________________
MONUMENTS & SCULPTURE A.D. 1000 TO 1300
[PART V
square brick pile in the middle with four projected chambers on its four sides. The above suggestion about the shrine of the Paharpur temple that it had votive images on four faces of the square brick columns seems to be supported here also by the discovery of a fragment of a bronze image of Buddha in one of the projected chambers. These two Indian temples are each in an extremely fragmentary state. The above reconstruction gains credibility on the analogy of the Pagan temples noted above. The Jaina motif of a four-faced altar appears to have served as the model for imitation by the Buddhists.
In the Nat Hlaung Kyaung temple at Pagan in Burma, consecrated to the worship of Vişņu, the Jaina motif is seen to have been adopted, and in this context it may be useful to enquire whether the scheme finds expression in any Brahmanical temple in India or elsewhere. In Brāhmaṇical iconography, not infrequently, several divinities have been conceived each with four heads facing the four principal directions. But in such conceptions the iconic theme in each case has been treated in strict frontal view and as such intended for approach from the front only. Hence, such iconic motifs in Brahmanism can hardly be considered as parallel expressions of the Jaina sarvatobhadrika in the literal sense of the term. In illustrating this point reference may be made to Brahma, the first of the Brahmanical Triad, and the Vaikuntha aspect of Vişnu, each of whom is to have four faces according to iconographic descriptions. The treatment in each case is frontal and the few temples that are known to have been dedicated to their worship are each seen to have only one door in front. The Lakṣmaṇa temple at Khajuraho, Madhya Pradesh, one of the most important enshrining an image of Vaikuntha-Vişņu, has one entrance only in front. The Brahma temple at the same place is seen to have four openings on four sides, three of which are closed by stone lattices; that on the east forms the only entrance to the shrine. Such iconic themes in Brahmanism, simply because of their having four faces, are not apparently intended for approach or confrontation from all sides.
In Brāhmaṇism an echo of the Jaina sarvatobhadrika may be recognized in the iconographic motif of Siva-linga with four faces on four sides, commonly known under the designation of caturmukha-linga or caturmukha-Mahadeva. The theme is conceived and treated completely in the round in conformity with the cylindrical shape of the phallic emblem of the god. Representations of caturmukha-linga are known from fairly early times, and it is difficult to say which of the iconic motifs, the Jaina sarvatobhadrika or the four-faced linga, is prior in time conceptually. But that the two are parallel expressions of a votive object in its four-fold conception admits of little doubt. A linga with its plain
272
