Indian Antiquary Vol 62

Author(s): Richard Carnac Temple, Charles E A W Oldham, S Krishnaswami Aiyangar, Devadatta Ramkrishna Bhandarka
Publisher: Swati Publications

Page 245

NOTE ON A STONE IMAGE OF AGNI
DECEMBER, 1933 ]
The ornaments worn by Agni are less compatible with the Indian type of the ascetic or rahi. But they are inseparable from royalty. There exists a close relationship, almost amounting to an identity, between gods and kings. The sculptor, while adorning his deity with the combined attributes of the raja and the rshi, has united in him the types of these two categories which are considered supreme in Hindu society.
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The prominent abdomen to which we have called attention is supported by a girdle (Sanskrit mekhala). Besides this, we notice a broad decorated band passing over the left shoulder and under the right arm. The meaning of this object is not very clear. At first sight it might be taken to represent the sacrificial cord or janeo (Sanskrit yajñopavita), which is the characteristic emblem of the members of the Brahmana caste. The position of the band in question would agree with this assumption, but not its shape.
The ornaments to which we have referred consist of a necklace, somewhat defaced in front, a long garland hanging down from the left shoulder and thrown over the right hip, and bracelets both on the upper part of the arms and round the left wrist.
The right arm, which is broken off above the elbow, was probably raised in the attitude of protection3. At any rate, the right hand did not rest upon the body, as there is no trace of a break on the latter. The hand may have held a rosary or akşamālā which is sometimes associated with Agni images. The left hand holds a vessel.
The various figures of considerably smaller size which appear grouped round the deity in the centre, are no less curious than the main personage, and, partly at least, more puzzling. The goat, to which we have had occasion to refer, is the ordinary hircine animal, so common in India, with its beard, drooping ears, and small, slightly curved horns. It bears an ornamental necklace; its hind-quarters are concealed behind the legs of its master and were apparently left unfinished by the sculptor.
On the left side of Agni and under his left hand there is the figure of a male worshipper clad in a dhoti and wearing the usual ornaments. His high head-dress is somewhat reminiscent of Bharhut sculpture, although there can hardly be any connexion, considering that the present sculpture must be more than a thousand years later in date. The worshipper is shown with his hands raised and joined in the gesture of adoration. He is purely human in appearance and evidently represents a human devotee of the god, possibly the individual to whose piety the sculpture owns its existence.
The group which we have described so far is flanked by two goat-headed attendants, each of them holding an indeterminate object in his raised right hand, whereas the left is placed on the hip. These satellites wear a dhoti and arm-rings on the upper arms and round the wrists.
The remaining portion of the slab is adorned with six figures or groups of figures symmetrically arranged on both sides of the central image. There evidently exists a close connexion between the four single figures, all of which are shown in a slightly bent position, as if doing obeisance to the god Agni. The two figures above have their hair tied into a knot on the nape of the neck.
The left hand figure holds with both hands, two objects, apparently a sacrificial ladle (Sanskrit sruc- or sruva-) and a vessel of ghee(?) In the case of the corresponding figure on the right these objects are broken and no longer recognisable. Both these personages wear a broad band over the shoulder. The other pair of worshipping figures, somewhat smaller in size, is placed on both sides of the Fire-god about the height of his waist. A very remark
3 The technical name of this gesture (mudra) in Indian iconography is abhaya-mudrā (lit. the gesture of 'no-danger').
4 In the case of the right hand figure it is laid over the left shoulder, whereas the other figure wears it over the right shoulder. In both instances it passes under the right arm.