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Architectural and Iconographic Trends
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and ankuśa and pasa in upper hands of four-armed goddesses appear to have been one such standardised set, among Jaina as well as Brahmanical deities. Two figures of Sarasvati, a figure of Ambika and a yaksi- all from Karnataka and dating to the period of 11th-12th century CE are shown seated with ankuśa and pasa in the upper two hands, while the lower two hands display respective attributes like amralumbi, matulunga, varda hasta or a pustaka (Sivaramamurti 1983: Plates 199, 200, 246, 247). A seated four-armed Sarasvati figure from Tadakal shows ankuśa and pasa in the upper two arms (Nagarajaih 2000: Plate 47). A 10th century Svetämbara text 'Nirvankalika prescribes pasa and ankusa for two of the hands of Ambika and a number of such representations of Ambika are found. A Brahmanical Sarasvati icon on the jangha wall of the 12th century Siva temple, called Koppesvara temple at Khidrapur in Kolhapur district also has ankusa-pasa in the upper two hands, while in the lower hands are held akṣamala and pustaka (Mirashi 1977: Plate N). Similarly, a number of goddesses, including Sarasvati, on the jangha wall of the Jaina temple at Khidrapur have ankuśa-pāśa in upper two hands.
Dikpalas, Hanuman, Ganesa and Kshetrapala
Other minor deities like Dikpälas, Hanuman, Ganesa and Kshetrapala also occur occasionally.
There are only two representations of dikpalas, in J10 at Ellora and in Cave III at Ankai-Tankai. At Ellora, there are eight dikpälas, depicted in vertical rows on the sides of a standing Jina figure and at Ankai, nine dikpälas riding their respective vahanas and with consorts and accompanied by fifteen male deities are depicted on the twenty-four petals in the second row of an elaborate lotus on the hall ceiling. Interestingly, in the latter case, each dikpala is placed at its actual direction, thus Indra is towards east, Agni towards south-east, Yama towards south, Nrutti towards south-west, Varuna towards west, Vayu towards north-west, Kubera towards north and Isana towards north-east. There is an additional couple on horse between Yama and Agni, which is difficult to identify. Even the panel at Ellora has a figure on horse that cannot be placed within the known list of dikpälas. There are two more figures here, which are shown without their vahanas and thus difficult to identify. Among other dikpälas at Ellora are Varuna, Vayu, Brahma, Indra and Agni on their respective vahanas. The figures at Ellora are shown facing the Jina with a flower, cup or fruit in the outer hands and inner hands held up. At Ankai, the females or consorts of dikpalas are in añjali mudra, while the dikpalas hold fruit, staff and a long, indistinct object in most cases.
There is only one figure of Hanuman and that is at Anjaneri. The reason why Hanuman is depicted here is the association of the hill with Anjani, mother of Hanuman. It is believed that she performed the penance and gave birth to Hanuman at this hill. Bhairava form of Kshetrapala is a popular deity and appears at Mangi-Tungi J, Junnar, Chandor, Anjaneri, Ellora J5 and Mohida I. The figures at the last three sites are quite similar. The nudity and dog near feet are common features of all the icons. The attributes at Anjaneri and Mohida are almost similar, while the figures at Mangi-Tungi J, Chandor and Junnar are very unclear. Except the icon at Junnar, which is two-armed, all are four-armed holding objects like sarpa, damaru, danda, ankuša, kamandalu. khaṭavanga and coils of snake in lower hands in two cases.
