Three-headed goddess with three animal faces: aśva (centre), siṃha (r.). varāha (1.). The side-heads have separate low crowns. Most attributes lost or damaged; the r. front hand picks a morsel fron a kapāla held in the 1. front. A flat broken surface above the r. shoulder may have been the prongs of a trisūla. On the plinth stand a lion or dog (r.) and a fire (1.). Clearly this figure originally stood in a cult relationship to #13 on the Mahakala temple. A single-headed aśvamukhī goddess appears in the southernmost panel on the front roof-level frieze of the maṇḍapa of the Mahakala temple, adjacent to the Mātṛkā Vaiṣṇavī.

14.2 PRELIMINARY IDENTIFICATION:

An aśvamukhī YOGINĪ such as TARALĀ (Shahdol, Dhubela Museum) or HAYĀNANĀ (Lokhari), augmented by Vaiṣṇava forms; in part iconographically (but not in terms of cult) derived from the Vaikuṇṭha type.

14.3 REPORT

T. S. Maxwell, the Tricephalous Vaḍavāmukhi at Bijoliyam, 2-3, S.4-13, Abb.4-9.

Nr.14: Bijoliyam

Undesvara-Tempel, N.

On plinth (r.) Śaṅkhapuruṣa seated on cushion, (1.) Cakrapuruṣa similarly seated. Top r. and l. corners of stele have 2 vidyādharas (garland bearers) flying inward. This sculpture should be compared with #15, of which is an immediate predecessor.

16.2PRELIMINARY IDENTIFICATION:

A form of Vaikuṇṭha.

Nr.16: Jhalavadh (Museum)

Jhalavadh-8

p align=”JUSTIFY”>17. DREIKOPFIGER VIṢṆU

Stein: 38,74 x 33,02

8 Hande

In situ, Candravati bei Jhalrapatan: Nordbhadra des sudlichen Nebentempels.

17.1 DESCRIPTION:

The sculpture is damaged (2nd r.h. broken off) and the stone is corroded by fungal growth. Three-headed Viṣṇu seated as for meditation upon a lotus. Viṣṇu has siṃha (r.) and varāha (1.) side-heads. 8 arms:–

Front hands rest near knees. Tasselled cakra appears edge-on. The attribute tentatively identified as dhanus is stick-like but has a cluster of objects, now unidentifiable, at the top. Top of gadā encroaches on siṃha-face, snout of varāha-face is merged with inside edge of cakra. It must be emphasised that the iconography of this image is probably related to the late-Pāśupata / Kālāmukha conversion of the adjacent 7th-century Śītaleśevara temple to a tantric form of Śaivism in the 10th/11th century; this small side-temple represents the rise of a complementary tantric form of Vaiṣṇavism at approximately the same period.

17.2 PRELIMINARY IDENTIFICATION:

A tantric form of Vaikuṇṭha.

Nr.17: Candravati

S. Nebentempel, N.

18. DREIKOPFIGER VIṢṆU AUF GARUḌA

Stein: 100,33 x 76,00

urspr. 14 Hande

aus Arthuna

State Museum (Rajputana Museum). Ajmer: Inv.-Nr.50

18.1 DESCRIPTION:

Three-headed Viṣṇu seated on anthropomophic crowned Garuḍa with snake around neck. Viṣṇu has siṃha (r.) and varāha (1.) crowned side-heads, in flat relief. The figure had 14 arms, of which most are broken, so that it is impossible accurately to reconstruct the sequence of the remaining attributes, which are:–

Above the gadā appears the diminutive figure of Brahmā, seated; there is a damaged figure above the cakra. In style and iconography, this figure should be compared with No.1 (also Arthuna).

18.2 PRELIMINARY IDENTIFICATION:

An augmented form of Vaikuṇṭha, between ANANTA and TRAILOKYAMOHANA (cf. Aparājitapṛcchā 219.33-41).

Nr.18: Ajmer (Museum)

aus arthuna

Ajmer-50

19. DREIKOPFIGER VIṢṆU

Stein: 82,56 x 53,34

urspr. 20 Hande

aus Tilwada

State Museum (Rajputana Museum), Ajmer; Inv.-Nr.444

19.1 DESCRIPTION:

Three-headed standing Viṣṇu, severely damaged. All 3 heads are human in appearance, and crowned; in this respect, the image may be compared to the Samalaji series in the later phase, though without the populated nimbus (see no.27 at Kathlal). All the hands are lost, as are the legs. There are 20 broken arms. Brahmā remains at top r. corner of stele.

19.2 PRELIMINARY IDENTIFICATION:

A late version of Viśvarūpa.

Nr.19: ajmer (Museum)

aus Tilwada

Ajmer-444

20. DREIKOPFIGER VIṢṆU

Stein: 94 x 94

8 Hande

In situ, vor dem Nilakantha-Mahadeva-Tempel. Nilkanth; ASI-Nr.508

20.1 DESCRIPTION:

An iconographically very important, but severely eroded and damaged loose sculpture. Three-headed Viṣṇu seated in meditation posture. The side-faces are those of siṃha (r.) and varāha (1.); ear-overlap not used, animal ears distinctly represented. The figure has 8 arms:

The śaṅkha and cakra are held very loosely. The siṃha-head is partly obscured by the padma(?); the varāha-head is clear of the gadā. Viṣṇu wears elaborate keyūras, beaded bracelets and a necklace of pendants, a long narrow triple hāra and the yajṅopavīta. The carving below Viṣṇu’s feet appears to represent the edge of the lower garment, not a lotus. Beneath this, however, between the lowered śaṅkha and cakra, in the centre of the plinth, is what seems to be a stylised lotus-bud; this is flanked on either side by a kneeling figure upon a small lotus, facing inward; the figure on the left has hands in namaskāramudrā, that on right rests r.h. on its lotus-pedestal and raises the l.h. There are two more kneeling figures further out from the centre, presumably the Śaṅkha- and Cakrapuruṣas since they merge with these attributes; the probable Śaṅkhapuruṣa (r.) has r.h. on thigh and an indistinct object in raised l.h.; the probable Cakrapuruṣa (1.) holds a long object (?cāmsra) over 1. shoulder and raises the r.h. in salute.

Behind probable Śaṅkhapuruṣa, on the stele, is carved what seems to be a snake; there is no corresponding carving on the 1. side. The stele behind the main composition is plain and flanked by ringed pilasters; on either side, outside the pilasters, the image is flanked by a rampant leogryph on the forequarters of an elephant. The stone, now superficially grey, is a pink sandstone. The sculpture should be compared to the Viśvarūpa made for the Viṣṇu (now Mātā) temple at Suhania (Simhapaniya), a mile from the Kakan-madh temple, M.P.

20.2 PRELIMINARY IDENTIFICATION:

A form of Vaikuṇṭha in meditation.

Nr.20: Nilakantha

Mahadeva-Tempel

ASI-508

21. DREIKOPFIGER VIṢṆU

Stein: 75,67 x 59,00

8 Hande

In situ, vor dem Nilakantha-Mahadeva-Tempel, Nilkanth: ASI-Nr.693

21.1 DESCRIPTION:

This important sculpture, which should be compared to #20, is severely damaged and eroded. Three-headed Viṣṇu seated in mediation posture. Viṣṅu has the side-heads of siṃha (r.) and varāha (1.). The tabs of the central, very low kirīṭa extend above the side-heads, which wear minimal crowns. Viṣṇu has 8 arms:–

Viṣṇu wears 3 necklaces (beaded, w. pen-dants, and long triple-strand); ornate keyūras. plain bracelets and anklets. Beneath the legs of Viṣṇu appears the edge of the lower garment and probably the bottom of the vanamālā. Beneath the right knee appears a small figure (broken) holding a stick or cāmara; beneath the left knee, a small figure in flying posture holding a snake in l.h. and raising the r.h. in salute. The snout of the varāha-head runs into the top of the mace; the siṃha-head is complete. The ears of the animal heads are not in evidence.

21.2 PRELIMINARY IDENTIFICATION:

A form of Vaikuṇṭha in meditation.

Nr.21: Nilakantha

Mahadeva-Tempel

ASI-693

22. DREIKOPFIGER VIṢṆU

Stein : 57,16 x 38,00

8 Hande

In situ, vor dem Nilakantha-Mahadeva-Tempel. Nilkanth; ASI-Nr.1427

22.1 DESCRIPTION:

Three-headed Viṣṇu, standing. The animal side-heads, those of siṃha (r.) and varāha (I.), appear below the tabs of the central kirīṭa. Viṣṇu has trirekha on the throat, 2 hāras (w. pendants and single), and vanamālā.

The figure has 8 arms:–

On the plinth stand Śaṅkhapuruṣa (r., below varadamudrā) and Cakrapuruṣa (1., below śaṅkha).

22.2 PRELIMINARY IDENTIFICATION:

Basic form of Vaikuṇṭha.

Nr.22: Nilakantha

Mahadeva-Tempel

ASI-1427

23. KULTSAULE

Stein: Hohe 150

16 reliefierte Figuren, 4 an jeder Site

In situ. vor dem Dev Narayan-Tempel, Nand

23.1 DESCRIPTION:

Measurements:

A mottled, dark red sandstone pillar width Kuṣāṇa-style reliefs standing in a square earth base faced with stones and called Bhabhūti (Vibhūti) Mātā, consort of Bhaironjī (Śiva-Bhairava) who is represented by three standing stones on an adjacent altar (the goddess Bhabhūti, as Śiva-Śakti, is said to cure diseases of the skin by direct contact between sunset and sunrise.)

According to information given by local people and observations made during the 1989 visits to Nand, the buried section of the pillar consists of a square base, followed by a length of plain round(?) shaft, on the upper part of which appear the visible reliefs. These represent 4 isolated vertical rows of 3 emanating figures, each row terminating in a separate figure squatting on a ledge at the top. The groups of 3 are to be seen as one type of series, which is vertical; the group of 4 around the ledge are to be seen as another type of series, which is horizontal.

The vertical, emanating groups represent gods (one group is nimbate. And all seem to have held identificatory emblems or to have displayed a mudra with at least one hand). The horizontal group of separate figures has neither hand-held attributes, distinctive mudras, nimbus, nor turban, and so cannot be identified as devas; their one definite feature, deliberately displayed by their squatting posture, is ithyphallicism, while it is precisely that part of the anatomy which is concealed by the method of representating emanation in the case of the gods. There is no point of direct contact between the circle of four squatting figures at the top and the 3 figures below each of them, which overlap each other. There is no lateral connexion between any of the figures. The two groups are quite distinct. The apparent implication of their relative placement and their appearance is that the vertically emanating figures are identified with the vertical shaft, whereas the ithyphallic figures squatting prominently on the ledge are independent of it.

The pillar, an important document of one stage in the development of Hindu multiple iconography, has been described by five authors, most recently by Kreisel (Die Śiva-Bildwerke der Mathurā-Kunst, hrsg. van Herbert Hartel, Stuttgart 1986: 207-209, with bibliography and Abb.63a-h) and Maxwell (Viśvarūpa, Oxford/New Delhi 1988: 3-16, 33-35, Pls.3-9), who Offer similar interpretations but suggest differing identifications.

The unexplained broken-ended projections noted by Kreisel (1986: 209) appear to be supporting elements beneath emblems held in the hands of the figures adjacent to them; they have no sculpture on their sides, being iconographically of no significance.

The probable chief face of the pillar, having three nimbate figures and usually described as the southern side, is in fact directed roughly southeast (160′ from North). As the pillar was erected by the local inhabitants, who make no individual identifications of the gods on the sides, its present orientation is of no significance for determining its original purpose.

The local people, including the pujari responsible for the pillar and who took part in its discovery and reinstallation, insisted that there are no further sculptures on the portion of the shaft now underground. Close observation of the base, where the level of the earth has receded somewhat, tends to confirm this: the lowest figures do not emanate from other figures lower down, but are represented as incomplete figures, below which the shaft narrows. The remainder of the shaft, according to the villagers who saw it, is about 1 metre in length (making the total height about 250 cm) and plain, with a thickened square portion at the base, on which it could stand without support on level ground; they say that they interred this portion to lend the pillar stability.

23.2 PRELIMINARY IDENTIFICATION:

Either a populated ŚIVALIṄGA, as proposed by all writers but one; or a VaIṣṇava meditational image of the kind described in Pāṅcarātra texts as the VIŚĀKHAYŪPA, as proposed by Maxwell.

For a less speculative approach to the identification of the Nand pillar, more comparable archaeological material from Mathura is required.

24. DREIKOPFIGER VIṢṆU

Marmor: ca. 125 x 60 (wegen Zeremonien nieht vermessen)

4 Hande

Hoftempel, Jaigarh

24.1 DESCRIPTION:

This sculpture is important partly because of its excellent state of preservation, and also because of an iconographical peculiarity, noted first in 1983 and referred to below. It represents a four-armed, three-headed figure of Viṣṇu standing in ābhaṅga posture, the weight on the right foot with the hip thrown out in an exaggerated manner and the left foot slightly advanced. The rear arms are held away from the body and diagonally downward while the front right hands are lowered to a level with the upper thighs. The rear hands hold, against the two sides of the stele, a bow on the left and a sheai of arrows, points upward, on the right. A large śaṅkha, not inverted, is held in the lower left hand, point tilted toward the hip. The corresponding right arm is bent outward while the hand is turned inward, palm down, to rest on the grip of the inverted gadā.

The Pace of Viṣṇu is like that of the adjacent Harihara, but both ears have makarakuṇḍalas. From the back of the head, projecting downward parallel to the slope of the shoulders, emerge the profile faces of Varāha on the left and of roaring Narasiṃha on the right. The manner in which these three heads are are conjoined is essentially the same as that seen in the 11th-century Solanki marble head of Viṣṇu with Laksmī in the Prince of Wales Museum of Western India, Bombay, but the style is decidedly later in the treatment of the faces and crowns.

Below the śaṅkha in the god’s lower left hand, on the first step of the plinth, stands the Cakrapuruṣa. On the opposite side stands the Śaṅkhapuruṣa balancing a small conch upright on his left palm at waist level. On the lotus-brackets between the central salient and first steps of the plinth sit two miniature worshipping figures, male on the right and female on the left; their exact identities are not clear at present. The two goddesses on the second steps to left and right may be presumed to / represent Śrī Lakṣmī and Puṣṭi or Bhūdevī, the two consorts of the god. At the outer extremities of the plinth, on the third steps, stand Balarāma / Saṅkarṣaṇa on the right side, with a canopy of six cobra heads over his crown, and probably Kṛṣṇa the left. Immediately above the heads of the goddess and Kṛṣṇa on this side, carved in relief upon the stele, is the unsupported cakra of Viṣṇu, bisected by the bow which is held in front of it; this relief depiction of the disk was apparently necessary because, in a four-armed image holding the bow and arrows, one of the main Vaiṣṇava emblems was bound to be displaced. The Sudarśana cakra being credited with independence of action may account for its being selected as the detached āyudha. Above the disk, behind the bow and arrows on either side, two bhaktas kneel upon lotuses and pay homage to the god. At the top on either side sit Brahmā on the right and, on the left, Śiva cross-legged on a lotus and holding the triśūla in his raised right hands, a rearing cobra opposite, with the kamaṇḍalu in the lowered left hand and the right in varadamudrā. The reason why the bow and arrows were represented in the hands of the god in preference to — rather than in addition to — the disk and lotus in this four-armed icon is not immediately clear: the same identification of multiheaded Viṣṇu with Rāms was noticed in the iconography of the 10th-century Suhania Viśvarūpa at Gwalior (see Sonderbericht 2.1. (2.) -Gwalior/Suhania, $6). In this connexion it was observed that the local people refer to this image as “Rām-Hari”. The stylistic influence of 10th-century Candella / Kacchavaha sculpture is also evident in the architectural derivation of the structure of the stele.

24.2 PRELIMINARY IDENTIFICATION:

A late, reduced form of Vaikuṇṭha, deprived of the cakra in favour of the bow and arrovs; Rāma as 4-armed Viṣṇu Vaikuṇṭha.