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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
