attitude. Śiva seated with Parvati with his left leg pendant
Parvati is seated on left of her consort, with her left leg pendant. In her right hand she carries a blue lotus, while her left is in the boon-giving attitude
KIRATARJUNA-MURTI (Page 39)
Vighnesvara stands reverently with two of his hands folded in the añjali pose, while two carry a noose and goad
Šiva as Kirāta (hunter) has three eyes, four arms and a jață crown. He stands erect carrying a bow, arrow, battle-axe and deer. On his left is Pārvati
On the right of Śiva stands Arjuna. He has one face, four eyes and his two hands are held in the añjali pose. He wears a jață crown
65

Page #88

SIVA- DIFFERENT FORMS
GANGADHARA-MURTI (Page 43)
ARDHANARISVARA (Page 43)
HARIHARA (Page 44)
Hands
Four
Two, three or four
Four
Objects in hands
R.A.-protection pose & battle-axe L.h.-Kataka pose & mpiga (deer)
If four : R.h. of Siva--protection attitude, L.h. (Vishnu-one carries the wheel, conch or battle-axe or trident
mace. The other is in kataka pose near the thigh Or boon-giving & sūla
R.h. (šiva) --boon-giving attitude, trident or Or chisel & protection pose
sword or drum or rosary or batile-axe or Or one hand on bull & other in protection pose skull-cup Or kula & rosary If two : one in boon-giving pose and other carries a skull-cup L.h. (of Uma) one bent to rest on bull of Siva Other in kataka pose or holds blue lotus Or hangs below If three-handed: only one on left side. This may hold either a mirror, flower or parrot. The parrot may perch upon the wrist of Pårvati
Misc.
Siva stands with right leg placed vertically on earth, with the left slightly bent. His front right hand touches the chin of Umā, whom he embraces with the left front arm. Siva's back right hand, which holds the battle-axe, touches the jață where Ganga is placed. His back left hand carries a mriga (deer)
Half-male, half-female form of Siva. Right half Vishyu-half wears kirita crown and makara is siva & left half is Parvati
earrings. Siva-half wears jată crown with moon Male-half (Siva)jaga-crown. In right ear, crescent. Serpent earrings in right ear. Siva's carring of serpent or makara. Half-eye on vehicle Nandi (Bull) is sculptured on the right & forehead. Broad male chest. Elephant-skin. Vishnu's vehicle Garuda (Eagle) on the left foot on lotus. Sacred thread of serpent, Urdhvalinga (vertical phallus), serpent-belt, etc. Sometimes, Siva & Vishwu are also accompanied
Female-half (Pärvati)karayda crown. Tilaka by their consorts Parvati & Lakshmi mark on forehead. Valika (circular) carring in left ear. Round, well-developed The two legs of Harihara should be straight breast. Diamond necklaces. Silken cloth without bends reaching the ankles. Left leg bent slightly. Pacific appearance
Uma has her right leg slightly bent, while the left is straight. She carries a flower in the left hand, while her right hangs loose by the side
Bhagiratha is seen on left with a number of rishis (sages)

Page #89

SIVA-DIFFERENT FORMS (contd.)
KALYANASUNDARA-MURTI
VRISHABHA-VAHANA-MURTI
VISHAPAMARANA-MURTI
(Page 44)
(Page 44)
(Page 45)
Hands
Four
Four
Four
Objects in hands
Front right hand holds hand of the bride Parvati. Front left in boon-giving pose. Back right holds battle-axe and back left holds mriga (deer) (AB) Or of the four hands, two may be in protection and boon-giving poses & two may hold rosary & vase (UK) Or right hand of Parvati, battle-axe, deer & boon-giving pose (PK)
R.A.-carries vakra-dandayudha (a crooked stick). Another should carry a chisel (tanka) or battle-axe L.I.--one left arm bent and its wrist resting on bull's head; the hand hangs fully open while the other left hand carries a mriga (deer)
In two hands he holds a battle-axe and deer. In one he holds the cup of poison. His fourth hand is in the boon-giving pose
Mise.
Siva decked with ornaments. Three eyes
Niva stands with right leg firmly planted on the ground, with the left slightly bent. He wears a jață crown or may have loose jaţă
Parvati stands either on his left or right, reclined on the right leg. Her right arm is bent and carries a lotus. The left hangs freely
Parvati on left of Siva embracing him with her right arm and looking distressed. She has two eyes, two arms. She stands in tribhanga, with her right leg straight & left slightly bent
Siva stands erect or slightly inclined on the left or right leg. He should be in tribhanga (body bent at three places). He should be very young and beautiful. Pārvati should stand on his left, with her right arm stretched, to receive the hand of Siva. In her left she holds a blue lotus. Her head should be slightly bent down in shyness. She must be shown as a well-developed young maiden, with two eyes and two arms In front of Siva, Brahma making offerings to Fire. In front of Brahmă a Kunda (sacrificial pit) with fire. North of this Kunda should be Vishyu, standing carrying a wheel, a conch and holding a golden pot in his two front hands Sri & Bhū, behind Parvati, stand touching her waist, indicative of handing her over to Niva
The rişabha (bull) stands behind Siva. Generally absent in metal icons
Siva may hold a trident in one right hand and a beaked vessel (gokarna) containing poison. One left hand may hold a skull-cup. The fourth arm embraces Pärvati
In the background are seen Yaksas (semi-divine beings), rishis (sages), Astadikpalas (Guardians of the Quarters). Gandharvas (semi-divine beings), Mātrikas (the Seven Divine Mothers), etc.

Page #90

SIVA-DIFFERENT FORMS (Contd.)
MAHAKALA
MAHESVARA
LAKULISA
RUDRA
KANKALA-MURTI (Page 40)
Hands
Two or four
Four
Four or ten
Two
Four
Objects in hands
Prahara, in mouth of deer, staff (pichchadanda) & big drum
Sword, munda (human head), sula & shield
Ten hands: rosary, trident, shield, staff, lotus, bow, mahālunga, mirror, vase & shield
Staff and mahalunga
Protection pose, battle-axe, deer & boon-giving pose
Colour
White
Black
Asana
Simhasana
Padmasana
Misc.
-
Jată crown. Moon crescent in jata & cobra. Dagger in belt on left side Accompanied by rishis, Gandharvas, Siddhas, Vidyadharas, ladies carrying fly-whisks and umbrellas
Three eyes. White or black garments
Wears a black coat. Embracing Mahakali. Drinking liquor from the Brahmānda (the huge shell from which Brahma was born) Accompanied by Kala & Mrityü (Death)
Garland of skulls, jață, crescent of moon, sacred thread of Vasuki (serpent)
Five heads, four pacific, one terrible
Variations
1-Two-handed: bow
and arrow, 3 eyes. Jaţă crown
I-Two hands-deer & danda
(staff) 11- Four hands-kankala
(bone) & damaru (drum) in two hands. Two seem to carry a corpse
1-Four-handed: kuthara
(axe), deer, protection & boon-giving poses. Five
heads, tiger-skin. Three eyes JI-Ten-handed: protection pose,
sūla, battle-axe, thunderbolt, sword, shield, goad, noose, bell, boon-giving pose 5 heads, 12 eyes, 4 noses Accompanied by Sakti with 4 hands—boongiving, lotus, necklace & protection. Karanda crown, 3 eyes

Page #91

Hands
Objects in hands
LU
Colour
Asana
Faces
Misc.
Variations
AGHORA-MURTI
Eight
Śūla, drum, noose, skull-cup, staff, bow, arrow and sword
SIVA-DIFFERENT FORMS (Contd.)
Blue neck, black complexion, should be naked or clad in elephant-skin and lion-skin. Ornaments of snakes and scorpions. Terrific face
I-Aghorastra-mürti : 3 eyes, 8 arms
Two hands carry a trident horizontally. Other hands hold a vetala (corpse), sword, drum, skull-cup and sword or bell
SADASIVA-MURTI
Ten
R.h.-sakti (spear), sūla, ritual wand, protection and prasāda (?) L.h.-Bhujanga (snake), rosary, drum, blue lotus and mahalunga fruit White
Padmasana
Five faces. Jaţă crowns
Ten-handed protection and boon-giving poses, rosary, noose, sword, chisel or axe, vase, etc.
II-32 arms: R.h.-protection pose, sword, süla, wheel, drum, bone, arrow, mace, lotus, skull-cup, jñāna mudrā, kundal (sacrificial pit), goad, rosary, khaṭvānga and battle-axe
L.h.-boon-giving, kavacha (shield), chisel, noose, club, snake, fire, deer, bell, bow, on waist, germs, water lily, pitcher, wooden pestle and book
MAHASADASIVA-MURTI
Fifty
MAHESAMURTI
Twenty-five faces which stand for twenty-five principles of philosophy. Heads adorned by jaţă crowns
Ten
Boon-giving & protection poses R.h.-boon-giving, süla, battleRest not mentioned axe, thunderbolt and sword L.h.-protection pose, shield, goad, noose and bell
Five-out of which four should be visible
Decked in ornaments. Accompanied by Sakti, with 3 eyes and 4 arms. Wears a karanda crown. Carries a blue lotus and rosary and two in protection & boongiving poses. Stands on left of Mahesa
8

Page #92

SIVA-AGGRESSIVE FORMS
ANDHAKASURAMARDANA (Page 43)
Eight
Hands Symbols in hands
Trident in two hands, drum or bell, sword. skull-cup, two hold elephant skin, one in tarjani pose
GAJASURAMARDANA (Page 41) Four, eight or ten If four: R.h.-noose, elephant-tusk
L.h.-elephant-tusk and elephant skin If eight: two hold elephant skin
R.h.--trident, drum & noose L.k.-vismaya (surprise) pose, skull-cup & elephant-tusk
TRIPURANTAKA (Page 41) Two to eight If four: R.h.-1) in sinhakarna near navel
holding bow string, 2) chisel
(tanka) L.1.-1) Kartari hasta pose & 2)
black deer
Asana
Alidha
Alidha
Right leg of Siva a little in front Left leg, slightly bent, should be behind
Vehicle
Misc.
Devi on left of Siva
Siva should be decked in ornaments Left of Siva-standing Devi with Skanda in hands
Goddess Yogeåvari seated, holding a cup for catching blood-drops of the demon Andhaka. In other hand, she carries a dagger. She has an emaciated body. Dakini above the head of Yogesvari, half-human, half-bird. Right of Kalt is Devi, seated on padmasana
Variations
I-Eight-handed: trident, sword, shield, elephant-
tusk, skull-cup, shield, bell & elephant-skin II-R.h.-trident, sword, elephant-tusk &
elephant-skin L.H.-skull-cup, shield, bell & elephant-skin
I-Sixteen-handed: holds rosary, sword, javelin, s taff, süla, arrow, wheel, mace, ritual wand (khatvanga), serpent, skull-cup, shield, boon
giving, bow, bell & conch Il-Four-handed: bow, chisel, deer & bow. Gauri
on left. Or arrow, battle-axe, deer & bow
Or in two hands bow & arrow. Parvati on left III-Eight-armed: Rh.--arrow, battle-axe, sword
& thunderbolt, L.h.--two in vismaya (surprise) & kataka poses. Remaining two
carry bow & shield. Devi on left of siva IV-Ten-armed: R.h.-arrow, wheel, süla, chisel
& thunderbolt L.h.-bow, conch & shield. Two in vismaya
& sūchi poses V-Śiva driving a chariot, Right leg slightly
raised. Left placed in middle of the chariot. Brahma as charioteer with stick in one hand & vase in another. Lotus-noose in one & water-vessel in another

Page #93

SIVA-AGGRESSIVE FORMS (contd.)
SARABHESA-MURTI (Page 41)
BRAHMASIRSA-CHCHEDAKA-MURTI . (Page 42)
K ALARI-MURTI (Page 42)
KAMANTAKA-MURTI (Page 42)
Hands
Four
Two or four On lap in Yoga posture.
Four or eight If 4-armed: R.h.-Aula & battle-axe or boon-giving pose L.h.--in süchi & vismaya poses If 8-armed: two in sūchi & vismaya & two hold shield & noose
Objects in hands Two uplifted wings, four animal legs R.h.--thunderbolt & battle-axe
with sharp claws, and an animal tail. L.h.-skull-cup of Brahma & sūla Body above loins should be of a human being with face of a lion. Narasimha is shown in human form with hands folded (anjali pose)
Or 32 arms: R.A.-thunderbolt, fist (mushti), protection pose, wheel, Sakti (spear), staff, goad, sword, ritual wand, battle-axe, bone, bow, wooden pestle & fire (agni) L.h.-noose, boon-giving pose, bow, arrow, flag, sword, snake, lotus, skullcup, book, plough, club (mudgara) & one hand embraces Durga
Misc.
Three eyes. Jată crown Right Ear-earring of leaf (Patra kundala) Left Ear-carring of makara (Makara kundala)
Yama is two-handed. One hand carries a noose & with this and the other he makes the añjali mudra. Looks to Siva for grace
Siva has a terrific look. Carries a snake & a rosary. One hand in patākā hasta (hand held banner-wise) & another in sūchi. Kama sculptured as having fallen at the glance of Siva Kama holds in his hands flowery arrows and bow made of sugar-cane Accompanied by his consort Rati His other companions are Devabhaga & Vasanta
Variations
(1) Śiva, with his right leg kicks Yama. Left is placed on the ground. In his right hands Siva holds kūla & battle-axe & in left hands-serpentnoose & sūchi pose (11)-Śiva rises from Linga which Märkandeya worships. The latter sits near the Linga with flowers

Page #94

SIVA-PANCHABRAHMAS ISANADAYAH
AGHORA
ISANA
TATPURUSHA
VAMADEVA
SADYOJATA
Symbols
Sword, khetaka (shield)
Varada or Abhaya
Trident, battle-axe, sword, Rosary, trident, skull-cup staff, ritual wand, skull-cup, protection pose shield, noose
Rosary, mahalunga (fruit) yellow garment and yellow sacred thread
Hands
?, Four or eight
?, or ten
Four or ?
Four or ?
Four
Faces
One or four
Five
Four
Four
Eyes
Three
-
Three
Three
Three
Misc.
Red garment
Three eyes, serpent on jatā, garland of heads, serpent carrings and necklace, garland of scorpions, crescent of moon, etc.
Variations
I-Rosary, Veda, noose,
goad, drum, ritual wand, javelin or trident, skuli- cup. Three eyes, 4 heads
-Ten hands: two in protection & boon-giving & rest like Aghoramūrti. 5 heads
-Veda, protection and
boon-giving poses &
axe. 4 heads, 3 eyes Il-Vidya, boon-giving &
protection poses & axe. 4 heads, 3 eyes
I-Protection, battle-axe,
rosary & boon-giving pose
4 heads, 3 eyes 11-Boon-giving, rosary,
protection & chisel 4 heads, 3 eyes
1-Protection pose, Veda.
rosary & boon-giving pose
4 heads, 3 eyes IL-Protection pose, Vidyā.
rosary & boon-giving pose
11--Axe, goad, noose,
javelin or trident, skullcup, dhakka (large drum) rcsary and shield. Three eyes & four heads
• Collectively, the five aspects of Siva. Individually, Aghora, lana, Tatpurusha, Vámadeva and Sadyojāta.

Page #95

EKADASA RUDRAS
AJA
EKAPADA
AHIR BUDHNYA
VIRUPAKSHA
REVATA
HARA
Hands Sixteen Sixteen Sixteen Sixteen Sixteen
Sixteen Objects in hands R.h.---üla, goad, skull. R.h.-bow, bell, skull- R.h.-mace, wheel, R.h.--sword, sūla. R.h.-bow, sword, süla, R.h.-club, drum, süla,
cup, drum, serpent, cup, Kaumudi (half- sword, drum, club, drum, goad, serpent, mace, serpent, wheel, goad, mace, serpent, club, rosary & wheel moon), tarjani, bell, süla, goad, rosary wheel, mace & rosary goad & rosary
rosary, ? L.h.-one in tarjani; axe & wheel
L.h.-tomasa (iron L.h.-shield, ritual L.h.-pattiça, bow (?) L.h.-pattişa, iron club others carry mace, L.H.-khatvanga (ritual club), pattişa, kavacha wand, fakti, axe, shield, ritual wand. (tomara), spear, axe. ritual wand, pattina (a wand) bow, wheel (shield), skull-cup. tarjani, pitcher, bell & bell, tarjani, axe & tarjani, pitcher, ritual sharp-edged iron rod), drum, club, boon-giving, tarjani, pitcher (ghata), skull-cup
pātra (bowl)
wand and pattika (a bell, sakti (spear), rosary & sula sakti (spear) & axe
plate) battle-axe & vase BAHURUPA TRYAMBAKA SURESVARA
JAYANTA APARAJITA
MRITYUNJAYA KIRANAKSHA SRIKANTHA Hands Sixteen
Sixteen Sixteen Sixteen Sixteen
Six Four
Four Objects R.h.-drum, wheel, R.h.-wheel, drum, R.h.-drum, wheel, R.h.-goad, wheel, R.h.-iron club, R.h.--trident & Protection, sukla- Sword, bow, arrow in serpent, süla, goad, club, bow, süla, üla, goad, arrow, club, süla, drum, sword, goad, küla, rosary
pada (white light & shield hands Kaumudi (half- goad, serpent & club, bow,? serpent, arrow & serpent, wheel, L.h.-skull-cup & rays ?), rosary & moon), rosary, ? rosary L.h.-lotus, battle- rosary drum, rosary vase
book L..--bell, skull- L.H.-mace, bowl, axe, bell, pattisa, L.h.-mace, ritual L.H.-spear, mace. One right & one cup, ritual wand, khatvānga, bow, tarjani, bow, bowl, wand, battle-axe, shield, bow, tarjani, left in yoga mudra tarjani, vase, bow, tarjani, pitcher & khatvānga skull-cup, spear, pattişa, lotus & battle-axe, pattişa battle-axe and ritual wand) tarjani, bow & bell pattiga
vase Misc. -
Wears garland of skulls on his head. Garment of tiger's
skin *Rudra of the Vedas who evolved into śiva in later times, divided into eleven minor Rudras, collectively called Ekādasa Rudras. The names and descriptions given here are from Višvakarma Silpa. They are different in different texts. Pattişa is a sharp-edged iron rod.
Four
Hands Objects in hands
THE EIGHT VASUS
(DEMI-GODS OF THE RIG-VEDA) DHARA DHRUVA SOMA АРА
ANILA ANKALA
PRATYUSHA PRABHASA Four Four Four Four Four
Four
Four R.A.-lotus, rosary R.h.--kamaläksha R.h.-lotus & rosary Rh--plough, spear R.H.-goad, rosary R.h.--rosary and R.h.-sword, goad R.H.-staff and rosary & wheel of pearls
sruva
skull-cup L.h.-plough, spear L.H.--vase and spear L.H.-goad and spear L..-goad, spear L.h.-spear, L.H.-skull-cup and L.h.-shield, spear L.h.-goad and
upavita (?) spear
spear (The above iconographical details are from the Viivakarma Silpa)

Page #96

Hands
Objects in hands
Misc.
Variations
Two or four
Protection and boon-giving attitudes, sword and shield
Three eyes. Peaceful countenance. Golden yellow colour. Sits on padmāsana
I-Two-handed: two eyes; decked with ornaments
R.h.-crooked stick (sendu); L.h.-fruits & tender leaves
SASTA OR ARYA
SON OF SIVA & MOHINI (FEMALE FORM OF VISHNU)
II-Two-handed: two eyes. Sits with left leg pendant. Right leg folded and rested upon seat vertically
R.h.-Vajradanda (crooked stick). L.h.-rests on lap. Youthful and peaceful in appearance. His vehicle is an elephant. Pretty damsel by his side
1.
2. Aditya-Purava.
3. Agni-Purava.
4. Anshumadbhedagama.
5. Brihatsamhita.
Abhilashitartha-chintamani.
Big belly. Plays with dogs, sheep and fowl. Has two wives Madana and Varhani on two sides. Damanka on left of Sastā
6. Chaturvarga-chintamani.
7. Devi-Purana.
8. Dharmasindhu.
9. Kamikayama.
10. Manasara.
11. Mantra-maharnava.
12. Mantra-mahodadhi.
13. Mantra-ratnakara.
14. Markendeya-Purana.
ABBREVIATIONS
(The abbreviations in brackets given in the Tables refer to the source of the variations)
AC
15. Matsya-Purana.
ADP
16. Merutantra.
AGP
17. Nirnayasindhu.
18. Padma-Purana.
AB
BS
CC
DP
DS
KK
MS
MM
Mm
MR
MK
19. Purvakaranagama.
10. Rupavatara.
21. Rupamandana.
22.
23. Shilpa-ratna.
24. Sri-tatvanidhi.
Samarangana-sutradhara.
25. Suprabhedgama.
26. Uttarakaranagama.
27. Vishnudharmottara.
28. Vishvakarmasastra
MTP
MT
NS
PP
PK
RP
RM
SS
SR
ST
SB
UK
.
VID
VIK

Page #97

SIVA AS BHAIRAVA- DIFFERENT FORMS
INAUSPICIOUS AND TERRIFYING FORMS OF SIVA
CHANDA
VATUXA
SAMANYA
SVACHCHANDA
SVARNAKARSANA
KSETRAPALA
Hands
Six? or twelve?
Twelve
Eighteen
Four
Colour
Yellow
Vehicle
Objects in hands
Protection, sword. javelin. arrow. goad. clephant-skin, clephant-skin, ritual wand, bow, skull-cup, shield & protection Pose (RP)
Golden vessel javelin. skin (chamara) and tomara (ST)
Kartika (?). drum, trident (sula). skull-eup
Ritual wand. sword Protection, sword. Rosary, sword. noosc. javelin, drum, road, axe, arrow. javelin. stall. skull-cup, hoon-giving. elephant-skin,
trident (sula). serpent
clephant-skin. bow, arrow, wheel. Accompanied hy deer Trident. ritual wand. mace, ritual wand. of same colour noose. boon-giving serpent, skull-cup. (RM)
(AGP) OR Four-hands: shield. boon-giving. with thunderbolt. how, hell. conch. battle-axe. javelin and drum and conch skull-cup (ST)
(AC)
Misc.
Three eyes. Yellow dress
OR red Jog, sūla. skull-cur, noose and drum/red jata: three eyes Accompanied by Cawas attendants) (ST)
Big belly, elephaniskin, garland of skullCtips, serpent ornaments

Page #98

SIXTY-FOUR BHAIRAVAS EIGHT FORMS - EIGHT BHAIRAVAS IN EACH
ASITANGA
RURU
CHANDA
KRODHA
Names of Bhairavas Asitānga. Vi älaksha, Martavda.
Modaka-priya, Svachchawda. Vigh- nasantushta, Khechara and Sacha rāchara
Ruru, Kroda-dariushtra. Jatadhara, Vi varupa. Virupåkra. Nánarupadhara, Mahakaya and Vajrahasta
Chanda, Pralayantaka, Bhumi- Krodha. Pingaleksaya, Abhrarupa. kampa. Nilakantha. Vishnu, Dharapala, Kutila. Mantranayaka, Kulap.laka, Mudapāla and Rudra and Pitamaha Kamapala Fire (Agni), spear
Sword, shield, long sword, and mace and kunda
battle-axe Blue
Smoke-coloured
Objects in hands
Trident. sword, drum and noose
Rosary, goad, lute (vivă) and book
Colour
Golden
White
UNMATTA KAPALA
BHISANA
SAMHARA Names of Bhairavas Unmatta. Valuka-nayaka, Sankara. Kapala, Nakibhuwana, Hasticharma Bhixana, Bhayahara, Sarvajna, Samhara, Aliriktåliga, Kälágni, Bhuta-vetāla, Varada, Parvatavāsa baradhara, Yogia, Brahmarakshasa. Kalagni, Maharaudra.
Priyankara, Ghoranada, Visálaksha. Trinetra and Tripurantaka
Sarvajña, Sarvadeve-a. Sarvabhů- Dakshina. Mukhara, Asthira Yogisa, Daksasamsthita
tahridisthita Ohjeets in hands Kunda or kunta, shield, parigha Kuvia or kunta, shield, parigha. As in Kapala
As in Kapāla (a kind of club), bhindipala
bhindipāla Colour White Golden yellow
Red
Colour like lightning * The eight forms of Bhairava of the previous page are further divided into eight subordinate forms in the Rudra Yamala, thus making sixty-four in all.
KSETRAPALA
MINOR GUARDIANS OF FIELDS AND VILLAGES-RP and RM)
SATTVIKA
RAJASA
TAMASA
Eves
Three
Three Eight
Hands
Three Six Red
Two or four White
Colour
Black
Vehicle
Ohjects in hands
Trident (Pula) and skull-cup, or boon-giving pose, trident (Mola), skull-cup. or bell, drum and protection pose
Javelin, sword, bell, shield (khetaka), skull-cup and noose of serpent
Bow. arrow.javelin, sword, bell, shield (kheraka), skull-cup and serpent-noose
• Most popular in the South, the images of these minor deities are placed in the north-eastern quarter of the village to face westwards. Generally large and
nude, they have a ferocious expression and carry the emblems of siva. Mostly made of stone and clay, these images are brightly coloured.

Page #99

(1)
R.h.-lotus L.h.-on waist
L.h.-boon-giving pose & thunderbolt
Objects in hands
(2)
R.h.-protection pose L.h.-on waist
Objects in hands
L.h.-boon-giving pose & vase
(1)
Spear, arrow, sword. flag, mace, protection pose, thunderbolt, bow, shield, lotus, trident. boon-giving pose
SUBRAHMANY A
(SKANDA OR KARTTIKEYA) (Page 46)
(SATTVIK IMAGES-TWO-ARMED)
(4)
(5)
(6)
(1)
(2)
(3)
R.h.-protection pose & R.h.-protection pose & R.h.-protection pose & R.h.-protection pose & R.h.-protection pose & R.h.-protection pose spear & spear
spear
spear
rosary
rosary
L.h.-on waist & vase
Six-armed
R.h.-protection pose, sword, spear L.h. shield, rosary & fowl
(3)
R.h.-staff L.h.-on waist
RAJASIK IMAGES FOUR-ARMED
L.h.-on waist & vase
(2) Spear, arrow, sword, wheel, noose, prasaritahasta. ?, conch, fowl, bow. staff. plough
L.h.-on waist & fowl
TAMASIK IMAGES-TWELVE-ARMED
(3)
Spear, flag, sword, wheel, noose, protection pose, thunderbolt, bow, shield, fowl, goad and boon-giving pose
(4)
R.h.-aktyäyudha (spear) L.h.-thunderbolt
L.h.-rosary & fowl
(4)
Spear, flag, sword. lotus, protection pose, arrow, thunderbolt, noose, shield, staff, goad, boon-giving pose
(5)
Spear, thunderbolt, wheel, noose, goad, mace, trident, protection pose, lotus, staff, goad, boongiving pose
(5)
R.h. saktyāyudha L.h.-fowl (kukkula)
Eight-armed
Thunderbolt, spear, protection pose, boon-giving pose, sword. shield, arrow and bow
Or
Lotus, thunderbolt, spear, protection pose, boon-giving pose, sword, shield and noose
(7)
R.h.-sword & spear
L.h.-shield (khetaka) & fowl
(6)
Spear, arrow, sword, protection pose, bow, shield, trident, fowl, wheel, noose, ?, boongiving pose.
⚫ Sättvik-Seated in Yoga posture. hands granting boons. Rajasik-Seated on a vehicle, ornamented, granting boons and holding offensive weapons. Tämasik-terrible fighting image. fully armed.
17

Page #100

DIFFERENT ASPECTS OF SUBRAHMANYA
SKANDA
SENAPATI
DEVASENAPATI
SUBRAHMANYA
GAJAVAHANA
SAKTIDHARA Two or four
Konds
Two or four
Ten
Four
Two or four
Four
Fuces
One
One
Six
One
One
Objects in hands
Protection pose, spear. fowl. lotus or on waist and protection pose
R.h.-Spear & protection pose L.H. --fowl and hoongiving pose
R.h. --spear R.H. - staff
One arm around Devi. Protection & buon- L.h.--thunderbolt L.). ---on waist
seated on his left lap. giving poses, conch & When 4 hands, shows When 4 hands, two in the corresponding right wheel a fowl & protection boon-giving & protec. holds a lotus. Other attitude besides tion poses, while the hands hold: trident, carry a fowl &
shield, thunderbolt. thunderbolt
bow, mace, bell, fow!
& protection pose Jata crown decorative Popularly known as the Twelve eyes
Black colour Embodiment of Juna- Palaniyāmavar. Sits on
Adorned with orna. iakli (know ledge) lotus: wears a karawa
ments. Preity smiling (ST) crown (ST)
face (ST)
Misc.
Saffron colour Red clothing
SARAVAVABHAVA
KUMARA
SHANMUKHA
TARAKARI
KRAUNCHABHETTA
KARTTIRIYA Sin
Handy
Twelve
Twelve
Twelve
Eight
Faces
Six
Six
Six
Ohjects in hands
Protection pose, boon- Two in protection and giving pose, spear. bell. boon-giving poses ilag. lotus, fowl, noose. Others carry thunder- staff, chisel, bow & bolt Shield, spear & arrow
sword
R.I.--Spear and sword L..-fowl and shield
R..Spear, arrow, Goad, flag. sword. sword, flag, mace. hataka-hasta pose, protection pose
protection pose, noosc. L.
h bow, thunderbolt, wheel, wooden pestle. lotus. kataka-hasta spear, thunderbolt. pose. boon-giving pose, boon-giving rose & & perhaps a shield shield
R.I.-sword, spear, protection pose, arrow L.h.-boon-giving pose. thunderbolt, how and shield
Mise.
Yellow colour. Face like full-blown lotus
Scaled on peacock Saffron colour Twelve eyes
Variations
One face & six arms. One-face. Ien-armed Carries in his hands: R.I.-trident, wheel. flowery arrows, bow of goad. protection pose sugar-cane, sword. L.h.tomara. noose. shield. thunderbolt & conch. thunderbolt & fowl (ST)
boon-giving. Peacock vehicle by side (SI)
Protection & boon- giving poses in place of sword & shield (ST)
Carries conch. wheel. One face, three eyes. One face, four arms: cock. noose & plough. Seated on an elephant. Iwo hands in boonJaya & Vijaya on two Carries sword & spear giving & protection sides (ST)
in two right hands & attitudes, while two one hand in protection carry bow & arrow. pose: left hands carry Or two front hands are Shield & rosary while shown as breaking the another is in boon- Krauncha mountain giving attitude (ST) Peacock vehicle close by
(ST)

Page #101

Hands Faces
Objects in hands
Misc.
Hands Faces
Objects in hands
Misc.
SENANI
Twelve
Sword, wheel, goad. spear. protection. trident, boon-giving. lotus. staff & mace
Twelve eyes
Eight
Four
BRAHMA-SASTA
Four One
DIFFERENT ASPECTS OF SUBRAHMANYA (Contd.)
BALASYAMI Two
Rosary, vase, hoongiving & protection poses
SAURABHIYA-SUBRAHMANYA
Two eyes. In this aspect Subrahmanya puts down the pride of Brahma. by exposing his ignorance of the Vedas
R.h-spear. lotus, flowery arrows & protection pose L.h.-thunderbolt, bow. trident & boon-giving pose
If shown along with his parents in Somaskanda siva. he carries a lotus in each hand. If shown separately. he carries a lotus in the right hand & keeps his left hand on the waist
Subrahmanya as a child
GANGEYA-SUBRAHMANYA
Four
One
R.h-battle-axe, vase (piruakumbha) L... arani (piece of wood used for generating fire by friction) and cock
Eight cyes. Sits on a lotus Wears a karauda crown Stands on makara & carries a flag with a cock painted on it
Four
One
SIKHIVAHANA
Four
One
ent
Boon-giving & protection poses and carries spear & thunderbolt
GUHA-SUBRAHMANYA
Destroyer of the enemies of the gods
R.h.-thunderbolt & tridL.h.-boon-giving & protection poses
Three eyes. Black colour His consort is by his side
VALLIKALYANASUNDARA AGNIJATA-SUBRAHMANYA
Two
Four
Carries rosary & vase. One hand in protection attitude & the fourth rests on the waist
Shows Subrahmanya's marriage to Valli. Brahma with a sacrificial spoon officiating at the ceremonies. Vishnu with a water-vessel ready to pour water. Gods and goddesses attend. Bride & bridegroom wear numerous ornaments
R.h.-staff L.h.-thunderbolt
BRAHMACHARI-SURRAHMANYA DESIKA-SUBRAHMANYA
Two eyes. Tuft of hair on head, sacred thread, grass girdle, etc. Stands on lotus, with right leg firmly placed on it & left leg slightly hent. Red colour
Eight Two
Six
One
R.h.-sacrificial spoon. rosary & sword. Fourth in swastika pose L.h.-thunderbolt, cock, shield, and vessel of clarified butter
Engaged in offering sacrifice
Carries spear, rosary in two hands. Two hands exhibit boon-giving & protection attitudes. One may be in ch.in-mudra pose
Wears a karauda crown Sits on a peacock In this aspect, Subrahmanya taught his own father Siva. the significance of the sacred syllable OM
Siva sits cross-legged, with one of his right hands closing his mouth and another kept on the chest in the jñana mudra. The other two hands carry a chisel & deer. Parvati stands by his side. In this aspect Siva is called Sishyabhava-mirti (MS)

Page #102

VIRABHADRA
Hands Vehicle Ohjects in hands
(Page 46) Two, four or eight Bull Viva and trident (AC) OR protection pose, süla, mace and boon-giving pose (AB) OR irident, viva. on waist and one in tarjani pose (VID) OR boon-giving & protection poses, deer and chisel (SR) 1- Four-handed: sword, arrow, bow and khetaka (shield)
Three eyes. Jatās which emit fire, garland of bells, garland of scorpions, sacred thread of cobra. Stands on a pair of wooden sandals (UK) Il-Four-handed: sword, bow, arrow & mace. Three eyes. Wears a garland of skulls. Stands on a pair of wooden sandals. Bhadrakali on the
side. On the right side of Virabhadra is Daksha Prajapati with a goat's head, with his two hands folded in adoration of Siva (ST) III- Eight-handed: seated on a corpse (vetala). Two hands in protection and boon-giving poses. The rest carry sword, süla, hattle-axe, drum.
helaka (shield) & skull-cup. Three eyes, of terrific countenance. Accompanied by Gawas (Siva's attendants) (SR)
Variations
VARIOUS IMAGES OF GANAPATI
ŠAKTI-GANESA
URDDHVA-GANAPATI
PINGALA-GANAPATI
SANTI-CANAPATI
Symbols
LAKSHMI-LiANAPA II Parrot, pomegranate. lotus, water-vessel. goad, noose, kalpakalata & the bud of the plant Bawa White Eight
UCHCHHISHTA-GANAPATI MAHA-CANAPATI Lotus, pomegranate. Lotus, pomegranate, a lute (viva) & rosary water-vessel, mace, his
broken tusk, sugarcane. ears of paddy & noose
Red Four
Ten
Golden yellow
Crimson
Colour Hands Ohjects in hand
SIA
Six
Five carry a Kalhara flower, ears of paddy. bow made of sugar cane, arrow & tusk. Sixth should embrace Sakti (spouse)
Mango, flower of Kalpaka tree, sugar cane, sesamum, sweet meat ball & axe
Noose & thunderbolt or tusk. goad, noose & rosary & sweetmeal ball in trunk
Sakri
Cream-coloured
Sakti on lap holds lotus
Lakshmi hy side
Misc. Variations
Four-handed. Two - Four hands: carries hands hold the tooth bow, arrow, noose. & wheel. Third in pro- and goad. Red in tection pose. Fourth colour. Seated on probably holds Lakshmi Padmasana in embrace. Three eyes Attempting coitus (Mm)
with a Devi (MM)
(Contd. on next puge) * Combined image of Gawapati and Devi

Page #103

Variations
Hands Objects in hands
Colour Misc.
Hands Objects in hands
Misc.
Hands
Objects in hands
Colour Misc.
HERAMBA
Noose, tusk, rosary and axe & three-headed club (mudgara), sweetmeat ball, boon-giving & protection poses
Golden yellow
Five clephant heads, four facing the four cardinal points and the fifth looking upwards. Sits on lion
BHUVANESA-GANAPATI
11-Four hands: Three carry noose, goad. sugar-cane. Fourth touches private parts of naked Devi. Wears Ratnamukuta. Nude Devi sits on his lap. Name of goddess is Vighnesvari (UK)
BALA-GANAPATI
PRASANNA-GANAPATI
Eight
Conch, bow of sugar-cane, arrows of flowers, broken tusk, noose. goad, shoots of paddy grass
Noose, goad, boon-giving & protection poses Or noose, goad, tusk & sweetmeat ball
Scarlet
Four
Mango, plantain, jack fruit and sugar-cane
GANAPATI (Contd.)
Like that of rising Sun
Sculptured like a child. Head of an elephant. Wood-apple held in
Irunk
OTHER FORMS
DHVAJA-GANAPATI
TARUNA-GANAPATI
Four
Book. rosary, staff, vase
Terrific look
Noose, goad, wood-apple. jambu fruit, the sesamum and bamboostick
NKITIA-GANAPATI
Eight or four
Noose. goad, cakes, axe (kuthara), broken tusk, a quoit (valaya) & a ring. Remaining hand left freely hanging to help other bodily movements of the dance Dancing Ganapati. Left leg slightly bent, while the right leg is bent and held up in the air
Red
To be shown as a young man
UNMATTA-UCHCHHISHTA
GANAPATI
Four
Noose, goad, vessel of sweetmeat balls & tusk
Seated on lotus seat
White
BHAKTI-VIGHNISVARA
VIGHNARAJA-GANAPATI
Four
Coconut, mango, lump of sugar, cup of payasa (a preparation of milk and rice)
Not mentioned Noose & goad
Seated on mouse
HARIDRA-GANAPATI OR RATRI-GANAPATI
Four
Noose, goad, sweetmeat balls & broken tusk
VIRA-VIGHNESA
Sixteen
Vampire (vetala), spear, bow and arrows, sword and shield, mudgara sword or hammer, mace or club, goad. noose, sula. kunda (sacrificial pit), battle-axe, banner
8

Page #104

VISHNU-SADHARANA (COMMON FORMS)
111
Hands
Eight
Four
Two
Objects in hands
Sword, mace, arrow, lotus, conch, bow. wheel & shield (AC)
R.h.-protection pose. conch & wheel L.H.-kataka, mace & lotus (AB)
Or
Or
Arrow (?). sword, mace, boon-giving, bow, shield, wheel & conch Vehicle-Garuda (AGP)
R..--santimudra & mace L.h.--conch & wheel (BS)
Or
Protection & boon-giving poses, lotus, mace, wheel & conch (MS)
R..-Sāntimudra, conch, mace & arrow
L.h.--conch, wheel, shield & bow (BS)
Wheel, lotus, mace & conch (SR)
Or
Mace, lotus, wheel & conch-Mukunda (form of Vishnu) (SR)
Or
1 & 2-Venu (flute), rosary & veda (book)---Hari (form of Vishnu) (SR)
Or
Wheel, boon-giving, mace & lotus-- Mukunda (SR) Wheel, conch, venu, lotus & mace and two hands in yoga mudra. Gopis pouring water-Mukunda (SR)
Or
Vasudeva-protection pose, boon-giving pose accompanied by Rukmini and Satyabhämá (SR)

Page #105

VISHNU-FOUR-HEADED IMAGES
ANANTA
TRAILOK YAMOHANA
VISHVARUPA
VAIKUNTHA
Symbols
Mace, sword, wheel, thunderbolt. Wheel, conch or arrow (?), pestle, Wheel, sword, pestle, goad, patta, Mace, sword, arrow, wheel, conch. goad, boon-giving attitude, goad, conch, bow, mace and noose mudgara sword, noose, spear, shield, bow and lotus (RP & RM) conch, shield, bow, lotus, staff and (AGP)
sūla, arrow; conch, bow, mace, noose (RP)
noose, tomara, plough, battle-axe, staff, churi (knife) and shield (AGP)
Vehicle
Eagle
Eagle
A sana
Hands
Four or twelve
Eight or sixteen
Twenty
Four or eight
Misc.
Four heads
Three heads: right head of Lakshmi and Sarasvati carrying Narasimha; left head of boar and lotus and lute respectively (AGP) front of Purusha (RP)
Variations
Four-handed: lotus, mace, wheel and conch Four heads: i) Pacific, ii) Narasimha, jii) Terrific, iv) Varáha (VID)
|--Four heads: three heads similar l-Eight-handed: arrow, wheel Eagle vehicle; twenty hands: to above. Fourth head of a (sword?) pestle, protection attitude, banner, plough, conch, thunder- woman, at the back (RM)
shield, plough (hala), conch and bolt, goad, arrow, wheel,
boon-giving attitude (VID) mahalunga, vara, yoga; banner, Four-handed: mace, lotus, Four heads: 1) Pacific, 2) Nara- staff, noose, mace, sword, blue conch and plough. Multiple hoods. simha, 3) Kapila, 4) Varaha: lotus, horn, pestle, flower-garland. Prithvi (Earth goddess) on central Kaustubha (jewel) on chest and yoga mudra (RP & RM) hood (VID)
yellow garments; Eagle vehicle(VID) 11-Sixteen-handed: Mace, wheel, goad, arrow, javelin, wheel, boongiving pose, mudgara sword, noose, shārnga (bow), conch, lotus, vessel, horn, yoga mudra; four heads; back side head is of Kapila: Eagle vehicle (RP & RM)

Page #106

VISHNU-OTHER FORMS
SHESHASHAYI (on serpent) (Pls. 147-148)
YOXISHVARA
LAKSHMI-NARAYANA
Symbols
Conch, wheel
Conch and wheel in upper two hands; lower in attitude of meditation. Show lotus and mace behind (VIK)
Lotus, conch, wheel. Fourth hand entwines Lakshmi seated on left lap (CC)
Vehicle
Shesha
Eagle
A sana
Sleeping or seated
Sits on lotus
Padmāsana
Hands
Four
Four
Two, four or eight
Mise.
Eyes half-closed and turned towards the nose in contemplation
Vehicle on right: Siddhi holding lly-whisk: conch and wheel in human form; Brahma and siva as devotees (VIK)
Other names: Jalashāyi, Ananlashayi. Lies on left side. One foot held by Sri on her lap: other on serpent. Brahma on lotus springing out of his navel. Rakshasas Madhu and Kaitabha near stalk of lotus. Weapons in human form near Shesha. Wlien Sheshashāyi is accompanied by both Bhū and Sri, latter sits near his head and the former near his feet (RM)
When eight hands: these hold lotus, mace, wheel, hook, lotus, mirror and golden vase (SR)
When Sheshashāyi is seated, has four hands. Lakshmi seated on left lap. Mace and wheel in human form (VID)
OR four hands carry conch and wheel, one left hand on knee and one right hand on head of Shesha. Bhrigu and Brahmä on right, Märkandeya and Sankara on left

Page #107

VISHNU-SEATED (ASANA) IMAGES
(See also Vishnu-Other Forms)
YOGASANA-MURTI
BHOGASANA-MURTI
VIRASANA-MURTI
ABHICHARIKASANA-MURTI
(Pl. 149)
Hands
Four
Four
Foui
Objects in hands
Two front hands in meditation (Yoga). Must NOT carry conch and wheel
R.H.--wheel and boon-giving or
protection poss L.H.--conch or on hip in sirihakarya
R.h.--wheel and protection pose L.h.--conch and simhakarna pose
pose
Misc.
Seated with left leg bent and right leg somewhat extended
Blue complexion. Black garment Eves uplifted. No attendant deities
Aliendants
Siva scated on north wall of shrinc. Brahmă seated on south wall. On back wall-Chandra (Moon), Surya (Sun), Sanak and Sanatkumāra
On either side of Vishnu - Bhrigu and Märkandeya or Bhūdevi and Märkandeya
Lakshmi-on right of Vishnu, seated Right of Vishnu-Brahmi and with right leg pendant. Carries a Märkandeya; left of Vishnu Niva lotus in her left hand. Right hand on and Bhrigu lap or lion-seat or in kataka pose Bhudev-on left of Vishnu, seated Kamini and Vyäjini --celestial damsels, with left leg pendant. Holds a blue hold fly-whisks on either side of lotus in her right hand. Her left hand Vishnu. Also Sanaka, Sanatkumara. is on lap, lion scat or in kataka pose Tumburu, Närada, Sürya and
Chandra Brahma-on south wall of shrine. Seated Siva--on the north wall of shrine. Seated. Märkandeya and Bhrigu seated kneeling on floor. On back wall of shrine, behind Vishnu: Goddesses Māya and Samhladini; musicians Tumbufu and Nárada, a pair of Kinnaras (heavenly musicians), a Yaksa, a Vidyadhara, rishis Sanaka and Sanatkumara and Moon and Sun
Variations
On either side of Vishnu a lotus and large-sized mace is to be carved. In two other hands Vishull should carry wheel and conch

Page #108

VISHNU-STANDING (STHANAKA) IMAGES
YOCIA-ATHANAKA-MURTI
BHOGASTHANAKA-MURTI
VIRA-STHANAKA-MURTI
ABHICHARIKA-STHANAKA-MURTI
Hards
Four
Four
Four
Two or four
Objects in hands
Rh.boon-giving or protection poses and wheel L.A.-on waist and conch
pose and on waist L.H.----wheel and conch
Two carry wheel and conch. Objects in other two hands not mentioned
Attendants
None
Sridevi on right side of Vishnu: R.h.-holds lotus L.h.--hangs freely on the side
Bhrigu and Märkandeya kneel on right and left respectively of Vishnu: or the goddess.s Sri and Bhū jn addition. Siva carved on north wall of central shrine to face south. 4-handed: R.H.-battle-axe and protection pose L.A.-deer & on waist
Brahma, Siva, Bhrigu. Märkandeya, Kishkinda, Sundara, Sanaka, Sanatkumāra, Sürya and Chandra
Bhūdevi on left of Vishnu: R.h.-hangs loose on the side L.H.---blue water-lily
Brahma--on south wall of central shrine, facing north. Standing. 4-armed. Two hands carry rosary and vase, third on waist. Fourth praising Vishnu
Bhrigu and Markandeya on right and left of Vishnu respectively, kneeling. Above Vishnu-goddesses Māya, Samhlādini, Kamini and Vyājina: Tumburu and Närada; Kinnaras, a Yaksha; the rishis Sanaka, Sanatkumara, and Sun and Moon

Page #109

VISHNU-SLEEPING (SAYANA) IMAGES
YOGA-SAYANA-MURTI
BHOGA-SAYANA-MURTI
VIRA-SAYANA-MURTI
ABHICHARIKA-SAYANA-MURTI
Hands
Two
Two or four
Four
Two or four
Objects in hands
R.h.-near pillow, touching kirita
crown L.H.-bent at elbow and held in
kataka pose; or may be extended to touch the thigh
R.h.-one serves as a pillow, other
holds a wheel L.H.--one carries conch, other
parallel to body
R.h.--one right hand near pillow,
touches the crown L.h.-parallel to the body, touches
the thigh Nothing is said about the position of the remaining two hands in the ancient texts. Well-built body. Onefourth body slightly raised and remaining three-fourth lying flat on serpent-bed
Misc.
Attendants
Vishịu should be richly ornamented
Blue complexion. In deep slumber Face presents a faded appearance
Black clothing. No attendant deities By side of sleeping Vishpu-Bhrigu Lakshmi-near head of sleeping Near his feet--Lakshmi and Bhüdevi. Lying completely flat on Shesha with and Märkandeya
Vishịu. Seated touching the Demons Madhu and Kaitabha. two hoods Near the feet-demons Madhu and shoulders of Vishnu. She carries a Right and left of VishnuKaitabha
lotus in her right hand, while her Märkandeya and Bhrigu. Brahmä Brahma on lotus issuing forth from left is in the kataka pose
on lotus issuing forth from navel of navel
Bhumidevi-seated near feet of Vishnu Brahma on south wall, seated Vishņu, touching his left foot. Right On the back wall-Five Ayudha-purushas, Siva on north wall, seated. On back hand holds blue lotus. Left hand in Eagle, Chandra, Sürya, seven sages, wall-Ayudha-purushas, Eagle, kataka pose. Near feet of Vishnu- twelve Adityas, eleven Rudras, Vishvaksena and Saptarishis, demons Madhu and Katibha. Apsaras, Tumburu and Närada, two all standing with folded hands Märkandeya-seated on right of Kinnaras, Sanaka, Sanatkumara Vishnu and on right of him
and Brahmä (?) and Siva Ayudha-purushas and Eagle; Sürya above him. Left of Brahmă-Asvini-devatas, Tumburu and Närada.' Also Chandra. Also Dikpalas and Apsaras. Sivaon north wall; on south, outside shrine-Ganesa and on
north-Durga (See also Sheshashāyi Vishộu on page 84)

Page #110

VISHNU-VASUDEVA PANCHAKA*
VASUDEVA Mace, conch, wheel, and boon-giving attitude (AGP)
SAMKARSHANA Hala, pestle, mace and lotus (AGP)
Syinbols Vehicle A sana Hans Misc.
Two or four
Variations
Two or four Brahma and Siva on either side. Lakshmi with lotus and Pushti carrying vină (lute). Two Vidyadharas above. Mace and wheel in human form carrying fly-whisks, with Vasudeva's hands over their heads. Goddess Prithvi between the feet of Vasudeva (AGP) Two-handed: conch and varada; or mace and wheel (AGP) Four-handed: lotus, wheel, conch and mace: Nri and Pushti carrying lotus and lute respectively; Or mace, lotus, conch and wheel. Of these, mace and wheel in human form carrying lly. whisks: Or mace, lotus, conch and wheel Daivikat-Four hands : conch, wheel, ?, ?. On right side: Sri, Balabhadra, Revati, Pradyumna, Rohini: left side: Bhu, Aniruddha. Ushā, Samba and Indukari Månusat-Two hands: wheel and mace. On right side: Rukmini, Balarama with hala and pestle; Pradyumna with knife and hand on waist: Brahmā; on left side: Aniruddha with sword and shield, Samba with staff and cagle
Four-handed: pestle, full-blown lotus, conch, and hala (plough): blue garments (VID) Or wheel, conch, mace and lotus : yellow garments Two-handed: plough (hala) and staff (VID)
SAMMA
PRADYUMNA Thunderbolt or wheel, conch. bow and arrow
ANIRUDHA Arrow, sword, bow and shield
Mace
Symbols Vehicle A sana Haus Misc.
? Two or four
Four or two
Accompanied by spouse carrying sword and shield. Red garments (BS)
Variations
Two-handed: bow and arrow (AGP) Four-handed: 1) conch, lotus, wheel and mace or bow and arrow (CC) 2) Full-blown lotus, arrow in human form. conch, bow in human form (VID) Or wheel, conch, mace and lotus (SR) Red garments
Two-handed: shield and sword (VID) Fur-handed: 1) full-blown lotus, sword or on head of sword in human form; conch and skin or on head of skin in human form. Red garments (VID) 2) Wheel, conch, mace and lotus. Yellow garments (SR)
The five forms of Vishnu as Vasudeva ---Vishyu as the Supreme Brahman, the embodiment of all Knowledge. Daivika-Vasudeva is Vishnu as Krishya conceived as one supreme God; Manusa-Vasudeva is Vishnu as Krishna in a human aspect as the son of Vasudeva and Devaki.

Page #111

VISHNU-INCARNATIONS AND MINOR AVATARAS
KAPILA
KALKI
KRISHNA Conch, wheel (ST)
DHANVANTARI Pitcher of ambrosia
Symbols
DATTATREYA Dharmachakra hand pose, lotus and lotus on knee
Conch, wheel
Four or eight
Two or four
Two
Two or four
Two or four
Hands Objects in hands
Sword, conch, wheel and mace (AGP)
Two in yoga, with pitcher on them. Two hold conch and wheel (VID) Padmāsana
Two hold lotus, one in vyākhyāna pose, one on knee
Lotus, protection pose, pitcher of ambrosia and Sastra-Yantra (SR)
A sana
? Horse
Vehicle
?
Misc.
Jaţă crown, beard and sacred thread
Horse-head and human body. When riding a horse, carries a bow and an arrow
P lays on lute. Rukmini carrying blue lotus on one. side, and Satyabhama on Eagle on the other side
Goose, Eagle. Bull portrayed on seat
Variations
Eight hands: protection pose, wheel, sword, plough, one on waist, conch, noose and staff. Red garments. Accompanied by Savitri
One of the 14 precious objects which came out of the churning of the ocean, Divine physician came out carrying pitcher of ambrosia Two-handed: pitcher of ambrosia and jalu (leech) Four-handed: conch, wheel, leech and ambrosia pitcher. Yellow garments (SR)
VISHNU AS VARAHA
Vajnavarāha
Bhuvaraha
Pralaya-Varaha
Hands
Four
Four
Four
Objects in hands
Two carry conch and wheel
Two hold conch and wheel. One left hand supports Goddess Earth, seated on his bent right leg. One right hand round the waist of the goddess
Two hold conch and wheel, one in protection pose, other on thigh
Asana
Right leg bent and rests upon serpent Adisesha, who is accompanied by his wife
Sits on lion-seat, with right leg pendant
Sits on lion-seat with right leg pendant
Misc.
Face of boar with body of man. Boar face lifted up to touch the bosom of the Earth Goddess. Goddess Earth-heavily ornamented, seated on right leg on her Lord, with both legs pendant
Decked in ornaments. Goddess Earth (Prithvi) on left, seated with her left foot pendant, carry- ing a lotus in her left hand while the right rests on the seat (pitha)
Goddess Earth sits on the same seat as Varäha, with the right leg pendant. L.H.-blue lotus; R.h.-on seat
* Also see page 92.

Page #112

Symbols
Hands
Objects in hands
Vehicle
Asana
Mise.
Variations
NARA-NARAYANA
Conch, wheel, lotus, rosary
Two or four
Left hands carry conch and wheel Right hands hold Mahapadma or mace and lotus (?) ---Nārāyaṇa (CC)
Chariot
VISHNU-INCARNATIONS AND MINOR AVATARAS (Contd.)
Sri holding lute on left. Musti holding lotus on right
Two-handed: Nara-two hands carrying rosary; Nārāyaṇafour hands carrying rosary. Chariot vehicle (VID)
Also see Table on page 93.
NARASIMHA
Wheel, mace, conch, lotus
Two, four, six or eight
Wheel, lotus, mace and conch (AC)
Alidha
Ferocious countenance
1. 4-handed: wheel, mace, two hands tearing off entrails. Open-mouthed (AGP) 2. 6-handed: conch and lotus, two tearing entrails of Hiranyakasipu, two on maces. Mane of flames (VID) 3. 8-handed: 1 & 8, tearing entrails of Hiranyakasipu; 4 & 5, holding garland of entrails; 2 & 3, wheel and lotus; 6 & 7. mace and conch (AC)
PARASURAMA
Battle-axe
Two or four
Sword, battle-axe. bow, arrow
Jaţă crown
1. 1 & 4-Bow and arrow. 2 & 3 -sword and battle-axe (AGP) 2. Conch, wheel and mace (SS)
BALARAMA
Plough, pestle
Two or four
Plough, pestle, mace, coach
1.
2.
3.
4.
Two-handed: mace and plough (AGP)
Four-handed: wheel, pestle, plough. conch (AGP)
Two-handed: plough and pestle (RM and VID)
Two-handed: plough and pestle (SS) or plough and wine-flask (ST) Four-handed: wheel and pestle (SS)
90

Page #113

VISHNU INCARNATIONS AND MINOR AVATARAS (Contd.)
MOHINI
BUDDHA
MATSYA
RAMA
VARADARAJA
KURMA
Symbols
Bow and arrow
Boom-giving and protection poses or in dhyāna
Wheel and conch in upper two hands; one hand in varada, other on waist-lower two hands)
Hands
Two
Four
Two or four Bow and arrow (AC)
Objects in hands
Vase of Rectar
Boon-giving and pro- tection poses (AGP)
Conch, wheel, boongiving and protection poses
Conch and wheel, varada and abhaya poses
Vehicle
Seated on lolus
A sana
Misc.
Long cars, deer-skin on shoulder
Lower half, fish; upper Lower half, tortoise; half, four-handed upper half, fourVishvu. Kirita crown handed Vishou
If lower left hand rests Beautiful young lady on mace, he is Varada- wearing colourful garraja
ments. Decorated with ornaments. Carrying a vase of nectar in hand
Yuriations
In dhyāna pose. Red garments. Deer-skin on shoulder (RM &
VID)
J. Two-landed: bow
and arrow (AGP) 2. Four-handed: bow,
arrow, conch (AGP) 3. Wears a kirita crown
Companions: Sita stands on his right. L.A.-blue lotus, R.h.--hangs loose on right. Lakshmana stands on left side of Räma. Holds bow and arrow. Hanumana, Monkey-god, stands in front, on Rāma's right. Two hands. R.h.-on mouth, L.h.-hangs loose on left. Bharata and Shatrughana-Rama's brothers. Hold bows and arrows Rāma seated in Virasana

Page #114

VISHNU INCARNATIONS AND MINOR AVATARAS (Contd.)
92
VARAHA*
TRIVIKRAMA
VAMANA Vase and umbrella
VITTHAL Lotus-stalk and conch
Boar-head
Symbols Hands Objects in hunds
Wheel, mace, conch Two, four, six, or cight
Two or four
Two Vase and umbrella
Whcel. conch, mace, lotus
Vehicle
I sana
? or simhāsana
Standing Dwarf Brāhmaga, with tufted hair. Sacred thread, deer-skin
Misc.
Standing Crown which looks like plain fez cap. Both hands on waist holding stalk of
lotus and conch. Ornaments 1. One foot on ground straight and
firm, another raised up. occupying Heaven. Nearby stand Vamana and king Bali with bow. Behind, Varāha, Vāyū and Varuna carrying fly-whisks, Sūrya on right, Moon on left, Sanaka and Sanatkumara, Brahmā on stretched leg:. Sankara near navel with folded hands, Namuchi between legs; Eagle behind left leg of Trivikrama: Vamana on right. Behind him Bali holding vase accompanied by
wife: Jāmbuvant beating drum 2. Left foot on earth, right in sky.
Vamana with down-cast eyes.
King Bali being bound (AC) 3. Hands stretched up. Vāmana
carrying vase and umbrella. King Bali carrying vase, being
bound by Garuda (MTP) 4. Trivikrama carrying staff,
noose, conch. wheel, mace and lotus (VID)
Juriations
I. 4-handed: one on waist, another 1. Umbrella and staff (AGP)
holding mace, third supporting 2. Umbrella and vase (MTP) goddess Prithvi; fourth carrying 3. Staff and vase. Fat (RM) lotus. Boar-face (AC)
4. Dadhi-Vamana-Fair. 2 hands 2. 4-handed: mace, wheel, conch and carrying golden vessel with rice
lotus or Lakshmi at left corner. and curds and nectar. AccomBhūdevi and Shesha near two feet. panied by Rama, Dwarf BrahMan-boar form (AGP)
mana, Tuft of hair tied into a 3. 4-handed: one on waist; two carry- knot
ing lotus and mace. Fourth on knee Wears a lion-cloth or near jaw holding lotus. Feet on Trivikrama: Right leg firmly tortoise (MTP)
planted on earth. Left raised. 4 er 4. 2-handed: mace and lotus. Boar- & hands face (RP)
If 4-handed: R.h.--conch, other 5. 4-handed: wheel, mace, conch and held up with palm upwards. L.h.-
Earth Goddess and lotus. Serpent wheel, one stretched parallel to ur- Shesha carrying plough and mace. lifted leg. Two in añjali pose. Looking up at If 8-handed: five carry conch,
wheel, mace, bow and plough 6. 4-handed: Adi-Varāha-conch,wheel Indra holds umbrella over Trivik-
Right foot on Shesha, with goddess ramal head Prithvi on lap supporting her with Varuna and Väyü hold fly-whisks left hand. Smelling her with his on either side. Over them Sun and nostrils
Moon. Close to them: Sanaka, 7. 8-handed: wheel, conch, sword, Sanatkumara. Brahmă holds up
shield, mace, fakti, varada, abhaya lifted foot of Trivikrama. Siva sits hand poses (SR)
a little above navel of Trivikrama. Namuchi with folded hands, near foot of Trivikrama. On left Garuda (Eagle) beating Sukra
charya. Bali and his queen * Also See description on pages 29-30 and Table on page 89.
4. 22 Oise (Mtbolding lourth on
raha-face (VID)

Page #115

VISHNU-INCARNATIONS AND MINOR AVATARAS (Contd.)
VENKATESH
HAYAGRIVA
Symbols
Conch and wheel in upper two hands. Lower two hands in protection pose and on waist. Serpent Valaya carved on right hand
Conch, wheel, mace.
Hands
Four
Four Carries lotus, conch, wheel and mace in hands
Objects in hands
Vehicle
A sana
Misc.
Saivites and Vaishyavites offer him worship and claim him Monkey-god Hanumana and the Eagle keep him company
Variations
1. 4-handed: conch, wheel, mace and Veda. Left foot on serpent
Shesha, right on tortoise (AGP) 2. 4-handed: conch, rosary, book and vyakhyana hand pose 3. 8-handed: conch, wheel, mace, lotus. Four hands on anthropu
morphic forms of Vedas: horse-head (VID) 4. 4-handedl: scated on lotus. One hand in vyakhyana hand pose.
Other three carry conch, wheel and book (ST)
VISHNU AS NARASIMHA*
Girija- Narasimha
Sthauna-Narasimha
Yanaku-Narusimha
Hands
Two or four
Four
Four
Objects in hands
When he has 4 hands-upper right hand holds a wheel and upper left, conch. Other two rest on knees
In two back hands-conch and wheel. Front right hand-protection pose; front left hand-boon-giving attitude Sits on lion-seat, with right leg pendant. Neck shows thick mane and curved teeth
Two carry conch and wheel but nothing is said about the other two hands
Misc.
Sits on lotus, with heads kept close to bottom. Legs held in position by belt (yoga-patta)
Serpent vehicle
Variations
Hiranyakasipu stretched on left thigh of Narasitisha. With two hands, he rips openthe belly of the demon Has 12 to 16 hands. Two open the belly of the demon. Two lift up the entrails, one right hand holds the legs of the demon, one holds a sword, one left hand holds the crown of the demon and lifted to administer a blow Attendants-Śri, Bho, Närada and Pralhada, son of the demon. Also eight Guardians of the Quarters (Asta-dik palas)
* Also see Table on page 90.

Page #116

IMAGES OF KRISHNA
NAVANITA-NRITTA-MURTI
PARTHASARATHI
VENU-GOPALA (Pls. 150-151)
KALIYA-MARDAKA-KRISHNA
(PI. 152)
COVARDHANA-DHARA-KRISHNA
(Pl. 153)
General
Dancing with joy. Stands on left leg, bent at knce and right leg lifted Krishna as a youth
Krishua as child dances upon the hood of the serpent Kaliya to destroy it
Playing on the flute. Stands Charioteer of Partha crect on left leg, with right (Arjuna) leg thrown across behind or in front to touch the ground. Stands in tribhanga
Body is bent to the left or the right. Cows, cowherds and cow-herdesses shown taking shelter under the Govardhana mountain raised aloft by Krishna to save all from the deluge
Hands
Right hand in protection attitude or holding a ball of butter
Flute in two hands (not shown in bronzes but hands in attitude of playing Nute)
Supports mount Govardhana with either the right or the left hand; the other hand hangs loose by the side
Holds reins in one hand and cane in the other. Sometimes the right hand is held in the preaching attitude (vyak hayanamudra), or R.h.conch, L.h.--in boon-giving attitude
Holds the tail of the Serpent in his left hand and holds his right hand like a streamer. One hand in protection pose
OR Stamps with left foot the body of serpent, with right foot on its hood
KRISHNA-ENERAL
Hands
Two
Objects in hanes
R.. - a curved stick.
L.h.--lifted up and bent at the elbow. May hold a conch in this hand
Misc.
Clothed in red garments. Ornamented. Kirila crown. Colour blue Companions--Rukmini on right--flowery head-dress. L.H.--lotus: R.N.-hangs loose by Ilac side
Satyabhama on left-decorative hair-dress. R.J.- flower. L.h.---hangs loose. Both these may wear a karanda crown

Page #117

Names
1. Kesava
2. Nārāyaṇa
3. Madhava
4. Govinda
5. Vishnu
6. Madhasüdana
7. Trivikrama
8. Vamana
9. Śridhara
10. Hrishikesa
11. Padmanabha
12. Damodara
13. Vasudeva
14. Samkar ana
15. Pradyumna
16. Aniruddha
17. Purushottama
18. Adhokshaja
19. Narasimha
20. Achyuta
21. Upendra
22. Janardana
23. Hari
24. Śri Krishna
THE TWENTY-FOUR IMAGES OF VISHNU
As mentioned in the ancient Texts showing the different arrangements of the objects held in the hands
Agni-Purana
Padma-Purana
Dharmasindhu
Vriddharahita
Smriti
PSCG
SPGC
GCSP
CGPS
GPSC
CSPG
PGSC
SCGP
PCGS
GCPS
SPCG
PSGC
GSCP
GSPC
CSGP
CGSP
CPSG
PGSC
CPGS
PSCG
SPGC
GCSP
CGPS
GPSC
SCPG
PGCS
SCGP
PCGS
GCPS
SPCG
PSGC
GSCP
GSPC
GCSG'
CGSP
CPSG
PGSC
CPGS
GPCS
SGCP
PCSG
SPCG
SGPC
PSCG
SPGC
GCSP
CGPS
GPSC
CSPG
PGCS
SCGP
GCPS
PCGS
CPGS
PSGC
PCGS
GSPC
PSCG
CGSP
CPSG
PGSC
CPGS
GPCS
Chaturvarga Chintaman
PSGC
GCSP
CGPS
GPSC
CSPG
PGSC
SCGP
PCGS
GCPS
SPCG
PCGS
GSCP
GSPC
CSGP
CGSP
CPSG
PGSC
CPS
GPCS
PGCS
PCSG
SCGP
SGPC
P, padma (lotus). S, sankha (conch). G, gadā (mace). C, chakra (discus or wheel).
Order of hands: lower right, upper right, upper left, lower left.
'The second 'G' should read as 'P'.
The last letter should be 'G'.
PSCG
SPGC
GCSP
CGPS
GPSC
CSPG
PGSC
GSCP
PCGS
GCPS
SPCG
PSGC
SCGP
GSPC
CSGP
CGSP
CPSG
PGSC
CPGS
GPCS
SGCP
PCSG
SCGP
SGPC
GPCS
SGCP
PCSG
SCGP
SGPC
Abhilashitärtha Chintamani
PSCG
SPGC
GCSP
CGPS
GPSC
CSPG
PGSC
SCGP
PCGS
GCPS
SPCG
PSGC
GSCP
GSPC
CSGP
CGSP
CPSG
PGSC
CPGS
GPCS
SGCP
PCSG
SCGP
SGPC
95

Page #118

THE TWENTY-FOUR IMAGES OF VISHNU
According to the Padma-Purana
Nume of Vishnu
UPPER RIGHT
UPPER LEFT
LOWER LEFT
LOWER RIGHT
Conch
Wheel
Mace Wheel Lotus Conch Wheel Mace Conch Lotus Conch Conch
Mace
Wheel
I. keśava-thc Long-haired 2. Nārāyava-the Universal Abode 3. Madhava-Lord of Knowledge 4. Govinda-Rescuer of the Earth 5. Vishyu-the Pervader 6. Madhusudana-Destroyer of Madhu 7. Trivikrama-Conqueror of Three Worlds 8. Vámana-the Dwarf 9. Sridhara-Bearer of Fortune 10. Hrishike-a-Lord of the Senses 11. Padmanabha--whose Navel is the Lotus 12. Damodara-Self-restrained 13. Sarkarava-Resorber 14. Vasudeva--the Indweller 15. Pradyumna--the Richest 16. Aniruddha-the Unopposed 17. Purushottama-the Best of Men 18. Adhokshaja--Sphere of the Universe 19. Narasimha--Man-Lion 20. Achyuta--the Never-failing 21. Janārdana--the Rewarder 22. Upendra-Brother of Indra 23. Hari-Remover of Sorrons 24. Sri Krishua-the Dark One
Lotus Wheel Mace Lotus Conch Mace Wheel Wheel Wheel Lotus Conch Conch Wheel Conch Mace Lolus Mace Lotus Lotus Lotus Conch Conch Mace
Mace Conch Lotus Conch Lotus Wheel Mace Lotus Mace Conch Mace Lotus Conch Wheel Conch Conch Conch Mace Wheel Wheel Mace Wheel Lotus
Lotus Conch Macc Wheel Mace Wheel Lotus Conch Mace Lotus Wheel Lotus Mace Lotus Lotus Wheel Wheel Lotus Wheel Mace Mace Lotus Mace Conch
Wheel
Mace
Mace
Lotus
Mace Wheel Conch
· Conch
Conch Wheel
Lotus Wheel
Vishnu is known by about a thousand names. Of these twenty-four are important and are recited in daily worship by all devout Vaishnavites. All these twenty-four images appear in a standing pose in sculpture, crect and without any body bends, on a lotus plinth. The images difter only in the order of the four emblems seen in the hands. The arrangement as given in the Parma-Purīnu appears to be faulty.

Page #119

THE TWENTY-FOUR IMAGES OF VISHNU
According to the Rupana dana
Name of Vishnu
Name of Vishnu
1. Kesava
SCGP
SPCG
13. Sarikarşana 14. Vasudeva
2. Nārāyaya
PGCS
SCPG SGPC
3. Madhava
CSPG GPSC
CSPC
4. Govinda 5. Vishnu 6. Madhusudan:
PSCG
PSGC
SPGC
GSCP
7. Trivikrama
GOSP
!GSC
15. Pradyumna 16. Aniruddha 17. Purushottama 18. Adhokshaja 19. Narasimha 20. Achyuta 21. Janardana 22. L'pendra 23. Hari 24. Sri Krishna
8. Vamana
(GPS
(GSP
9. Sridhara 10. Hrishikesi 11. Padmanabha
CPSG
PCSG ('SGP GCPS CPGS GPCS
PCGS
12. Damodara
SGCP
S-hankha (conch). ( chakra (wheel). G-gadà (macol. P-padma (letus). Order of hands: back right, back left, front left. front right. The list given in the Rupamas.com seems to be more accurate than that in the Pudma-Parunu.

Page #120

THE DIVINE MOTHERS (SAPTA-MATRIKAS)*
BRAHMANI
MAHESHVARI
INDRANI
CHAMUNDA
Symbols
Rosary, ladle, vase, vase
Bow, arrow, bow. wheel and bow
KAUMARI VAISHNAVI
VARAHI Sakti (spear) in both Wheel, mace, conch, Staff, conch, wheel hands lotus
and mace
Thunderbolt and thunderbolt (AGP)
Javelin, kåtri, skullcup, pattisa (steel staff with sharp end) (AGP) Corpse or owl Four or ten
Vehicle
Goose
Bull
Bull
Elephant
Peacock Two, four or twelve
Fagle Four or six
Four, six or ten
Four or ?
Hands Face
Four or six Four
Crown Variations |--Boon-giving.
vase, rosary and protection pose (AB)
11- Akšasutra and
ladle in two lower hands and ladle and akcasūtra in two
upper hands (RM) 111-Six-handed:
boon-giving pose ladle, book, vase and protection pose (VIK)
(Varaha-mouth)
Boar-face Jaţă mukuta 1- Sūla, protection, 4-handed: boon- 1-Boon-giving, |--Plough, boon- 1- Four-handed: 1-Boon-giving pose, boon-giving and giving, spear, cock conch, wheel and giving, spear, boon-giving,
skull-cup, sula rosary. 3 eyes and protection protection (AB) protection
spear, thunder and protection Jatā crown (AB) pose (AB)
(AB) bolt and pro
Pose (AB) lection pose. 11-Śakti on head Three eyes (AB) Munda), skull
cup (MTP) 1--Sūla, boon- 11-Vara, spear, 11-Six-handed: 11-Shränga
11--Vajra, ankusa I-Ten-handed: giving, protection goad and pro- boon-giving, (dhanus), pro- (DP)
wooden pestle, and rosary. 3 lection pose. 3 mace, lotus
tection, plough, 111-Vajra, Sula. gadā, kavacha (proeyes (PK) eyes (PK) garland, conch, wooden pestle, sword (?)
tective, metal wheel and pro- and boon-giving Many eyes.
covering), tection pose (VIK) pose (PK) IV-Six-handed: arrow, goad,
vara, rosary, sword, shield, 111--Skull-cup. Küla. 111--Sūla, spear, cock III-Four-handed: 111-Bell, skin, mace vajra, kalasa. noose, bow, staff
ritual wand and and cock (MTP) whcel, conch, and wheel (MTP) patra, abhaya and axe (VIK) boon-giving (MTP) IV-Sūla, spear. flag or skull- IV-Six-handed:
(VIK)
IV-sala, khadga IV-Six-handed: mace, ? (RM) cup, ?--chains, boon-giving pose,
(sword), head. boon-giving, V--Twelve-handed: (SR)
staff, sword.
skull-cup, garrosary, drum, boon-giving, IV-Four-handed: shield, noose
land of heads sūla, bell, prospear, flag pose Boon-giving pose, and protection
(SR) tection. 3 eyes, (patákā), staff, conch, wheel, pose. Boar-face 5 faces (VIK) bowl, arrow, mace (RM)
(VIK) V-Ten-handed:
how, bell, lotus, sword, thunder- cock, battle-axe, bolt, trident,
and protection. battle-axe, pro- Six faces (VIK) tection, boongiving, noose. bell, cobra and goad. Five faces, 3 eyes (ST)
• In Indian sculpture, the Seven Matrikas are all shown usually with one face. They are recognized by their vehicles carved below on the pedestal. They are shown seated or standing and sometimes carry children on their laps or by their sides. They are flanked on the two sides by Virabhadra and Ganesa.

Page #121

THE GODDESSES
Thc Devimahatmya of the Märkandeya-Puruna contends that all the forms of Devi-Sättvika, Rajasi and Tamasa have evolved from the Super Being Mahalakshmi Sarasvati, Gauri and Vishnu are the Sättvika manifestations of the Goddess, Lakshmi and Hiranyagarbha are its Rajasa manifestations, while as Mahakali. Sarasvati and Rudra are its Tämasika manifestations (See Gopinath Rao, Vol. I, Part II, p. 337). This Supreme Mahalakshmi becomes the basis for the worship of Sakti.
Devi is worshipped both in Saivism and Vaishnavism, but she has more numerous forms in the former. When she appears as the consort of Siva, she has lour arms. Iwo of which carry the noose and the goad and two are in the boon-giving and protection poses. When the Devi accompanies Niva, she has two hands, one of which holds a lotus. The other hangs loosely by the side. Even when she is alone, she may hold a parrot or a mirror, and the other a flower. She may also have six hands and carry in them noose, yoad, conch and wheel. Two are in the boon-giving and protection poses. The Devi might be seated with Niva, cither on his left or right, with one leg pendant.
GAURI
MANONMANI
SIVA
AMBA
UMA
PARVASI Four
Hands
Two
Four
Colour
White
Ever
Three
Three
Vehicle
Bull
Ohjects in hands
Sula and mirror
(AGP)
Not mentioned
Protection pose, serp ent, drum and trident
Protection pose. noone. Aktasütra, lotus, mirrer Rosary. Siva Ganapati lofus and vase
and vase (RM) and vase (RM)
Faces
Variations
1-Two hands: kajaka
or lotus. Karanda
crown (PK) 11-Two hands: lotus
and boon-giving pose (MS)
1-Protection posc.
goad, noose and skull-cup: half-moon
in crown (SR) 11-Protection pose,
noose, kalpalata and skull-cup (SR)
Five 1--Lotus pedestal.
Red lotus, protection and boon-giving poses, chisel and
sūla; three eyes (AB) I-Standing on
lap of Siva or seated on it. Hands: protection, noose, goad and boon-giving. Three eyes, karanda croun (UK) Or six-handed: Suka, lotus, šūla. noose, conch and
wheel (UK) 11- Akçasūtra, pro
tection pose, lotus. and vase (RM)

Page #122

THE GODDESSES (Contd.)
001
KRISHNA
SRIYA
SAVITRI
LALITA
TRIK HAND
TOTALA
HEMAVANTI Four?
RAMBHA Four
Four
Four
Four
Hands
Four
Four
Four
Colour
Eyes Vehicle Objects in hands
Rosary, lute (vina), Protection pose, Jute and vase (RP) rosary, lotus and
boon-giving pose (RP)
Anjali, rosary, vase and anjali pose (RP)
Lotus, mirror, ? ? (RP)
Rosary, thunder- Rosary, book. Rosary, thunder süla, rosary, staf. bolt, goad and lotus and vase bolt, spear and fly-whisk (RP) vase (RP) (RP)
vase (RP)
SARASVATI
TRIPURA
BHU
MAHALAKSHMI
LAKSHMI
SRI
Two
Two, four or eight
Four
Four or eight
Two
Blue
Golden
Hands Colour Eyes Vehicle Objects in hands
Lotus seat Protection pose, goad, Lotus in both hands serpent-noose or noose (AB) and boon-giving pose (RP)
Maha!unga, mace, shield and bowl of leaves (MK)
Wheel conch, lotus and mace (AGP)
Misc.
Lotus seat šrifala fruit and lotus Bow.mace, noose, lule (AC)
(viņā), wheel, conch. wooden pestle and goad: sometimes a rosary
(AGP) Two lady attendants carrying fly-whisks. Elephants carrying water-pitchers to
bathe her (AC) |--Four-handed: 1- Four-handed :
boon-giving, pro- book, rosary, lute tection, lotus and and lotus (AGP) lotus. 4 elephants 11-Four-handed : book, bathing her with rosary, lute and pitchers (SR)
vase: standing (CC)
Variations
1-Two-handed: lotus |--Four-handed: 1- Four-hunded :
and boon-giving r osary, protection. Mahalunga, lotus. pose (MS)
dindima and lotus lotus and vessel of 11-Two hands folded (MS)
nectar (RM) in namaskāra pose. 11- Four-handed : 11--Four-handed: Holds left hand of vase, mace, shield lotus, bilwafala, Varaha (VID)
and srifala fruit (VIK) conch, vessel of
- Continued)

Page #123

THE GODDESSES (Contd.)
Variations
Il-Four-handed
bowl of jewel, bowl of cereals, bowl of medicine and lotus (VID)
111---Four-handed:
Eagle vehicle. conch, wheci. mave?
nectar: two clephants without pitchers, lotus on head
(VID) III - Two-handed:
conch and lotus
(VID) IV-Four-handed:
lotus, boon-giving. and protection pos
es, lotus (SR) V--Eight-handed : bow.
mace, arrow, lotus, wheel, conch, wooden pestle and goad (AGP)
111 Four- uuided
teaching attitude, aksasūtra, book
and lotus. 3 eyes (AB IV. Four-handed:
sudanda. rosary, book and kataka
pose. 3 eyes (PK) V-Four-handed : pro
lection and boongiving poses, noose and goad. 3 eyes (MR) Or Sandarsha mudra, rosary, book and vase; or rosary, lotus, lute and book (RM) Or boon-giving, rosary, lotus and book (RM) Or book, rosary, vase (?) or trident (VID) Or rosary, noose. goad and protection pose (SR) Or wheel. conch. skull-cup, noose. battle-axe, vase of nectar, book, rosary. vidyā (knowledge) and lotus and lotus. 5 faces (SR)

Page #124

FORMS OF DEVI
102
(Special forms as associated directly or indirectly with Raivism)
ΑΜΒΙΚΑ
MANGALA
SARVAMANGALA
Hands Objects in hands
Four Sword, shield, mirror and boon-giving pose
BHADRAKALI MAHAKALI
AMBA (PI. 155)
(Pl. 154) Eighteen
Four or eight Four Rosary, trident, sword, Sword, shield, bowl Noose, lotus, bowl moon, arrow, bow, and skull-cup
and abhaya mudra conch, lotus, spoon
or (sruk), spoon (sruv), Wheel, conch, mace, vase, staff, spear, fire, pitcher, pestle, battle
• axe, noose and thundervessel. One hand is in bolt abhaya mudra, ? Seated on a chariot drawn by four lions Handsome appearance
Ten Trident, rosary, bow. mirror, arrow, shield, sword and moon boon-giving and protection hand-poses
Four Akšasūtra, lotus, trident and vase
Misc.
Lion vehicle Three eyes
Lion vehicle
Sits on a lion-seat Wears a Jatā crown Lovely appearance
KALARATRI
Hands Ohjects in hands
--
LALITA GAURI
UMA Four
Two or four Four R.I.- fruit and small If two : varada and Rosary, mirror, box abhaya poses
vase and lotus L.H.---mirror and If four: rosary, lotus, conch
vase and abhaya
mudra Standing posture. Bestows wealth Decorated with and merit ornaments
PARVATI Four Rosary, image of Siva, image of Gane'a and vase
TOTALA Four Trident, rosary, staff and fly-whisk
RAMBHA Four Vase, rosary. thunderbolt and battle-axe
Misc.
Destroys all sins
Sits on elephant Handsome
Represents Sakti as destructive power. Sits on ass and is nude. Terrific appearance
Grants all desires of devotees
Hunds Obiects in hands
TRIPURA Four Two carry battle-axe and noose. Two exhibit varada and abhaya mudras
BHUTAMATA Two Sword and shield
YOGANIDRA Two Drinking vessel
VAMA Two Skull-cup and abhaya mudra
Alise.
Black. Long eyes Seated on lion seat
Territic look. Jajá crown Confers benefits
Hands Objects in /unds Misc.
JYESTHA Two Skull-cup and arrow Terrific and powerful
KALI Two Lotus and skull-cup Destroyer of fear
KALAVIKARNIKA
HALAVIKARNIKA Two
Two Skull-cup and spear
Skull-cup and rosary Removes fear and gives happiness Giver of peace
Ilunds Ohjects in hands Misc.
BALAPRAMATHANI Two Skull-cup and noose Destroyer of enemies
SARVABHUTADAMANI Two Skull-cup and thunderbolt
MANONMANI Two Skull-cup and sword Bestows wealth and territies enemies
VARUNE-CHAMUNDA Two Trident and arrow Pendulous breasts and Aabby belly

Page #125

Hands Objects in hands
Misc.
Hands Objects in hands
Misc.
Hnads Objects in hands
Misc.
Hands Objects in hands
Hands Objects in hands
Misc.
RAKTA-CHAMUNDA
Four Sword, wooden pestle. plough and bowl
KIRTI Two
Lily flower and vessel
SVETA
Sits on white lotus
ARUNDHATI
Leaves, flowers and water
FORMS OF DEVI (Contd.)
SIVADUTI Four
YOGESVARI Ten
Bowl of blood, sword. Spear, sword, drum in trident, flesh three right hands. Bell. shield, ritual wand and trident in four left hands. Objects in remaining hands not mentioned
Face like a jackal. Emaciated, thin and wiry
SIDDHI
Body covered with sandal paste. Sits on a white seat. She is decorated with white lotuses. Door-keeper attendant
BHADRA Four
Rosary, blue lotus. flute and trident
Sits on a bhadrasana APARAJITA Four
Pinaka (Niva's bow). arrow, sword and shield Rides a lion
TULASADEVI Two or four
Two in abhaya and varada. Two carry lotus and blue lotus
ASARUDHADEVI
RIDDHI
JAYA & VIJAYA Four
Seated in virasana Looks into a mirror Attendant women carrying fly-whisks and garlands. Plays on flute
Each goddess holds trident, lotus, rosary and fourth in varada mudri Sits on a lion
SURABHI Two
Grass and vessel
BHAIRAVI Two or twelve Noose and battle-axe
Two
Carries in her hands a golden cane and reins of the horse
Seated on a horse
KSHAMA Two
Varada and trident Seated on a lotus seat Wears a Yoga-belt
GHANTAKARNI
Two
Bell and trident
KRISHNA Four
Two in anjali. Two carry rosary and vessel
BHUVANESVARI
Four
Two hands hold noose and battle-axe, two exhibit varada and abhaya mudris Seated on a lotus seat
TRIPURABHAIRAVI
SIVA Four
Four
Two hands carry rosary and Vidya (jñāna mudra or book?). Two others exhibit varada and abhaya mudras
jpes
Two hands carry drum and trident. Two exhibit varada and abhaya mudrās
DIPTI
Sits on a moon seat
JAYANTI
Four
Kunta (a spear-like weapon), trident, sword and shield
INDRAKSHI Two
Thunderbolt and varada mudrä
BALA
Four
Two hands carry rosary and book, two exhibit abhaya and varada mudrās Sits on a lotus
RATI Two
Staff and rosary
Plays on lute
DITI Two
Blue lotus and fruit
ANNAPURNA Two or four
If two carries a vessel and a spoon. If four: noose and battle-axe. abhaya and varada mudrās
RAJAMATANGI Two
Plays on the lute (viņā)
Seat of rubies. Sits with one foot pendant. Parrot near her
103

Page #126

Symbols
Symbols
Hands
Objects in hands
NILAKANTHI
Hands
Objects in nands
Four hands carrying a trident. shield, a vessel and boongiving attitude
One hand in boon-giving attitude and the other three carry a trident, a lotus and a vessel
Bestows wealth and happiness Bestows good health
AGNI-DURGA
Eight hands carry wheel, sword, shield. arrow, noose and axe. One in boongiving attitude and the other with raised index finger
Her vehicle is lion. Two celestial damsels on either side carrying sword and shield
KSHEMANKARI
MAHAVIDYA
MAHADHENU
Four
Boon-giving pose. lotus, lute and book
MAHAVANI
SPECIAL FORMS OF DURGA
JAYA-DURGA
VEDAGARBHA
Four
Four
Four
BHARATI Four Rosary, lotus, lute and Rosary, book. lute and Boon-giving pose. book rosary, lotus and book
lotus
HARASIDDHI
Carries in her hands a conch. wheel, sword and trident
* In the usual form Durga may have four, eight or more hands. She wears a karanda mukuta and ornaments. She has her front right hand in the protection posture and her back one holds the wheel. The front left hand is in the kataka pose and the back one carries the conch. Durga may stand erect on padmasana. or on a buffalo head, or on the back of a lion
Carries in her hands a drum (damaru), a vase, sword and vessel
Bestows desired ends
Bestows Siddhi
Her vehicle is lion. Three eyes
Boon-giving pose, book, lute and lotus
SPECIAL FORMS OF MAHALAKSHMI AS THE SUPREME GODDESS
ISVARI
VINDHYAVASI-DURGA
Two hands carry conch and wheel. Two exhibit boon-giving and protection attitudes
Four
Rosary, protection pose, lotus and book
Her vehicle is lion. Surrounded by Indra and other gods. Three eyes
RUDRAMSA-DURGA
Carries in her hands the trident, sword, conch and wheel. Wears a kirita crown. Her vehicle is lion. Sun and Moon on either side of her
SARASVATI
Four
Boon-giving pose, lotus rosary and book
MAHALAKSHMI
ARYA
Four
VANA-DURGA
MAHAKALI
Eight hands carry conch, wheel, sword, shield, arrow, bow, trident and one in tarjani mudrá
RIPUMARI-DURGA
One hand holds trident, the other with raised index finger
Destroys enemies Ferocious look
Boon-giving pose, rosary, book and lotus
Four
Four
Rosary, protection pose. Rosary, lotus, book
book and lotus
and protection pose
BRAHMANI
Four
Boon-giving pose, book. rosary and lotus
MAHASARASVATT
Four
Rosary, book, protection pose and lotus
104

Page #127

Symbols
Vehicle
Hands
Consort
Variations
Symbols
Vehicle
Hands
Consort
Variations
INDRA
Thunderbolt and lotus
Elephant Airavata
Two or four
Sachi on left carrying lotus
(1) Two hands: thunderbolt, ?, Sachi (2) Two hands: spear and goad
Sachi on left Red garments
(3) Two hands: thunderbolt and goad (4) Four hands: boon-giving pose.
goad. vase and boon-giving pose Thousand eyes
(5) Thunderbolt, goad, lotus, Sachi at back. Third eye on forehead (6) Protection attitude, thunderbolt, goad and boon-giving pose. Thousand eyes
VARUNA
Noose and lotus
Crocodile
Two or four
(1) Two hands: noose and boongiving pose
(2) Four hands: lotus, noose, conch and bowl of jewels: vehicle of seven swans; white garments; crocodile banner on left; Yamuna on left and Ganga on right, Gauri on left lap.
OR boon-giving pose, noose. serpent and vase
THE ASHTA-DIKPALAS
THE GUARDIANS OF THE QUARTERS
AGNI
Aksasutra (rosary) and vase Goat
Two or four
Svähä
(1) Two hands: rosary and spear Spouse Svähä on right Red garments
(2) Two hands: spear and sacrificial
spoon
Red eyes
(3) Four hands: boon-giving pose, spear, lotus and vase Or fire, trident, consort and rosary; Svähä on left lap Or trident, battle-axe, drum and skull-cup; three eyes Or protection pose, sacrificial spoon, spear and boon-giving pose (4) Seven hands: conch, wheel, ghee pot, round and oval sacrificial spoons. Two heads, three legs
VAYU
Boon-giving and banner Stag
Two or four
(1) Two hands: ?, thunderbolt
(2)
YAMA
Staff and noose
Buffalo
Two or four
OR staff and banner OR wheel in two hands OR goad and banner Four hands: boon-giving pose. banner or staff, banner and vase
Mrityu and Chitragupta behind
(1) Two hands: sword and shield; Chitragupta and Kāli, Mrityu and Ugratejas near seat Or staff and leaves and fruits (2) Four hands: pen, book, cock and staff; Or staff, sword, trident, fire and rosary; Chitragupta and Kali on one side
KUBERA
Mace and boon-giving pose Man, goat (?), horse Two or four
(1) Vehicle goat; two hands; mace, ?, OR two hands; boon-giving; protection, mace; karanda crown: Devi on left: Sankha-nidhi and Padma-nidhi on either side; pot-bellied OR mace, nidhi, lemon (Idanimbu) and vase Four hands: mace and spear; pot-belly: Riddhi on left, Sankha and Padma-nidhis on the sides: banner of Sun and Moon
NIRRUTI
Sword, shield, kātri, head
Man, ass or camel
Two or four
Two hands: staff and rein.
ISANA
Trident and boon-giving pose
White bull
Two or four
(1)
(2)
Two hands: sila and skullcup: jata crown: white garments
OR boon-giving pose and lotus
Four hands: sula, boongiving pose, protection pose. and jaţă crown
105

Page #128

SUN AND THE PLANETS
106
(SURYA & GRAHAS)
Symbols
SUN (SURYA) Lolus in each of the two hands
MOON (CHANDRA) Mace and varada pose or vase and rosary OR lotus and lotus
MARS (MANGALA)
MERCURY (BUDHA) Vara, javelin, javelin, mace. Vara, sword, shield, mace OR javelin and rosary, OR bow and rosary or OR stall and vase or sakti yoga mudra javelin, mace, ritual wand Goat
Lion
JUPITER (BHIHASPATI) Vara, rosary, vase, stail OR book and rosary OR vase and rosary
Vehicle
Chariot driven by 10
One-wheeled chariot driven by 7 horses, or one horse with 7 heads
Golden chariot driven by % horses
A sana
Sinhâsana.?. standing pose or seated Two
Hands
Two
Two or four
Two or four
Two or four
Afise.
-.
-
Lion or chariot driven by 4 horses
Kirita crown: Danda and Rohivi on right, Kanti and Pingala* on two sides carry Shobha, wives, on two ing shield and sword. A writer sides (sometimes) holding a pen; sometime wives Rājni and Nikshubhā holding Aly-whisks
VENUS (SUKRA)
SATURN (SANI)
RAHU
KETU
Simbols
Vara, rosary, vase, staff OR vase and rosary
Vara, arrow, bow, javelin OR staff and Vara OR staff and vase, staff and rosary
Vara, sword, shield, javelin. añjali mudra
Vara and mace OR sword and lamp
Vehicle
Chariot driven by eight or ten horses
Vulture
Vulture, he-buffalo, chariot driven by eight vultures Two or four
Ilands
Two or four
Two Carved like half-moon. Ugly faced. Tiger mouth
Misc.
Four Like serpent-lail. Ugly face
A sanu
Simhasana
* Danda (Yama) and Pingala (Agni) are the door-Keepers of Surya

Page #129

THE TWELVE ADITYAS
(THE TWELVE FORMS OF SURYA)
DHATRI
DHATRI
MIRA
ARYAMAN
RUDRA
VARUNA
SURYA
Hands
Four
Four
Four
Four
Four
Four
Objects in hands
Garland of lotus, vase. Soma, trident, lotus totus and lotus
and lotus
Wheel, kaumodaki (a kind of gadā), lotus and lotus
Rosary, wheel, lotus and lotus
Wheel, noose, lotus and lotus
Vase, rosary, lotus and lotus
BHAGA
VIVASVAN
PUSHAN
SAVITRI
TVASHTRI
VISHNU
wvava
Pest
Hands
Four
Four
Four
Four
Four
Four
Objects in hands
Trident, wheel, lotus and lotus
Trident ($ūla), garland, Lotus in each of the lotus and lotus four hands
Mace, wheel, lotus and Sacrificial spoon, lotus
Homaja-kalika (?), lotus and lotus
Wheel, lotus, lotus and lotus
107

Page #130

BUDDHIST ICONOGRAPHY
(Golden Germ), and the first Duality. create the entire world of form. As the Hindu Reality is non-manifest, undivided, without form, attributes. and timeless. the Vajrayana Reality is Sunya. One and Indivisible. In the same manner that the Hindu Brahman ultimately led to myriads of gods and goddesses, the Vajrayana Sünya gave birth to a polytheistic system. The Vajrayānists faced with the problem of reconciling precept to practice evolved the theory of the primordial god whom they called Adi-Buddha or Vajradhara. the embodiment of Sunya. The Buddhas of Meditation owe their origin to this first manifestation of Sunyata. This theory was of fairly late origin (10th century A.D.). The Adi-Buddha is popularly worshipped in Nepal and Tibet. The Adi-Buddha is said to have first manifested in Nepal as a flame of fire and Bodhisattva Mañjuśri erected a temple over it known as the Svayambhu Chaitya.
When Adi-Buddha is represented in an anthropomorphic form, he is called Vajradhara (Fig. 1) and appears alone or in close embrace called Yab-Yum. When alone, he is heavily ornamented and sits in the attitude of meditation, carrying a thunderbolt in the right hand and a bell in the left. the two hands being crossed across the chest. The thunderbolt is symbolic of the Ultimate Reality which is Sunya. Like the thunderbolt. Sūnyata is firm, sound, cannot be pierced or penetrated, cannot be burnt or destroyed. The bell represents Prajñā or wisdom, symbolic of sound which travels to all the nooks and corners of the universe. When Vajradhara is seated in
BUDDHA SCULPTURES
THE STORY of Buddhist sculpture begins with Aśoka. The Hinayana school, which influenced the construction of the stupas of Sanchi and Bharhut, was as vigorous as the Mahāyāna school. The sculpture of Sanchi and Bharhut is spirited and full of life. The Jataka stories, the Yakshas and Yakshinis, are portrayed with great force. The figure of the Buddha is however absent. He is represented symbolically by the Wheel (Dharmachakra) and other symbols. In the Hinayana form, the Buddha image had no place as the Buddha himself was against image worship. With the rise and spread of Mahāyānism in North-West India the image of the Buddha was introduced into Buddhist art. The new school which sprang up in Gandhara and Mathura at the same time in the first century A.D. defied the Hinayana school and gradually the image of the Buddha began to adorn all subsequent Buddhist sites, in India and outside (Pls. 156-158).
DHYANI BUDDHAS
Buddhas in Meditation
The Buddhists conceive of the world as being composed of five cosmic elements which have no beginning and no end. These five elements are form (Rupa). sensation (Vedana), name (Samjñā). conformation (samskara). and consciousness (Vijñāna). In Vajrayana mythology, the cosmic elements are given an anthropomorphic form and made divinities, who. like the Hindu Hiranyagarbha
* Northern Buddhism popular today in Nepal, Tibet, etc.
108

Page #131

Brahmā. Halebid
Brahmā. Halebid
Brahmā. Cave 16 (Kailasa), Ellora
3
Brahma. Cave 16 (Kailasa), Ellora
Vishnu. Cave 16 (Kailasa), Ellora
Vishnu. Cave 16 (Kailasa). Ellora

Page #132

Vishnu on Garuda Cave 16 (Kailasa), Ellora
Vishnu. Jaggi, Osmanabad
Vishnu on Garuda. Cave 16 (Kailasa), Ellora
Srinivasa. Bronze Tanjore District
1 Vishnu as Bhuvarāha. Cave 11, Ellora
Vishnu as Bhuvarāha. Cave 2, Badami

Page #133

13
Vishnu as Bhuvarāha, Durgā Temple Aihole
Vishnu as Bhuvaraha. Cave 3, Badami
Vishnu as Narasimha, Halebid
Vishnu as Narasimha killing Hiranyakasipu. Huchhapayya Gudi, Aihole
18
Vishnu as Narasimha
killing
Hiranya
Vishnu as Narasimha killing Hiranyakaśipu. Virupāksha Temple, Pattadakal
kasipu.
Cave 16 (Kailasa),
Ellora

Page #134

Vishnu as Narasimha killing Hiranyakaśipu. Cave 16 (Kailasa), Ellora
Vishnu as Narasimha. Durgā Temple, Aihole
22
Vāmana incarnation of Vishnu. Cave 2, Badami
Vishnu as Trivikrama. Cave 15, Ellora
23
Vashnu as Vamana and Trivikrama. Cave 3, Badami
Vishnu as Vāmana and Trivikram, Cave 2, Badami

Page #135

25
27
29
Rāma. Bronze.
(Courtesy, Government Museum, Madras)
Sitā. Bronze. (Courtesy, Government Museum, Madras)
Krishna. Bronze. (Courtesy, Government Museum, Madras)
26
28
30
V
Sită. Bronze. (Courtesy, Government Museum, Madras)
Hanumana. Bronze. (Courtesy, Government Museum, Madras)
Satyabhama. Bronze. (Courtesy, Government Museum, Madras)

Page #136

31
Kirātārjuna-mūrti of Siva. Cave 16 (Kailasa), Ellora
Kirātārjuna-murti of Siva. Cave 16 (Kailasa), Ellora
Rāvaņānugrahamürti. Cave 16 (Kailasa), Ellora
Rāvanānugrahamūrti. Virupaksha Temple, Pattadakal
Rāvananugrahamurti. Cave 14, Ellora
Rāvanānugrahamūrti. Halebid

Page #137

VU
37
38
Rāvanānugrahamūrti, Cave 16 (Kailasa)
Lingodbhavamūrti of Siva. Cave 16 (Kailasa), Ellora
Ellora
40
Lingodbhava-murti of Siva. (Courtesy, Government Museum, Madras)
Lingodbhava-mūrti of siva. Cave 15, Ellora
41
Siva as Bhairava, with sixteen hands. Halebid
Śiva as Bhairava, Bronze. (Courtesy Government Museum, Madras)

Page #138

VIII
45 Gaja
samhāramurti of Śiva. Halebid
16 (Kailasa), Ellora
of Siva. Cave
44
47, 48 Tripurantaka-marti of Siva. Cave 16 (Kailasa), Ellora
Gajasurasamhara-mürti of Siva. Virupaksha Temple, Pattadakal
46 Trip
taka-mürti of Śiva. Cave 16 (Kailasa), Ellora

Page #139

50
49
Kālārimürti of
Siva.
Tripurāntaka-mūrti of Siva. Halebid
Cave 16 (Kailasa), Ellora
Left, Kālārimarti of Siva. Cave 15, Ellora
Right, Kālārimūrti of Siva. Cave 16 (Kailasa), Ellora
53
Left, Kālārimūrti of Siva. Cave 16, (Kailasa), Ellora
54
Right, Andhakāsura-vadhamūrti of Siva. Cave 29, Ellora

Page #140

Andhakāsuravadha-murti of Siva. Halebid
Andhakāsuravadha-murti of siva. Cave 16 (Kailasa),
Ellora
Left, Andhakasura-vadhamarti of Siva. Cave 15, Ellora
Right, Gangadhara-mūrti of Siva. Cave 16 (Kailasa), Ellora
Left, Gangadhara-marti of Siva. Rāvanaphadi Cave, Aihole
Right, Ardhanāriśvara. Cave 1, Elephanta

Page #141

XI
61
62
Ardhanārisvara. Bronze (Courtesy, Government Museum, Madras)
Ardhanārisvara. Durgā Temple, Aihole
64
Ardhanārisvara. Sangameshwara
Temple, Mahakuta, Mysore
Ardhanāri savara. Cave 1, Badami
65
66
Harihara. Sangameshvara Temple, Mahakuta, Mysore
Harihara. Cave 3, Badami

Page #142

XII
Kalyānasundaramürti of Siva. Cave 16 (Kailasa), Ellora
Kalyanasundaramurti of Siva. Cave 1, Elephanta
70A
Kalyānasundara-marti of Siva. Cave 1, Elephanta
70C
70B
70 A, B, C, Kalyānasundara-mūrti of Siva. Cave 21, Ellora

Page #143

XIII
71
Vishāpaharanamarti of Siva. Bronze. (Courtesy, Government Museum, Madras)
Vishāpaharanamūrti of Siva. Bronze. (Courtesy Government Museum, Madras)
73
RESSES
Left, Vishāpaharan-murti of Siva. Huchhapayya Matha, Aihole
74
B
Right, JñānaDakshina-murti of siva. (Courtesy, Government Museum, Madras)
75
VyākhānaDakshinamūrti of Siva. (Courtesy, Government Museum, Madras)
Śiva Natarāja. Bronze. (Courtesy Government Museum, Madras)

Page #144

XIV
78
Śiva Nataraja. Bronze. (Courtesy, Government Museum, Madras)
Siva Natarāja. Bronze. (Courtesy, Government Museum, Madras)
79
80
Siva
Siva
Natarāja, Bronze. (Courtesy, Government Museum, Madras)
as Mahāyogi. Cave 16 (Kailasa),
Ellora
82
Kārttikeya on
Subrahmanya or Kārttikeya. Cave 21, Ellora
peacock
Halebid

Page #145

XV
84
83
Subrahmanya or Kārttikeya. Cave 1, Badami
Subrahmanya or Kārttikeya. Cave 16 (Kailasa), Ellora
85
Left, Skanda or Kārtikeya. Huchimalligudi, Aihole
Right, Subrahmanya. Bronze. (Courtesy, Government Museum, Madras)
Standing Ganesa. Bronze. (Courtesy Government Museum, Madras)
88
Sitting Ganesa.
Halebid

Page #146

XVI
89.90
NřittaGanpati, or Ganesa. Halebid
ndra on elephant Airavata. Halebid
Nritta-Ganpati on left. Mahishamardini on right. Halebid
93
Left, Indra on elephant Airavata. Cave 3, Badami
Right, Agni on Ram. Cave 16 (Kailasa), Ellora

Page #147

XVII
96
95
Varūna on Makara. Cave 16 (Kailasa), Ellora
Väyu on stag. Cave 16 (Kailasa), Ellora
98
Sürya. Cave 16 Kailasa), Ellora
Sarasvati. Halebid
TO
100
NțittaSarasvati (Dancing Sarasvati). Halebid
Sarasvati. Halebid

Page #148

XVIII
LX
101
102
Nritta-Sarasvati (Dancing Sarasvati). Halebid
Nritta-Sarasvati (Dancing Sarasvati). Halebid
103
Left, Nfitta-Sarasvati (Dancing Sarasvati). Halebid
104
Right. Mahishamardinī. Ravanaphadi Cave, Aihole
105
Left, Mahishamardini. Cave 21, Ellora
106
Right, Mahishamardini with Guardians of the Quarters. Cave 16 (Kailasa), Ellora

Page #149

XIX
107
108
Mahishamardini. Halebid
Mahishamardini. Halebid
109 Lefi, Mahishamardini, Cave 16 (Kailasa) Ellora
110 Right, Lakshmi or Sri. Cave 16 (Kailasa), Ellora
111
Left, Vishnu with Bha and Lakshmi. Halebid
112
Right, Varadarāja Vishnu with Sri and Bhū. Bronze. (Courtesy, Government Museum, Madras)
Ha

Page #150

XX
113
Vishnu with Lakshmi. Halebid
115 Sapta-mātņikas. (L to R) 1, Chāmundā: 2, ?: 3,
Māheshvari. Ellora
114
Mātrika slab in Galagnath Temple, Aihole. (L to R), 1, Virabhadra; 2, Brahmānī; 3, Māheshvari: 4, Kaumārī; 5, Vaishnavi; 6, Vārāhī; Indrāni; 8, Chāmundā
116
117
Mātrikas, Cave 14, Ellora
Fragment of Mātçika slab, Virupaksha Temple, Aihole

Page #151

XXI
118
119
Mātņikas. Ravana-phadi, Aihole
Mātrikas. Ravana-phadi, Aihole
120
121
River-goddess Gangā on Makara. Cave 21, Ellora
River-goddess Gangā on Makara. Cave 16 (Kailasa), Ellora
122
123
River-goddess Gangā on Makara. Lankeśvara shrine, Cave 16 (Kailasa), Ellora
River-goddess Yamunā on tortoise. Cave 16 (Kailasa), Ellora

Page #152

XXII
124
126
River-goddess Yamuna on tortoise. Lankesvara shrine. Cave 16 (Kailasa), Ellora
Sädhārana Śiva. Halebid
128
Sadharana Śiva. Halebid
125
River-goddess Sarasvati on lotus, Cave 16 (Kailasa), Ellora
127
Sädhärana Śiva. Halebid
129
Sadharana
Śiva. Cave 16 (Kailasa),
Ellora

Page #153

XXIII
131
130
Sadhārana Siva. Cave 16 (Kailasa), Ellora
Urdhva-linga Siva. Sangamesvara Temple, Mahakuta
Uma-sahita-siva. Cave 21, Ellora
Umā-sahita-siva. Cave 21, Ellora
Ravanānugraha-murti. Cave 29, Ellora
Umā-sahita-siva. Cave 14, Ellora

Page #154

XXIV
Alingana-mārtī of siva. Halebid
Alingana-mürtī of Siva. Halebid
Alingana-mūrti of Siva. Halebid
Mahesa-mürtī. Elephanta

Page #155

XXV
Siva dancing the Katisama. Cave 21, Ellora
Siva dancing the Lalitam. Cave 15, Ellora
Śiva dancing the Lalitam. Cave 14, Ellora
Śiva dancing the Lalitam. Halebid

Page #156

XXVI
Siva dancing the Chaturam. Cave 1, Badami
Siva dancing the Talasamsphoţitam. Vinupāksha Temple, Pattadakal
Sheshashāhi Vishnu. Cave 15, Ellora
siva as Nsitta-mūrti dancing the Talasamsphotitam. Nilanga, Osmanabad

Page #157

148 Sheshashahi Vishnu. Cave 16 (Kailasa), Ellora
Mo
150 Vishnu as Venugopala. Halebid
149 Vishnu-virăsana-murti. Cave 3, Badami
Groun
OXO
151 Right, Vishnu as Venugopala; left,
Vatuka-Bhairava-Siva. Halebid
XXVII

Page #158

XXVIII
Kāliyā-mardaka Krishna (Courtesy, Government Museum, Madras)
Gobardhanadhara Krishna. Halebid
HOULD
Mahākāli Bronzes (Courtesy, Government Museum, Madras)
| 155 Bhadrakali

Page #159

XXIX
156
157
Buddha. Cave 10, Ellora
Buddha in Shrine. Cave 1, Ajanta
158
Buddha in teaching attitude flanked by Bodhisattvas Cave 2,
Ellora
Mānushi Buddhas. Cave 12, Ellora
160
Vajrasattva on pilaster. Cave 12, Ellora
Maitreya. Cave 6, Ellora

Page #160

XXX
162
Maitreya. Cave 12, Ellora
164
Avalokitesvara as Sadakṣari-Lokeśvara. Cave 1, Ellora
166
Avalokitesvara as RaktaLokeśvara. Cave 4, Ellora
163
Padmapānī as Sadakṣari-Lokesvara. Cave 8, Ellora
21
165
Avalokitesvara with AryaSarasvati. Cave 10, Ellora
167
Avalokitesvara as
Rakta
Lokes
vara.
Cave 11, Ellora

Page #161

XXXI
Avalokitesvara as RaktaLokeśvara. Cave 12, Ellora
Left, Avalokitesvara with Tārā. Right, Cundā. Cave 10. Ellora
170
171
Litany of Avalokiteśvara. Cave 7. Aurangabad
Manjusri. as Manjuvāra. Cave 10, Ellora
173
Vajrapāņi. Fresco, Cave 1, Ajanta
Mañjuśti as Siddaikavira. Cave 12, Ellora

Page #162

XXXII
175
174
Vajrapāņi. Cave 12, Ellora
Vajrapāni with four hands. Cave 10, Ellora
176
Jñanaketu. Cave 12. Ellora
Bodhisattva attendants. L to R, Avalokiteśvara-Lokanātha. Jñanaketu, Amoghadarsin. Cave 12, Ellora
179
Jambhala Cave 12, Ellora
Bodhisattva attendants. L to R, Vajragarbha, ?, Surangama (?) Cave 12, Ellora

Page #163

XXXIII
180 Lto R,
181 to
L to R, Vajradhātiśvarī, ?, Cundā. Cave 12, Ellora
L to R, Jāñguli, Mahāmāyūri, Vasudhārā.
Cave 12, Ellora
183
Cundā
with
six arms. Cave 10, Ellora
L to R, Bhrkuti, Pāndarā. Tārā. Cave 12, Ellora
184
Four-handed Cundā. Cave 12, Ellora
Hārti and Pāñcikā, Cave 2, Ajanta

Page #164

XXXIV
186
187
Hariti. Cave 2, Ajanta
Pāñcika. Cave 2, Ajanta
188
189
Tārā. Cave 6, Ellora
Tārā. Cave 12, Ellora
190
191
Mahāmāyāci. Cave 8, Ellora
Bhskuţi. Cave 10, Ellora

Page #165

XXXV
192
Lefi, Mahāvīra. Cave 31, Ellora
193
Right, Yaksha Mātanga and a Jina. Cave 4, Badami
194
Lefi, Gommateśvara. Cave 31, Ellora
195
Right, Parsvanātha. Cave 4, Badami
197
196
Yaksha Mātanga. Cave 32, Ellora
Yakshi Siddhayika. Cave 32, Ellora

Page #166

XXXVI
198
Chakreśvarī. Cave 31, Ellora
16
200 Bhrikuti or Jvälämālinī. Cave 32, Ellora
199
201
Prajnapti (?). Cave 32, Ellora
Jina figures with Padmavati below. Cave 4, Badam

Page #167

BUDDHIST ICONOGRAPHY
close embrace with his Sakti (Yab-Yum), the latter carries in her hands a knife (katri) and a skull-cup. With the knife, Sakti destroys all Ignorance, while the skull-cup is symbolic of Oneness Absolute. This is a very popular form because the god and the goddess sitting in close embrace emphasize the fact that the distinction between Duality and Oneness Absolute is unreal.
The rich pantheon of the Vajrayana Buddhists owes its origin to the concept of the doctrine of the Dhyani Buddhas (Buddhas in Meditation). the Dhyani Bodhisattvas with their female counterparts and their families. The Dhyani Buddhas themselves do not participate in the act of creation. The Dhyani Bodhisattvas along with their Saktis who emanate from the Dhyani Buddhas, are directly responsible for creation. In the Vajrayana or Mantrayana, the various deities are mere mantras (sounds) which, with their mystic power. take anthropomorphic forms. The Dhyani Buddhas become heads of these families, and the entire pantheon is built round the theory of Kulešas. The Dhyani Bodhisattvas exhibit the miniature figures of their Kulešas (parental Buddha). The Sadhanamālā text gives a list of these five parental Dhyani Buddhas. They are Vairocana, Ratnasambhava, Amitabha, Amoghasiddhi, and Akṣobhya. They exhibit the teaching, boon-giving, meditation, protection and earth-touching attitudes of hands respectively.
The Dhyani Buddhas emanate from the AdiBuddha, who is Svayambhu, i.e. Self-Existent. Since they originate from the Adi-Buddha they are always engaged in peaceful meditation. To this group of five, sometimes a sixth one is added. He is Vajrasattva. The conception of the five Buddhas in Meditation was already known as early as A.D. 300. These symbolised the five cosmic elements. When another Dhyani Buddha, Vajrasattva (Fig. 9, Pl. 160) was added to this number, he came to be regarded as the embodiment of all the elements collectively.
The Dhyani Buddhas can be easily recognized. They sit on a lotus seat, in deep meditation, with their legs crossed in the adamantine (vajraparyanka or vajrasana) pose with the soles of the feet turned upwards and the palms of the hands joined and facing upwards, with or without a bowl placed on the hands. The half-closed eyes point to the tip of the nose. The Buddhas may wear a tricivara, a close-fitting long robe extending from neck to ankles. The apparel is so
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arranged that the right hand and right shoulder are left free for the functions of meditation. Each Dhyani Buddha has his cognizance symbol and colour. The recognition symbols are: Amitabhalotus; Akşobhya-thunderbolt; Ratnasambhavajewel; Amoghasiddhi-double thunderbolt, and Vairocana discus. The consorts of the Dhyani Buddhas and their Dhyani Bodhisattvas have the same recognition symbols and colours as their Kulešas.
AMITABHA (Fig. 21)
Amitabha is the oldest of the Buddhas in Meditation. He is presently in the Sukhāvati heaven, engaged in deep meditation. He presides silently over the present Kalpa (Age) which is the Bhadrakalpa. He is the embodiment of the cosmic element Samjñā (name). He symbolises the vital fluid and represents the summer season. (Red.)
AKSOBHYA
The Nepal Buddhists regard him as the second Dhyani Buddha. He embodies the cosmic element Vijñāna (consciousness), and represents the winter season, the faculty of hearing and the elements of Ether and Sound. (Blue.)
VAIROCANA
In Nepal, Vairocana is ranked first amongst the Dhyani Buddhas and is placed in the sanctum sanctorum of the stupa. He symbolises the cosmic element of Rupa (form). He is also the embodiment of ideal knowledge. He represents the Hemanta season (Autumn). (White.)
AMOGHASIDDHI (Fig. 28)
He is regarded as the fifth Dhyani Buddha. He embodies the cosmic element of Samskara (conformation) and represents the rainy season. (Green.)
RATNASAMBHAVA (Fig. 8)
Ratnasambhava, the third of the Dhyani Buddhas, is the originator of the Ratna (jewel) family. He embodies the cosmic element of Vedanā (sensation). He presides over the spring season. (Yellow.)
MORTAL (MANUSHI) BUDDHAS (Pl. 159)
A belief in twenty-five Buddhas had become popular by the time of the Mauryas (4th century

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B.C.). In the Dharani literature* the Vajrayanists declared that 'the Buddhas who have been, are. and will be are more numerous than the grains of sand on the bank of the Ganges."
The Lalita-Vistara, a Mahayana text. tells the story of the Buddha. It makes a mention of fifty-six Buddhas. It also mentions seven Manushi Buddhas. These are: Vipasyin, Sikhi, Viśvabhu of the preceding Kalpa (Age) and Krakucchanda. Kanakamuni, Kasyapa and Sakyamuni (Gautama) of the present Kalpa.
The conception of the five Mortal Buddhas. their corresponding Buddhas in Meditation, with their corresponding Bodhisattvas, became popular in India, Nepal. Tibet, China and Japan. The inward development of the Buddha is reflected in the development of certain outward marks. A Buddha acquires the thirty-two superior and eighty inferior auspicious outward marks (Lakshanas) indicative of his spiritual attainments. The most important of the thirty-two superior marks is the full-sized usnisa (the protuberance of the skull) which becomes the receptacle for the divine Manas (mind).
In sculptural form. the five Mortal Buddhas look alike. They sit cross-legged with the right hand placed on the lap touching the earth (the bhumisparsa mudra). They wear monastic garments but do not bedeck themselves with ornaments. The right shoulder and breast or only the right breast are left bare: the other signs are the urna (a small, round protuberance above the bridge of the nose, the fourth of the thirty-two superior marks of a Buddha). the uşnişa and long-lobed ears.
GAUTAMA SAKYAMUNI (Pls. 156-158)
The most popular of all the Mortal Buddhas is Gautama, who is most widely represented in Indian Buddhist art. He appears in the sanctum sanctorum of Buddhist cave temples and also outside. In the shrines, he is seen either in the attitude of meditation or of teaching or of touching the earth. The various hand-poses of the Buddha are meaningful.
The following are his various hand-postures: (1) Dhyana-the two hands are placed on the lap, one above the other, palms facing upwards.
A class of Tantric Buddhist literature.
ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
This is the attitude of meditation. (2) Bhusparsa or Bhumisparia-Buddha's right hand touches the Earth, calling it to witness his victory over Mara. the Evil One, who is trying to wean Gautama away from the path of Truth. This is the earthtouching attitude. (3) Dharmachakra-this is symbolic of the preaching of the First Sermon. the Turning of the Wheel of Righteousness (Dharmachakra-parivartana). In this handgesture, both the hands are held near the breast. The tips of the index finger and thumb are joined and they touch one of the fingers of the left hand. the palm being turned inward.
BODHISATTVAS
'Bodhi' is knowledge (Enlightenment) and 'Sattva is essence. The Bodhisattva is one who has become enlightened. acquired the Bodhi knowledge, but who refuses to enter Nirvana since he desires to guide all mankind to the True Path of the Buddha. The Bodhisattvas originated from the five Buddhas of Meditation (the Dhyani Buddhas). These are Samantabhadra. Vajrapani. Ratnapani, Padmapāņi (Avalokitesvara), and Visvapāņi, emanations of Vairocana. Akṣobhya, Ratnasambhava. Amitabha, and Amogasiddhi respectively. There are many other Bodhisattvas in Mahayana Buddhism, too many to be mentioned here. According to Nepalese Buddhists. Ghantapani is the Bodhisattva of Vajrasattva. Each of them has a female consort-his Sakti. In sculpture, the Saktis appear alone or with their lords. The Nispannayogavali mentions these Bodhisattvas along with their iconography.
The most popular of the Bodhisattvas are Avalokitesvara and Manjuśri. They are very widely represented in India. Tibet, China and Japan.
MAITREYA (Fig. 10, Pls. 161-162)
Maitreya is the Future Buddha. He is not a Buddha yet. He is still in the Tusita Heavens biding his time as a Bodhisattva. As Sakyamuni Gautama had to pass through a long period of apprenticeship involving '550 existences as animal, man and god or 5000 existences; so Maitreya after a long period has come to the Tuşită Heavens, where he will remain for 5000 years. He will be born as a Manushi Buddha, 5000 years after the death of Sakyamuni Gautama. when the fifth

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world is created by the fifth Dhyani Bodhisattva Visvapani. According to some, this period is 4000 years and according to Chinese tradition, it is of 3000 years. Sakyamuni Gautama, the fourth Manushi Buddha, went to the Tuṣitā Heavens to meet Maitreya and nominated him as his successor. During the period between the fourth Manushi Buddha Gautama and Maitreya, Avalokitesvara is to rule over the earth. Since Maitreya is the Buddha-designate, all the Buddhist sages seek communion with him and seek his advice and sanction for their thoughts and deeds. That is how the great Tantric sage Asanga sought Maitreya out in the Tusita Heavens by means of his supernatural powers. It was here that Maitreya initiated Asanga into the mysteries of Tantra. This legend gives the Tantrayana a respectability which it could not have otherwise got. Maitreya is the only Bodhisattva who is respected alike by the Hinayänists and Mahāyānists. His image can be found from the times of the Gandhara school of sculpture down to modern times. Statues of him are found in Ceylon, Burma and Siam. usually in the company of the Buddha.
In Gandhara sculpture, Maitreya is shown seated as a Buddha with his long hair drawn up into a knot on his head forming the uşnişa, his hands in the dharmachakra mudra or as a Bodhisattva. in which case he is shown standing with his long hair hanging over his shoulders. His hands are either in the vitarka or the varada mudra. In Indian sculpture he is shown as a sitting or a standing Bodhisattva, sometimes alone, sometimes with other Bodhisattvas, sometimes as a dvarapala (gate-keeper) outside Buddha shrines or as an attendant of the Buddha in the shrine. His hair is arranged mitre-shaped. His hands are not always in the dharmachakra mudra, says Getty. Sometimes he is shown with a jata mukuta, sometimes with a kirita mukuta. Sometimes the mukuța (crown) is very decorative and ornamental. In the left hand he holds a kalasa (vase) which is round in shape. In Gandhara sculpture the kalasa is oval or pointed in shape. Getty says that Maitreya was known in Central Asia in the 5th century A.D. A temple in Turfan of A.D. 469 is dedicated to him. In Java, he appears seated in Chandi Mendut. His hands are in the dharmachakra mudra. In early Mongolian images he is shown standing, his hands in the vitarka or varada mudra, with one hand holding the stems of flowers called Champa. In bronzes and
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sculptures, this looks like a lotus. In Tibet he is depicted both as Buddha and Bodhisattva. As Buddha he has short curly hair, uşnişa, urna and long-lobed ears. He wears the monastic garment with the right shoulder bare and the hands in the dharmachakra mudra. His legs, however, are in the pralambapāda asana (seated with both legs pendant) and not in the padmasana. As Bodhisattva he is usually shown seated in pralambapada. but sometimes in paryanka (cross-legged). He is represented as an Indian prince with all the Bodhisattva oriraments, and in the crown is generally a stupa-shaped ornament which is his distinctive mark, but he may be without a crown and have the stupa in his hair. Like Avalokites. vara, he too may have an ajina (deer-skin) over his left shoulder. His hands are in vitarka or varada poses and he carries either the kalasa and chakra. which rest on lotus flowers. It is in this attitude that he is represented in the group of eight Bodhisattvas, says Getty. As Maitreya, he is depicted with an ajina over his left shoulder, wearing a jaṭā mukuta, his hands in the vitarka or the varada pose. He holds a kalasa (vase) in one hand and a champā flower which looks like a lotus in another hand. Without the chaitya in his crown, he is difficult to distinguish from Avalokitesvara. The two important cognizances of Maitreya are the chaitya in his head-dress and the cloth wound round his waist and tied on the left side with the ends falling to the feet. But even these may be missing. Grundwedel says that such sculptures should be identified with Maitreya since he is a more popular deity than Avalokitesvara. At Ellora, however, in such cases, the sculpture should be identified with Avalokitesvara, since here he is the more popular of the two deities. The stupa which Maitreya wears in his crown is symbolic of the stupa in the mount Kukkuṭapāda near Bodh Gaya where the third Manushi Buddha lies. Kasyapa, the third Manushi Buddha, who ruled in the Kalpa preceding that of Sakyamuni Gautama, lived on earth for 20,000 years. He nominated Sakyamuni as his successor. This Kasyapa is believed to have been buried in the mount Kukkuṭapāda. When Maitreya descends to the Earth as the fifth Manushi Buddha, he will first go to this mountain, which will open as if by magic. Kasyapa will then come forth from the depths of the mountain and give to Maitreya the garments of a Buddha. The Gandhara school represents Maitreya in very large size. Yuan Chwang (7th century A.D.) describes a Maitreya

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statue made of wood, which he saw at Dardu. North Punjab, as being 100 feet in height. It was done by an artist who by a miracle visited the Tuşită Heavens, to study his anatomy and features. In the Ellora sculptures, he exhibits the stupa in his crown and carries a Nägakekara flower in one hand.
The Chinese, who claim to have seen Maitreya, tell us that he is thirty feet tall. But in sculpture they make him taller still. Getty tells us of two Chinese statues one of which was 40' and the other 70' in height.
Maitreya is found in a triad with Gautama and Avalokitesvara. Getty says that he is sometimes accompanied by Kurukullā and Bhrkuti. AVALOKITESVARA (PADMAPANI) (Pls. 163-170, 177)
Avalokitesvara is the most popular of the Buddhist Bodhisattvas. Most of the early Dharanis invoke him and seek refuge in him. His abode is Potälaka, which is placed in the south near Amaravati. The Tibetan work Mani Kambum relates the story of his birth. "Once upon a time. Amitabha. after giving himself up to earnest meditation caused a white ray of light to issue from his right eye, which brought Padmapāņi (Avalokitesvara) Bodhisattva into existence. Amitabha blessed him, whereupon the Bodhisattva brought forth the prayer: Om Mani Padme Hüm. Oh! the jewel (of creation) is in the lotus!"
Avalokitesvara is thus the spiritual son of the Dhyāni Buddha Amitabha and his Sakti Pāndara. Along with them he presides over the present Kalpa, which is the Bhadrakalpa. He is to rule over the universe during the period between the Mahāparinirvana of the Manushi Buddha Gautama and the appearance of the future Buddha, Maitreya. Five thousand years after the death of Gautama Buddha, Maitreya will appear as a Manushi Buddha in the fifth world, which will be created by Visvapāņi (fifth Dhyāni Bodhisattva). That is one reason for his popularity. The Guņa Kāra»- daryaha (a fourth century text) relates how he refuses Nirvāna, until all human beings are in possession of the Bodhi knowledge. He assumes protean manifestations of divinity. The text mentions him as the first god to issue out of the primordial Buddha (Adi-Buddha) who creates the universe.
The conception of Avalokitesvara is datable to the Asokan period. In the work Mahāvāstu Avadāna, the Mahasanghikas describe him as the
"Bhagvan who takes the form of a Bodhisattva, whose duty is to look around (Avalokita) for the sake of instructing the people and for their constant welfare and happiness.' This conception of the Bodhisattva Avalokita took concrete form in the Amitäyus Satra or the Sukhävall Vyaha, a work datable to A.D. 100. The Guna Karan larynha narrates the story of the creation of the fourth world by Padmapāni (a form of Avalokitesvara). 'From between his (Padmapāņi's) shoulder sprang Brahmå; from his two eyes, the Sun and the Moon; from his mouth the air; from his teeth, Sarasvati; from his belly, Varuņa; from his knees, Lakshmi; from his navel, water; from the roots of his hair, the Indras and the devatas.'
Avalokitesvara is Avalokita (looking on), Isvara (lord). His symbols are a mälä (rosary) and a padma (a pink lotus). His mantra is the famous 'Om Mani Padme hum!' In the Kāran lavyliha, no reference is made to Tārā. Maheśvara and Umä, however, are mentioned as his devotees. Avalokitesvara himself is mentioned as a devotee of Vairocana. The mantra of Avalokitesvara is his innermost core (Hșidanga) and the quintessence of all knowledge (including the Navānga, nine divisions of the Tripitaka) and was known as the Sadakşari-mahăvidyārājñi.
Avalokitesvara, being the compassionate Bodhisattva, takes numerous forms to lead people to Nirvāna. A Buddhist legend refers to his 333 incarnations. He manifests himself repeatedly for the purpose of saving mankind. His worship became popular in Northern India in the 3rd century A.D. and by the 7th century, he became the most popular of the Bodhisattvas. Fa-hien and Yuan Chwang speak of him with great reverence.
The Sadhanamäla describes fifteen different varieties of Avalokitesvara, in thirty-eight sådhanas (descriptive hymns). But these by no means exhaust all his forms. In the Macchandar Vahal of Kathmandu (Nepal), 108 different forms of him are painted. Some of these forms are described in the Tables that follow.
Tåră (Fig. 5), who accompanies him in later sculptures, is first mentioned in the Guhyasamaja (a first century text). It is, however, in the ManjuArlmula-kalpa that Tārās like Bhrkuti, Locană, Måmaki, Pändaraväsini, etc., are mentioned. They are described as Mahmudrās (great aids for yoga). Tără is described as the Vidyārājñi who is full of compassion and given to the alleviation of sufferings of worldly beings. The Mahāpratyangira.

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dharani, for the first time elevates Tără to the position of the highest deity. This work, found in Central Asia, describes her as of 'white colour' and noble mien, wearing a garland of vajras, holding a vajra in her hand, and having the figure of Vairocana on her crown. It is from the 7th century A.D. onwards that we find the exuberance of Tärä-stotras, and the goddess Tārā raised to the mothership of all Buddhas and made a companion of Avalokitesvara, the personification of love (maitri) and compassion (karuņā).
The Litany of Avalokitesvara (Pl. 170)
Avalokitesvara is the Bodhisattva who presides over the present Kalpa. He refuses to accept Nirvana since he considers such acceptance selfish. in view of the ignorance of the great majority of the people who have not yet attained that stage. He makes a deliberate choice and remains in this world with a view to guiding all men to the True Path. He will not accept Nirvana till they attain it. This sacrifice he makes out of his great compassion and love for mankind. Their misery is his misery. He sheds tears out of his great sorrow. It is in his nature, therefore, to rush to the succour of those who are in distress and who need his help. He is the Saviour, the Deliverer. In times of danger, he is the one to be invoked. All Hail! great compassionate Padmapāņi Bodhisattva, Mahāsattva! From the devouring fire, merciful one, deliver us; from the sword of the enemy, merciful Lord, deliver us! From captivity and slavery, merciful one, deliver us! from shipwreck, compassionate Lord, deliver us! From wild beasts, poisonous reptiles and enraged animals, great compassionate Lord, deliver us! From disease and death, great compassionate Lord, deliver us! Hail! Padmapāņi Bodhisattva! Hail! Amitabha Buddha!"
It is interesting to note that this invocation offered to Padmapāņi Avalokitesvara refers to dangers which were normally faced by traders and monks in olden days.
The Buddha's love for the trading class is wellknown. The Buddha had a great regard for the trading community since they hazarded so much, risked so much to make available to the people what was not easily available to them. There was no ordeal they were not required to face in their efforts to render service to mankind. They brought
⚫ Hymns in praise of Tără.
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things from far off countries and travelled by every means of conveyance then known to man. The sea was not always friendly. Sometimes it would run into a violent temper and lash out at the ships, tossing them about. Then the traders, faced with the grim prospect of getting drowned, would invoke Padmapāņi Bodhisattva to their rescue. Sometimes the traders and monks landed in hostile lands and were captured and enslaved. Sometimes they were put to the sword by an enraged enemy. In times like these, only the merciful Bodhisattva could come to their succour.
It is obvious, therefore, that this prayer to Padmapāņi was the prayer of traders and bhikkus (Buddhist monks). Since the fourth century A.D. or so the custom arose to invoke this god who presides over the present Kalpa. A body of traders would, therefore, commission a sthapati (priestarchitect) or a taksaka (sculptor) to carve this prayer on a rock face or on the wall of a chaitya. to ensure a safe journey through hostile jungles, hostile lands and a hostile sea. That is why we see this prayer carved on the various rock-temples of Western India.
MANJUSRI (Fig. 29. Pls. 171-172)
Bodhisattva Mañjuśri is the oldest of the Buddhist Bodhisattvas. He is assigned a place of pride in the Buddhist pantheon. His worship is supposed to confer upon the Sadhaka (disciple), wisdom, retentive memory, intelligence and eloquence. His name first occurs in the Mañjurimilakalpa and then in the Guhyasamajatantra. His name also appears in the Sukhavati Vyuha, in its smaller recension which was translated into Chinese between A.D. 384 and 417. Later Buddhist works refer to him very frequently. His images are found in the sculptures of Sarnath, Magadha, Bengal, Nepal and other places.
The Buddhist work Svyambhi Purana contends that Mañjuśri originally belonged to China, where he was living on the mount Pañchasirṣa (the Hill of Five Peaks) as a saint with a big following. Divine intuition told him of the Adi-Buddha's manifestation as a flame of fire on a lotus in the Kālihrada in Nepal, where he repaired forthwith, with his two wives, Kesini and Upakeśini, his king Dharmakara and other disciples. To reach the flame in the waters of the lake, he cut with his sword the southern barrier of hills and the water

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Vajrapāņi rarely appears alone. He is represented as a chauri-bearer attendant of the Buddha or stands as a dvărapăla (door-guardian) outside Buddha shrines. When he does so appear, he is always shown on the left of the Buddha, never on the right. Sometimes, he appears with Amitāyus (Manjusri) and Padmapāņi. In Nepalese miniatures, he is shown either on the left or the right of Tara. He is represented standing with his legs crossed and holding a vajra. In Gandhara sculptures, he accompanies the Buddha, holding a primitive form of vajra, with his legs crossed. Getty says that in Pander's Pantheon, he is represented seated with the legs locked. balancing the thunderbolt on his hands which lie in the meditation mudrā on his lap. He may also be seen making the bhumisparsa mudra, the thunderbolt being balanced on the palm of his left hand. on his lap. Vajrapani was also worshipped in Cambodia. At Bat Cum, in A.D. 953. three sanctuaries were dedicated to the triad of the Buddha, Prajnaparamiia and Vajrapani.
JAMBHALA (Pl. 179)
rushed through the opening. The land thus left dry is the Nepal Valley and the waters of the river Baghmati flow through this opening.
Chinese legend attributes his manifestation at Panchasirsa in the Shansi province to the instruction received by him from Gautama Buddha. To bring him into existence, Buddha emitted a ray from his forehead which pierced a jambu-tree. A lotus sprang from the tree and from the in- terior of the flower was born the prince of sages, Arya Manjusri. His colour was yellow; he had one face and two arms; in the right hand he brandished the Sword of Wisdom; in his left, he carried a book on a lotus; he was endowed with the superior and inferior marks of beauty; he was covered with many ornaments, and he was resplendent. Some call him the founder of civilization in Nepal. The first day of the year is dedicated to him. He is regarded as the God of Agriculture or as the Celestial Architect. He is the God of Science and with his Sword of Wisdom, destroys darkness and ignorance. Manjusri takes numerous forms. These are described in the Tables which follow the text. VAJRAPANI (Pls. 173-175)
Vajrapāņi belongs to the Vajra family of the Kuleka Akşobhya. He is the spiritual son of the Dhyāni Buddha Akşobhya and his Sakti Māmaki. His mantra is: 'Or! Vajrapāni hūm! He is either shown seated or standing. His cognizance is the vajra (thunderbolt) which he carries and which is usually held over a lotus (page 19). The thunderbolt is also held directly in the hand.
He is one of the eight principal Bodhisattvas mentioned in the Sadhanamälä. He is thus described in the Sadhana (a prayer. which also describes the deity) of Lokanatha:
Vajrapāņi is of white colour, carries the vajra in one hand and displays the abhaya mudrā in the other.
He is widely represented in Tibet and China.
Early Buddhist legend refers to him as a minor deity. He is also identified with Sakra or Indra. He is said to have been present at the birth of the Buddha in the Lumbini Gardens along with Brahma, the First of the Hindu Triad.
He is the protector of the Nāgas and assumes the Garuda (Eagle) form to protect them. In Japanese paintings of the Buddha's Mahăparinir- vāna (the final passing away), he is always shown as red.
Jambhala is the Buddhist god of Wealth. He is the Buddhist Kubera. The Kubera of the Hindus is the son of the sage Viśravas and is, therefore, known as Vaiśravama. He practised severe austerities for a thousand years and Brahmă made him god of Wealth, and gave him Lanka (Ceylon) as his capital. The Mahābhārata tells us that he was also presented with the aerial car Puspaka. which was very large and 'moved at the owner's will at marvellous speed.'
Kubera was also worshipped by the Buddhists. He became a Lokapāla (guardian of the quarter). The Nepalese statues show him holding a mongoose. But in many Indian images he is shown holding a long narrow bag of gold. In the Tibetan images, Jambhala holds a mongoose. The Lamas claim that the mongoose symbolises Kubera's victory over the Nāgas, the guardians of the treasures. The nakula, however, is merely a bag made of the skin of a mongoose. Oldenburg tells us that in Java the long narrow bag is rarely finished by the head of a mongoose as it is in Magadha, but the neck is left open and it looks like a mouth.
Kubera has two forms: Yi-dam and Dharmapåla. As the former, he is called Jaibhala. probably because in this form, he carries the

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Jambhara (lemon) in the right hand. In the left hand, he holds the mongoose vomitting jewels. He is always shown pot-bellied and wears rich ornaments. Both these are indicative of prosperity. One of his legs is usually pendant and rests on a lotus flower. I have chosen to style the Buddhist god of Wealth Jambhala for two reasons. Firstly, because he holds the Jambhara in the right hand according to the Sadhanamälä.
The Sädhanamälä refers to him as Jambhala, and a number of Sadhanas (prayers) are devoted to him. The fact that 16 Sadhanas are devoted to him is indicative of his popularity. One Sadhana describes him thus:
'Meditate upon the Bhagvan Jambhala of golden complexion, pot-bellied, adorned with all ornaments, holding a nakula in the left hand and a citrus fruit in the right and who bears the image of Ratnasambhava in his crown and holds the lotus and the rosary.'
The mongoose that Jambhala carries is supposed to be the receptacle of all the treasures, and when Jambhala presses the two sides of him, he vomits out jewels.
A Nepalese statue of Jambhala shows him seated in the savya-lalitasana (wtih right leg pendant). He carries a citron in the right hand and a pot of gold in the left. He is pot-bellied and wears rich ornaments. The Vikrampur Jambhala shows him seated in the savya-lalitasana. He is pot-bellied. He holds a citron in the right hand and a mongoose in the left. Ellora has eight sculptures of him in Cave Nos. 2, 6, 10, 11 and 12.
THE BUDDHA SAKTIS
The doctrine of the Dhyani Buddhas is a Vajrayāna product. The Northern Buddhists promulgated the doctrine of the five Skandhas: Rūpa, Vedanā, Samjna, Samskara, and Vijnanawhich are without beginning and without end. Vajrayana deified the Skandhas and made of them Dhyani Buddhas. Each of these raised a Kula with the help of his Sakti. Each of these has been given a cognizance. These are naturally of great importance for the study of their iconography. The symbols of the Kulesas are shared by their Saktis. Amitabha belongs to the Lotus family. Therefore, his Sakti Pändara (Fig. 2) and his Bodhisattva Avalokitesvara both display the lotus symbol; Aksobhya is of the Vajra family
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and his Sakti Māmaki (Fig. 3) and his Dhyani Bodhisattva Vajrapani both display the Vajra symbol; Vairocana whose recognition symbol is the discus, shares it with his Sakti Locană (Fig. 4) and his Bodhisattva Samantabhadra; Amoghasiddhi has the viśva-vajra as his symbol and so has his Sakti Tārā (Fig. 5) and his Bodhisattva Visväpāņi. Ratnasambhava has the jewel symbol and so has his Sakti Vajradhātiśvari (Fig. 6, Pl. 180). About the Saktis, there seems to be some controversy. Vajradhātiśvari is regarded as the Sakti of Vairocana by many scholars. Gordon considers Vajradhātiśvari to be the Sakti of Vairocana, Locanǎ of Akṣobhya, and Mamaki, that of Ratnasambhava. As regards Pāṇḍarā and Tara, there seems to be an agreement between the two schools.
These Dhyani Buddha Saktis are rarely carved. In the Ellora Caves, they appear only in Cave No. 12. They are also carved in Cave No. 7 at Aurangabad.
JANGULI (MANASA) (Fig. 36, Pl. 181)
The Buddhist serpent goddess Jāñguli can be recognized by the serpent which decorates her head-dress, the sarpa-kundalas (coiled cobra earrings) and the sarpa-mekhala (serpent waistband), etc. She can cure snake-bites and even prevent them. The Sadhanamālā says that she is as old as the Buddha himself. According to Mahayana texts, the secret of Janguli and the mantra (spell) of her worship are said to have been imparted to Ananda by Lord Buddha himself. Four Sadhanas give elaborate mantras for the extraction of poison from the snake-bitten. Her images are found in Tibet and China.
The worshipper should mediate himself as Arya Jañguli who is all white in complexion, four-armed, one-faced, wears the jață mukuta and a white scarf. She is decked in white ornaments of gems and white serpents and rests on an animal. She plays on the viņa with the two principal hands, carries the white snake in the second left and exhibits the protection mudra with the second right, and is radiant like the moon.
Dr. Asutosh Bhattacharyya, in an article in Folk-lore, has traced the history of serpent worship in India. In the process of Aryanizing the non-Aryans, the Aryans accepted a number of non-Aryan beliefs. The worship of the serpentgoddess was one such belief. In the eastern

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provinces of India (Bengal, parts of Bihar, Assam) and the Deccan, the indigenous worship continued. Here the serpent-goddess took anthropomorphic form. The Tantric school of Buddhism preached the worship of a serpent-goddess called Jänguli. According to the Mahāyāna texts, her worship is very ancient. In Mayurbhanj, N. N. Vasu found a number of stone images of Jāñgulitārā. In the Harşacharita, Bāṇabhatta refers to her as Jāngulikā. In Bengal, her worship was prevalent till the eighth century A.D. The worship of Jáñguli runs thus:
'I adore Jānguli, daughter of Sankara, remover of poison and born of a lotus. She is of golden appearance, handsome looking, lotus-faced, dazzling, endowed with the crest of mighty serpents, full of snakes, possessed of divine splendour.
The Buddhist goddess Jāñguli changed her name to Manasā under Hindu influence. But in parts of Bengal, even today she is worshipped as Jānguli.
The worship of Jänguli was prevalent in the Deccan too. Her symbol is the snake or viņā. Sometimes her vehicle is the snake.
Mandala, Cunda is assigned to the Dhyani Buddha Vairocana.
It was supposed that if the Dhāriņi mantras were repeatedly chanted with deep concentration and faith, out of the vibrations of these chantings. the deity would take concrete form and would remain with the Sadhaka (disciple), who would thereupon attain Siddhi (Enlightenment).
The goddess Cundā was thus the anthropomorphic form given by the Tantrayānists* to the Cunda Dharini. Cunda is also known by several other names like Cundrā, Canda, etc. She is first mentioned in the Manjusrimakalpa written in about A.D. 200. This work refers to her as Candra. The Gulyasamāja, a work of about A.D. 300, which is assigned to Asanga, calls her Cundavajri. She also finds a mention in the Sikşāsamuccaya of Săntideva.
Three Sadhanas of the Sâdhanamala are devoted to her worship. They describe how worship to her is to be offered. But the significance of worshipping her is nowhere stated. She is two, four or six-handed and holds a bowl in two hands.
The mantra of Cundā is: 'Om Chale Chule Cundā svāhā."
CUNDĀ (Pls. 183-184)
Under the polytheistic influence of Vajrayāna Buddhism, numerous gods and goddesses, minor and major, appeared in the Buddhist pantheon. This craze ultimately reached such a stage that even Virtues were given anthropomorphic forms. This is how the Paramitā goddesses were born. This is also how the Vasitā goddesses symbolizing the spiritual disciplines and the Bhūmis representing the spiritual spheres and the Dhāriņis re- presenting the sacred mantras came into existence (see under 'Philosophical Deities'). As soon as these were given human form, they were given cognizances and were affiliated to the Kulešas.
The Nigpannayogāvali gives a list of twelve Dhāriņis. These are: 1. Sumati, 2. Ratnolkā, 3. Usulaavijayā, 4. Māri, 5. Parnasabari, 6. Jānguli 7. Anantamukhi, 8. Cundā, 9. Prajñāvardhani, 10. Sarvakarmāvaranaviśodhani, 11. Akşyajñankarandi and 12. Sarvabuddhadharmakogavati. All these Dhāriņis are affiliated to the Kulesa Amoghasiddhi.
In the Nigpannayogāvall, and the Manjuvajra
TĀRĀ (Fig. 5, Pls. 169,182, 188, 189)
In early Aryan worship, the male gods alone had importance. From the Vedic period down to the period of the Grihya-sūtras, no goddess of any importance is mentioned. Rudrāni, Bhavāni or Umă are mentioned, but only in a subordinate context. In the Mahābhārata, however, Krishna advises Arjuna to offer prayers to Umā for achieving success in battle. Kyishma was thus the first to stress the importance of the Female Principle in worship.
In Mahāyāna worship too, there was a period when the Male Principle was exclusively adored. With the coming of Arya Asanga, however, in the 4th century A.D., a change took place in Mahāyāna worship. It was Asanga who enunciated the philosophy of Tantrism and thus the philosophy of Sunyată became grafted to Mahayāna. About this, there is much controversy. Bhattacharyya, Keith and many others regard Asanga as the founder of Tantrayāna. Sahu disputes this (see Buddhism in Orissa by N. R. Sahu, pp. 123-127). The adoration of the Female
• Followers of Tantric Buddhism (Tantrayāna).

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to as "Tără nama mahasaktih. It is interesting to note that in Hindu literature, she is referred to as a sea-goddess.
Tärā, the mother, who can control the rush of waters, is the chief of those saktis who navigate or guide the boats and have dark complexion.'
Hirananda Sastri states that no images of Tärā dating before the 6th century A.D. are known. The earliest epigraphic reference to her is made in a Nagari inscription of A.D. 778 of Chandi Kalasan in Java, which talks of a Sailendra prince doing homage to her.
MAHĀMĀYURI (Pls. 181, 190)
Principle was introduced in Buddhism in the form of the goddess Tārā. In the 7th century A.D., she took two distinct forms-White Tārā and Blue Tārā. In the succeeding centuries, her forms increased, making in all 21 Tārās.
By the 7th century A.D., with the open introduction of Sakti worship, White Tārā was declared to be the Sakti of Avalokitesvara. In the course of time, as the teachings of the Tantrayāna spread, the belief became general that a god was more likely to answer prayers when worshipped in company with his Sakti. This led to the making of the Yab-Yum images.
Getty tells us that Tārā was enrolled among the Northern Buddhist gods in the 6th century. Yuan Chwang informs us that there were many statues of her in Northern India. In the centu- ries that followed, her worship became very popular and it spread to Java during the Pala period.
Tārā is derived from the root 'tar' (to cross). Tārā helps to cross the "Ocean of Existence. The Tibetan translation of her means 'Saviouress.' The Tārā-Dhārani is very popular in Tibet.
The White Tārā and the Green Tärä are two important and distinct goddesses. The symbol of the former is the full-blown lotus while that of the latter is the utpala (water-lily) with the petals closed. The former represents 'day' and the latter 'night. Getty says that this symbolizes the willingness of Tārā to soothe human suffering by day as well as by night.'
The White Tārā is regarded as the consort of Avalokitesvara. Her right hand is in the boon- giving pose and the left holds the stalk of a full-blown lotus. When Täră appears as the Sakti of Amoghasiddhi, she is shown seated in the paryankāsana with her right hand in the boon-giving pose and the left holding a vibva-vajra over a lotus.
According to Hirananda Sastri, the cult of Tārā originated in Tibet.
Tärä holds a position of considerable eminence in the Buddhist pantheon. She is a Saviour Goddess, a Deliveress. She is the Sakti of Avalokitesvara as Umā is that of Mahesvara. In the Tantrayāna, Sakti assumed great importance. The male god was to be approached through his Sakti. Tārā was now conceived as the Mother Goddess. The Lalitopākhyāna of the Brahmanda Puräna refers to a goddess Tārā as "Tärämbā," which means "Tārā the Mother. She is referred
The worship of Mahāmāyūri was very popular in India, Nepal, Tibet, China and Japan. Mahamáyūri is the deification of a Magic Formula for curing snake bites. The Buddha himself is said to have been the author of this charm. The Jātakas narrate the story of the Buddha having been a Golden Goose in one of his previous births. He gave a golden feather to his family from time to time to enable them to live in comfort. The goddess Mahāmāyuri carries a golden peacock feather in one of her hands.
Mahāmāyūri is affiliated to the Dhyani Buddha Amoghasiddhi. She bears his image in the crown and is three-faced and six-armed. If she does not bear the image of Amoghasiddhi in the crown and is figured alone, she is represented as yellow in colour, one-headed, and two-armed. In her right hand she holds a peacock's feather, while the left hand is held in the varada mudră. The Sadhanamālā describes only the three-headed and six-headed forms of Mahāmāyüri. Gordon describes three forms of her which are usually portrayed in Tibet. Her mantra as given in the Sadhanamālā is: 'Om! Mahāmāyūri Vidyārāñjnau hùm hùm phat phat svāhā.”
Mahāmāyuri very frequently appears in a triad with Sitātārā and Mārici. In another triad she appears with Jānguli and Ekajață. As Queen of the Magic Art, she is shown three-faced and sixhanded or eight-handed. In Nepal she is looked upon as chief of the Five Protectresses (Pancharakshās). In Japan, she is called Kujaku Myo-o.
SARASVATI (Figs. 39-42, Pl. 165)
Under the influence of Vajrayana, a number of Hindu gods were assimilated into the Buddhist

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pantheon. of these, Ganeba and Sarasvati were carries a book in the left hand and a lotus in the the most important. Several Sadhanas in the right. As Vajrasarasvati, she holds the PrajñāSadhanamāla are assigned to them.
pāramită manuscript on a lotus in the left Sarasvati is the name of a river which is no hand. longer in existence. It was on the banks of this the mantra of Sarasvati tells us that the Sadhana ancient river that the early Aryans made their of Arya Sarasvati confers upon the disciple settlements. The Vedic civilization of this time was Prajñā (wisdom), Medha (memory) and Buddhi based on offerings and sacrifices. Many of the intelligence). It is in this form that Sarasvati is Vedic hymns were composed on the banks of this associated with Manjusri, the first Buddhist river. In the Rig Veda, the goddess is mentioned Bodhisattva. as the manifestation of a river called Sarasvati. In India and Tibet, Sarasvati is generally shown She is said to have refreshed Indra in his labours seated, holding with her two hands the viņā. In (R. V. 131). Gradually she became identified Tibet, she holds the vajra sometimes. Sarasvati with the Vedic Goddess Vāk. The Matsya-Purāna may have one face and two arms, in which case tells us as to how Brahmă consorted with Saras- her right hand is usually in the boon-giving vati. Brahma fell in love with her and it was out mudrā, while the left holds a white lotus. She of a desire to look at her continuously that he has a Tantra form in Tibet which is red, with three got five faces, one of which was later cut off by faces, six arms, a war-like pose and Tantra atRudra. The Rig Veda (X-61.5.7), the Maitrayani tributes. The Japanese goddess Benten is looked Samhita, the Satapatha Brāhmana and the Aitareya upon as a manifestation of Sarasvati. Ellora has Brähmana develop the story of this incest. three sculptures of Arya Sarasvati.
In the Pură nic period the river Sarasvati was deified. She became the Goddess of Learning.
BHRKUTI (Pls. 182, 191) Among the many Hindu gods and goddesses borrowed by the Buddhists, Sarasvati is the most The Sadhana of Bhrkuţi says that she is affiliimportant. In the Vajrayāna pantheon, herated to the Dhyani Buddha Amitabha. The popularity increased. Since she was the Hindu Sadhana of Avalokitesvara (as Khasarpana) ingoddess of learning, she was associated with forms us that Bhrkuţi accompanies him along Manjusri, the Buddhist God of Transcendental with Tärā, Sadhanakumāra and Hayagriva. Wisdom. As she was the consort of Brahma, she Avalokitesvara as Rakta-Lokesvara is again acbecame the Sakti of Manjusri. The Sadhana of companied by Bhşkuți and Tärä. When Bhrkuți Sarasvati says that her worship confers wisdom accompanies Khasarpana one of the two right and learning on the Sadhaka. She is also wor- hands is raised in the attitude of bowing, while shipped as a goddess of music and poetry.
the other carries the rosary. The two left hands The Buddhist Goddess of Wisdom was Prajñā. carry the trident and the vase. päramită. Under Tantric influence, she was re- Getty describes her as 'the goddess that frowns. placed by Sarasvati. It is interesting to note that As a matter of fact, in Tibet she is called "K" at Ellora, there is not a single sculpture of Prajna- rognyer-can-ma' (she whose face is wrinkled with pāramitā. It is obvious that here she has been anger). In Mongolia, she is called 'kilingtu eke replaced by Sarasvati. This was not difficult as (the angry mother). both the deities confer learning, intelligence and In the north, i.e., in Tibet, Mongolia, Japan. memory. Sarasvati became so popular in the etc., it is the violent form of Bh;kuți that is more course of time that her worship penetrated into commonly portrayed. In these sculptures or China and Japan.
bronzes, the lower right hand is held in the boonVarious forms of her are described in the giving attitude, sometimes also holding a lotus, Sadhanamāla. As Mahasarasvati, she shows the while the upper holds a rosary. In the left hands, boon-giving mudra in the right hand and holds she holds a tridanda (triple staff) and a vase. If a white lotus in the left. She is surrounded by she accompanies Amoghapåsa, a form of Avalofour deities identical in form to herself. As kitesvara, she is shown standing. Foucher has Vajraviņā Sarasvati, she holds a vina in her two translated a Sadhana of her, in which Bhşkuţi hands. As Vajrasärada she sits on a white lotus. stands reclined. As Blue Tärå, Bhrkuți has three In her crown is a moon. She is three-eyed and heads and six arms. She is shown standing some
WITH

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times, with legs crossed and a frown on her face. One of her right hands is in the protection attitude, the other holds a rosary, and the left hand holds a trident and a vase.
Two Sadhanas in the Sādhanamala are devoted to Bhrkuti. In the first Sadhana she is described thus: 'The goddess Bhşkuţi should be conceived as four-armed, one-faced and yellow in colour, three-eyed and as blooming with youth. She shows the boon-giving hand-pose and the rosary in the two right hands, and carries the tridandi (triple staff) and the kamandalu (vase) in the two left. Her crown is stamped with the effigy of Amitabha. She sits on the orb of the moon over a lotus. Thus meditating ....'
The other Sadhana of Bhrkuti describes her as wearing a jață mukuta. Her mantra as given in her Sadhana is: 'Om Bhrm svāhā.'
HĀRITI AND PANCIKA
(Pls. 185-187)
In return, the people promised to keep Håriti and her children supplied with food on the advice of the Buddha. Therefore, in all the viharas (monasteries) of Northern India, in Nepal and the North, the practice started of setting apart a part of their food for Hāriti and her 500 children. Yuan Chwang and I-tsing found an altar dedicated to Häriti in all the viharas of Northern India.
In sculptures, Hāriti is usually shown seated and sometimes standing. She is usually seated with a child at her breast or on her lap. She is accompanied by five children, which probably stand for her 500 children. She carries in one hand a pomegranate, the symbol of fecundity. Häriti occupies an important position in Buddhist literature. She stands as a symbol of the concept of Motherhood.
She became popular in India, Nepal, Tibet, China, Java, and Turkistan. In Gandhara sculptures she wears no crown. Her hair is, however, arranged like a mukuta. The Chandi Mendut of Java has a sculpture of her, seated on a throne, holding a child to her breast. A Central Asian fresco shows her with an elaborate hair-do. Weddell has described a Tibetan Sadhana of her, where she is described as red in colour, with a nakula (mongoose) in her hand. A Tibetan image of her shows her seated on a double-petalled lotus, with legs folded. She is two-handed. Her right hand holds a child to her bare breast and is in the boon-giving mudrā. The left hand presses a mongoose to the breast and holds a bowl of jewels.
Häriti is usually accompanied by her consort Pāñcikā. Her husband Pāñcikā belongs to the army of Kubera, and is a general. In Gandhara sculptures, he holds a lance in his right hand and a money bag in the left. In Northern and Western Indian sculptures, the lance disappears. A number of Hāriti-Pañcikā sculptures are depicted at Ajanta and Ellora.
There are many legends concerning Häriti. She was the sister of Yaksha Satagiri, the Protector of Rajagriha. Her name was Abhirati. She became the wife of Pāñcikā, the son of Pāñchāla, the Yaksha Protector of Gandhara. The marriage proved very fruitful and Abhirati became the mother of 500 children. Her youngest and most favoured son was Priyankara.
Abhirati was, however, very fond of eating children. She began making a feast of the children of Rajagriha. This earned her the name 'Hāriti' which meant the 'Stealer of Children.'
There were lamentations all over Rajagriha as Hāriti continued her feast. The people ultimately approached the Buddha and requested him to save their children from Hāriti. The Buddha carried away Priyankara, the youngest child of Hāriti. The Yakshi could not find her Priyankara anywhere in the house. She then began a search all over the world, but without success. Ultimately she came to the Buddha and requested him to restore her lost child to her. The Buddha said, 'O Hāriti! Why do you grieve so much if only one of your 500 children is lost? You had no pity when you devoured the children of the people of Rajagļiha.' Häriti repented her folly and agreed to follow the precepts of the Buddha. She agreed to give up eating human flesh. At this, there was grat rejoicing in Raja- griha.
THE PHILOSOPHICAL DEITIES
The Nispannayogāvali mentions a number of goddesses of a subsidiary nature. These have an important place in the Buddhist pantheon. These are Pāramitās, Vasitās, Bhūmis, and Dhäriņis, Each of these comprise twelve in number. All these have been given anthropomorphic form with their distinguishing iconography. The Paramitas are perfections of cardinal virtues, the Vasitās are

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spiritual disciplines, the Bhümis are spiritiual spheres, the Dhāriņis are sacred chains of words (mantras), the four Pratisamvits are branches of logical analysis. It is not customary to represent these deities in sculpture or painting. But the Chinese collection in Peking contains their statuettes, and so is unique.
The Twelve Pāramitās: Buddhism lays great emphasis on 'shila' or conduct. Men must cultivate virtue. A number of stories connected with the life of the Buddha narrate as to how in each of these previous lives the Buddha cultivated one virtue to perfection. These virtues that men must cultivate, were deified and given human form by the Vajrayānists in their craze for iconic worship. Of the several Pāramitā deities, Prajñāpāramitā became very popular with the Buddhists. She symbolises transcedental intuition. The Chinese collection has a representation of all these Pāramitā goddesses and these show the influence of the Nispannayogavalt.
The twelve Pāramitās are: Ratnapāramitā, Dänapäramită, Silapäramita, Kentipäramita, Vlyapāramith, Dhylnapiramita, Prajñāpāramith, Upayaparamita, Pranidhänapäramità, Balapäramitä, Jñänapäramitā, and Vajrakarmapāramitā.
Twelve Vasita Goddesses: For the spiritual liberation of man, discipline is essential. The Vašitā goddesses are disciplines which help the process of such regeneration. They emanate from the Dhyani Buddha Amitabha of the Lotus family and are mentioned in the Nispannayogavali. All these deities have been given human form and are faithfully represented in metal statuettes in the Chinese collection at Peking.
The twelve Vašitā goddesses are: Ayurvaśitā, Cittavasita, Pariṣkāravaśitā, Karmavaśitā, Upapattivaśitā, Ṛddhivaśitä, Adhimuktivaśitā, Pranidhānavaśitā, Jñānavaśitā, Dharmavaśitā, Tathatāvaśitā, and Buddhabodhiprabhavaśitā.
Twelve Bhumis: The Bhūmis are spiritual spheres through which a Bodhisattva has to move to reach Buddhahood. A Bodhisattva has to cultivate many virtues and qualities in his quest for Buddhahood. The Bhumis are arranged in order, one upon the other, in an ascending order of virtue. When the highest Bhumi is reached, the Bodhisattva attains Buddhahood. The Bhumis were originally ten in number. The Vajrayānists added two and made it twelve. They are described in the Nişpannayogavall and are represented in China.
The twelve Bhumis are: Adhimukticharya,
Pramuditā, Vimalā, Prabhakari, Archiṣmati, Sudurjaya, Abhimukhi, Durängamā, Achalā, Sadhumati, Dharmamegha, and Samantaprabhā. Twelve Dharinis: Tantrayana developed a very considerable amount of literature to assist the spiritual liberation of its followers. The Dhāriņis form one class of such literature. The Dharanis are mostly unmeaning strings of words which are required to be kept in memory, so that they may be repeated at will for the purpose of developing psychic powers.' The Dhariņis emanate from the Dhyani Buddha Amoghasiddhi of green colour.
The twelve Dharinis are: Sumati, Ratnolkā, Usniṣavijaya, Māri, Parṇaśabari, Jäñguli, Anantamukhi, Cunda, Prajñāvardhani, Sarvakarmavaraṇaviśodhini, Akṣayajñānakaraṇḍā, and Sarvabuddhadharmakoṣavati.
Four Pratisamvits: The Pratisamvits are branches of logical analysis known as Dharma (nature), Artha (analysis), Nirukti (etymological analysis) and Pratibhana (context). These were deified by the Vajrayānists and given anthropomorphic form.
The four Pratisamvits are: Dharma Pratisamvit, Artha Pratisamvit, Nirukti Pratisamvit, and Pratibhāna Pratisamvit.
THE MINOR DEITIES AND THEIR ICONOGRAPHY
GUARDIANS OF THE GATES
The Buddhist Guardians of the Gates or the Quarters owe their origin partially to their Hindu counterparts. Their origin is described in the Buddhist work Guhyasamāja. These guard the four principal quarters, the four intermediate quarters and the top and the bottom quarters. They are repeatedly mentioned in the Sadhanas. In the Nispannayogāvali, they are always present and their positions are always the same. They help protect the Teachings of the Lord. These Guardians are represented alone or with their Saktis in Yab-Yum (close embrace). Frequently, they appear in violent forms.
SIX GODDESSES OF DIRECTION
These six goddesses preside over the four cardinal directions and the top and bottom quarters. Their forms are described in the Nişpannavogavali and the Sadhanamālā.

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EIGHT USNISA GODS
The Usnisa gods are not gods of direction, yet they are placed in the four principal and four intermediate quarters. They show symbols similar to the Dhyani Buddhas, and their statues are found in China. The Nispannayogāvali describes these gods. They are all two-armed and one-faced. They are richly ornamented and sit on human beings.
FOUR MUSICAL INSTRUMENTS
The Buddhists have also deified the musical instruments. They are described as 'nude, violent in appearance, wearing garlands of skulls and severed heads and dancing in pratyālidha. They display the different instruments as their special symbols.'
FOUR DOOR GODDESSES
The Vajrayana Buddhists have deified the door planks, the lock, the key and the curtain since these protect the house from thieves. They are described in the Nigpannayogavalt as nude 'and, dancing in pratyālidha with fearful appearance.'
THE FIVE PROTECTRESS (PANCHARAKSHA) GODDESSES
The Pancharakshā goddesses are worshipped as a group and also individually. They are popular among the Mahāyāna Buddhists of Nepal. Pancha- rakshä manuscripts illustrating these deities are common in most Nepalese Buddhist homes. Their worship is supposed to confer long life. They protect men from evil spirits, disease, famines and from all possible damages that may befall mankind. They save men from illnesses and adver- sities of all kinds. The Pancharaksha Mandala is described in the Nigpannayogāvalt and the Sadhanamālā.
THE DAKINIS
The lesser goddesses called Däkinis can confer superhuman powers or Siddhi, and so worship is offered to them. They are either pacific or angry.
The Buddhists too have Eight Mothers, Goddesses of the Four Seasons, the Twelve Jewel Goddesses, etc.
HINDU GODS IN VAJRAYANA
BUDDHISM
TARAS OF FIVE COLOURS
Täră is the saviour goddess who helps mankind cross the Ocean of Existence. Her worship is very common as she is supposed to protect her devotees from all kinds of dangers. In their most common form, they exhibit the varada mudrā (boon-giving attitude) with the right hand and carry a lotus in the left hand.
EIGHT GAURI GROUP
These goddesses, popularly worshipped by the Vajrayānists, are described in the Nigpannayogávali and the Sädhanamālā. All these goddesses are 'violent in character with fearful appearance and ornaments, and garlands of heads. They dance in pratyālidha and show the raised index finger with clasped fist against the chest as the common gesture.
Buddhism being a religion of Indian origin, could not avoid the impact of Hinduism. As the Hindus made Buddha the ninth incarnation of Vishnu--though not a very flattering one-the Buddhists bodily lifted a number of gods and goddesses from the Hindu pantheon and incorporated them into their own. In the Buddhist pantheon they naturally play subordinate roles, like attending on the Buddha. But more frequently they were called upon to fill in more degrading roles. Many times they were used as vehicles by minor Buddhist deities and often they were trampled upon by others. Vishnu, Siva, Gauri, were all trampled upon in this manner by aggressive and violent Buddhist deities. Some others were more fortunate, viz., Sarasvati and Ganapati. As these Hindu gods were incorporated into the Buddhist pantheon, they became affiliated to the various Kulesas--the Dhyāni Buddhas. Thus they were fully converted to Buddhism, so much so that they came to be represented in the purely Buddhist atmosphere of China. Many of these Hindu gods are represented in the Chinese Buddhist collection at Peking. These gods are described in the Nispammayogåvall and the Sadhanamālā.
FOUR DANCE DEITIES
The Sadhanamālā and the Nixpannayogávali describe these four dance deities very frequently. They are violent in character, wear a garland of severed heads and dance in pratyālidha. Their common gesture is the tarjani mudră against the ehest,

Page #180

Mudras & Symbols
Colour
Vehicle
Asana
Sakti
Hands
Colour
AMITABHA
Asana
Red
Peacock
Dhyana
Lotus symbol. Two hands on Symbol--thunderbolt lap in attitude of meditation (dhyana): holds a bowl
Pändara
Two
Mudris and Symbols Two hands in attitude of meditation (dhyana) No symbol
KRAKUCCHANDA
AKSOBHYA
Meditation attitude, seated on lotus
Mudra-touching the earth (Bhüspar-a) If eight:
R.h.-thunderbolt, discus.
DHYANI BUDDHAS
lotus L.h.-bell, jewel, sword Two principal hands embrace Sakti
Blue
Elephant
Vajraparyanka (Adamantine
seat)
Mamaki or Locanā
Two or eight
KANAKAMUNI
R.h. protection (abhaya) L.h. meditation (dhyana) No symbol
VAIROCANA
Meditation (dhyana). seated on lotus
Mudra-dharmachakra (attidude of preaching Dharma or Doctrine) Symbol-discus (wheel) Two hands hold thunderbolt and in dharmachakra pose. Two in attitude of meditation; two right hands hold rosary and arrow; two left hands hold discus and bow
THE MORTAL (MANUSHI) BUDDHAS
White
Lion or dragon
Locanà, Vajradhâtisvari or Tärä
Two or eight
KASYAPA
R.h.boon-giving attitude (varada) L..h.vitarka pose
Yellow
Meditation; seated on lotus
AMOGHASIDDHI
Mudra-attitude of protection (abhaya). Symbol--thunderbolt (visva-vajra). R.h.-abhaya L.h.-dhyana holding visva-vajra
Green
Eagle (Garuda)
Meditation (dhyana)
Two
SAKYASIMHA (Gautama)
RATNASAMBHAVA (Fig. 8)
R.h.-boon-giving attitude (varada)
L.h.-in attitude of meditation (dhyana) holding Cintamani jewel Symbol--jewel
Meditation (dhyana): seated on lotus
Yellow
Lion
Mudras: (1) dharmachakra (preaching attitude): (2) meditation; (3) earth-touching attitude (bhuspar-a) or boon-giving attitude (varada). Symbol, bow!
Gold
Meditation (dhyana)
Vajradhätisvari or Māmaki
Two
MAITREYA
(Future Buddha) (fig. 10)
Preaching attitude, vase or wheel: Stupa in headdress or on forehead
Yellow
Standing or seated
122

Page #181

Symbols
Mudra
Colour
Hands
Other forms
Symbols
Mudra
Colour
Hands
Other
forms
SAMANTABHADRA
(Fig. 7)
Jewel
R.h.-boon-giving L.h.-sword on lotus
Yellow or bluc
Two or six
(1) R.h.-bunch of jewels L.h.-on hip
(2) Six-handed R.h.-thunderbolt, chopper and battle
axe
GANDHAHASTI (Fig. 25)
AKSAYAMATI (Fig. 11)
Sword or jar
R.h.-boon-giving L.h. clenched against chest
L.h.-bell. skull-cup and head of Brahma
R.h.---boon-giving
pose L.h.-trunk of an elephant on lotus or conch Green or whitish
green
Two
Golden yellow or white
Two
(1) R.h.-sword L.h.-protection pose and lotus
R.h.--conch containing sandal paste L.h. clenched left hand on hip
(2)
JNANAKETU (Fig. 26)
Elephant's trunk or Flag with Cintamani Jewel conch jewel
Holds in two hands bowl containing nectar of knowledge
R.h.--fag with jewel L.h.-boon-giving
Yellow or blue
BHADRAPALA
Two
R.h.-flag with jewel L.h.--clenched left hand on hip
Red or white
Two
BODHISATTVAS
KSITIGARBHA
(Fig. 12)
Kalpa tree or jar
R.h.-boon-giving L.h.-jewel
R.h.-earth-touching L.h.-lotus with the wish-giving tree (kalpavriksha)
Yellow or green
Two
Two
(1) Jar and protection (1) Cintamani jewel, pose and boon-giving attitude
R.h.-jewel L.h. clenched hand resting on hip
AKASAGARBHA (Fig. 13)
Jewel
R.h.---jewels L.h. Cintamani jewel
Green
SARVAPAYANJAHA
White
Act of removing sin or goad
With two hands displays act of removing all sins
Two
With both hands carries elephant goad
AMOGHADARSIN
(Fig. 28)
Lotus
Yellow
GAGANAGANJA
(Fig. 14)
Kalpa tree
R.h.-up towards sky L.h.-placed on hip,
holds thunderbolt
Two
Yellow or red
Two
(1) R.h.-Cintamani jewel
R.h.-lotus L.h. clenched and rests on hip
SURANGAMA (Fig. 27)
Sword
L.h.-bowl from which is suspended Kalpa
tree
(2) Blue lotus and
boon-giving pose with both hands (3) dharmagañja on lotus L.h.---on hip
R.h.-sword
L.h. clenched and rests on hip
White
RATNAPANI (Fig. 15)
Jewel or the moon
Two
R.h-jewel L.h.-disc of moon on lotus
Green
Two
VAJRAPANE
Thunderbolt
R.h.-protection attitude L.h.--thunderbolt
White
Two
123

Page #182

BODHISATTVAS (Contd.)
124
AVALOKITESVARA
SAGARMATI (Fig. 16)
VAJRAGARBHA (Fig. 17)
MAHASTITAMAPRAPTA (Fig. 18)
CHANDRAPRABITA (Fig. 19)
JALINIPRABHA (Fig. 20)
Symbols
Sea-wave or conch
Book-Dashabhumika Scripture
Lotus
Six lotuses or sword
Moon on lotus
Sun-dise
Mudra
Both hands outstret- ched and fingers dis- playing sea-waves
R.I.-thunderbolt L.H. --book
R.h.-- boon-giving atti- tude L.h.-holds lotus
R.h.-boon-giving L.h.--bunch of six full-blown lotuses
R.A.-boon-giving L.h.-disc of moon on lotus
R.A. - boon-giving atutude L.h.-disc of sun on lotus
Colour
White
Blue
White
White or yellow
White
Red
Hands
Twe
Two
Two
Two
Other forms
R.A.-conch Lh.-sword marked with thunderbolt
R.h.-blue lotus L.h.-clenched left rests un hip
R.h.-sword L.H.-lotus
Two
Two (1) R.h.-discus marked (1) R..--sword with thunderbolt
L.h.--disc of sun L.h.-disc of
on lotus moon on lotus (2) R.). -moon on lotus (2) R.h.--cage with
L.H.--clenched and thunderbolt mark on hip
L..-clenched and on hip
AMITAPRABHA (Fig. 20)
PRATIBHANAKUT (Fig. 22)
SARVASOKATAMONIR- GHATAMATI (Fig. 23)
SARVANIVARANAVISKAMBHI (Fig. 24)
MAITREYA (Fig. 10)
MANJUSRI (Fig. 29)
Stat
Sword and book
Symbols Mudra
Jar R.N. - jar of nectar on crown of head L.h.--clenched and on hip
Whip R.h.-whip L.h.-clenched and placed on lap
R.h.-statt L.A.-clenched and placed on hip
R.I.--thumb and index finger joined together in clenched hand, dis- playing act of pacifi- cation L. h earth-louching attitude
Nägakesara flower Two principal hands- preaching attitude R.h.-boon-giving L.h.twig of Nägake sara flower
Sword and book Six arms R.h.-sword, boon-giving and arrow L..-Prajnaparamita book, blue lotus and bow
Colour
White or red
Yellow, green or red
whitish yellow or yellow
White or blue
Golden yellow
Golden
Hands
Other forms
Two or four
Two, four or six R.h.-Nagakosara flower Sword and book L.h.-mendicant bowl
Two Two Two
Two (1) holding jar in two 11 R.I.whip (1) with two hands. R.h.-boon-giving hands
L.h.--sword on lotus joining palm to and jewel (2) R.h.- double lotus (2) R.h.--crown on palm, displays L.H.-boon-giving and 1..h.-jar on lotus lotus
attitude of striking jewel L..--clenched (2) R.h.-thunderbolt and placed on hip with 5 thongs
L.A. - javelin (Sakti)

Page #183

BUDDHIST DEITIES
(Pls. 156-191)
DHYANI BUDDHAS AND MAJOR BODHISATTVAS
AKSOBHYA
VAIROCANA
VARADHARA Adi-Buddha
(Fig. 1)
VARAMATTVA.
(Fig. 9)
AMITABHA (Fig. 21)
AMOGHASIDDHI
(Fig. 28)
Symbols
Thunderbolt and bell R.6.-thunderbolt in two principal hands; L.h.-bell two right hands carry sword and goad; two left hands carry skullcup and noose
Lotus symbol. Two hands in meditation pose
Thunderbolt. Touching Wheel. Attitude the Earth attitude of preaching (Bhūsparía)
Double thunderbolt Protection attitude
Vehicle
Peacock
Elephant
Lion or Dragon
Eagle
Hands
Six
Two
Two
Two or eight
Two
Two or eight ?
Isana
Meditation
Meditation
Meditation
Adamantine pose
Meditation
AVALOKITESVARA
VDRAPANI
RATNASAMBHAVA
(Fig. 8)
MAITREYA (Fig. 10)
MANJUSRI (Fig. 29)
RATNAPANI (Fig. 15)
JNANAKETU (Fig. 26)
Symbols
Cintamani jewel
Sword and book
Preaching attitude L.h.-Nāgakesara
flower R.H.--boon-giving
pose
Lotus L..--holds lotus R.h.-protection pose
R.h.-protection pose L.h.--thunderbolt
Rh-jewel L.h.-disc of moon on lotus
R.H.-flag with jewel L..-boon-giving
pose or resting on hip
Vehicle
Lion
Hands
Two
Two, four
Two, four or six
Two
Two
Two
Vajraparanka or Vajrasana. See page 109.
125

Page #184

BUDDHIST GODDESSES (SAKTIS)
LOCANA (Fig. 4)
MAMAKI (Fig. 3)
VAIRADHATISVARI
(Fig. 6)
PANDARA (Fig. 2)
Vairocana
Akşobhya
Ratnasambhava
Amitabha
White
Blue
Yellow
Rose
Dhyoni Buddha Colour A sana Symbols
One leg pendant
One leg pendant
One leg pendant Preaching attitude or vitarka and varada. Holds stem of lotus supporting a jewel
One leg pendant Holds blue lotus
Carries stems of flowers. supporting a thunderbolt and skull-cup or two thunderbolts
Carries stems of flowers. supporting three peacockfeathers
BHRKUTI
EK AJATA
PARNASABARI
JANGULI (Fig. 36)
Dhyāni Buddha Symbols
TARA (Fig. 5) Amoghasiddhi Double-vajra on lotus
R.h.--boon-giving pose
and rosary L. h tridandi (staff with three horns) and vase
R.h.-knife L.h.-skull-cup
Protection attitude. Plays lute with principal hands. Serpent in second left or trident, peacock-feather and snake
R.h.--thunderbolt, battle-axc.
arrow L.h.-tarjanl with noose.
cluster of leaves. bow
Vehicle
Vighnas (Gane-a) Blue
Green
Yellow
Colour Hands
Four
A suna
One log pendant
Misc.
Vitarka and varada. Carries stems of lotus, supporting double thunderbolt
ARYA MARICI
Symbols
R..-needle L.h.--string
CUNDA R.h.---boon-giving pose L.H.--book on lotus. Two
other hands carry book on lofus
MAHAMAYURI R.h.-peacock-fcathers.
arrow and boon-giving pose L.A.-jewel, bow and water
vessel on lap
Vehicle
Colour
Pig Yellow Two
White
Green
Harids
Two to twenty-six
sis

Page #185

Symbols
Mudra
Vehicle
Colour
Asana
Hands
Faces
Misc.
Other forms
VAJRARAGA
(Samadhi) Meditation
-
White
Adamantine pose (vajraparyanka)
Two
One
Decked in princely
ornaments
DHARMADHATU VAGISVARA
Bow, arrow, noose & goad, book & sword, bell & thunderbolt
Reddish white
With one foot pendant (lalita)
Eight
Four
Displays the sentiment of passionate love
Preaching attitude,
arrow & vessel in
stead of noose & goad
BODHISATTVA MANJUSRI-HIS FORMS
MANJUGHOSA
Lotus in left hand.. Preaching with 2 hands. Image of Akṣobhya in crown
Lion
Golden yellow
Two
One
Decked in ornaments
SIDDHAIKAYIRA (Pl. 172)
R.h.-boon-giving
pose
L.h.-holds blue lotus
Adamantine pose
Two
One
Accompanied by four deities: Jāliniprabha. Chandraprabha. Kesini & Upakešini
VAJRANANGA
Two principal hands hold bow of flowers & arrow of lotus bud R.h.-sword & mirror L.h.-lotus & Asoka bough
Yellow
Right foot raised (pratyalidha)
Four or six
Akṣobhya in jatā crown. Displays emotion of love for he is the Buddhist God of love
NAMASANGITI
MANJUSRI (Fig 30)
Bow, arrow, book & sword
Reddish white
Adamantine pose
Four
Three
Decked in princely ornaments
VAGISVARA
Lotus (Utpala) L.h.-lotus R.h.-in graceful attitude
Lion
Red or yellow
Right knee raised and left leg crossed (ardhaparyanka)
111
127

Page #186

BODHISATTVA MANJUSRI (Contd.)
128
ARAPACANA
STHIRACAKRA
MANJUKUMARA
VADIRAT
MANJUVARA
RA
MANJUVAJRA (Fig. 31)
(Pls. 171)
Book & sword
Sword
Symbols
Prajnaparamita book on lotus
Preaching (vyakhyāna)
Boon-giving pose and sword
Mudra
Preaching attitude
With two hands embraces his Śakti: sword, arrow, bow, lotus
L.h.--Prajnaparamita book, lotus, bow R.h.-sword, arrow, boon-giving pose
R.H.-sword L.H.-Prajitaparamita book held against chest
Animal
Tiger
Sits op moon or lion
Lion
Sits op moon, supported by lotus
Vehicle
Adamantine pose
Asana
With one foot pendant Adamantine pose (lalita)
Right knee raised left leg crossed (ardhaparyanka)
White or red
White
Colour
Red or golden yellow
Golden yellow
Red
Two
Two
Two
Six
Hands
Six
Two
One
One
One
Three
Faces
One
Three
Decked in various ornaments
Mix,
Displays sentiment of love
Displays sentiment of love Decked in princely ornaments
Four companions: Companion : sakti. Jalinikumara (or Displays sentiment Suryaprabha) in front of passionate love. Chandrapratha behind. Decked in princely Kesint on right, ornaments Upakesint on left. Displays sentiment of passionate love
Other forms
R.A.-sword, boongiving, arrow Lk-Prajiāpāramita book, blue lotus and bow

Page #187

BODHISATTVA AVALOKITESVARA-HIS FORMS
KHASARPANA
SADAKSARI-LOKESVARA (Pls. 163-164) Rosary & lotus
SIMHANADA (Fig. 32)
HALAHALA
LOKANATHA (Fig. 33) Lotus
Symbols
Lotus
Sword on lotus Trident entwined by snake
Mudrā
R.H.-boon-giving pose L.H.-stem of lotus
Rh-boon-giving pose L.h.-lotus
Two hands in anjali mudra clasped against the chest R.h.-rosary L.h.-lotus
R.h.--varada, rosary, arrow L.A.-bow, lotus, and one touches Sakti
Vechicle
Lion Maharajalila
Asanu
Lalita or ardhaparyajika
With one foot pendant (lalitaparyanka or vajraparyanka)
White
White
White
White
White
Colour Hands
Four
Two
Six
Faces
One
Misc.
On Right-Mawidhara Crown of matted hair with same colour & same Clad in tiger-skin hands. On left-Sadaksari. No ornaments Mahavidyā with identical form sitting on another lotus
Companions : Tarà in front, Sudhanakumāra on right, Bhrkuti on west and Hayagriva on north
One Usually alone. Sometimes with Tara & Hayagriva
Three Amitabha in jata crown. Decked in ornaments. Crescent & skull-cup on head. To right side of Halahala & his Sakti, trident entwined by snake and on left, skull-cup on lotus
Other forms
In Mandala, accompanied by Maitreya, Ksitigarbha, Vajrapani, Khagarbha, Vishkambhin, Samantabhadra, Manjughosa, Gaganaganja & Dhupa, Pushpa, Gandhā & Dipa (goddesses) & Vajrankusi, Vajrapasi, Vajrasphota & Vajraghanta (guardians of four gates)
129

Page #188

BODHISATTVA AVALOKITESVARA (Contd.)
130
PADMANARTTESVAR
TRAILOK YAVASANKARA
MAYAJALAKRAMA
HARIHARIHARIVAHANA (Fig. 34)
RAKTA-LOKESVARA (Pls, 166-168) Noose, goad, bow & arrow
Symbols
Double lotus in all hands
Noose & goad
-
Mudra
Double lotus in all the 18 hands
R.h.-Buddha, rosary & preaching pose L.h. staff, deer-skin, vase
R.I.-drum, ritual wand, goad, noose, thunderbolt, arrow L.h.-raised index finger, skull-cup, red lotus, the jewel. discus, bow
Vehicle A sanu
Lion, Eagle & Vishuu -
Adamantine pose
Standing or seated
Dancing in ardhaparyank- asana
Colour Hands
White Six
Red Four
Faces
With left foot raised (pratyalidha) Blue Twelve Five He is nude & wears a garland of heads
Red Two One Decked in celestial garments & ornaments Limbs reddened by the intense sentiment of passion
Eighteen One Amitabha in jaţă crown. Right & left sides occupied by Tårå, Sudhana, Bhrkuţi and Hayagriva. Decked in divinc ornaments & dress
Misc.
Lion is lowermost, on it r ides Eagle. On back of Eagle rides Hindu god Vishyu. On the shoulder of Vishnu rides Lokeśvara Crown of matted hair
Companions : Tárd on right & Bhrkuti on left Holds red lotus in left hand, opens its petals with the right. Decked in ornaments
SUGATISANDARSANA
PRETASANTARPITA
SUKHAVATI LOKESVARA
Symbols Mudra
NILAKANTHA Bowl of jewels Two hands in meditation. hold skull-cup filled with gems
R.h.-varada, abhaya, rosary L.h.-lotus, water-pot. staff
1st pair of hands, varada 2nd pair, jewel & book 3rd pair, rosary & staff with three horns
R.
h arrow, rosary, varada pose L.H.-bow, lotus. Third placed on thigh of Tárā
VAJRADHARMA Lotus L.A. - lotus with 16 petals R.H.--causes lotus to blossom against chest Peacock
Vechicle Colour Asuna
White
White
Yellow Adamantine pose
Lalita
Six
Hands Fuces Misc.
Six One Crown of matted hair Decked in ornaments
White Lalita (with one foot pendant) Six Three Companion: Sakti. Surrounded by goddesses Vajratārā, Visvatārā. Padmatárá, etc.
Two One Jaţă crown shows crescent & Amitābha. Wears a tigerskin & no ornaments. His throat shows the blue pill of poison. The two sides of god occupied by two cobras with jewels on their hoods and fails entwined with each other
Two One Bears effigies of five Dhyāni Buddhas in crown. Displays sentiment of love
Decked in ornaments

Page #189

DHYANI BUDDHA AMITABHA-HIS EMANATIONS
GODS
GODDESSES TARODBHAVA KURUKULLA
MAHABALA
SUKLA KURUKULLA
UDDIYANA KURUKULLA
Symbols Mudra
SAPTASATIKA HAYAGRIVA (Fig. 35) Thunderbolt & staff R.h.-thunderbolt L..--staff
R.h.-white staff& fly-whisk L.h-mudră of bowing & raised index finger
Vehicle Colour A sana
Rosary and bowl of lotus R.h.-rosary L.H.-cup of lotus full of Nectar Animal White Adamantine pose Two
R.h.-bow, red lotus Bow & arrow in principal L..- abhaya & arrow arms. Second pair holds
goad of flowers & red lotus Kamadeva & Rati on Rahu Corpse Red
Red Adamantine pose Ardhaparyanka Four
Four
Red
Two
Hands Faces Misc.
Red Pratyālidha (Right foot raised) Four One Hair tied by snake. Wears ornaments of snakes. His face looks terrible. Effigy of Amitabha in crown
Protrudils on the otheads
Protruding belly & horsehead. Wears serpent ornaments & a garland of skulls. Tramples the world. Amitabha in jaţă crown. Horse's head over the principal head
Goddess looks fierce, wears a garland of heads. five skulls on the head, protruding teeth & tongue
Jaţă crown with Amitabha. Amitabha in crown her hair tied up by serpent Displays amorous senti- Ananta : her necklace is ments Vasuki ; her ear ornament is Taknaka; her sacred thread is Karkkotaka : her girdic is Padma, the lord of serpents ; her Nupura (anklet) is the serpent Mahapadma She displays the sentiment of passionate love
GODDESSES
ASTABHUJA KURUKULLA
MAYAJALAKRAMA KURUKULLA
BHRKUTI (Pls. 182, 191)
MAHASITAVATI
Symbols Mudrā
R.-.-rosary & varada pose L.h.-thunderbolt & book
Vehicle Colour A sana Hands Mise.
Trailokyavijaya mudrà with first Trailokyavijaya mudră with first R.h.-attitude of bowing or pair of hands
pair of hands; abhaya & sprout of varada & rosary. R.
h elephant goad, arrow & Kunda flower with second & rosary L.H.-tridandi (staff with three varada pose & vase in the third
horns) & vase L.h.noose, bow & lotus
Serpent Taksaka Red Red
Yellow Adamantine pose (vajraparyanka) Adamantine pose Eight Six
Four Decked in ornaments. Companions:
Her crown shows on east-Prasannatāra, on south
effigy of Amitabha Nispannatara; on west-Jayatārā; on north—Karpdatārā; on northeast petal-Cundā; on east petal Aparajita : on south-westPradiptārā ; on north-westGauritară
Red Ardhaparyanka Four Effigy of Amitabha in crown Decked in ornaments
131

Page #190

DHYANI BUDDHA AKSOBHYA-HIS EMANATIONS
132
GODS
CANDAROSANA
HERUKA
HEVAJRA
BUDDHAKAPALA
SAMBARA
SAPTAKSARA
Symbols
Thunderbolt & skull
Thunderbolt & bell
Sword & tarjanipasa (tarjani with noose)
cup
Mudra
Thunderbolt & skull cup R.h.--thunderbolt L.h.---skull-cup full of blood
R.A.-sword L.h.-noose round the raised index finger against the chest
R..-thunderbolt in R.I.-kartri (knife), raised hand
drum L.h.-skull-cup marked L.h.-ritual wand & with vajra, embraces skull-cup his Prajña Nairātmā
R..--skull-cup, ritual wand, trident L.h.--thunderbolt, bell, human skin
Vehicle
Kälaratri
Kälaratri
Colour
Yellow
Blue
Blue
Asana
Seated with right knee raised (ardhaparyauka)
Dances in ardhapar- yanka
Blue Dancing in ardhapar yanka
Blue Left foot raised (ālidha)
Left foot raised (alidha)
Hands
Two
Two
Two
Four
Two
Six
Faces
One
One
One
Three
Misc.
Squint eyed. Terrible face. Wears on his crown a garland of heads
Stands on a corpse. From his left shoulder hangs a ritual wand with a flowing banner
Gigantic in stature; garlands of heads. Akşobhya in crown. Embraced on left by Prajña Citrasena
Ak obhya in crown. Six deities on six spokes Visva-vajra in head of the Sun-wheel on dress. Tramples upon which he stands. From Bhairava & Kalaratri. right-Heruki, VajraMatted hair. Embraced värähi, Ghoracandi, by Sakti Vajravärähi Vajrabhaskari,
Vajraraudri, Vajradākini
Other forms
Four-armed with other two hands embraces Śakti Vajravärähi Sir-armed-3-faced L.H.-bell, bow, skullcup;R.h.--vajra, arrow, trident
Four-faces & 12-armed: R.h.-vajra & vajramarked bell, elephantskin, drum, axe, knife (kartri), trident L.h.-vajra, vajra-marked bell, ritual wand, skull-cup. noose & Brahma's head

Page #191

DHYANI BUDDHA AKSOBHYA-HIS EMANATIONS (Contd.)
VIGHNANTAKA
VAJRAHUNKARA
BHUTADAMARA
VAJRAJVALANALARKA
Symbols
Thunderbolt & bell
Thunderbolt & tarjan mudra
Tarjanipasa (tarjani with noose) & thunderbolt R.I.-thunderbolt L.h.noose held by index finger
Mudra
Two hands locked in the vajrahünkara mudră hold thunderbolt & bell
R.I.-thunderbolt. L.h.-tarjanl mudrā Makes bhutadămara mudra with two hands
R.I.--thunderbolt, sword, wheel, arrow
L.1.-bell, bow, noose and ritual wand
Vehicle
siva
Aparajita
Vishyu and his wife
Asana
Right foot raised (pratyalidha)
Right foot raised (pratyalidha)
With left foot raised (alidha)
Colour
Blue
Black
Blue
Hands
Two
Four
Eight
Faces
Four
Misc.
Tramples upon Bhairava Lcoks terrible
Looks angry. Decked in serpent ornaments
Other forms
(1) Three-faced, six-armed: With two principal hands holos vajra & ghanţă. Other hands hold goad, noose, skull-cup & ritual wand
NOTE : Except for Jambhala, all the male emanations of Aksobhya are terrific in appearance, with twisted and fanged faces, protruding tongues, blood-shot
eyes, etc. They wear ornaments made up of snakes and garlands of skulls.
133

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DHYANI RUDDHA AKSOBHYA-HIS EMANATIONS (Contd.)
134
JAMBHALA (PI. 179)
UCCHUSMA JAMBHALA
MAHAMAYA
HAYAGRIVA (Fig. 35)
KRISHNAYAMARI
RAKTAYAMARI
Symbols
Skull-cup, staff
Staff
R.I.-skull-cup L.h.--mongoose
Mudrá
Skull-cup, arrow, ritual wand, bow
R.h. thunderbolt, stall, R.N.-white staff karava pose & raised arrow L.H.--skull-cup L.h.--raised index finger touches breast, lotus, bow
R.A.---staff marked with thunderbolt L..-raised index finger with noose against chest
R.h.--citron, goad, arrow L.h. embraces Prajña with one, mongoose. arrow
Kubera vomitting jewels
Vehicle
Buffalo
Colour
Blue
Asante
Red Right foot raised (pratyalidha) Two
Right foot raised (pratyālidha
Blue Right foot raised (pratyalidha) Two One
Hands
Faces
Red With one foot pendant
(lalita) Four
Eight Four
Three Terrible in appearance. Ak obhya in crown Row of skulis in headdress Companions : eastVajradākini , southRatnadākini : westPadmadākini: northVisvadākini
One Akyobhya in crown Ornaments of snakes
Six Three Aksobhya in matted hair
Misc.
Appears as a child of five years. Ornaments of snakes. Akşobhya in crown. Protruding belly Terrible face
Other forms -
(1) Three-faced, four-urmed:
R.h.-mudgara, sword
L.h.-lotus & jewel (2) Three or six-faced.
six-armed: R.H.-sword, mudgara, thunderbolt L.l.-ball, vajra, noose, wooden pestle Rides on a buffalo

Page #193

DHYANI BUDDHA AKSOBHYA-HIS EMANATIONS (Contd.)
TRAILOKYAVUJAYA
PARAMASYA
YOWAMBARA
KALACAKRA
Symbols
GODDESSES MAHACINATARA
JANGULI (PI. 181)
Snake or lute R..-sword, knife Abhaya. Plays lute with L.H.-lotus, skull-cup principal hands. Snake
in second left & abhaya mudrå with second right
Mudrá
Vairahūnkāra mudra R.h.double thunder. with two hands bearing bolt raised upwards. bell & thunderbolt sword, arrow against chest
L..staff with double R.h.-ritual wand lotus, dart, staff & bow goad arrow L ---bow. noose & vajra
Principal hands-vajra & vajra-marked bell Rh.-breast, arrow L.h.lotus bowl & bow
R.H.-vajra, sword, tri- dent, knife, fire, arrow, vajra & goad, discus, knife, rod, axe L.h.-bell, plate, ritual wand, skull-cup, bow. noose, jewel, lotus, mirror, vajra, chain & severed head of Brahma
Vehicle
Gauri & Siva
Four gods & four goddesses (Indra, Indrāni. Sri, Rati, etc.)
Corpse
Colour
Blue
Blue
Blue
A sana
Dances in alidha
Light
Hands Faces
Twenty-four
Four
Four
Right foot raised (pratyalidha) Four One Garland of heads, short protruding belly, looks terrible. Serpent ornaments
One
Right foot raised Right foot raised (pratyalidha)
(pratyäldha) Eight
Six Four Four
Three Tramples upon head of Four legs. Tramples InSiva with left leg. Right drāyi & sri with one right presses upon bosom of leg. Rati & Priti with the Gauri
other right leg. Tramples Indra & Madhukara with one left leg & Jayakara & Vasanta with the other left leg
Alise.
Jată crown
Other forms -
(1) Symbols-trident,
peacock's feathers,
snake (2) Three-faced, six
armed: R.h.-sword, vajra. arrow L.H.-tarjani with noose, blue lotus, bow
135

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Symbols
Mudra
Vehicle
Colour
Asana
Hands
Faces
Misc.
Other forms
EKAJATA
Knife, skull-cup R.h.-knife L.h.-skull-cup
Blue
Right foot raised (pratyalidha)
Two
One
Looks terrible
(1) Four-armed: R.h.-arrow, sword L.h.-bow, skull (2) Eight-armed: R.h.-sword, arrow, vajra, knife
L.h.-bow, lotus, battleaxe, skull
DHYANI BUDDHA AKSOBHYA-HIS EMANATIONS (Contd.)
VIDYUJVALAKARALI
R.h.-sword, vajra, wheel, jewel, goad, arrow, dart, mudgara, wooden pestle, knife, drum, rosary. L.h.-bow, noose, tarjani, banner, mace, trident. wine glass, lotus, bell, battleaxe, Brahma's skull-cup
GODDESSES
Twelve
Protruding tongue. Looks terrible. Wears garland of skulls, ornaments of snake
PARNASABARI (Fig. 37)
Indra, Brahmä, Vishnu. Šiva Vighnas (Ganesa)
Blue
Yellow
Right foot raised (pratyalidha)
Right foot raised (pratyalidha)
Twenty-one
SITAPRAJNAPARAMITA
R.h.-vajra, battle-axe. R.h.-red lotus
arrow
book
L.h.-tarjani with noose, cluster of leaves, bow
Six
Three
Decked in ornaments. Jaţa crown with flowers. Image of Aksobhya in crown
Lotus & book
L..-Prajnaparamita
White
Adamantine pose (vajraparyanka)
Two
One
Decked in ornaments. Beautiful face, pleasant expression
PITAPRAJNAPARAMITA
Book on lotus to the left
Preaching attitude with two hands. On left a lotus, on a book
Yellow
Adamantine pose
Two
One
Aksobhya in jata crown
KANAKAPRAJNAPARAMITA
Book on lotus on two sides
Dharmachakra pose
Golden
Adamantine pose
136

Page #195

Symbols
Mudrā
Vehicle
Colour
Asana
Hands
Faces
Misc.
VAJRACARCIKA MAHAMANTRANUSARINI
Emaciated body
R.h.-thunderbolt, sword, wheel pose L.h.-skull-cup, jewel, lotus
Corpse
Red
Dancing in ardhaparyanka
Six
Looks terrible. Garland of human heads. Akṣobhya in
crown
DHYANI BUDDHA AKSOBHYA-HIS EMANATIONS (Concld.)
Blue
R.h.-thunderbolt, varada R.h.-sword, goad,
L.h.-battle-axe, noose
Four
One
Ak obhya in crown
MAHAPRATYANGIRA
(GODDESSES)
varada pose L.h.-tarjani with noose. red lotus, trident
Blue
Six
One
Akrobhya in crown
DHVAJAGRAKEYURA
R.h.-sword, noose L.h.-ritual wand. wheel
Blue
Right foot raised (pratyalidha)
Four
Three
Has protruding belly. Five shrivelled heads on head
Four-faced, 4armed:
R.h.-sword, wheel L.h.-tarjani with noose, wooden pestle A trident hangs from her left shoulder
VASUDHARA
Ears of corn
R.h.-varada L.h.-ears of corn
Yellow
Two
Decked in ornaments Akṣobhya in crown. Com
panions: In front Śrivasundară; on right Vasusri: on west ŚrivasamukhĮ and on left Vasu
mati ri
NAIRATMA
Knife & skullcup
R.h.-knife L.h.-skullcup & ritual wand
Corpse lying on its back
Blue
Dancing in ardhaparyanka
I 1
Akṣobhya in crown.
Terrible face
JNANADAKINI
R.h.-ritual wand, axe. thunderbolt
L.k.-bell. skull-cup. sword
—
Blue
Six
Three
VAJRAVIDARANI
R.h.-goad, sword, thun
derbolt.
varada pose L.h.-noose,
shield, bow, flag & abhaya
pose
Ten
Five
137

Page #196

DHYANI BUDDHA VAIROCANA-HIS EMANATIONS
138
NAMASANGITE
ARYA MARICI
MARICI ASOKAKANTA
MARICI PICUVA
UBHAYAVARAHANANA
Symbols
Needle & string
Needle & string
Two sow-faces
Mudra
R.h.--needle L.h.-string
Battle-axe, noose, bow. arrow, vajra, leaves of Asoka
Left hand touching
the Asoka bough R.h.-abhaya, anjali, sword R.h.-boon-giving pose on double-vajra, tarpaya, L.H.-bough of Asoka tree kşepana, dhyana L.h.abhaya, anjali, ritual wand, tarpaņa, keepana, dhyāna
Pig White
Yellow Adamantine pose
Standing
R.h.--needle, goad, spear (Bhindipāla), sword, knife, staff L.h.-tarjani, Asoka bough. vajrankuňa, skull-cup, head of Brahma, vessel
Vehicle Colour A sana
Pig Yellow Standing
Right foot raised (älidha)
Hands Faces Misc.
Twelve One Jaţă crown with ornaments
Chariot of seven pigs Yellow With right foot raised (alidha) Eight Three Vairocana in crown. She is surrounded by four god- desses-Varttāli, Vadali. Varáli & Varahamukhi. Sews up eyes & mouths of the wicked with the needle & string
Vairocana in crown
Vairocana in crown
Twelve Three Vairocana in crown Tramples Hindu gods Hara. Hari & Brahma
DASABHUJASITA MARICI
USNISAVIJAYA
SITATAPATRA APARAJITA
VAJRADHATVISVARI MARICI
(Pl. 180)
Symbols Mudra
R.I.--sun, blue thunderbolt, arrow, goad and needle L.h.---moon, bow, Afoka bough. noose with tarjani and string
R.I.-sword, wooden pestle, arrow. goad, thunderbolt, battle-axe L./. --noose, skull-cup. Asoka bough severed head of Brahma, bow and trident
Buddha on lotus R.h.--double thunderbolt, Buddha on lotus, arrow and varada pose L.h.-bow, noose with tarjani. abhaya. vessel
R..-wheel, goad and arrow L.h.-thunderbolt. arrow and noose with tarjant
Vehicle Colour Asana
Chariot of seven pigs White
White
White
Hands Faces Misc.
Six
Left leg bent and raised forward. right leg straight & thrown behind Twelve Six Vairocana in crown
Ten Five Four legs. Tramples Indra, śiva, Vishnu and Brahma. Vairocana in crown. Accompanied by three goddesses
Eight Three Decked in ornaments. Vairocana in crown
Three
Angry look. Wears celestial ornaments

Page #197

DHYANI BUDDHA VAIROCANA-HIS EMANATIONS (Contd.)
MAHASAHASRAPRAMARDANI
VAJRAVARAHL
CUNDA (Pls. 169, 183, 184)
GRAHAMATRIKA
Symbols
Excrescence near the right ear
Book on lotus
Midra
R.J. ---sword, arrow and varada poseL..--bow, noose, battle-axe
Two hands hold bowl R.h.boon-giving pose L.H.-book on lotus
Preaching attitude with principal hands R..--thunderbolt, arrow L.H.---lotus, bow
Vehicle
Colour
White
Red
White
A sana
Dancing in ardhaparyarika
Admantine pose
Hands
Two or four
Two, four, sixteen, eighteen, or twenty-six
Six
Faces
One
One
Three
Misc.
Double thunderbolt on head
Decked in ornaments. Young and beautiful. Displays sentiment of love. Vairocana in crown
Other forms
---
(1) Colour--Red
Appearance-Nude Asana-Pratyālidha Symbols-Vajra-tarjani &
skull-cup (2) Symbols ---Knife & skull-cup
Asana-Dancing in ardhaparyanka
Vehicle-Corpse lying on back (3) Appearance-Terrible
Arnis--Four Asana-Alidha
(1) Rosary & vase (2) R..-club (mudgara), knife
L.h.-lotus & staff (3) Sixteen-handed: R.h.-boon
giving pose, thunderbolt, discus, club, dagger, ?, rosary L.h.--vessel, axe, trident, bow, dagger, ?, sceptre
139

Page #198

DHYANI BUDDHA AMOGHASIDDHI-HIS EMANATIONS
140
VAJRAMRITA
KHADIRAVANI-TARA
MAHASRI-IARA
VASYA-TAKA
KADRHUJA-SITALAKA
DHANADA-TARA
Symbols Objects in hund
Blue lotus
Lotus R.H.-boon-giving pose Two hands in preaching R.H.-buon-giving pose L.H.-blue lotus attitude
LJ.---lotus
Principal hands hold thunderbolt and bell & embraces Prajna R.A.-discus, sword L.h.-noose & goad
R.J.boon-giving pose. K.N.-rosary, boonrosary, arrow
giving pose L.h.-blue lotus.
L.H.-lotus, book lotus, bow
Vehicle
Animal Green
Colour
Green
Asana
Two
Four
Hunds Faces Mite.
Six Three
Green Green Green
White Sitting or standing
Hoth legs pendant Dancing attitude : (bhadrasana)
standing on one foot. one foot lifted
(ardhaparyanka) Two
Six One
Three Compunions : to her Companions : Ekajata Amoghasiddhi in Amoghasiddhi in jata right-Asokakanta on left. Asokakanta on crown. No companions crown. Head decorated Marici : on left- right, Arya-Janguli
with five severed heads Ekajata. Amoghasiddhi behind Ekajațà :
and crescent. Decked in crown Mahamayurl on
in ornaments extreme right
Onc
Amoghasiddhi in crown
SITA-TARA
PARNASABARI
MAHAMAYURI
VAJR ASRINK HALA
VAJRAGANDHARI
Sysmbols Objects in hunds
Uipala (lotus), mudra with two hands R.H.--varada. with Cintamavi jewel L.h.-lotus bud
R.h.--thunderbolt, battleaxe, arrow L.h.-bow, cluster of leaves. noose with tarjani pose
R.h.-peacock's feathers. arrow & varada pose L.H.- jewel, bow & watervessel on lar
Chain R.H.-protection pose, thunderbolt, thunderboltchain, arrow L..skull-cup, noose with Tarjani, bow
R.h.-thunderbolt, bell marked with vajra, sword, trident, arrow, discus L.h.-ritual wand, goud bow. battle-axe, noose, tarjani against chest
Vehicle Colour Asunu
White
Diseases in human formi Green Left leg raised (pratyalidha)
Left leg raised (pratyalidha)
Green With one leg pendant (lalita) Eight Three Amoghasiddhi in crown
Twelve
Hands Faces Misc.
Green Dancing attitude: standing on one foot, one foot lifted Six Three Decked in wonderful ornaments Displays sentiment of passionate love Amoyhasiddhi in crown
Four One Images of five Dhyāni Buddhas in crown. Decked in ornaments Companions : Marici on right & Mahamayūri on left
Six
Three Six Amoghasiddhi in crown Tramples under feet diseases Decked in tiger-skin
• Only Vajramrita is a male deity. All the other emanations are female.

Page #199

MAHAPRATISARA
R.h. --sword, thunderbolt, arrow, varada, parasol L.h.-bow. banner, jewel, battle-axc. conch
DHYANI BUDDHA RATNASAMBHAVA--HIS EMANATIONS GODS
GODDESSES JAMBHALA UCCHUSMA JAMBHALA
VAJRATARA Symbols Objects in hands with two principal hands embraces R.H.-skull-cup
R.H.-thunderbolt, noose, arrow, Vasudhārā L.M.-mongoose
conch R.H.--thunderbolt & sword
L.h.--lotus, bow, goad, raised L.h.-emerald & lotus
tarjani Vehicle
Kubera Colour White
Golden yellow A sand Adamantine pose
Left leg stretched
forward (pratyalidha) Hands Six
Eight Fuces Three
Four Misc.
Left leg on forehead of Kubera. Right leg tramples two legs of Kubera. Terrible in appearance.
protruding belly Cher forms
Yellow With one foot pendant (alita)
Ten Three Ratnasambhava in crown Celestial ornaments
(1) Four-faced, eight-armed: R.h.--sword, wheel, trident, arrow L.h.-battle-axe, bow, noose, thunderbolt
GODDESSES
PRASANNATARA
Symbols Objects in hands
VASUDHARA Ears of corn R.I.--boon-giving pose L.h.--ears of corn on a vessel
APARAJITA Trampling upon Gaveka R.h.--slapping attitude
VAJRAYOGINI Knife & severed head R.h.-knife with which she has severed her own head L.h.-her own severed head, cut by herself
(Chapatedāna)
L.h.--noose on index finger
R.H.-ritual wand, lotus, arrow, thunderbolt, goad, staff, knife, abhaya pose L.H.-noose with tarjani, skull-cup. bow, ritual wand, thunderbolt, noose. head of Brahma, vessel of gems
Vehicle Colour Asana
Yellow
Yellow
Yellow Right foot raised (ālidha) Two
Two
Hands Faces Misc.
Yellow Left foot raised (pratyālidha) Sixteen Eight Necklace of heads
Onc
Face awful, terrible, ferocious Destroyer of all wicked beings
Nude
Other forms
Two One Ratnasambhava in crown Decked in o.naments One-faced, six-armed: Lalita attitude R.H.--namaskāra (attitude of adoration), boon-giving pose cars of corn L.h.-book, ears of corn, vessel containing jewels
(1) Yellow Form: yellow; two-armed: knife and skull-cup as symbols (2) Red Form: Colour--red Vehicle-corpse Symbols--thunderbolt & skull-cup Asana-alidha
141

Page #200

Dhyani Buddha
Symbols
Mudra
Asana
Colour
Symbol
Åsane
PANDARA (Fig. 2, Pl. 182)
Amitabha
Colour
Arms
Faces
Objects in hands
Holds blue lotus
Vitarka & boon-giving
With one foot pendant (lalita)
Rose
MAHAPRATISARA
Jewel
Adamantine pose
Yellow
Twelve
Four
MAMAKI
(Fig. 3)
Aksobhya
R.h.-jewel, discus. thunderbolt, arrow, sword & varada pose L.h.-thunderbolt, noose. trident, bow, axe & conch
SAKTIS OF DHYANI BUDDHAS
Holds flowers which support thunderbolt & skull-cup or two thunderbolts at shoulder level Vitarka & boon-giving
With one foot pendant (lalita)
Blue
MAHASAHASRAPKAMARDANI
Discus
With one foot pendant
White
Ten
Four
TARA
(Fig. 5. Pls 182, 188, 189) Amoghasiddhi
Holds lotuses supporting double thunderbolts at shoulder level
* There is some controversy about the Saktis. Some regard Vajradhätisvari as the Sakti of Vairocana. Locana of Aksobhya, and Mamaki of Ratnasambhava.
R.h.-eight-spoked wheel on lotus, varada, goad. arrow, sword L..-thunderbolt, raised index finger (tarjani). noose, bow & Roose
Vitarka & boon-giving
With one foot pendant (lalita)
Green
PANCHARAKSHA MANDALA (FIVE PROTECTRESSES)
MAHAMANTRANUSARINI
Thunderbolt
Adamantine pose
LOCANA
(Fig. 4)
Vairocana
Holds lotuses supporting Cintamani jewel and a triangle at shoulder level
2) Two hands in meditation
Dharmachakra, boongiving or vitarka mudras
R.h.-thunderbolt & arrow. varada & abhaya poses L.h.-raised index finger with noose, bow, jewel, jar
With one foot pendant (lalita)
White
MAHASITAVATI
Bluc
Twelve
Three
1) Two hands in preaching R.h.-lotus with abhaya. attitude arrow, thunderbolt & sword
Lotus
Seated with right nee raised
(ardhaparyanka)
Red
Eight
Three
VAJRADHATISVARI
(Fig. 6, Pl. 180)
Ratnasambhava
L..-noose with tarjani. bow, jewel banner. book against chest
Flowers supporting three maryūrapiccha (peacock feathers) at shoulder level
Vitarka & boon-giving
With one foot pendant (lalita)
Yellow
MAHAMAYURI
Mendicant on bowl
Green
Eight
Three
R.h.-jewel, arrow, varada & sword
L.h.-mendicant on bowl. bow, jar on lap showering jewels, banner marked with double thunderbolt & jewel
142

Page #201

Symbols Arms
Colour Objects in hands
Symbols
Arms
Colour
Objects in hands
Symbols Armis
Colour
Objects in hands
RATNAPARAMITA
Moon on lotus
Two
Red
DHYANAPARAMITA
White lotus
DANAPARAMITA
Ears of corn
Two
JNANAPARAMITA Bodhi tree
Two
White
R.h.--flag with Cintamani jewel
L.h.-Bodhi tree
R.h.-flag with Cintamani jewel
L.h.-disc of moon on lotus L.h.-ears of corn
THE TWELVE PARAMITAS
White-red
R.h.-flag with Cintamani jewel
PRAJNAPARAMITA
Manuscript on lotus
Two
Sky colour
L.h.-white lotus
R.h.-flag with Cintamani Two principal hands in jewel dharmachakra mudrā R.h.-flag with Cintamani jewel
L.h.-manuscript on lotus
Four
Yellow
VAJRAKARMAPARAMITA
Double thunderbolt on lotus
Two
Variegated
R.h.-flag with Cintamani
tree
L.h.-Double thunderbolt on lotus
SILAPARAMITA
Flowery discus
Two
White
R.h.-flag with Cintamani jewel
L.h.-flowery discus
UPAYAPARAMITA
Thunderbolt on lotus
Тио
Green
R.h.-flag with Cintamani jewel
L.h.-thunderbolt on lotus
KSANTIPARAMITA
White lotus
Two
Green
R..-flag with Cintamani jewel
L.h.-white lotus
PRANIDHANAPARAMITA
Sword on lotus
Two
Blue
R.h.-flag with Cintamani
jewel
L.h.-sword on lotus
VIRYAPARAMITA
Blue lotus
Two
Green
R.h.-flag with Cintamani jewel
L.h.-blue lotus
BALAPARAMITA
Manuscript
Two
Red
R.h.-flag with Cintamani
jewel
L.h.-manuscript
143

Page #202

Asana
Objects in hands Companions
Asana Objects in hands
Asana
Objects in hunds
KHADIRAVANI TARA
Asana Objects in hands
Companions and Misc.
R.h.-boon-giving L.h.-night lotus Aśokakantā Mārici
Asana
Objects in hands Companions and Misc.
DURGOTTARINI IARA
ASTAMAHABHAYA Seated with right knee raised
Four hands-nouse & goad in first pair of hands: lotus & varada in second pair
Companions Surrounded by ten goddesses
Alone
VAJRATARA
FKAJATA
Four-faced, eight-armed Ten goddesses Ratnasambhava in crown
VASYA TARA
With both legs pendant (bhadrasana)
MRITYUVANCANA TARA
Adamantine pose Wheel on her chest
No companions
Already described (p. 134) Akṣobhya in crown
DHANADA TARA
TARAS OF FIVE COLOURS
GREEN TARA
First pair of hands--book & rosary second pair-lotus & varada
Mahāmāyūri and Mārici
JANGULL
ARYA TARA
Seated with right knee raised (ardhaparyanka)
Alone
WHITE TARA
CHATURBHUJA-SITATARA
JANGULI
Two hands in utpala mudra. Lotus and varada in other two
MAHACINA TARA
Akşobhya in crown
Trident. peacock's feathers. Three faced, six-armed snake & abhaya
Three-faced, six-armed Akṣobhya in crown
YELLOW TARA
VISVAMATA
R.I.-abhaya L.h.-white lotus
BLUE TARA
PARNASABARI
MAHATTARI TARA Adamantine pose
Alone
RED TARA Bears image of Amitabha in crown
PARNASABARI
KURUKULLA
Rosary and bowl of lotus
Three-faced, six-armed
VARADA PARA
Seated with right knee raised (ardhaparyauka)
Aśokakäntä Mārici. Mahāmāyüri, Ekajață & Jänguli
BHRKUTI
JANGULI
Plays lute with first pair of hands. White serpent and abhaya in second pair
One-faced, four-armed R.h.-varada and rosary L.h.-tridandi and vase

Page #203

TWELVE VASITA GODDESSES
CITTAVASITA
UPPATTIVASITA
Symbol Arms Colour Objects in hands
AYURVASITA Image of Buddha Two Whitish-red R.h.-lotus L.h.- image of Buddha
Thunderbolt Two White R.h.-Ictus L.H.--thunderbolt
PARISKARAVASITA Cintāmayi flag Two Yellow R.A.-lotus L.H.-Cintamani flag
KARMAVASITA Double thunderbolt Two Green
Creepers Two Mixed R.h.--lotus L.h.--creepers
RUDDHIVASITA Sun & moon on lotus Two Green R.H.-lotus L.h.--sun & moon on lotus
R..--lotus L.H.-double thunderbolt
JNANAVASITA
TATHATAVASITA
Symbol Arms Colour Objects in hunds
ADHIMUKTĪVASITA Priyangu flower Two White R.H.-lotus L.H.-Priyangu flower
PRANIDHANAVASITA Blue lotus Two Yellow R.h.-lotus L.H.--blue lotus
Bunch of jewels Two
DHARMAVASITA Bowl of lotus Two White R.h-lotus L.H.-bowl on lotus
Sword on lotus Two Whitish-blue R.h.-lotus L.H.---Sword on lotus
BUDDHABODHIPRABHAVASITA Discus on banner Two Yellow R.h.-lotus L.h.-discus on banner
White
R.h.lotus L.h.-bunch of jewels
TWELVE BHUMIS
VIMALA
PRABHAKARI
ARCISMATI
ADHIMUKTICARYA Red lotus
Symbol Arms Colour Objects in hands
PRAMUDITA Jewel Two Red R.h.-thunderbolt L.H.-jewel
White lotus Two White R.h.--thunderbolt L.h.-white lotus
Sun on lotus Two Red R.h.--thunderbolt L.I.-sun on lotus
Blue lotus Two Green R.h.--thunderbolt L.h.-blue lotus
SUDURJAYA Emerald Two Yellow R.h.--thunderbolt L.h.-emerald
R.h.--thunderbolt L.h.-red lotus
DURANGAMA
ACALA
SADHUMATI
DHARMAMEGHA
SAMANTAPRABHA
ABHIMUKHI Manuscript
Symbol
Sword on lotus
Manuscript
Image of Amitabha
Thunderbolt on lotus
Two
Two
White
Double thunderbolt on double lotus Two Green R.h.-thunderbolt L.h.double thunderbolt on double lotus
Arms Colour Objects in hands
Red
Two Yellow R.I.--thunderbolt L.h.-manuscript
Two White R.H.-thunderbolt L.h.-sword on lotus
Two Blue R.h.--thunderbolt L.h.-manuscript
R.h.--thunderbolt L.h.--thunderbolt on lotus
R.h.--thunderbolt L.h.-image of Amitabha
145

Page #204

Symbol
Arms
Colour
Objects in hands
Symbol
Arms
Colour
Objects in hands
SUMATI
Ears of corn
Two
Yellow
R.h.-double
thunderbolt
L.h.-ears of corn
ANANTAMUKHI
Jar
Two
Green
R.h.-double thunderbolt L.h.-jar
RATNOLKA
Symbol Arms
Colour
Objects in hands
Cintamani flag
Two
Red
R.h.-double thunderbolt L.h.-Cintamani flag
CUNDA
Rosary with vase
Two
White
R.h.-double
thunderbolt
L.h.-rosary with vase
DHARMA-PRATISAMVIT
Goad & noose
Two
Whitish-red
Goad & noose
TWELVE DHARINIS
USNISAVIJAYA
Jar of moonstones
Two
White
R.h.-double thunderbolt
L.h.-jar of moonstones
PRAJNAVARDHANI
Sword
Two
White
R.h.-double thunderbolt L.h.-sword
MARI
Needle & string
Two
Reddish-white
R.h.-double thunderbolt
L.h.-needle & string
SARVAKARMAVARANA
VİSODHANI
Thunderbolt
Two
Green
R.h.-double thunderbolt L.h.-thunderbolt
FOUR PRATISAMVITS
PARNASABARI
Peacock's feathers
Two
Green
R.h.-double thunderbolt
L.h.-peacock's feathers
AKSAYAJANAKARANDA
Basket
Two
Red
R.h.-double thunderbolt L.h.-basket
JANGULI
NIRUK TI-PRATISAMVIT
Chain
Two
Red
Chain in two hands
Flowers
Two
White
R.h.-double thunderbolt L.h.-flowers
SARVABUDDHADHARMA
ARTHA-PRATISAMVIT
Noose
LECCE
Two
Green Jewel & noose
KOSAVATI
Trunk full of jewels
Two
Yellow
R.h.-double thunderbolt L.h.-trunk
PRATIBHANA-PRATISAMVIT
Bell
Two Green
Holds bell in two hands
146

Page #205

TEN BUDDHIST GODS OF DIRECTION
YAMANTAKA
PRAJNANTAKA
PADMANTAKA
VIGHNANTAKA
TAKKIRAJA
South
Direction Colour
Six
Arms Faces
Six
East Blue Six Three Two principal handsSakti. Other four hands hammer marked with thunderbolt, sword, jewel & lotus
West White
Red Six Three
Three Two principal hands-Sakti. Two principal handsOther hands--staff marked Sakti with thunderbolt, sword, Other hands-red lotus, jewel & lotus
sword, jewel & discus
North
South-East Green
Blue Six Three
Three Two principal hands- Two principal handsSakti
Sakti Other hands-thunderbolt, Other hands---blue stall, sword, jewel & lotus sword, jewel & lotus
Objects in hands
NILADANDA
MAHABALA
ACALA
USNISA
SUMBHARAJA
North-West Blue
Direction Colour Arnis Faces Objects in hands
Six
South-West Blue Six Three Two principal handsSakti Other hands-blue stail, sword, jewel & lotus
Three Two principal handsSakti Other hands--trident, sword, jewel & lotus
North-East Blue Six Three Two principal hands- Sakti Other hands—sword, thunderbolt, jewel & lotus
Up Yellow Six Three Two principal handsOther hands----yellow dis- cus, sword, jewel & lotus
Down Blue Six Three Two principal handsSakti Other hands thunderbolt, sword, jewel & lotus
Śakti"
SIX BUDDHIST GODDESSES OF DIRECTION
VAJRAPASI
VAJRASPHOTA
VAJRAGHANTA
USNISA VIJAYA
SUMBHA
Bell
Discus Up White
Noose South Yellow Two
Noose of snake Down
VAJRANKUSI Goad East White Two One Rh.-goad L.H.raised index finger
Symbol Direction Colour Arms Faces Objects in hands
Blue
Chain West Red Two One R.h.-chain L.h.-raised index finger
North Green Two One R.H.-bell L.H.-raised index finger
Two
One
R.h.-noose L.H.-raised index finger
One Rh.-discus L.H.-raised index finger
Two One Rh.---noose of snake L.h-raised index finger
inted index finger L'he raised index
147

Page #206

EIGHT USNISA GODS*
148
VAJROSNISA
VISVOSNISA
TEJOSNISA
PADMOSNISA Dhyāna (meditation)
DHVAJOSNISA Cintāmani flag
Symbol
RATNOSNISA Varada (boon-giving attitude) South
Bhusparsa (earthtouching attitude)
Sun
Abhaya (protection)
Direction
East
West
South-East
South-West
Colour
White
Blue
Red
North Green Shows abhaya mudră
Whitish-red
Objects in hands
Shows bhūsparsa mudra
Shows varada mudră
Shows dhyāna mudră
R.h.-disc of sun L.h.-on hip
Reddish-blue Holds Cintamani flag with two hands
CHHATROSNISA
Parasol
TIKSNOSNISA Sword & book North-West Sky-green R.h.-sword L.h.-book
Symbol Direction Colour Objects in hands
North-East
White
Holds chhatra (parasol) with two hands
SIX DAKINIS
BUDDHA-DAKINI
VAJRA-DAKINI
RATNA-DAKINI
PADMA-DAKINI
KARMA-DAKINI
VISHVA-DAKINI
Symbols
Wheel, skull-cup & ritual wand
Thunderbolt, skull-cup. & ritual wand
Jewel, skull-cup & ritual wand Yellow
Lotus, skull-cup, & ritual wand
Sword, skull-cup & ritual wand Green
Double thunderbolt, skull-cup & ritual wand Blue
Colour
White
Blue
Red
EIGHT MOTHERS
LASYA
MALA
PUSPA
DHUPA
DIPA
GANDHA
Symbols
Mirror
Garland
GITA Lyre Red
NRTYA Dancing Green
Perfume vase
Flower White
Incense vase Yellow
Lamp Red
Colour
White
Yellow
Green
FOUR GODDESSES OF THE SEASONS SUMMER (Grismadevi)
AUTUMA (Saraddevi) Battle-axe & skull-cup
Chopper & skull-cup Blue yak
Deer Red
Yellow
WINTER (Hemantadevi) Hammer & skull-cup
SPRING (Vasantadevi) Symbols Sword & skull-cup Vehicle
Yellow mule Colour Blue
• All are with one face and two arms.
Camel
Blue

Page #207

FOUR DANCE DEITIES
LASYA
GITA
NRTYA
MALA (MALYA) Garland Red
Symbol Colour Arms Mudra
Läsyä dance Red Two Two hands arranged in Läsya act
Indian gong Reddish-white Two Two hands engaged in playing on the Indian gong
Thunderbolt Mixed Two Two hands hold thunderbolt
Two
Holds in her two hands garland of jewels
FOUR MUSICAL INSTRUMENTS
VAMSA
VINA
MUKUNDA
Symbol
MURAJA Murajā instrument
Flute
Lute
Mukunda instrument
Colour Arms Mudra
Red Two Holds flute in two hands & plays on it
Yellow Two Plays on lute with two hands
White
Smoky Two
Two Plays on instrument called Mukundā Plays on Muraja instrument
FOUR DOOR GODDESSES
KUNCI
PATADHARINI
Symbol Colour
TALIKA Lock White Two Holds the lock in her two hands
Кеу Yellow Two Holds the keys in two hands
KAPATA Planks Red Two Holds door planks in two hands
Curtain Blue
Arms Mudrà
Two
Holds curtain in two hands
FOUR LIGHT GODDESSES
SURYAHASTA
DIPA
RATNOLKA
Symbol Colour Arms Mudru
Sun White Two Holds in her hands disc of the sun
Light stick Blue : Two Holds in her hands the light stick
Jewel Yellow Two Holds the jewel in her hands
TADITKARA Lightning Green Two Holds in lightning
her
hands creeper-like
• Mukunda and murajă are the names of musical instruments.
149

Page #208

HINDU DEITIES OF VAJRAYANA
150
THE PRINCIPAL GODS AND GODDESSES
BRAHMA
VISHNU
MAHESVARA
VARAHI
KARTTIKEYA
Symbo!
Hen
Fish
Vehicle
Swan
Eagle
Bull
Peacock
Owl
Colour
Yellow
White
Red
Blue
Arms
Four
Four
Four
Six
Four
Objects in hands
Two principal hands in anjali, carry rosary & lotus. Other two hands-staff & vase
Principal hands-wheel & conch. Other two-mace & bow
Principal hands in añjali over head. Other twotrident & skull-cup
Six faces. Four hands. Two in añjali mudra R.H.-javelin & thunderbolt L.h.-holds hen
Two in añjali mudra R.h.-rohita fish L.h.---skull-cup
CHAMUNDA
BHRNGI
GANAPATI
Symbol
Elephant-face
Vehicle
Corpse
Rat
Colour
Bluc
White
Red Four
Armis
Four
Four
Objects in hands
Two in añjali mudra R.h.--knife L.H.-skull-cup
Two in añjali mudra R.H.-rosary L.H.-vase
R.h.--trident & sweetmeat balls L.h.--battle-axe and radish (mülaka)
Other forms
Ses page 151

Page #209

HINDU DEITIES OF VAJRAYANA (Contd.)
MAHAKALA.
GANAPATIHRDAYA (Probably Sakti of Ganapati)
GANAPATI (as in Sidhanamila)
NANDIKESVARA
Symbols
Knife & skull-cup
Murajā drum
Vehicle
Mouse
Arms
Two
Twelve
Blue
Asuna
Dancing
Dancing in ardhaparyarika
Two
Colour
Blue
Red
Faces
One
One
Objects in hands
Rh.---knife (or trident) L.h.-skull-cup
Two hands in boon-giving & protection attitudes
Sits on Murajā drum & plays on Murajā
R.h.--axe, arrow, goad, thunderbolt, sword & trident L.h.wooden pestle, bow, ritual wand, skull-cup full of blood, skull-cup of dried meat & phatka (whip)
Other forms
See page 150
(1) Four-armed: knife & skull-cup in
principal hands & sword & ritual wand in
second pair (2) Six-armed:
R.11.-knife, rosary, drum L.H.-skull-cup, trident, noose with
thunderbolt (3) Sixteen-armed & eight-faced, 4-legs :
R.H.-knife, thunderbolt, elephant-hide, sword, trident, sword, staff of Yama L..-skull-cup full of blood, elephant-hide, bell, goad, white chowrie, drum & human head surrounded by seven goddesses
151

Page #210

HINDU DEITIES OF VAJRAYANA (Contd.)
152
SARASVATI-HER FORMS
MAHA-SARASVATI (Fig. 39) Boon-giving pese & lotus
VAJRA-SARASVATI (Fig. 42)
VAJRAVINA-SARASVATI (Fig. 40) Lute
ARYA-SARASVATI (PI. 165) Prajñāpāramita on lotus
VAJRASARADA (Fig. 41) Lotus & book
Symbols
Arms
Two
Two
Two
Colour
White
White
With left leg raised (pratyälldha)
A sana
Lute held in two hands
Objects in hands
Rh.-boon-giving pose L.h.-lotus
R.I.-lotus L.h.—book
L.h.-stalk of lotus on which is placed the Prajnaparamita book Objects in right hand not mentioned in Sadhana texts
R.h.-lotus with book, sword & knife L.A.-skull-cup of Brahma, jewel & wheel
THE NINE PLANETS
ADITYA
CANDRA
MANGALA
BUDHA
BRHASPATI
SUKRA
SANI
KETU
RAHU
Human head
Rosary & vase
Bow & arrow
Rosary & vase
Symbols Discs of the
sun
Rod
Discs of the moon
Sun & moon
Sword & snakenoose
Vehicle
Swan
Goat
Frog or skull
Sits on lotus
Tortoise Tortoise
-
-
Chariot of seven horses
Colour
Red
Red
White
Yellow
White
Reddish-blue
White
Blue
Blue
Arms
Two
Two
Two
Two
Two
Two
Two
Two
Two
Objects in hands
R. & L.hs.- discs of sun on lotus
R. & L.hs. discs of the moon on lotus
Bow & arrow in two hands
Rosary & vase in two hands
Rosary & vase in two hands
Holds the rod in two hands
R.h.--kattara (cutter) L.h.-severed human head
Holds in two hands the sun & moon
Holds in two hands sword & noose of snake

Page #211

153
BUDDHIST DEITIES
Fig. 1. ADI-BUDDHA (Vajradhara)
Fig. 2. PÅŅDARA
Bae
asa
Fig. 3. MAMAKI
Fig. 4. LOCANA NOTE: These drawings of Buddhist deities are after old Nepalese drawings and may not tally in all respects with the descriptions in the Tables,

Page #212

OO
QN
Fig. 5. TÅRA
Fig. 6. VAJRADHĂTISVART
Fig. 7. SAMANTABHADRA
Fig. 8. RATNASAMBHAVA

Page #213

O
Fig. 9. VAJRASATTVA
Fig. 11 AKSAYAMATI
Laurin
MAMMAA0000
Fig. 10. MAITREYA
QUUT
Fig. 12. KṣITIGARBHA
155

Page #214

156
costaocco
Cuckog
2
tebla
WOW
Fig. 13. AKASAGARBHA OR KHARGARBHA
Fig. 14, GAGANAGANJA
U1
Fig. 15, RATNAPĀŅI
Fig. 16. SAGARAMATI

Page #215

Fig. 17. VAJRAGARBHA
Fig. 19. CHANDRAPRABHA
GODDME
Fig. 18. MAHASTHAMAPRAPTA
Fig. 20. JALINIPRABHA OR SURYAPRABHA
157

Page #216

158
conocoquecido
WOW
Fig. 21. AMITAPRABHA
Fig. 2:. PRATIBHANAKOTA
Fig. 23. SARVASOKATAMONIRGHÁTAMATI
Fig. 24. SARVANIRVANA-VISKAMBHI

Page #217

159
DO
LITTUUWW
Fig. 25. GANDHAHASTI
Fig. 26. JNANAKETU
KUTT7 WIB
Fig. 27. SURANGAMA
Fig. 28. AMOGHASIDDHI

Page #218

160
SO
Fig. 29. MANJUŚRI
Fig. 30. NAMASANGITI MANJUŚRI
DA
OLVIDA
JOMBAT
Fig. 31. MASJUVAJRA
Fig. 32. SIMHANADA

Page #219

சாப்பிாப்பாயா
Fig. 33. LOKANATHA
Fig, 35, HAYAGRIVA
Fig. 34. HARIHARIHARIVĀHANA
JOOO Fig. 36. JANGULI
161

Page #220

162
Fig. 37. PARNASABARI
Fig. 39. MAHASARASVATI
Fig. 38. UBHAYAVARAHANANA, A FORM OF
MARICHI
ww
Fig. 40. VAJRAVINA SARASVATI

Page #221

163
OGO
ge
&
Oh
TTTTTTTTUURID
Fig. 41. VAJRASARADA
Fig. 42. VAJRA SARASVATI
JAIN TIRTHANKARAS AND DEITIES
CarX
V
.
Fig. 43. RISHABIANATHA (Adinatha)
Fig. 44. AJITANATHA

Page #222

164
Fig. 45. SAMBHAVANATHA
Fig. 47. SUMATINATHA
Fig. 46. ABHINANDANATHA
Fig. 48. PADMAPRABHA

Page #223

165
AMO
wws
MU
Fig. 19. SUPARSVANATHA
Fig. 50. CHANDRAPRABHA
Fig. 51. SUVIDHINATHA (Pushpadanta)
Fig. 52. SITALANĀTHA

Page #224

166
Fig. 53. SREYAMSUNATHA
Fig. 54. VASUPUJYA
ASSAN
1925
WWUUDD
Fig. 55, VIMALANATHA
Fig. 56. ANANTANATHA

Page #225

167
Fig. 57. DHARMANATHA
Fig. 58. SANTINATHA
Fig. 59. KUNTHUNATHA
Fig. 60. ARANATHA

Page #226

168
canno
Fig. 61. MALLINATHA
Fig. 62. MANISU VRATA
Alg
Fig. 63. NAMINĀTHA
Fig. 64. NEMINATHA

Page #227

169
Fig. 65. PĀRSVANATHA
Fig. 66. MAHAVIRA
ante
GR
UND
LOVU
soon
Fig. 67. MATANGA YAKSHA
Fig. 68. SIDDHAYIKA DEVI

Page #228

170
O
& "O
Fig. 69. ACHYUPTA YAKSHINI
Fig. 71. VIJYA YAKSHA
Fig. 70.
PARSHVA YAKSHA
Fig. 72.
VAIROTI DEVI

Page #229

171
BE
OED
Fig. 73. YAKSHESVARA YAKSHA
Fig. 74. MAHAMANASI DEVI
VUUUUU
2
Fig. 75, MANASI DEVI
Fig. 76. KUSUMA OR PUSHPA YAKSHA

Page #230

172
CE
Fig. 78. GANDHARVA YAKSHA
Fig. 77. PATALA YAKSHA
DITT
A
DR333
Fig. 80. KINNARA YAKSHA
Eve, 19. GARUOA YAKSHA

Page #231

173
Fig. 81. COMUKHA YAKSHA
Fig. 82. TUMBARA YAKSHA
21
LLA)
IDO
NAWWWW
Fig. 88. AMBIKA YAKSHINI
Fig. 84. SARASVATI

Page #232

JAIN ICONOGRAPHY
JAINISM is a non-Vedic school of philosophy which claims a hoary antiquity. Rishabhanatha, the first Tirthankara, is mentioned in the Vishnu and Bhagavata Puranas as belonging to a very remote past. The earliest Brahmanic literature makes reference to a sect which defied the Vedas and opposed animal sacrifices. The Yajurveda mentions the names of three TirthankarasRishabha, Ajita and Aristhanemi. The Jains claim that Neminatha, their 22nd Tirthankara, was a contemporary of Lord Krishna and that he belonged to the Yadava family. The Jains, however, became powerful only during the time of Parsvanatha, the 23rd Tirthankara, who is believed to have lived in the 8th century B.C.
Like Buddhism, Jainism does not accept the validity of the Vedas and Varnadharma, and holds all members of the community as equal. It observes a code of morality, and advocates a life of detachment with a view to escaping the birth cycle.
In later years, two sects arose: the Svetembara ('white-clad') and the Digambara ('space-clad' or 'naked').
TWENTY-FOUR TIRTHANKARAS (Pls. 192-193, Figs. 43-66)
Jainism is much older than Mahavira, the 24th Tirthankara. The Jains claim that their religion is as old as the Vedas. Since the Vedic times, it has been revealed by their twenty-four Tirthankaras. They are: Rishabhanatha (Rishabhadeva or Adinatha), Ajitanatha, Sambhavanatha, Abhi
nandanatha, Sumatinatha, Padmaprabha, Suparévanatha, Chandraprabha, Pushpadanța or Suvidhinatha, Sitalanatha, Shreyamsunātha, Vasupujya, Vimalanatha, Anantanatha, Dharmanatha, Santinätha, Kunthunatha, Aranatha, Mallinatha, Manisuvrata, Naminätha, Neminatha. Pärsvanatha (Pl. 195, Fig. 65) and Mahavira (Pl. 192, Fig. 66).
The icons in a Jain temple are arranged in a hierarchical order. The chief among them is a mula-nayaka like Rishabhanatha, Suparvanätha or Mahavira, who is surrounded by other Jainas. Two types of images are generally found: one, a relief containing one, three or twenty-four Tirthankaras; second, images of Tirthankaras in the round. A combination of three Tirthankaras, with the mula-nayaka in the centre is called TriTirthanka. The portrayal of twenty-four Tirthankaras is called Chaturvimsati. Besides these, there are other combinations also.
174
There are 24 Tirthankaras of the Past, 24 of the Present and 24 of the Future. The ones named here, and now found in temples are the 24 Tirthankaras of the Present.
The 24 Tirthankaras occupy the central position in the Jain hierarchy, being the only ones free from desires. The other gods obviously have desires and so have their heavens of enjoyment. This is an indication of the value the Jains give to asceticism.
The Tirthankara represents the higher ideal of asceticism, of self-denial. In sculptural representations they are shown like ascetics, draped or naked, in the two yogic postures-paryankāsana and kayotsarga. To a superficial observer, the
*Standing upright in a pose of meditation with the feet on the ground and arms held downwards without touching the body.

Page #233

JAIN ICONOGRAPHY
image of a Jina and of a Buddha look alike. But there are important differences. The Tirthankaras generally have a Srivatsa (a triangular mole) symbol on the chest, a triple umbrella above their heads, and a lañchchana or symbol on the parasol.
In the Kushāna period, these identifying symbols were not used. Neither were their attendant Yakshas and Yakshinis carved, the only exception being the Yakshini Ambikā. This statement is to be qualified: it does not apply to South Indian and Deccan images. It is from the Gupta period that attendant Yakshas and Yakshinis begin to accompany Jina icons, but the attendants are not universally found, nor their affiliation with various Jinas systematised. The Gandharvas and chauri-bearers also become common.
The Jinas are attributed with 21 Atisayas or supernatural elements: dharmachakra, fly-whisks, lion-seat, triple-umbrellas, an aureole, an Aśoka tree, etc.
According to the Jains, 22 of their Tirthankaras belonged to the Ikshväkuvamṣa (race) and the other two, Munisuvrata and Neminatha, to the Harivamṣa. All the Tirthankaras are cast into a uniform mould and reveal a stereotyped character. The legends relating to their births, renunciation and ultimate salvation are very similar. The only differences are those connected with their mothers' sixteen dreams, lãñchchanas, Yakshas, etc. Yakshas do not generally appear in traditional texts like Purva Purana, Uttara Purāṇa and Chavandaraya Purana. But they appear in Pratistha texts. They are mentioned in Puranic works not composed in Sanskrit, especially in the Karnataka area.
BAHUBALI GOMMATESVARA (Pl. 194)
Bahubali was the second son of Rishabhanatha and queen Sunaṇḍā. His step-brother was Bharata. Bahubali and Bharata succeeded to different parts of the empire after Rishabha retired. When Bharata began a career of conquest, he subdued many kings and demanded homage even from his brothers. Ninety-eight of his brothers renounced their worldly claims, and became monks, but Bahubali refused to submit to his brother. The two brothers met on the battle-field and fought a prolonged and tough duel. When Bahubali was about to achieve victory, he suddenly realised the futility of worldly existence and stopped fighting. He performed mushtilocha (penance),
175
plucking hair from his head, renounced all attachments, including garments, and became a monk.
He stood motionless, in the käyotsarga attitude and endured the rigours of the elements. Years passed. Wild animals pulled and pushed him. Creepers grew round his body. Birds made nests on his head. Serpents built ant-hills and sauntered around his body. He stood unaware of all these. But in spite of this rigorous penance, he could not obtain Kevala-jñāna for he still remained attached to pride. His father Rishabhanatha instructed his daughters Brahmi and Sundari to go and ask him to give up his pride. On his doing this, Bahubali attained Kevala-jñāna (Knowledge). Bahubali is also called Gommata or Gommatesvara. Chamundaraya, a Ganga general erected a huge image of Bahubali at Sravana Belgola and this has been called Gommateśvara. Bahubali is popular in this name in South India in general and Karnataka in particular.
PARSVANATHA (Pl. 195, Fig. 65)
Pārévanatha, the twenty-third Tirthankara, is said to have been born in the holy city of Banaras to Queen Vamadevi and King Ashvasena in 817 B.C. Before his birth the queen saw a black snake crawling by the side of her bed. So she named him Pārévanatha. From childhood, the prince had a soft corner for snakes. In his youth, he became a fearless warrior. Hearing of his many accomplishments, king Prasenjit of Ayodhaya offered him his daughter Padmavati in marriage. The offer was accepted. In the meanwhile, the Yavana king of Kalinga, who had heard of the great beauty of the princess, and who therefore coveted her, came to the capital of Prasenjit and laid siege to it. Prince Pārsvanatha rushed to rescue the princess. He fought against the Kalinga king, defeated him and married Padmavati.
The Digambara Puranas mention Pārsvanatha as the son of king Ashvasena or Vishvasena and Brahmadevi. The queen's name is mentioned in some Purānas as Brahmila (Sastrasarasamuccaya Tika) or Brahmadatti (Pārsvanatha Purana).
YAKSHAS (Pls. 193, 196, Figs. 67-83)
The Jain Yakshas are also known as Sāsanadevatās or attendant deities. They represent a class of semi-gods. The Yakshas existed in popular belief and in the literary tradition of the Hindus much earlier than the rise of Jainism or Buddhism.

Page #234

176
ICONOGRAPHY OF THE HINDUS, BUDDHISTS AND JAINS
Brahmanic influence. Many of the Yakshinis are also Vidya-devis, goddesses of learning. These too show influence of the Brahmanic female deities.
SRUTA-DEVI AND VIDYA-DEVIS
Kubera or Vaisravana, the king of the Yakshas, is referred to several times in Hindu literature. Many of his attendants are referred to in Jain canonical texts, viz.. Purnabhadra, Manibhadra. Sitalabhadra, Sumanabhadra, Laksharaksa. Purnaraksa, Sürvana, Sarvyasas, Sarva Kama, etc. or these Manibhadra, whose other name is Yaksendra or Yak-apati attained much antiquarian inportance on account of a discovery of his image in the frontier.
'A Yakwa is a devotee of the Tirthankaras. According to Jain belief, Indra appoints one Yaksha and one Yakshini to serve as attendants on each Tirthankara. The Yaksha would be on his right and Yakshini on his left. Thus, they also came to be called Māsana-devatās or attendant spirits.
In later development, the Yaksha cult obtained greater veneration and so we find detached in- dependent images of Yakshas among the ancient ruins.
The Vidya-devis are sixteen in number. They are goddesses of learning. Besides these sixteen deities, the Jains also include one Sruta-devi or Sarasvati closely approximating the Brahmanical goddess of the same name. She heads the sixteen goddesses of learning, 'Goddess of Sruti or revealed literature. Her description reminds one of Brahmani, who like Brahma carries a book in her hands. Both hold in their hands the Vedas. On the Sukla Panchami day of the Karttika month (November) the Jains celebrate 'Jnana Panchami,' when devout people fast, worship books, etc.
Through the worship of the Vidya-devis, the devotee gets knowledge, character, religion, mental qualities, etc.
YAKSHINIS (Pls. 197-200, Figs. 67-83)
The Yakshiņis are the female attendants of the Tirthankaras, being the leaders of the women converts. They are endowed with semi-divine attributes. Their names and symbols indicate
HINDU GODS AND GODDESSES
Hindu deities appear as subordinate gods and goddesses in the Jain pantheon.

Page #235

TIRTHANKARA
1. RISHABHANATHA (Adinatha)
2. AJITANATHA
5. SUMATINATHA
3. SAMBHAVANANATTHA Golden
6. PADMAPRABHA
4. ABHINANDANATHA Golden
7. SUPASRVANATHA
8. CHANDRAPRABHA
9. SUVIDHINATHA OR
PUSHPADANTA
10 SITALANATHA
COLOUR
11. SREYAMSUNMATHA
Golden
12. VASUPUJYA
Golden
Red, Golden
Blood-red
Golden, Harita Pacche
White
White
Golden
Golden
Red
S=Svetambara
COGNIZANCE
Bull and Dharmachakra
Elephant
Horse
Ape
Swastika
Moon or crescent
Dolphin (Makara) or crab
Srivriksha (Wishing tree) or Asvatha (Ficus religiosa) Rhinoceros or deer
Buffalo
THE TIRTHANKARAS
(Figs. 43-66)
Curlew (Krauncha) Priyangu or Red-goose (Chakravaka)
Lotus (Padma)
D Digambara
SPECIAL TREE
Nyagrodha (Indian banyan tree)
Kevala-vriksha (special tree)
Šāla tree (Shorea robusta)
Priyangu or Sanashmajamule or Vesali
Srisa or Priyangu
Sushira
Nāgadrama
Näga or Malli
Vilva (Aegle marmelos)
ATTENDANT YAKSHA
Patalika or Kadamba
Gomukha Vehicle-Bull
(Elephant)
Mahayaksha Vehicle-Elephant
Trimukha Vehicle--Peacock
Isvara
Vehicle-Peacock
Tumburu
Kusuma Vehicle-Deer or Bull
Mätanga (S),
Varanandi (D). Vehicle -Elephant or Lion
Vijaya Vehicle-Goose
Ajita
Vehicle-Tortoise
Brahmā Vehicle--Lotus
Tumbara or Tindaka Yakshesa (S)
Yaksheswara (D) Vehicle-Bull
Kumāra
Vehicle Goose or Peacock
ATTENDANT YAKSHINI
Chakreśvari Vehicle-Eagle
Ajitabalā
Duritāri (Prajñapti) Vehicle-Buffalo, Peacock (?)
Syāmā
Vehicle-Man or Horse
Santi (S) Kati (D) Vehicle-Elephant
Bhrkuti
Vehicle-Lion, Bull or Cat
Sutări, Mahākāli (D) Vehicle-Bull (?)
Asoka, Mänavi (D) Vehicle-Lotus (?)
MISCELLANEOUS
Bharata and Bahubali worshippers
Káli or Vajrasaṛinkhala Kayotsarga Vehicle-Lotus or
Goose
Mahakali (Purusadatta) Mitravirya-chauriVehicle-Lotus
Garuda Yakshi (D) Vehicle-Horse or Serpent
Sagaracakri-chauri
Satyavirya-chauri
bearer
bearer
bearer
Yamadhyuti-chauri
bearer
Dharmavirya-chauri
bearer
Danavirya-chauribearer
Maghavataraya-chauri
bearer
Manavi (S), Gauri (D) Räjä Tripista Vasudeva Vehicle Lion or Bull
Dirpista-Vasudevachauri-bearer
177

Page #236

TIRTHANKARA
13. VIMALANATHA
14. ANANTANATHA
15. DHARMANATHA
16. SANTINATHA
17. KUNTHUNATHA
18. ARANATHA
19. MALLINATHA
20. MANISUVRATA
21. NAMINATHA
22..NEMINATHA
23. PARSVANATHA
24. MAHAVIRA
COLOUR
Golden
Golden
Golden
Golden
Golden
Golden
Golden
Bluish-black (Indranila or syama varna)
Golden
Bluish-black (Indranila or syama)
Blue
Golden
COGNIZANCE
Boar
Hawk (S) Bear (D)
Vajra-dauda (Thunderbolt)
Deer or Tortoise
Goat
Nandyavarta or Fish
Water-jar
Tortoise
Blue lotus or Asoka tree
Conch
THE TIRTHANKARAS (Contd.)
Snake
Lion
SPECIAL TREE
Jambu (Blackberry) Shanmukha
Asvattha
Dadhiparna or Sapta-chhada
Nandi Vriksha
Tilakataru
Mango tree
Asoka
Champaka
Vakula
ATTENDANT YAKSHA
Dhataki
Šāla (Shorea robusta)
Vehicle-Peacock
Patala
Vehicle-Crocodile
Kinnara
Vehicle Tortoise or Fish
Mahendra
Vehicle-Conch or Peacock
Kubera
Vehicle-Elephant
Garuda (D)
Vehicle-Boar or Bull Nirvani (S)
Varuna Vehicle-Bull (?)
Mahavenu or Vetasa Gomedha (S),
Bhrikuti Vehicle-Bull (?)
ATTENDANT YAKSHINI
Gandharva
Vijaya (D)
Vehicle Goose or Deer Vehícle-Peacock
Sarvahana (D). Vehicle -Man or Horse Dharapendra
Vairoti Vehicle-Lotus
Mätanga Vehicle-Elephant
Anantamati Vehicle-Lotus or Goose
Kandarpa (S) Mänavi (D). Vehicle Horse, Lion or Goose
Mhāmānasi (D),
Vehicle Peacock Lotus or Lion
Vijayādevi Vehicle-Lotus or Goose
Dharinfpriya (S) Aparajita (D). Vehicle -Lotus or Goose
Gandhari (S) Chamundi (D) Vehicle Goose (?) or Crocodile
Naradatta (S) Bahrupiņi (D). VehicleLion or Serpent
MISCELLANEOUS
Ambika or Küshmändini (D). Vehicle--Lion
Padmavati Vehicle-Cock or Goose
Siddhayikā Vehicle-Lion or Goose
Svayambhu-Vasudevachauri-bearer
Purushottama-Vasudeva
chauri-bearer
Pundarika-Vasudevachauri-bearer
Rājā Purushadattachauri-bearer
Kundala-chauri
bearer
Govind Rājāchauri-bearer
Rājā Sulama-chauribearer
Ajita-chauri-bearer
Vijaya Räjächauri-bearer
King Ugrasena-chauribearer
Ajitarājā
Śrepika-chaurl-bearer
178

Page #237

Hands Attributes R.h.--boon-giving in hands and rosary L.h.-noose (S) Battle-axe (D)
Vehicle Colour
Misc.
GOMUKHA (Fig. 81) Four
Vehicle
Colour
Misc.
Bull Golden
Attached to Rishabha nätha. Digambaras assign Dharmachakra symbol to his head. Bull-face and bull as vehicle
MATANGA OR VARANANDI
Hands
(Fig. 67) Four Attributes S.-Bilva fruit, noose, in hands mongoose, and goad D.-Staff, spear, Swastika and flag
Two types of imagesone in the round and large in size; the other in the miniature form attending on Adinatha
Elephant (S) Lion (D)
Blue or black Matanga is elephantrider
The Digambara texts mention only two of his hands with a trisüla and a danda
MAHAYAKSHA
Eight
(S.)R.h.-boon-giving, club, rosary and noose L.h.-citrus, protection, goad and sakti
Elephant Green (S)
Golden (D)
(D.)L.h.-disc, trident, lotus, goad R.h.-sword, staff, axe, and boon-giving Four faces Attendant of Ajitanatha
VIJAYA OR SHYAMA
(Fig. 71)
Four
D.-Fruit, rosary, axe and boon-giving pose S.-Two hands hold disc and club
Swan
TRIMUKHA
S-Svetambara
Dark-blue
Sculptures of Chandraprabha include the figures of Syama Yaksha. One of the earliest images of Syama in the round has been found at Aihole
Six
(S.)R.h.-mongoose, club and protection L.h.-citrus, garland and rosary (D.)R.h.-disc, sword, goad
L.h.-staff, trident, dagger
Peacock
Dark-blue (Syama)
JAIN YAKSHAS
Three faces. Separate sculptures not found Seen in the miniature form. Attendant of Sambhavanatha
AJITA
Four S.-Citrus, rosary, mongoose and spear D. Sakti boon-giving posture, fruit and rosary
Tortoise
White
D=Digambara
YAKSHESVARA
(Fig. 73)
Four
(S.)R.h.-citrus and rosary L.h.-mongocse and goad (D.)-bow, shield, arrow and sword
Elephant
Blue or dark-blue
Attendant of Abhinandana. No separate sculptures are found but sculptures of Abhinandana include figurines of Yaksheshvara, King of Yaksha
BRAHUA
Four or eight S.-Citrus, club, noose, protection, mace, goad and rosary
D.-Bow, staff, sword, shield, boon-giving, etc. Lotus seat
White
He is also attributed with four faces, three eyes
TUMBURU (Fig. 82)
Four
S.-boon-giving, spear (sakti), club and noose D.-two snakes, fruit, and boon-giving
Eagle (Garuda) or a lion Dark-blue or golden
Attached to Sumatinätha. In Hindu literature, Tumburu is a divine musician
His Yakshini is Purushadatta (D). Her vehicle is red goose
ISHVARA
Four
S.-Mongoose, rosary, staff and fruit D.-Trident, staff, rosary and fruit
Bull
White
Three eyes. His Yakshini is Gauri (D) or Manavi (S). He rides an elephant. Yaksha of Sreyamasynätha
KUSUMA OR PUSHPA
(Fig. 76)
Four
(S.)R.h.-fruit and the posture of protection pose L.h.-rosary and mongoose
(D.)-lance, boongiving posture, shield and protection pose Antelope or bull White or dark
Antelope symbolises quickness in movement
KUMARA
Four (S), Six (D) D.-Bow, ichneumon, club, fruit and boongiving posture S.-Citrus, arrow, mongoose and bow Swan
White
Digambara texts attribute to him three heads and six hands
179

Page #238

JAIN YAKSHAS (Contd.)
180
SHANMUKHA OR CHATURMUKHA
PATALA (Fig. 77)
KINNARA (Fig. 80)
GARUDA (Fig. 79)
GANDHARVA (Fig. 78)
KHENDRA OR YAKSHENDRA OR JAYA
Hands
Eight or twelve
Six
Six
Twelve
Attributes in hands
S.-Fruit, disc, arrow, sword, noose, rosary, mongoose, discus, bow, fruit, goad and protection pose D.-Axe, scimitar, rosary, shield, staff, etc
S.-Lotus, sword, noose, S.-Lotus, citrus, mon- mongoose, fruit, rosary goose, rosary, mace, D.-Goad, spear, bow, protection pose rope, plough and fruit D.-Disc, thunderbolt,
goad, club, rosary, and boon-conferring posture
Four S.-Citrus, lotus, mon- goose, rosary D.-Lotus, fruit. thun derbolt and discus
Four S.-Boon-giving, noose, citrus, goad D.-Snake, noose, bow and arrow
S.-Citrus, arrow. sword, club, noose, abhaya, bow, mongoose, fruit, spear, goad and rosary D.-Bow, thunderbolt. noose, club, goad, boonconferring posture, fruit, arrow, garland. etc. Conch or Peacock
Vehicle
: Peacock
Dolphin or Makara
Bull or Boar or Elephant Bird or Swan (S) or Garuda Blue or Dark-blue Dark-blue Attendant of Sāntinātha -
Colour
White or Dark-blue
Dark-blue or Blue
Misc.
Four or six-headed. Has the designation and attributes of Kärttikeya
Red
Red Three faces. A canopy of Three faces three-hooded snake. Presiding spirit of the Nägas
Six faces, three eyes and ten hands are attributed to him by some texts
KUBERA
VARUNA
BHRIKUTI
SARVAHNA OR GOMEDHA PARSHVA OR
DHARANENDRA (Fig. 70)
MATANGA (PI. 193, 196, Fig. 67) Oiher Form
Hands
Eight or twelve
Six
Attributes in hands
S.-Varada, axe, spear, abhaya, citrus, sakti, club and rosary D.-Shield (Phalaka) bow, staff, lotus, sword, arrow, axe, noose and varada
Four (D), Eight (S) S. --Citrus, mace, arrow, spear, lotus, mongoose, bow and axe D.Shield, sword, fruit, boon-giving pose
Eight S.--Citrus, spear, macc, abhaya, axe, mongoose, vajra, rosary D.-Shield, sword, bow, arrow, goad, lotus, disc, boon-conferring posture
S.--Citrus, axe, mongoose, trident, spear D.-Hammer, axe, staff, fruit, thunderbolt and the boon-giving posture
Four
Two S.-Ichneumon, snake, S.-Mongoose and citrus, snake
citron D.-Snake, noose, boon- D.-Boon-conferring giving posture
posture and fruit
Vehicle
Bull
Elephant
Bull or Makara White
Man or a Flower Dark-blue
Tortoise Black or Blue
Colour
Red
Elephant Kunkum or red or rainbow colour Four faces
Blue or Green
Misc.
Three-eyed and matted hair
Four faces. This Yaksha is also called Nandiga and seems to have con- nection with Nandi, the vehicle of Siva
Three faces. Also known as Pushpayāna. (This means he has a flower as his vehicle)
Also a snake canopy over his head
Dharmachakra symbol on his head (See page 179)
S-Svetambara
D=Digambara

Page #239

JAIN YAKSHINIS
CHAKRESVARI (PI. 198)
AJITA OR ROHINI
VAJRA-SRIMKHALA (DIG.) OR KALI (SVE.)
MAHAKALI (SVE.) OR PURUSADATTA (DIG.)
ACHYUTA OR SYAMA (SVE.) & MANOVEGA (DIG).
DURITARI (SVE.) OR PRAJNAPATI (DIG.) (PI. 199) Four or six
Four
Hands Eight
Four Objects Sve.-varada, arrow, Sve.-varada, noose, in hands dise, noose, bow, vajra citron, goad
(thunderbolt), disc, goad Dig.--varada, abhaya, Dig.4 or 12. If 4, holds conch, disc 2 discs. If 12, cight dises, citrus, varada and two
vajras Vehicle Eagle
Iron seat (Dig.) Bull (Sve.)
Sve.--varada, rosary, fruit, abhaya pose Dig.--axe, crescent, fruit, sword and varada pose
Four Sve.--varada, noosc. snake & goad Dig.-snake, noose. rosary, fruit
Four Sve.-varada, noose, citrus, goad Dig.-disc, vajra, fruit, varada pose
Sre.-varada, vina. bow, abhaya pose Dig.-sword, lance, fruit and varada pose
Ram (Sve.) Bird (Dig.)
Swan (Dig.) Lotus (Šve.)
Lotus (Šve.) Elephant (Dig.)
Man (Sve.) Horse (Dig.)
Colour Misc.
Sasanadevi of first Tir- thankara. Resembles Vaishnavi (VishnuChakreśvara)
Connected with Jina Ajitanatha. Ajitā means invincible
Duritari connected with wife of Agni. Conception of Prajñāpati derived from Sarasvati (Sve.)
Yakshini of Abhinandana. She is both Yakshini and Vidya-devi
May have originated from Achyuta or Vishnu
SHANTA (SVE.) OR KALI (DIG.)
SUTARA (SVE.) OR MAHAKALI (DIG.)
ASOKA (SVE.) OR MANAVI (DIG.)
GAURI (DIG.) OR MANAVI (SVE.)
CHANDA (SVE.) OR GANDHARI (DIG.)
BHRKUTI (SVE.) OR JVALAMALINI (DIG.) (Pl. 200) Four or eight
Hands
Four
Four
Four
Objects Dig.-varada, trident, in hands fruit, bell
Sve.-varada, rosary, lance, abhaya pose
Sve-sword, club, spear, Sve.-varada, rosary. ахе
urn, goad Dig.-disc, arrow, noose, Dig.-vajra, club, fruit shield, trident, sword, & varada pose bow, etc. Cat (Sve.)
Bull (Sve.) Buffalo (Dig.) or Swan Tortoise (Dig.)
Four (Sve.)
Four Sve.--varada, noose, Sve.-varada, club.urn. fruit, goad
goad Dig.---fruit, varada, bow, Dig.--club, lotus, urn. etc.
varada pose
Sve.--varada. spear, flower, club Die-club, two lotuses, varada pose
Vehicle
Lotus (Sve.) Hog (Dig.)
Lion (Šve.) Antelope (Dig.)
Horse (Sve.) Crocodile (Dig.)
Colour Misc.
Elephant (Sve.) Bull (Dig.) - Wife of Mátanga Also a Vidya-devi
Also a Vidyā-devi
Originated from Gauri, wife of Siva
-
Śve.—Svetambara
Dig.-Digambara

Page #240

JAIN YAKSHINIS (Contd.)
182
BALA (SVE.) OR VIJAYA (DIG.)
DHARANT (SVE.) OR TARA (DIG.)
Hands
Four
Four
VIDITA, VIJAYA
AMKUSA (SVE) OR (SVE.) OR VAIROTI (DIG.) ANANTAMATI (DIG.) Four
Four Sve.--arrow, noose, Sre-sword, noose, bow, snake
spear, goad Dig.--two snakes, Dig.-bow, arrow, bow, arrow
fruit, varada pose
KANDARPA (SVE.) OR MANASI (DIG.) Four or six (Dig.) Sve.-lotus, goad, lotus & abhaya pose Dig.-lotus, bow, varada, goad, arrow, lotus
NIRVANI (SVE.) OR MAHAMANSI (DIG.) Four Sve.--book, lotus, vase, lotus bud Dig.-disc, fruit, sword (?), varada pose
Objects in hands
Sve.-citron, spear, musandi, lotus Dig.--conch, sword, disc & varada pose
Sve.--citrus, two lotuses, rosary Dig.-snake, vajra, deer, varada pose
Vehicle
Lotus (Šve.) Snake (Dig.) Yellow
Lotus (Sve.) Swan (Dig.)
Horse or fish (sve.) Tiger (Dig.)
Lotus (Sve.) Peacock (Dig.)
Peacock (Šve.) Black boar (Dig.)
Lotus (Sve.) Swan (Dig.)
Colour
Misc.
Vairoti is also a Vidyā-devi, Vidita means 'learned one
Mahāmānasi means
great goddess of learning. This seems to connect her with Sarasvati
VAIROTI (SVE.) OR APARAJITA-(DIG.)
NARADATTA (SVE.) OR BAHURUPINI
Hands
Objects in hands
SIDDHAYIKA (PI. 197, Fig. 68) Four Book, abhaya pose, citrus & lute
Four Sve.--varada, rosary, citrus, sakti Dig.-citrus, sword, shield, varada pose Lotus (Śve.) Lion (Dig.)
GANDHARI (SVE.) OR CHAMUNDA (DIG) Four Sve.-varada, citron, sword, spear Dig.-rosary, staff, shield, sword Swan (Sve.) Dolphin (Dig.)
Four Sve.varada, rosary, citron, trident (or urn) Dig.--shield, fruit, sword, varada pose sword, varada pose Bhadrāsana (Šve.) Black snake (Dig.)
AMBIKA (SVE.) OR
PADMAVATI AMRA (DIG.) (Fig. 83) Four
Four Sve.mangoes, noose, Šve.-lotus, noose, child, goad
fruit, goad Dig.--mangoes and Dig.-goad, rosary, child
two lotuses Lion (Sve.)
Snake & cock (sve. Lion (Dig.)
& Dig.), lotus (Dig.) Yakishini of Mahāvīra
Vehicle
Lion
Mise.
Variations
Dig. I-Six-handed: noose, sword, spear, crescent, club, staff Dig. II-24-handed: conch, sword, wheel, crescent, lotus, blue lotus, bow, spear, noose, kusa-grass, bell, arrow, staff, shield, trident, axe, vajra, garland, fruit, club, leaf, stalk & varada pose

Page #241

Hands
Objects Lotus, varada, book, in hands rosary
Vehicle
Misc.
Vehicle
SARASVATI
(SRUTA-DEVI) (Fig. 84)
Four
Hands Objects in hands
PURUSADATTA
Hands Two or four Objects Sve. I-sword, in hands
shield II-varada, sword, citrus,
shield
Dig.-vajra and lotus
Vehicle
Swan (Śve.) Peacock (Dig.)
Main goddess of learning
Buffalo (Śve.) Peacock (Dig.)
MANAVI
Four
ROHINI
Four
Sve.-conch, rosary, bow, arrow Dig.-urn, conch, lotus, fruit
Cow (Śve.)
KALI
Two or four Sve. I-club, varada II-rosary, club, vajra, abhaya Dig.-staff, sword
Deer or lotus (Dig.)
S.-varada, rosary, bough of tree D.-trident
Blue-lotus and twig (S)
S or Sve. Svetambara
SRUTA-DEVI AND SIXTEEN VIDYA-DEVIS
PRAJNAPATI
Snake (S) Lion (D)
Two or four
Sve. I-lotus & spear II-varada, spear, citrus, spear Dig.-sword, disc
Peacock
MAHAKALI
Four Sve. I-rosary, fruit, bell, varada II-rosary, vajra, abhaya, bell Dig.-bow, sword, fruit, weapom
Man (Śve.)
VAIROTI (Fig. 72) Four
S.-sword, snake, shield, snake D.-snakes
D or Dig. Digambara
VAJRA-SRIMKHALA
Two or four
Sve. I-chain & club II-varada,
Horse (S) Horse (D)
Dig.-chain
Lotus
GANDHARI
chain, lotus, chain
Four Sve.-staff, vajra, or vara, staff abhaya & vajra Dig.-disc, sword
ACHYUPTA (Fig. 69)
Four
Lotus (Śve.) Tortoise (Dig.)
S.-bow, sword, shield,
arrow D.-sword
VAJRAMKUSA
Four
Sve. I-sword, vajra, shield, spear II-varada, vajra, citrus & goad Dig.-goad and lute
Elephant (Śve.) Aerial car (Dig.)
GAURI
Four
Sve.-varada, club, rosary, water-lily Dig.-lotus
Alligator (Sve. & Dig.)
MANASI (Fig. 75)
Two or four
S. I-varada, vajra
II-vara, vajra, rosary. vajra
D.
Swan, Lion (S) Snake (D)
APRATICHAKRA OR JAMBUNADA
Four
Sve.-discs in all four Dig.-sword, spear
Eagle (Sve.) Peacock (Dig.)
MAHAJVALA OR JVALAMALINI Four
Sve-attributes not mentioned
Dig.-bow. shield, sword. disc
Cat (Śve.) Buffalo (Dig.)
MAHAMANASI (Fig. 74)
Four
S.-varada, sword, vase, lance
D.-rosary, vase, goad, garland
Lion (S)
Swan (D)
183

Page #242

OTHER JAIN DIVINITIES
184
KSHETRAPALA
NAIGAMESHA
GANESA
SRT OR LAKSHMI
SANTIDEVI
Six or twenty
Hands
Four
Four
Two, four, six, nine, eighteen or one hundred and eight
Lotus
Attributes in hands
Six-handed-club, noose, drum, bow, goad and Godika (?)
Parašu, varada, modaka, abhaya, etc.
S.-Flower, lotus D.-lotus
Dog
Mouse
Vehicle
Elephant
Lotus
Misc.
-
Head of ram, antelope or goat; captain of Indra's foot forces, at whose command, transferred embryo of Mahavira from the body of Brāhmani Devananda to the womb of Kshatriyani Trisala. Connected with procreation
Surrounded by Ananda and other Bhairavas. Leads sixty-four Yoginis. Relation with Vatukabhairava mentioned in Jain texts
S–Svetambara
D--Digambara

Page #243

JAIN DIKPALAS
INDRA
AGNI
YAMA
NRUTTI
VARUNA
Direction
East
West
South Staff
Attributes in hands
South-East Spear and seven flames or bow, arrow
Vajra
South-West Club, sword and bow
Noose
Smaha
Spouse Vehicle
Chhaya
Sachi Elephant Airavata
Ram
Buffalo
Corpse or goblin (S) or bear (D)
Dolphin, fish
Direction
KUBERA North Gems, club
VAYU North-West Vajra or banner (S) Wooden weapon (D) Deer
ISANA North-East Bow and trident (S) Also skull (D) Bull
BRAHMA (S) Upper regions Book and lotus
Attributes in hands
NAGA (S) Nether regions Snake
Vehicle
Pushpaka chariot (D) Man (S)
Swan
Lotus
Spouse Misc.
!!
Four heads
NINE PLANETS (NAVAGRAHAS)
MOON (CHANDRA)
BRIHASPATI
Direction
SUN (SURYA) East Two lotuses
North-West
Attributes in hands
Holds urn of nectar
MARS (MANGALA) South Varada, spear, trident, club or shovel On earth
MERCURY (BUDDHA) North Book or sword, shield, club and varada pose Swan or lion
North-East Rosary and staff (S) Book, vase, rosary (D) Swan (S), Lotus (D)
hicle
Vehicle
Chariot of seven steeds
Chariot of ten white horses
RAHU
KETU
VENUS (SUKRA) Direction
South-East Attributes in hands Urn or threefold thread, snake,
noose, rosary Vehicle
Snake S-Svetambara D-Digambara
SATURN (SAN) West Threefold thread (D)
South-West Axe (S), Flag (D)
Cobra
Tortoise (S)
Lion
Cobra
185

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Page #245

INDEX
[Abbreviations: S=svetambara; D=Digambara)
(For other abbreviations see page 74)
Abbreviations, 74.
Agni, 1, 4, 11, 25, 28, 36, 37, 41, 46, 47, 49, 50, 63, 71, 105, Abhava, 1, 2, 3, 5, 46, 91, 98, 102, 103, 104, 122, 130, 131, 181, 185. 135, 137, 138, 141, 142, 144, 148, 182, 183, 184.
Agnibhū, 46. Abhicharikásana, 85.
Agnijašā Subrahmanya, 79. Abhilashitartha Chintamani (AC), 74, 75, 82, 90, 91, 92, Agni Purana, 34, 74, 75, 82, 83, 88, 89, 90, 91, 92, 95, 98, 95, 100.
100, 101. Abhimukhi, 145.
Aitareya Brāhmana, 37, 118. Abhinandananātha, 164, 177, 179.
Aiyyar (Dr.), 38. Abhinandana, Yakshini of, 181
Aja, 73. Abhirarti, 119.
Ajayasthali, 59. Abhrarūpa (Bhairava), 76.
Ajita, 177, 178, 79, 81. Achala, 120, 145.
Ajitanátha, 177. Achyuta, 95.
Ajitarāja, 178. Achyupta Yakshini(s), 95, 96, 97, 170, 181, 183.
Akāśagarbha, 156. Adamantine Pose, 130, 131, 136, 138, 139, 141, 142, 144. Akøyamati, 1, 123, 155. Adhikaranandi, 39.
Akşobhya, 3, 109, 110, 114, 115, 122, 125, 126, 127, 132, Adhimukticharya, 145.
134, 136, 137, 142, 144. Adhokshaja, 95, 96, 97.
Alidha Posture, 1, 10, 20, 70, 90, 132, 133, 135, 138, 139, 141. Adi-Buddha, 108, 109.
Amarakosha, 36, 55. Adi-mūrti, 34.
Amba, 102. Adinātha, 177, 179.
Ambika (Parvati), 36, 48, 55, 182. Aditya Purana (ADP), 74.
Amitabha, 109, 110, 112, 113, 115, 118, 119, 120, 122, 125, Aditi, 31, 50, 52, 54.
129, 130, 131, 142, 144. Adityas, 50, 52, 87, 106, 107.
Amitaprabha, 158. Dhatri, 107.
Amitäyus (Manjusri), 114. Mitra, 107.
Amitāyus sūtra, 112. Aryaman, 107.
Amoghapăsa, 118. Rudra, 107.
Amoghasiddhi, 109, 110, 115, 116, 117, 122, 125, 126, 140, Varuna, 107.
142, 159. Sürya, 107.
Amsumadbhedagama (AB), 45, 74, 80, 82, 98, 101. Bhaga, 107.
Ananda, 115, 184. Vivasvan, 107.
Ananta, 83. Pushan, 107.
Anantamati, 178, 182. Savitri, 107.
Anantmukhi, 146. Tvashtri, 107.
Anantanátha, 177. Vishnu, 107.
Anantāsana, 20. Adivaräha, 92.
Anantashayi, 84. Adhokshaja, 95.
Andhaka (asura), 41, 43, 56, 57, 70. Aghorastra-mūrti, 69.
Andhakäsura-mardana, 43, 70. 187

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188
INDEX
Aniruddha, 88, 95, 96, 97. Ankala, 73. Annapurna, 103. Aparajita (D), 73, 103, 131, 133, 178. 182. Apasmara-Purusha (Dwarf), 45, 60, 63, 64. Apratichakra, 183. Aranatha, 167. 178. Archita, 63. Arcismati, 145. Ardhachandra Pose, 63. Ardhaka (Vedic), 43. Ardhaka-ghatin, 43. Ardhanarisvara, 43, 44. Aristhanemi, 174. Arundhati, 103. Arni, 79. Arya Janguli, 115, 140. Asamanjasa, 43. Asana-Murtis (Śiva), 62.
Sukhasana Murti, 62. Umasahita Murti, 62. Somaskanda Murti, 62.
Uma-Maheśvara Murti, 62. Asanas, 10, 20, 22. Asanga, 111, 116. Asarudha devi, 103. Asitanga, (Bhairava), 76. Ashvinau, 52. Asokakanta Marici, 140, 144. Asoka Yakshini, 177. Asladik pälas, 44, 47, 93. 105. 185. Asthira (Bhairava), 76. Akvattha, 177, 178, 181. Atisayas, 175. Atriktanga (Bhairava), 76. Avalokitesvara (Padmapani), 11, 110, 111, 112, 113, 115,
117, 118, 123, 125. Ayudha-Purushas, 35, 87.
Bhagavata, 34. Bhagavata Purana, 174. Bhagiratha, 43, 57, 66. Bhairava (Śiva), 41, 42, 62, 64, 75, 132.
Chanda, 75, 76. Vatuka, 75. Samanya, 75. Svachchawda, 75. Svarvakarashava, 75. Kśetrapala, 75, 76. Asitanga, 76. Ruru, 76. Krodha, 76. Unmatta, 76. Kapala, 76. Bhisana, 76.
Samhara, 76. Bhairavi, 103. Bharata, 25, 33, 91, 175, 177. Bhakti-Vighnesvar, 81. Bhandarkar, R. G., 37. Bharhut, 108. Bharati, 54. Bhattacharya, Asutosh, 115, 116 Bhavani, 55, 116. Bhayahara (Bhairava), 76 Bheydipala, 4, 76, 138. Bhima, 51. Bhişana (Bhairava), 76, Bhogasana-Murti, 85. Bhrigu, 84, 85, 86, 87. Bhrivgi or Bhringisa, 43, 44, 62. Bhrkuti, 112, 118, 119, 126, 129, 130, 177, 178, 180, 181. Bhu (Bhudevi), 30, 31, 44, 56, 57, 84, 85, 86, 87, 88, 92, 93, Bhumara, 52. Bhumikampa (Bhairava), 76. Bhumi(s), 116, 119, 120.
Adhimukticharya, 120. Pramudita, 120. Vimalā, 120. Prabhakari, 120. Archismati, 120. Sudurjaya, 120. Abhimukhi, 120. Durangama, 120. Achala, 120. Sadhumati, 120. Dharmamegha, 120.
Samantaprabha, 120. Bhutadamara, 3, 5, 133. Bhutamata, 102. Bhuta-vetala (Bhairava), 76. Bhuvnesa-Ganapati, 80. Bhuvanesvari, 103. Bilva fruit, 4, 12, 56, 100, 179. Blue Tára, 117, 118, 144.
Ekajata, 144.
Mahacina, 144. Boar Incarnation, 28, 35.
Bhuvaraha, Adivaraha or Nrivaraha, 30. Pralayavaraha, 30. Yajnavaraha, 30.
Bahubali Gommate vara, 175. Bahurupini (D), 178, 182. Bala, 103, 182. Balabhadra, 88. Bala-Ganapati, 81. Balajı, 35 (See Venkatesvara). Balapramathani, 102. Balarama, 88, 90. Balasvamı, 79. Balavikarnika, 102. Bali, 31, 92. Banerjea (Dr.), 28. Batuka (Bhairava), 75. Baudhayana-Dharma-Sutra, 48. Beal, 1. Benton, 118. Bhadra, 103. Bhadrakalı, 47. Bhadrakalpa, 109, 112. Bhadrapitha, 20, 62. Bhadrasana. 103, 140, 144.

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INDEX
189
Bodhisattvas, 108, 109, 110, 111, 112, 113, 115, 118, 120, 123. (See Dhyāni Buddhas and Bodhisattvas).
Samantabhadra, 123. Akşayamati, 123. Ksitigarbha, 123. Akasagarbha, 123. Gagangañja, 123. Ratnapāņi, 123. Gandhahasti, 123. Jhanaketu, 123. Bhadrapala, 123. Sarvapayañjaha, 123. Amoghadrabin, 123. Surangama, 123. Vajrapãpi, 123. Sāgaramati, 124. Vajragarbha, 124. Avalokitesvara, 124. Mahästhånaprăpta, 124. Chandraprabha, 124. Jaliniprabha, 124. Amitaprabha, 124. Pratibhanakūta, 124. Sarvasokatamonirghātamati, 124. Sarvanirāvanaviskambht, 124. Maitreya, 124, 125.
Manjusri, 124, 125. Brahma, 1, 2, 4, 10, 24, 26, 27, 30, 31, 32, 37, 40, 41, 42, 43,
44, 51, 53, 54, 56, 57, 58, 62, 65, 67, 79, 84, 85, 86, 87,
88, 92, 112, 114, 118, 123. Brahmadatti, 175. Brahmadevi, 175. Brahmapda, 68. Brahimanda-Purana, 117. Brahmäpi, 25, 176. Brahmapi-Devananda, 184. Brahmarakshasa Bhairava, 76. Brahmaśāsta, 79. Brahma-birsa-chchedaka-Mürti, 41, 71. Brahmi, 55, 175. Brihaspati, 47. Buddhas in Mediation, 108, 109.
(See Dhyani Buddhas) Buddha Śaktis (Tantric Goddesses), 4, 115, 126.
Locana, 126. Māmaki, 126. Vajradhātiśvarl, 126. Pandarā, 126. Tară, 126. Bhrkuti, 126. Jāniguli, 126. Ekajata, 126. Parnaśabari, 126. Arya Mārici, 126. Cundā, 126.
Mahāmāyūri, 126. Buddhist Trinity (Triratna), 10.
Chakradāna-Mürti, 38. Chakreśvari, 177, 181. Chamunda, 25, 43, 55, 57, 150, 182. Chamundi, 178. Chanda (Bhairava), 55, 75, 76, 184. Chandeka, 38, 65. Chandnugraha-mūrti, 38. Chandikā, 55. Chandi Kalasan, 117. Chandi Mendut (Java), IU, 119. Chandrasekhara-Mürtis, 41, 46.
Kevala Chandrasekhara, Murti, 46, 61, 64. Umāsahita Mürti, 46, 61, 62, 64, 65. Alingana Mürti, 46, 61. Pasupata Mürti, 45, 61. Rudra Pasupata Mürti, 46, 61. Sukhāsana Murti, 46, 62. Somaskanda Mūrti, 46, 62.
Uma-Mahesvara Mūrti, 46, 62. Chaturmukha, 180. Chaturvarga Chintamani, 74, 84, 88, 90, 95, 100. Chaturvimsati, 174. Chavandaraya Purana, 175. Cosmic elements, 108, 180.
Rupa (sensation), 108. Vedana (sensation), 108. Samjñā (confirmation), 108. Samskara (confirmation) 108.
Vijñana (consciousness), 108. Cult of the Sun, 52. Cult of Tara, 117. Cunda, 2, 116, 131, 146. Cundā Vajri, 116.
Dadhicha, 47. Dadhiparna, 179. Daivika-Vasudeva (Vishou as Krishna), 88. Dakinis, 121, 148. See Six Dakinis. Dakéa (Prajapati), 36, 42, 44, 47, 52, 80. Dakfasamsthita (Bhairava), 76. Dakshiva (Bhairava), 76. Dakshina-Mürti-siva, 24, 45, 64.
Jnana Dakshina-Mürti, 45. Vipadhara Dakshina-Mürti, 45, 64. Yoga Dakshina-Mürti, 45, 64.
Vyakhyāna Dakshina-Mürti, 45, 64. Däksāyapi, 55. Damanka, 74. Damodara, 95, 96, 97. Danavirya Chauri-bearer, 177. Dance Deities
Läsya. Māla. Gita.
Nrtya. Danda, 25. Dasabhumika scripture (Book), 124. Dattatreya, 34. Devabhaga, 71. Deva-senāpati, 78.
Candi, 56. Chandraprabha, 127, 128, 157, 174, 177.

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190
Devi, 70. Devaki, 33. Dhanvantarin, 34.
Dhara, 73. Dharāpāla (Bhairava), 76. Dhārivis, 112, 116, 119. 146. Sumati, 146. Ratnolka, 146. Usnīṣavijayā, 146. Māri, 146. Parnasabari, 146. Jängull, 146. Anantamukhi, 146. Cunda (Cundra or Canda), 146. Prajñāvardhanl, 146. Sarvakarmavarapvisodhanl, 146. Akayajñākarandā, 146. Sarvabuddhadharmakosavati, 146.
H
Dharapendra, 178, 180. Dhariņipriya, 178. Dharmanatha, 174. Dharmapāla, 114. Dharmasindhu, 95. Dharmasūtras, 36. Dharmavirya (Chauri-bearer)., 177. Dhataki, 178. Dhvaja-Ganapati, 81. Dhyani Bodhisattvas, 109, 111, 112, 115. Maitreya, 110, 125. Avalokitesvara, 112, 125. Mañjuśrī, 113. 125. Vajrapāni, 114, 125. Ratnapāņi, 125. Jñanaketu, 125. Bodhisattva Mañjuśrī (His Forms): Vajraraga, 127. Dharmadhatu Vāgisvara, 127.
Mañjughosa,127. Siddhaikvira, 127.
Vajrananga, 127. Namasangiti Mañjuśrī, 127. Vägisvara, 127. Mañjuvara, 128. Mañjuvajra, 128. Mañjukumāra, 128. Arapacana, 128. Sthiracakra, 128. Vädirät, 128. Avalokitesvara (His Forms): Sadakṣari-Loke vara, 129. Simhanäda Khasarapana, 129. Lokanātna, 129. Hälähala, 129. Padmanartte vara, 130. Harihariharivähana, 130. Trailokyavasankara, 130. Rakta-Lokesvara, 130. Mäyäjälakrama, 130. Nilakantha, 130. Sugatisandarkana, 130. Pretasantarpita, 130.
Sukhavati Lokesvara, 130. Vajradharma, 130.
INDEX
Dhyani Buddhas, 3, 108, 109, 114, 115, 116, 117, 118, 120, 121, 122, 130, 140.
Amitabha, 109, 122, 125, 142. Akşobhya, 109, 122, 125, 142. Vairocana, 109, 122, 125, 142. Amoghsiddhi, 109, 122, 125, 142. Ratnasambhava, 109, 122, 125, 142. Vajradhara, 108, 125. Vajrasattva, 109, 125. Dhyani Buddha Amitabha-His Emanations, 131. Mahabala, 131. Saptasatika Hayagriva, 131. Suklä Kurukulla, 131. Dhyani-Buddha Aksobhya & other D.B.'s (See pages 10 (1) & 10(b)
Tarodbhava Kurukulla, 131. Uddiyana Kurukulla, 131. Aştabhuja Kurukulla, 131. Mäyäjälakrama Kurukulla, 131. Bhrkuti, 131. Mahäsitavati, 131. Dhyani Buddha Akṣobhya-His Emanations, 132. Candrogana, 132. Heruka, 132. Hevajra, 132. Buddhakapäla, 132. Sambara, 132. Saptākṣara, 132. Vighnäntaka, 133. Vajrahünkara, 133. Bhutadamara, 133. Vajrajvälänalärka, 133. Mahāmāyā, 134. Hayagriva, 134. Raktayamāri, 134. Krisnayamāri, 134. Jambhala, 134. Ucchuşma Jambhala, 134. Trailokavijaya, 135. Paramāśva, 135. Yogambara, 135. Kalacakra, 135. Goddesses: Mahăcintără, 135. Jängull, 135. Ekajată, 136. Vidyujväläkaräll, 136. Parnasabarl, 136. Vajracaricikä, 137. Mahamantränusāriņi, 137. Mahapratyangira, 137. Dhvajāgrakeyürä, 137. Vasudhärä, 137. Nairätmä, 137. Jñänadakini, 137. Vajravidarapl, 137. Dhyani Buddha Amoghasiddhi-His Emanations, 140. Vajrämrita, 140. Khadiravani-Tārā, 140 Mahāśrl-Tärä, 140. Vasya-Tärä, 140.

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INDEX
Sadbhuja-Sitatārā, 140. Dhanada-Tārā, 140. Sitatärä, 140. Parnasabari, 140.
Mahāmāyüri, 140. Vajrasrinkhala, 140. Vajragandhari, 140.
Dhyani Buddha Ratnasambhava-His Emanations, 141
Jambhala, 141.
Ucchuşma Jambhala, 141.
Goddesses: Vajratārā, 141.
Mahapratisarā, 141.
Vasudhārā, 141.
Aparăjită, 141.
Vajrayogini, 141.
Prasannatärä, 141.
Dhyani Buddha Vairocana-His Emanations, 138.
Nämasangiti, 138.
Mārici Aśokakäntä, 138. Arya Mārici, 138.
Dasabhujasita-Marici, 138. Uṣsanivijayā, 138. Sitäpaträ-Aparăjită, 138. Mahāsahasrāpramardani, 139.
Vajravärähi, 139. Cundā, 139.
Grahamätrikā, 139.
Digambar Puranas, 175.
Dikpälas, 49, 87, 105, 185.
Dipa, 129, 148, 149.
Dipti, 103.
Diti, 103.
Divine Mothers (Sapta-Matrikas), 98.
Door Goddesses, 121, 142.
Tälikä, 142.
Kunci. 142.
Kapāta, 142.
Patadhāriņi, 142.
Dripista Vasudeva (Chauri-bearer), 177.
Durga (Special Forms of) 55, 56, 71, 87, 104.
Nilakanthi, 104..
Kshemankarl, 104.
Harasiddhi, 104.
Rudrāmsa-Durgā, 104.
Vana-Durgā, 104.
Agni-Durgā, 104.
Jaya-Durgā, 104.
Vindhyavāsi-Durgā, 104
Ripumāri-Durgā, 104.
Duritări, 177, 181.
Dwarf Incarnation (See Vamana avatāra), 31.
Dyau, 52.
Dyaus Pitao, 50.
Earth Goddess, 29, 30, 36, 50, 83, 88, 89, 92.
Egypt, 52.
Eight Mothers, 148.
Läsya.
Mälä.
Gitä.
Nrtya.
Puspa.
Dhupă.
Dipă. Gandhä.
Eight Usniṣa Gods, 148.
Eight Vultures, 148.
Vajroşnişă, 148.
Ratnoṣiṣa, 148. Padmoşnişa, 148. Visoṣiṣa, 148.
Tejoniṣa, 148.
Dhvajoṣpiga, 148.
Tikusoṣṇīṣa, 148. Chhatroşpisa, 148.
Ekadanta, 47, 48.
Ekajatā, 117, 140, 144. Ekadasa Rudras, 73. Aja, 73.
Ekapada, 73.
Ahirabudhna, 73.
Virupaksha, 73.
Revata, 73.
Hara, 73.
Bahurupa, 73. Tryambaka, 73. Sure vara, 73.
Jayanta, 73.
Aparajita, 73. Mrityunjaya, 73.
Kiraṇāksha, 73.
Śrikantha, 73.
Ellora, 43, 57, 111, 112, 115, 118, 119.
Eternal Energy (Five aspects of), 45.
Creation.
Maintenance.
Destruction. Concealment. Favour.
Fa-Hien, 112.
Father Heaven (Dyaus Pitao), 50.
Five Protectresses (Pañcharaksha Mandala), 121, 142.
Mahāpratisarā, 142.
Mahäsähasrapramardani, 142. Mahämantränusāriņi, 142. Mahäsitavati, 142.
Mahämäyüri, 142.
Foucher, 118.
Future Buddha, 2, 4. (See Maitreya).
191
Gagangañja, 129, 156.
Gajăsură-samhāra-murti, Gajāsura-mardana, 41, 70. Gajavahana, 78.
Ganapati, 25, 47, 48, 52, 56, 80, 81, 87, 8, 99, 102, 118, 121, 150, 151, 184. (See Ganesa).
Ganesa, various Images of, 80, 81.

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192
INDEX
Gomukha, 177, 179. Gopinatha Rao, 99. Gordon, 115, 117. Govardhana, 94. Govinda, 95, 96, 97. Govindaraja (chauri-bearer), 178. Graha, 52. Greek Sun-god, 52. Green Tärā, 117, 144.
Khadiravayi Tara, 144. Vasyatara, 144. Aryatäră, 144. Mahattart Tära, 144. Varada Tara, 144. Durgottāriņi Tara, 144. Dhanada Tara, 144. Jangull, 144.
Parnasabari, 144. Guardians of the Treasures (Nāgas), 114. Guha-Subrahmanya, 79. Guhyasamāja, 112, 116, 120. Guhyasamaja-tantra, 113. Guna-Karanda-Vyüha, 112.
Ganpatihrdaya, 151. Gāpapatyas, 47. Gandhara School (of Sculpture), 111, 114. Gandhari (s), 178, 181, 182. Ganesa, 24, 25, 39, 47, 62, 80, 81, 184. Ganesa-Atharva-Shirsha, 47. Gangā, 105, 110. Gangadhara, 57. Gangadhara-murti, 43. Gängeya-Subrahmanya, 79. Garuda Yaksha (d), 178. Garuda Yakshi, 177. Gaurl (wife of siva), 25, 70, 99, 181, 183. Gauri-Tārā, 131. Gauri Yakshini (D), 177, 179. Gautama, 3, 4, 110, 112, 114. Gayatri, 27, 46. Getty, Alice, 49. Ghantakarni, 103. Ghantăpâni, 110. Ghoracardi, 132. Ghoranada (Bhairava), 76. Girish, 37. Gods of Direction, 147. Sec Ten Buddhist Gods of Direc
tion. Gods (Minor), See Minor deities. Goddesses, 99.
Gauri, 99, 102, 105, 121, 135. Manonmani, 99, 102. Sivă, 99, 103. Ambā, 99, 102. Umā, 99, 102. Pārvati, 26, 54, 99, 100, 102. Lalitā, 102. Śrlyä, 102. Krishna, 102. Himavanti, 102. Rambha, 102. Såvitri, 102. Trikhanda, 102. Totalā, 100, 102. Tripură, 100, 102. Bhū, 56, 100, 102. Mahālakshmi, 56, 100, 104. Lakshmi, 100, 105. śr, 100, 104. Sarasvati, 26, 54, 100, 104. Chāmundā, 55. Mahishamardint, 55.
Sri or Lakshmi, 56. Goddesses of Direction, 147.
See Six Buddhist Goddesses of Direction. Goddess of Learning, 118. Goddess of Music and Poetry, 118. Goddesses of the Four Seasons, 121. God of Agriculture, 114. God of Medicine, 36. God of Science, 114. God of Wealth, 114, 115. Godikā, 184. Gods and Goddesses (Major Hindu), 1, 24, 25. Gommata (or Gommatesvara), 174.
Haimavati, 55. Hand poses, 1, 2, 3, 5-9. Hanumāna, 33, 51, 91, 93. Hara, 44, 138. Haryaddha, 44. Hari, 44, 82, 85, 96, 97, 138. Haridra Ganapati, 77. Harihara, 44, 66.
(See other aspects of Siva). Häritt, 51, 119. Harivarasa, 33, 55, 175. Hastas. See Hand poses. Hasticharmåmbaradhara (Bhairava), 76. Hayagriva, 34. Heavenly Musicians, 85. Heramba, 81. Himavan, 43, 44, 47. Hindu Panchāyatana (system), 52. Hiranand Sastri, 117. Hiranyakashipu, 30, 31, 41, 56, 90, 93. Hiranyāksha, 29, 30. Hridanga, 112. Hrishikesa, 95.
Ichncumon, 179, 180. Iconographical representations of Vishnu, 34,
Adimurti, 34. Dattatreya, 34. Dhavantarin, 34. Hayagriva, 34. Lakshmi-Nárāyawa, 34. Manmatha, 35. Mohini, 35. Vaikuntha, 35.

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INDEX
193
Varadaraja, 35.
Venkatesa, 35. Ikshvaku-varsa, 175. Ilapati, 52. Image worship, 108. Incarnations (Vishnu), 29-35. 89-93.
Matsya, 29. Tortoise, 29. Boar, 29. Man Lion, 30. Dwarf, 31. Rāma (with battle-axe), 32 Rāma as King, 33. Krishna, 33. Buddha, 33.
Kalki, 33. Indra, 2, 25, 28, 31, 32, 35, 37, 38, 41, 47, 49, 50, 51, 57, 62,
92, 104, 105, 112, 114, 118, 136, 176. Indra (Rashtrakuta King), 57 Indrākshi, 103. Indrāyl. 25, 49, 57, 135. Indu, 49. Indukari, 88. Iranian Sun-Worship, 52. Išāna, 25, 36, 37, 49, 105, 185. Išvara, 37, 112, 177, 179. I-tsing, 119.
Jain Icons, 175. Jain Canonical texts, 176. Jain Iconography, 174. Jain Yakshas and Yakshivis, 179, 180.
See Yakshas and Yakshinis (Jain). Jains, 54, 174. Jalashayi, 84. Jālinikumāra, 128. Jāliniprabha, 127. Jamadagni, 32. Jambavan, 32. Jambhala, 4, 51, 114, 115. Jambu, 8, 114, 115. Jämbuvant, 92. Janārdana 95, 96, 97. Jānguli (Mānasā), 115, 117, 126, 144, 146. Jānguli-tāra, 116. Jatādhara (Bhairava), 76. Jätaka stories, 108, 117. Jaya, 30, 78, 180. Jayakara, 135. Jaya Lakshmi, 56. Jayanti, 103. Jayatárā, 135. Jhānaketu, 125. Jnana Śakti, 78. John Marshall (Sir), 38. Jwālāmālini (D), 181. Jyestha, 102. Kadamba, 177. Kadru, 35. Kailasa, 40, 41, 42, 56, 57.
Kaitabha, 24, 84, 87. Käla (see Yama). 42, 68. Kālāgni (Bhairava), 76. Kalahara flower, 80. Kalarātri, 102, 132. Kālāri-murti, 42, 71. Kala-vikarnika, 102. Kali, 105, 117, 181, 183. Kaliyuga (Age of Darkness), 34, 43. Kāliyā, 94. Kalki (avatāra), 34. Kalpakalata, 80, 99. Kalyanasundara-murti, 44. Kamalasana, 26, 54, 59. Kāmāntaka-mūrti, 42, 44, 71. Kāmapāla (Bhairava), 76. Kāmini, 85. Kanakamuni, 110, 122. Kandarpa (s), 178, 182. Kankāla, 68. Kankāla-mūrti-Bhairava, 40. Kasala (Bhairava), 76. Kāpāli, 42. Kartavīrya 32, 33. Kārttikeya (Subrahmanya), 10, 24, 39, 46, 75, 77, 78,
150, 180. Kasyapa, 30, 36, 110, 112, 122. Khatamandu (Nepal), 112. Kātri, 4, 25, 98, 105, 109, 132. Katyavalambita (Kati-hasta), 3, 7, 61. Katyayani, 55, 56. Kaumāri, 25, 57. Kammodaki, 107. Kaumudi, 4, 73. Kausiki, 55. Keith, 116. Keshava, 95, 96, 97. Kesini, 113, 127, 128. Ketu, 185. Kevala-jñana, 175. Kevala-Narasimha, 31. Khagarbha, 124. Khasarpana, 118. Khechara (Bhairava), 76. King Ugrasena (chauri-bearer), 178. Kirāta, 65. Kiratarjuna-murti, 39. Kirti, 103. Kishkinda, 86. Konarak (Orissa), 52. Krishna, Images of, 25, 33, 34, 54, 88, 94, 103, 116, 174.
Navanita-Nritta Mūrti, 94. Venugopāla, 94. Pārthasarathi, 94. Kaliyāmardaka, 94.
Govardhana-dhara, 94. Krodha (Bhairava), 76. Krodha-darnshtra (Bhairava), 76. Kmatārā, 131. Kshama, 103. Kshatriyani Trisala, 184. Ksetrapāla, 75, 76, 184.

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INDEX
Kşitigarbha, 129, 155. Kubera (see Jambhala) 4, 25, 40, 49, 51, 52, 105, 114, 119,
134, 141, 176, 178, 180. Kujako Myo, 117. Kulapalaka (Bhairava), 76. Kumāra, 43, 46, 62, 78, 177, 179. Kumbhakarna, 51., . Kundala (chaurtebearer), 178. Kunthunatha, 174, 178. Kurukulla, 112. Kurmāsana, 20, 22. Kushmandini (D), 178. Kusuma, 177, 179. Kutila (Bhairava), 76. Kufitam, 63.
Laksharaksa, 176. Lakshmana, 25, 33, 91. Lakshmi (Sri), 25, 30, 34, 44, 56, 58, 66, 80, 83, 84, 87, 88,
92, 99, 112, 184. Lakshmi-Gawapati, 80. Lakshmi-Nārāyana, 25, 34, 84. Lakulisa, 36. Lalitavistara, 110. Lalitopakhyāna, 117. Lambodara (Ganesa), 48. Lanka (Ceylon), 40, 51, 115. Light Goddesses, 149,
Süryahasta. Dipă. Ratnolkā.
Taditkara. Linga worship, 38. Lingodbhava-murti, 40. Lokapāla(s) (Dikpalas), 49, 114. Lokapala Brahma, 59. Lokas, 27. Lokeśvara, 130.
Bharati, 104. Sarasvati, 104. Arya, 104. Brahmavi, 104. Mahādhenu, 104. Vedagarbhā, 104. lsvari, 104. Mahalakshmi, 104. Mahakāli, 104.
Maha Sarasvati, 104. Mähămânasi, 182, 183, Mahāmantrânusārini, 142. Mahāmāyüri, 117, 140, 142, 144. Mahamudras, 112. Mahapratisarā, 142. Mahapratyangiradhārani, 112. Maharashtra, 46. Maharūdra (Bhairava), 76. Mahāsahasrapramardani, 142, Mahäsarasvati, 118, 162. Mahasanghikas, 112. . Mahāsattva, 113. Mahasena, 46. Mahäsitavati, 142. Mahästhănaprāpta, 157. Mahavåstūavadana, 112. Mahaveyu, 178. Mahāvira, 169, 184. Mahāyaksha, 177, 179. Mahāyāna (School/Texts), 2, 108, 110, 115, 116, 121. Mahāyogi (Śiva as), 45, 46. Mahendra, 178. Maheşa, 69. Mahesa-mūrti (Šiva), 24, 62. Mahesvara, 37, 112, 117. Māhesvari, 25, 57. Mahiņa, 55. Mahişamardini (See Goddesses), 55, 56. Manonmani, 102. Maitrayani Samhită, 47, 118. Maitreya, 2, 4, 110, 111, 112, 125, 129, 155. Mallinátha, 169, 178. Mamaki (sakti), 112, 114, 115, 122, 123. Mānasa, 116. Mänava-grihya-sūtra, 47. Manavi (S), 177, 178, 179, 181, 183. Mānasi Devi (D), 171, 182. Mangalā, 102. Manibhadra, 176. Manidhara, 129. Manikumbam (Tibetan work), 112. Manjughosha, 129. Manjusri, 2, 54, 80, 110, 113, 114, 118, 125, 160. Manjusri-müla-kalpa, 112, 113. Manjuvajra, 160. Manjuvajramandala, 116. Manmatha, 35. Mantranāyaka (Bhairava), 76. Mantrayāna, 109. Mānuja Vasudeva, 88. Māri, 146. Mārici, 117, 140, 144.
Madana, 74. Madhava, 95, 96, 97. Madhu, 24, 84, 87. Madhukara, 135. Madhusudana, 95, 96, 97. Madhyama, 21. Magadha, 113, 114. Maghavataraya (chauri-bearer), 177. Magi, 52. Mahadeva, 36, 40, 41. Mahaganapati, 80. Mahājvālā, 183. Mahākāla, 151. Mahakali, 68, 99, 102, 177, 181, 183. Mahakaya (Bhairava), 76. Mahālakshmi, 25, 56, 99. Special Forms of, 104.
Mahavidya, 104. Mahāvāni, 104.

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INDEX
195
Viva. Mukundā.
Murajă. Musicians (Heavenly), 85. Myrobalan, 10, 16.
Märkandeya, 42, 55, 84, 85, 86, 87, 99. Märtanda (Bhairava), 76. Măruti, 36, 37, 39, 51. Mātanga Yaksha, 169, 177, 178, 179, 181. Mātrikas, 57, 67. (Sec Sapta-Mātrikas).
Yogesvari, 57. Māheśvari, 57, 98. Vaishnavi, 57, 98. Brahmani, 57, 98. Kaumarl, 57, 98. Indrāni, 57, 98. Chamunda, 57, 98.
Värāhi, 57, 98. Matsya-Purana, 53, 54. Mauryas, 109. Max Muller, 50. Māyā (Prakriti), 37, 39, 85. Mayurbhanj. 116. Mercury (Budha), 185. Mesopotamia, 2. Minor deities, 49-53, 120.
Iconography, 120. Indra, 49. Agni, 37, 50. Yama, 50. Varuna, 37, 50. Nirutti, 51. Vayu, 51. Kubera, SI.
Sürya, 51. Mitra-vīrya (chauri-bearer), 177. Modaka-priya (Bhairava), 76. Modes of expressions (of Murtis), 35.
Yoga, 35. Bhoga,35. Vira, 35. Abhicharika, 35. Sthanaka, 35. A sana, 35.
Sayana, 35. Modhera (Gujarat), 52. Mohenjodaro, 38. Mohini, 35, 74, 91. Mortal Buddhas, 109, 110, 111, 122.
Manushi Krakucchanda. Kanakamuni. Kaśyapa. Säkyasinha.
Maitreya. Mothers, See Eight Mothers. Mount (vehicle), 20. Mrityu, 68. Mudras (hastas), 3. Mukhara (Bhairava), 76. Mukunda (instrument), 82, 149. Mukutas (crown), 20, 119. Müla-nāyaka, 174. Mundapala (Bhairava), 76. Munisuvrata. 168. Musical Instruments, 149.
Varisa.
Nāga (S), 185. Nägarjuna, 2. Nāgas, 114. Naigamesha, 184. Nămasangiti, 3, 4. Naminātha, 174. Namuchi, 32, 92. Nānārūpadhara (Bhairava), 76. Nandi, 39. Nandiga, 180. Nandikesvara, 39, 40, 151. Nandisanugrah-mūrti, 39. Nārada, 31, 62, 85, 86, 87, 90. Naradatta (S), 178, 182. Naraka, 50. Narasimha (avatāra), 28, 30, 31, 35, 42, 83, 90, 93, 95
96, 97. Narasiriha images, 31, 93.
Girija-Narasimha, 31, 93. Sthauna-Narasimha 31, 93.
Yanaka-Narasirinha 31, 93. Nārāyaya, 90, 95, 96, 97. Nara-Nārāyapa, 90. Nārāyana Upanishad, 47. Natarāja Siva, 24, 37, 45, 63. Navagraha (Ninc planets/slabs), 52, 185. Neminātha, 174. Nepal, 110, 112, 113. Nidhis, 51. Nikshubhā, 52, 106. Nīlakantha (Bhairava), 76. Nine planets, 152. See Planets.
Aditya (Surya). Candra. Manga!a. Budha. Brahaspati. Sukra. Sani. Rāhū.
Ketu. Nirruti, 25. 49, 51, 105. Nirvani (S), 178, 182. Nispannatārā, 131. Nişpannayogávali. 110, 116, 119, 120, 121. Noah, 29. Nritta Gawapati, 81. Nritta-murtis, 45, 63. Nyagrodha, 177.
Oldenberg, 114. Orissa, 52, 116.

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196
INDEX
Pradyumna, 43, 95, 96, 97, 188. Prajāpati, 25, 36, 37, 43, 54, 59. Prajna, 108, 118, 134, 140. Prajña Citrasena, 132. Prajña Nairātmā, 132. Prajnapāramita, 114, 18, 120, 124, 126, 128, 131, 136, 152. Prajoặpti, 177, 181, Prajñāvardhini, 146. Pralhada, 31, 93. Pralayāntaka (Bhairava), 76. Pramudita, 145. Prasanna-Ganapati, 81. Prasenjit, 175. Pratisarvits, 120, 146.
Dharma. Artha. Nirukti.
Pratibhāna. Prithvi, 88. Priyankara (Bhairava), 76. Pundarika Väsudeva (chauri-bearer), 178. Pulastya, 51. Purnabhadra, 176. Pumarakşa, 176. Purushadatta (Raja), 177, 179, 181. Purushottama, 95. Purushottam Vasudeva (chauri-bearer), 178. Purvapurana, 175. Pusan, 52. Pushpadanta (Suvidhinatha), 174, 177. Pushti, 88.
Padma dakiņi, 134, 138. Padmanābha, 95, 96, 97. Padma-nidhi, 105. Padmapāni, 2, 110, 112, 113, 114. Padmaprabha, 174, 177. Padmapurāna, 95, 96, 97. Padmăvati, 174, 175. Palaniyandavar, 78. Paliyanga, 53. Pancarakşa (S), 4, 117, 121. Pancha-Brahmas Išanadayah (five aspects of siva), 72. Päñchajanya, 10. Panchåla, 119. Pancharaksha Mandala, 121, 142. See Five Protectresses. Panchasirsa (Hill of five peaks), 113, 114. Panchayatana, 52, 55. Pāncikā, 119. Pāndarā (sakti), 112, 115, 122, 153. Pander's Pantheon, 114. Pāndara Vasini, 112. Pandava, 39, 51. Paramitas (goddesses), 116, 119, 120.
Ratnaparamitā, 120. Dānapāramita, 120. śīlapāramită, 120. Kśāntiparamitā, 120. Viryaparamita, 120. Dhyānaparamitā, 120. Prajiāpāramita, 120. Upayapăramitā, 120. Pranidhānaparamitā, 120. Balapäramitā, 120. Jnānapăramitā ,120.
Vajrakarmaparamita, 120. Parayaśabari, 146. Parshvanatha, 175, 178, 180. Parasurāma, 32, 33. Parvatavāsa (Bhairava), 76. Parvati, 25, 38, 39, 41, 42, 43, 46, 47, 55, 56, 58, 60, 62, 63,
65, 66, 67, 70. Pasupatastra, 39, 40. Pasupati, 36, 37. Pātālika, 177. Phallic worship (Śiva and......), 37, 38. Phallus (Sishnadevatā), 37, 38. Philosophical Deities, 116. Pingala, 25, 53, 106. Pingala-Ganapati, 80. Pingalakhana (Bhairava), 76. Pingalapati, 52. Pitamaha (Bhairava), 59, 76. Planets (Grahas), 8, 106.
Sun (Súrya), 106. Moon (Candra), 106. Mars (Mangala), 106. Mercury (Budha), 106. Jupiter (Brihaspati), 106. Venus (Sukra), 106. Saturn (Sani), 106. Rāhū, 106. Ketu, 106. See also Nine Planets.
Rajanatangi, 103. Rājakri, 56. Rakta-chāmundā, 103. Rāma, 25, 33, 91, 92. Rāma with the battle axe (Para urāma), 32, 33. Rāmchandra-Avatāra, 33. Ratnailākivi, 134, 148. Ratnapäņi, 110, 125, 156. Ratnasambhava, 109, 115, 121, 125, 126, 141, 142, 144,
154. Rati, 20, 35, 43, 71, 103, 131, 135. Ratnolkā, 146. Rātri-Ganapati, 81. Rāvana, 40, 51. Rāvananugraha-mūrti, 37, 40. Red Tärā, 144. Renukā, 32. Revanta, 52. Revati, 88. Riddhi, 105. Rishabhanātha (Adinatha), 177. River goddesses, 57. Rohimi, 88, 106, 181, 183. Rudra (s) (Ekādasa), 36, 37, 42, 43, 73, 76, 87, 118. Rudra (Bhairava), 76. Rudra-Siva, 42. Rudrāni, 55, 116. Rukmini, 25. 33, 82, 89, 94.

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INDEX
197
Rupamandana, 97. Ruru (Bhairava), 76.
Sabala, 32. Sacharachara (Bhairava), 76. Śachi, 105, 185. Şadakgarl-mahavidya, 129. Şadakaşari mahavidyarājal, 112. Sadhanakumāra, 118. Sadhanamālā, 109, 112, 114, 115, 117. Sadharana siva (usual forms of), 60. Sagarachakri (chauri-bearer), 177. Sagaramati, 156. Sahu, N.R., 117. Sailendra, 117. sakra (Indra), 114. Śaktidhara, 78. Śaktiganesa (Ganapati), 80. Sakti-vajravārāhi, 132. Śaktis of Dhyani Buddhas, 142.
Påndară, 126, 142. Māmakl, 126, 142. Tārā, 126, 142. Locană, 126, 142.
Vajradhatjávarl, 126, 142. Śaktyäyudha, 77. Śālankāyana, 39. Sämänya (Bhairava), 75. Samantabhadra, 110, 115, 123, 129 154. Sãmba, 88. Sambhavanátha, 174, 177. Sarnhaladini, 85. Samhāra (Bhairava), 76. Samhāra-murtis (Aggressive Forms of Siva), 40, 41, 42, 43,
44, 68, 70, 71. Samkarsana, 95, 96, 97. Sanaka, 85. Sankara (Bhairava), 76. Samskära, 109. Sanatkumāra, 32, 85, 86, 87, 92. Śankha-nidhi, 105. Şanmukha, 46, 78. Sänti-Devi, 184. śāntinātha, 174, 178 Śäntiparva, 44. Sapta-Matrikas-Divine Mothers, 43, 44, 56, 98.
Brahmāni, 98. Māheśvarl, 98. Kaumärt, 98. Vaishnavi, 98. Värähr, 98. Indrāni, 98.
Chamunda, 98. Saptarishis, 87. Sarabheka-Mürti, 41,42,71. Sarnath, 113. Sarasvati (Arya), 25, 26, 54, 55, 56, 57, 58, 59, 83, 99, 112,
117, 118, 121, 152. Her Forms, 152.
Mahāsarasvati, 152.
Vajravinásarasvati, 152. Aryasarasvati, 152.
Vajrasarasvati, 152. Sarva, 36. Sarvabhutadamani, 102. Sarvabhūtahridisthita (Bhairava), 76. Sarvabuddhadharmakosavati, 146. Sarvadveía (Bhairava), 76. Sarvahana, (D) 178, 180. Sarvajña (Bhairava), 76. Sarvakarmăvaranavi odhani, 146. Sarvamangala, 102. Sarvyasas, 176. Śāsanadevi, 118. Šasibhūsana (Bhairava), 76. Śástā (Ārya), 74. Satagiri, 119. Śatapatha Brahmana, 37, 118. Satyabhama, 25, 34. Savitri, 26, 27, 41, 52, 58, 59, 89. Seasons, Goddesses of, 148.
Spring (Vasant-devi). Summer (Grişma-devl). Autumn (Sarada-devi).
Winter (Hemanta-deví). Shambhu, 37. Shanmukha, 78, 180. Shänta (s), 181. Shatrughna, 25, 33. Sheshashāyi, (Vishnu), 24, 84. Shilpa-Ratna, 74, 80, 82, 84, 88, 92, 98, 99. Shvetasvatara Upanishad, 37. Siddhas, 44. Siddhayikā, 178, 182. Siddhi, 84, 103, 116, 121. Sikhi, 110. Sikhivahana, 79. Sikşāsamuccaya, 116. Silada, 39. Sishyabhavamūrti, 79. Sītā, 33, 91. Sitalbhadra, 176. Sitalanátha, 174, 177. Sitātără, 117. Śiva, 1, 2, 4, 10, 20, 24, 25, 26, 27, 28, 32, 34, 35, 39, 41, 42,
43, 44, 45, 46, 52, 54, 56, 57, 58, 59, 61, 62, 63, 64, 65, 66, 67, 68, 73, 79, 80, 84, 85, 86, 87, 88, 89, 102, 121,
131, 133, 135, 136, 138, 180. Anugraha-Mürtis, 65.
Chandesanugraha-Mürti, 38, 65. Vishnuvanugraha-Mürti, 38, 65. Kiratarjuna-Mürti, 39, 65.
Vighnesvaranugraha-Mürti, 39, 65. Different forms of -
Kankāla, 68. Mahäkāla, 68. Maheśvara, 36, 68. Lakulisa, 68. Rudra, 68. Aghora Mārti, 69. Sadasiva murti, 69. Mahāsadasiva mūrti, 69.

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Maheṣamurti, 62, 69.
Five aspects of (Pañchabrahmas Isanadayah)— Aghora, 72. Isana, 72.
Tatpurusha, 72. Vāmadeva, 72.
Sadyojāta, 72.
Other aspects
Gangadharamurti, 43, 66,
Ardhanarisvara, 43, 66.
Harihara, 44, 166.
Kalyanasundaramurti, 44, 66, 67.
Vrishabhärudhamūrti, 44, 66, 67.
-
Vishpaharana mürti, 45, 66, 67. Śiva-Chandrasekhara-mürtis (see Chandrasekhara-mürtis),
61.
Śiva-dūtf, 102. Siva-Nritta-Mürtis, 63.
Śiva Nataraja.
Katisama Dance.
Lalitam.
Lalita Tilakam.
Chaturam.
Talasamsphotitam.
Śiva and Phallic worship, 37.
Šiva Sakti, 46.
Six Buddhist goddesses of direction, 147.
Vajränkuśl,
Vajrapāśī.
Vajrasphotā.
Vajraghanţă.
Uśniṣavijayā. Sumbha.
Six Dakinis, 148.
Buddha Dakini, Vajra Dakini.
Ratna Dakini.
Padma Dākini.
Karma Dākini.
Vishva Dākini.
Skanda (Kärttikeya), 46, 62, 77, 78.
Skandhas, 115.
Rupā.
Vedanā.
Samjñā.
Samiskārā.
Vijñāna.
Somāskanda Śiva, 79.
Sopasraya, 20.
Sravanabelgola, 175.
Śrenika Chauri-bearer, 178.
Sreyamsunǎtha, 177.
Śri (or Lakshmi), 24, 56, 58, 67, 84, 86, 88, 90, 93, 135,
184. Sridevi, 31.
Śridhara, 95, 96, 97.
Śrikrishna, 95, 96, 97.
Śri Tatvanidhi (ST), 35, 74, 75, 78, 80,89, 90, 93, 98.
Sri-Vasudhärä, 137.
Śri-Vasumukhi, 137.
Śrīvatsa (triangular mole), 175.
Śrī-vriksha, 177.
Sruta Devi, 183. See Vidyadevi. Śrutakarman, 52. Śrutashravasa, 52.
Stein (Dr.), 38.
Sthauna-Narasimha, 31.
Subrahmanya (Kärttikeya), 10, 24, 43, 46, 77, 78, 79.
Different Aspects ofŠaktidhara, 78.
Skanda, 78.
Senapati, 78.
Deva senapati, 78. Subrahmanya, 78. Gajavahana, 78. Saravanabhava, 78.
Kärttikeya, 78. Kumāra, 78.
Shanmukha, 78. Tārakäri, 78.
Krauñchabhettä, 78. Senäni, 79. Brahmaśāstā, 79.
Bālasvāmi, 79. Sikhivahana, 79. Valli-Kalyanasundara, 79. Agnijātasubrahmanya, 79. Surabheya, Subrahmanya, 79. Gängeya Subrahmanya, 79. Guha Subrahmanya, 79. Brahmachari Subrahmanya, 79. Desika Subrahmanya, 79. Sudanda, 55.
Sudhanakumāra, 129, 130. Sudurjaya, 145.
Sukhāvati Vyüha, 112, 113.
Sumanabhadra, 176.
Sumati, 146.
Sumatinatha, 174, 177.
Sun, 35, 37, 40, 46, 53, 92, 104, 105, 106, 112, 138. Sunanda, 175.
Sūparna, 28.
Supar vanatha, 174, 177. Suprabhedagama, 41.
Surabheya-Subrahmanya, 79.
Surabhi, 103.
INDEX
Sürya (Sun), 25, 26, 28, 32, 35, 47, 49, 50, 52, 55, 85, 86, 87, 92, 105, 106, 107, 112, 185.
Süryapafichāyatana, 52.
Sushira, 177.
Sutara, 181.
Sutări, 177.
Svarnakarshana, 75. Suvarni, 59.
Svachchanda (Bhairava), 75, 76. Suvidhinatha, 177.
Svähä, 46, 105, 116, 119, 185. Svayambhu Chaitya, 108. Svayambhu-purana, 113. Svayambhu Väsudeva, 178. Sveta (chauri-bearer), 103.

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INDEX
199
Taittiriya Aranyaka, 47. Tantric Goddesses, Sec Buddha Saktis. . Tantric School (of Buddhism), 116. Tantricism (philosophy of), 116. Tapussa, 2. Tärä, 112, 113, 114, 115, 116, 117, 118, 121, 122, 126, 129,
130, 144, 154. See under different colours. Tāraka (Demon), 42, 43, 44, 46. Tārakāksha, 41. Tārāmbă, 117. Taras of five colours, 144. See individual colour. Tárā stotras, 113. Taruva-Ganapati, 81. Teacher god (Śiva), 64. Technical terms and symbols, 1. Ten Buddhist gods of Direction, 147.
Yamantaka. Prajñantaka. Padmāntaka. Vighnántaka. Takkirāja. Nilandanda. Mahabala, Acala. Uşnisa.
Sumbharaja. Tirthankaras, 137, 138. Trinetra (Bhairava), 76. Tri-Tirthankara, 174. Trailokyamohana, 83. Trimukha Yaksha, 177. Tripitaka, 112. Triple Umbrella, 175. Tripurabhairavi, 103. Tripurāntaka (Bhairava), 70, 76. Tripurantaka-mūrti, 41. Trivikrama, 31, 32, 92, 93, 96, 97. Tulasa-Devi, 103. Tumburu, 85, 86, 87, 177, 179. Turfan, 111. Turkistan, 119.
Vadāli, 138. Vāgišvari, 54. Vaikuntha, 35, 83. Vairocana, 3, 109, 110, 112, 113, 115, 116, 122, 125, 126, 138,
139, 142. Vairoti, 182, 183. Vaishnavi, 25, 27, 181. Vaisravana, 51. Vaiśravas, 51. Vajradanta, 74, 178. Vajradhara, 108, 125. Vajraghava, 129. Vajrahasta (Bhairava), 76. Vajrainkuša, 183. Vajrānkust, 129. Vajrapavi, 3, 110, 114, 125. 129. Vajrapāsi, 129. Vajrasārada, 118, 163. Vajra-sarasvati, 163. Vajrasattva, 109, 110, 125, 155. Vajrasphotā, 129. Vajrasrimukhalā, 183. Vajrabhāskari, 132. Vajradākipi, 38, 132, 134, Vajraraudri, 132. Vajravārāhi, 132. Vajraviva-sarasvati, 118, 163. Vajratāra, 130. Vajrayāna (mythology), 3, 108, 109, 115, 117. Vajrayana pantheon, 118. Vāma, 102. Varada (Bhairava), 76. Varadarāja, 36. Varaha (avatāra), 30, 83, 89, 92, 100.
Bhūvarāha. (Adivarāha or Nrivarāha), 30, 89. Yajnavaráha, 30, 89.
Pralayavarāha, 30, 89. Varaha-purāua, 57. Varhani, 74. Vārāhi, 25, 27. Varttali, 138. Varuva, 25, 30, 37, 49, 50, 92, 105, 112, 178. Vasanta, 71. Varunichimundā, 102. Vasitā (goddesses), 116, 119, 120, 145.
Ayurvasitā. Cittavasitā. Parişkāravasitā. Karmavasitā. Upapattiva ita. Riddhivasitā. Adhimuktivasitā. Pranidhanavasitā. Jñanavasitā. Dharmavašita. Tathatāvasitā.
Buddhabodhiprabhā-vasitā. Vasu, N. N., 116. Vasudeva, 33, 82, 88, 95, 96. Vasudeva Krishna, 28. Vasuki, 29, 68, 131. Vasupujya, 177.
Uchchishta-Ganapati (Unmatta), 80, 81. Ugradeva, 36. Ugratejas, 105. Umā, 40, 46, 58, 61, 62, 66, 112, 116. Unmatta (Bhairava), 76. Upakešini, 113, 127, 128. Upavita, 10, 73. Upendra, 95. Ordhva-Ganapati, 80. Ordhvalinga Siva, 60, 66. Usnisa Gods, 148. See Eight Uşnisa Gods. Uşnisa Sitā, 4. Uənişavijaya, 3, 146. Uttama, 21. Uttarabodhi, 4, 9. Uttara-Kamikāgama, 63.

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200
Vasus, 73.
Dhara.
Dhruva.
Soma.
Apa.
Anila.
Anala.
Pratyusha.
Prabhasa.
Vasumatisri, 137.
Vasusri, 137.
Vatuka-nayaka (Bhairava), 76.
Vayu, 25, 28, 32, 49, 51, 92, 105, 112, 185.
Venkatesa, 35.
Vicharasarman, 38.
Vidită, 182.
Vidya, 72.
Vidyadevis, 176, 181, 183, 184.
Sarasvati (Sruta Devi), 183.
Rohini, 183.
Prajñapati, 183.
Vajrasriikhala, 183.
Vajramikusa, 183.
Apratichakra or Jambunada, 183.
Purusadaṭṭā, 183.
Kāli, 183.
Mahikāli, 183.
Gandhari, 183.
Mahinjvälä or Jvälämālinī, 183.
Manavi, 183.
Vairori, 183.
Achyupta, 183.
Mānasi, 183.
Mahamänasi, 183.
Vidyadhara, 56, 58, 85, 88.
Vidyārājni, 112.
Vidyunmati, 41.
Vighnaraja-Ganapati, 81. Vighnasantusta (Bhairava). 76.
Vighnešvaranugraha-murti, 39. Vijaya, 30, 103.
Vijaya yaksha, 170, 177, 179, 182. Vijayaraja (chauri-bearer), 178. Vikrampur Jambhala, 115.
Vimalanatha, 166.
Vinată, 35.
Vinayakas (Ganesa), 47, 48.
Virabhadra, 24, 41, 44, 46, 57, 62, 80.
Vira-vighneṣa, 81.
Virupaksha. 76.
Vishkambhin, 129.
Vishalaksha (Bhairava), 76.
Vishapaharava-murti, 45.
Vishou, 4, 10, 20, 24, 26, 29-35, 37, 39, 40, 41, 42, 43, 44, 47, 52, 54, 55, 56, 57, 58, 62, 65, 66, 67, 82-93, 150.
Incarnations,
Matsya, 29.
Kurma, 29.
Varaha, 29, 30, 35, 37, 92.
Narasimha, 29, 30.
Vamana, 29, 31, 32, 92, 95. Parshurama, 29.
Dashratharama, 29. Krishna, 29.
Buddha, 29.
Kalki, 29.
Vasudeva Panchaka.
Vasudeva, 88, 95, 96, 97. Samkarshava, 88.
Padyumna, 88, 95, 96, 97.
Aniruddha, 88, 95, 96, 97.
Sămba, 88.
Incarnations and minor Avataras, 89, 90.
Kapila, 89.
Kalki, 89.
Krishna, 89. Dattatreya, 89.
Dhanvantarin, 89.
Nara-Nārāyana, 90.
Narasimha, 90.
Parashurama, 90.
Balarama, 90.
Buddha, 91.
Matysa, 91.
Kürma, 91.
Rāma, 91. Vardarāja, 91.
Mohini, 91.
Varaha, 91, 92.
Vämana, 91, 95, 96, 97.
Trivikrama, 91, 92, 95, 96, 97.
Vitthal, 91.
Venkatesh, 93.
Hayagriva, 93.
Vishnu (Iconographical Representations). See Iconographical representations of Vishnu, and Incarnations (Vishnu).
Vishnu, (Sthanaka and Sayana Murtis) (Standing & Sleeping images), 86. Standing Images
Yoga stahanka mūrti, 86, 87.
Bhoga stahanka mūrti, 86, 87. Vira stähanka murti, 86, 87.
Abhicharika stähanka mürti, 86, 87. Sleeping Images
Yogasana-Mürti, 85.
Bhogasana-Mürti, 85. Virasana-Mürti, 85.
Abhicharikäsana-Mürti, 85.
INDEX
Vishnu (Bhairava), 76. Vishuugraha-mürti, 38. Vishnu Purana, 32, 33, 174. Viśvadākini, 134, 148. Vishvakarmā, 52.
Viśvarupa (Bhairava), 76, 83. Virupaksha (Bhairava), 76.
Viśvatārā, 130.
Vivasvat, 50, 52.
Vüshabhärudha-murti, 44. Vultures, See Eight Vultures Vyajini, 85.

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INDEX
201
White Tarā, 117, 144.
Astamahābhayā. Mrityuvancană Tara, Chaturbhuja Sita Tärā. Visvamātā. Kurukulla. Jānguli.
Yajñadatta, 38. Yājnyavalkya Smriti, 48. Yajurveda, 27, 174. Yaksha Cult, 176. Yaksapati, 176. Yakshas & Yakshinis (Jain), 179.
Gomukha, 179. Mahāyaksha, 179. Trimukha, 179. Yaksheshvara, 179. Tumburu, 179. Kusuma or Pushpa, 179. Mātanga or Varanandt, 179. Vijaya or Shyama, 179. Ajita, 179. Brahua, 179. Ishvara, 179. Kumāra, 179. Shanmukha or Chaturmukha, 180. Pätāla, 180. Kinnara, 180. Garuda, 180. Gandharya, 180. Khendra or Yakshendra or Jaya, 180. Kubera, 180. Varuna, 180. Bhrikuti, 180. Sarvahana or Gomedha, 180.Pärshva or Dharanendra, 180. Mātanga, 180. Yakshinis
Chakreśvarl, 181. Ajitā or Rohinl, 181. Duritāri or Prajñāpti (D), 181. Vajrasrimkhala (D) or Käll (S), 181.
Mahākäli (S) or Purushdatta (D), 181. Achyuta or Shyama (S), 181. Manovega (D), 181. Shānta (S) or Käll (D), 181. Bhrikuti (S) or Jvālāmálint (D), 181. Sutārā (S) or Mahākäll (D), 181. Abokā (S) or Manavi (D), 181. Gauri (S) or Gāndhari (D), 181. Chandă (S) or Gāndhärl, 181. Vidită, Vijayā or Vairoti, 182. Amkušā (S) or Anantmukhi (D), 182. Kandarpā (S) or Mănast (D), 182. Nirvanl (S) or Mahāmānasl (D), 182. Balā (S) or Vijaya (D), 182. Dhårani (S) or Täră (D), 182. Vairoti or Aparajita (D), 182. Naradatta (S) or Bahurupini, 182. Gandhärf or Chāmundā, 182. Ambikā (S) or Amra (D), 182. Padmāvati, 182. Siddhayikā, 182. Dharinipriyā, 178. Nirvani, 178. Küshmandini, 178.
Vijayādevi, 178. Yakşendra, 176, 180. Yakshesa (S), 177. Yaksheswara (D), 177, 179. Yama, 25, 50, 71, 105. Yamadhyuii-chauri-bearer, 177. Yamunā, 52, 105. Yanaka Narasimha, 31. Yasoda, 33. Yellow Tärā, 144.
Vajra tārā. Jānguli tara. Parnaśabari tārā.
Bhrkuţi tārā. Yogindra, 102. Yogasana-Mürti (Vishnu), 85. Yogesvari, 57, 70, 103. Yoginis, 184. Yogisa (Bhairava), 76. Yogishvara, 84. Yuan Chwang, 111, 112, 117.

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(Continued from front flap)
at the Salem College and the Winston-Salem State College, U.S.A. His book, Iconography of the Buddhist Sculpture at Ellora is a very important book on the subject, as also are his masterly works on the Ajanta, Ellora, and Aurangabad Caves and on the art and architecture of Aihole.
It is not too much to claim that Iconography of the Hindus, Buddhists and Jains is destined to become a standard work on the subject for many years to come. It is an indispensable work for students, and even scholars, of Indian art, religion, philosophy, and culture.

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