Vaikuṇṭha-Viśvarūpa Vol. I
Vaikuṇṭha-Viśvarūpa Vol. I
25. DREIKOPFIGER VIṢṆU
Stein: 110 x 7 0
urspr. 8 Hande
aus Bhusawar
State Museum, Bharatpur; Inv.-Nr. 179/61
25.1 DESCRIPTION:
Three-headed, eight-armed Viṣṇu standing in an exaggerated ābhaṅga posture within a populated architectural framework based on the design of a temple doorframe. The stele is pierced around the body of the main figure and in the nimbus. Viṣṇu has the lion-face on the right and the boar-face on the left. All the hand-held attributes, and the central face, are lost. The figures on the framework are: 3 nāgas on the central plinth salient, flanked by Śaṅkhapuruṣa and Cakrapuruṣa (r. and 1.), Balarāma and Lakṣmī, and Kṛṣṇa and Rāma. The door jambs display a daśātara series, 5 to a side, in left-to-right alternating sequence. Across the architraves are the goat-headed Aṣṭanidhis below the Navagrahas. Brahmā and Śiva are shown seated a top the inner śākhās of the doorframe. See Sonderbericht 1.1. (25.)-Bharatpur.
25.2 PRELIMINARY IDENTIFICATION:
A late form of Viśvarūpa.
26. DREIKOPFIGER VIṢṆU
Stein: 101,50 x 52,90
urspr. 8 Hande
Kalasi chokra ni Ma-Tempel, Visramaghat. Samalaji (Gojarat)
26.1 DESCRIPTION:
Viṣṇu with three crowned human heads, seated on a bedstead above a pair of nāgas flanked by anthropomorphic Garuḍa and Vijaya (r.), and Lakṣmī and Jaya (1.). Vidyādharas issue from the mouths of the side-heads. Above them and the crowns of Viṣṇu rise four vertical rows of three figures each, consisting of emanations and avatāras. ṛṣis, heroes and edic gods. The sculpture is executed on a slab with a heavy base and a rounded top. Both this image and another from Samalaji (originally in the collection of Nirbhai Desai, Ahmedabad, now in the National Museum, New Delhi) are recently treated in detail by Sara Schastok (The Śamalāji Sculptures and 6th Century Art in Western India, Leiden 1985: 18-22) and T. S. Maxwell (Viśvarūpa. Oxford/New Delhi 1988: 144-185). [The icon is known to the pujari as Mother of Sixteen Children, Daughter of Brahma.]
26.2 IDENTIFICATION:
In the absence of any known cult-designation, described by the late Umakant Premanand Shah as Mahā-Viṣṇu. Typologically and in terms of the Bhagavadgītā descriptions, however, this is a form of Viśvarūpa. The image is derived in part, art-historically and conceptually, from images of Brahmā (caturmukha) as demiurge.
27. DREIKOPFIGER VIṢṆU
Stein: 104 x 83,82
urspr. 8 Hande
M. R. Seth High School, Kathlal (Gujarat)
27.1 DESCRIPTION:
Viṣṇu with three crowned human heads, seated (legs broken off at upper thighs); the arms and all attributes are damaged or lost. Only the conch can be distinguished, held in the 2nd left hand. A large semicircular nimbus behind the heads is populated with miniature figures above the level of the shoulders. These consist of a central vertical register of three overlapping figures (all indistinguishable due to damage) on a raised wedge-shaped backing piece; to either side of this originally 4 vertically overlapping pairs were shown in low relief, arranged radially, all of which are too damaged for identification. The proper Ieft side of the nimbus has at some time been cut down and smoothed on a level with the tops of the lower figures. The iconographical conception is that of the Samalaji Viśvarūpas, but the style is considerably later, as can be seen particularly in the treatment of the hair beneath the crown rim and the jewellery.
Dimensions:
|
Greatest width: |
83,82 |
|
Greatest height: |
104,41 |
|
Total depth of sculpture: |
33 |
|
Thickness of stele: |
5 – 6,35 (variable) |
|
Width of central register: |
14 |
|
Depth of central register: |
11,43
|
27.2 PRELIMINARY IDENTIFICATION:
A form of Viśvarūpa or MAHĀ-VIṢṆU, based on the Samalaji series.
Nr.27: Kathlal
M.R. Seth High School
BERICHT UBER SKULPTUREN DES Vaikuṇṭha- UND Viśvarūpa-TYPUS
IN REGION 1 (RAJASTHAN UND ANGRENZENDE GEBIETE IN GUJARAT)
Chronologische Entwicklung
Aus stilistischen Griinden lassen sich diese 27 Skulpturen chronologisch
folgendermassen anordnen:
|
2./3.Jh: |
23 |
|
6./7.Jh.: |
26 |
|
7./8.Jh.: |
27 |
|
9.Jh.: |
16 |
|
9./10. Jh.: |
15 |
|
10.Jh.: |
04 05 06 07 20 21 22 |
|
10./11.Jh.: |
01 02 12 17 19 |
|
11.Jh.: |
03 08 09 10 11 13 14 25 |
|
11./12.Jh.: |
18 |
|
12./13.Jh.: |
24 |
Dime ersten chronologischen Ergebnisse lassen, die ikonographische Entwicklung des Viśvarūpa- und des Vaikuṇṭhatypus betreffend, folgende Schlubfolgerungen zu:
#1.
Auf Grund der Steinart und Stils kann festgestellt werden, dab Nr.23 (Kultsāule, Nand) in der Kuṣāṇazeit in Mathura (Region 2) hergestellt wurde; sie ist hochstwahrscheinlich uber die alte Handelsroute entlang der Wuste Thar van Mathura aus uber Vairata (Bairat) nach Puskara und Nand am Luni-Flub in Region 1 exportiert worden.
Die Sāule stellt das einzige, in Region 1 noch erhaltene Vorbild fur die Darstellungsweise der 7 vertikalen Reihen von jeweils 3 Emanationen am Nimbus des Samalaji-Viśvarūpa (Nr.26) (und der Emanatlonen des Śiva-Viśvarūpa aus Parel) des 6.Jhs. dar. Als solche ist diese Kultsaule ein wichtiger Beweis fiir die sehr fruhe Entwicklung des Emanationsmotivs, das sine qua non der Bildung aller Viśvarūpa-Bildwerke des 6.-9.Jhs., als Schopfung der Mathura-Werkstatte (Region 2) des 2./3.Jhs., die ihren fruhesten Einflub auf die klassische hinduistisehe Ikonographie nicht in der Mathura-Umgebung selbst sondern im Suden der Region 1 hatte (#2).
#2.
Im 6.Jh wurde in einem kunen Zeitraum eine Reihe von Viśvarūpa-Bildaerken in Samalaji am Mesvo-Flub im nordlichen Gujarat hergestellt4. Diese Skulpturen zeigen die fruheste noch erhaltene Darstellung der Emanations-symbolik (#1.) in der Gestaltung von Viśvarūpa-Ikonen; daruberhinaus wird die Gesamtkomposition sum ersten Ma1 hier als eine vertikale. auf Nāgas ruhende Kontinuitat reprasentiert. Diese beiden ikonographischen Elemente wurden in spateren Viśvarūpa-Entwicklungen Nordindiens (Region 2) fortge-setzt, wie von der Viśvarūpa-Skulptur aus Deogarh5 (Region 2, 7./8.Jh.) gezeigt wird, wobei das in Nordindien auftauchende Emenationsmotiv nicht direkt aus Mathura stammte, sonden uber Region 1 (Nand und Samalaji, sowie Mandasor und Parel) ubermittelt wurde.
#3.
Zwischen dem 6. und 9. Jahrhundert ist eine einzige Weiterentwicklung des Viśvarūpa-Typus in Region 1 durch eine in Kathlal (Nerd-Gujarat) entdeckte Skulptur6archaologisch nachgewiesen. Es handelt sieh urn die stark beschadigte Skulptur Nr.27 des 7./8.Jhs., die eine radiale Gestaltung von kleineren Emanationen zeigt. Bei dieser Version werden die drei Kopfe der Hauptfigur des Viṣṇu immer noch anthropomorph dargestellt. Weitere Fortsetzung des Viśvarūpa-Typus, die der Samalaji-Formullerung verfolgt, ist in Region 1 sowie in Region 2 unbekannt.
#4.
Eine Vaikuṇṭhaform, die mit dem Garuḍavāhana, mit 8 Attributen und als Relief mit 3 der fur den Vaikuṇṭhatyp erforderlichen 4 Kopfe versehen ist, scheint sich erst im 9.Jh. in Region 1 (Rajasthan) zu entwickeln. d.h. etwa zeitgenosisch mit der ursprunglichen Entwicklung des koniglichen Vaikuṇṭhatypus in Kashmir7; guptazeitliche oder nachguptazeitliche Entwicklungen des Vaikuṇṭhatypus des 5.-8.Jhs.. die durch Kontakt mit Mathura zu erwarten waren, sind bisher in Region 1 archaologisch nicht nachgewiesen. Ursprung dieses Typus in Region 1 ist daher hochstwahrscheinlich Kashmir selbst.
#5.
Im 9. und 10.Jh. wurden dann die mit mehr als 8 Attributen versehenen Variationen des Vaikuṇṭhatypus entwickelt, d.h. die Formen mit 12 bis 16 Handen; teilweise wird diese Entwicklung im ikonographischen Programm an den drei Wanden eines gut erhaltenen Tempels deutlich dargestellt, namlich in den drei Hauptbhsdras des ‘Mira’-Tempels in Eklingji.
#6.
Eine meditierendeForm des Vaikuṇṭhatypus mit 8 Attributen ist im 10.Jh. von dem auf Garuḍa thronenden Typus des 9.Jhs. (#4) entwickelt worden.
#7.
Im 10./11.Jh. erscheint eine sitzende, heute wegen Erosion ikonographisch kaum analysierbare Form des dreikopfigen Viṣṇu als pārśvadevatā an einem tantrisch-viṣṇuitischen Tempel im Zusammenhang mit der ikonographischen Konversion zum tantrischcn Śivaismus eines ateren, nebenstehenden Śiva-tempels.
#8.
Im 10.Jh. entwickeln sich zwei 8-armige, stehende Formen des Vaikuṇṭha-typus als Darstellungen der zerstorerischen und erhaltenden Aspekte des Gottes Viṣṇu; bei alleinstehenden Bildwerken liegt die Differenzierung zwischen den beiden Formen hanptsachlich in der Anordung der Attribute, aber auch in der Assoziation der Bildwerke an gegenubergestellten Śākhās van Tempelturrahmen mit spezifischen Avatāras und mit den friedlichen Formen der Gottern Śiva oder Viṣṇu.
#9.
Das 11.Jh. sah eine weitere Entwicklung, namlich die Gestaltung, von mannlichen sowie weiblichen Bildwerken des stehenden Vainkuṇṭhtypus mit zentralem Pferdekof; in den vorhandenen Exemplaren ist die Gottin dieses Typus mit mehr Attributen als die mannliche Gottheit versehen, und zwar mit tantrischen Symbolen, die zusammen mit dem Tierkopf eine ikonographische Ubertragung aus dem Kontext der Yoginī-Kulte nahelegen konnte. Eine sitzende Vaikuṇṭhaform mit zentralem Pferdekopf als Kultentwicklung der meditierenden Formen des 10./11. Jhs. (#6, #7) ist auch im 11.Jh. entstanden.
#10.
Eines der spatesten Exemplare der Viśvarūpaform, das sich immer noch als Entwicklung des dreikopfigen Vaikuṇṭhatypus zeigt und das, wie das Exemplar des 10.Jhs. aus Suhania in Madhya Pradesh (Region 2) in einem architektonischen Rahmen dargestellt wird, wurde im 10. Jh. in Khajuraho (Lakṣmaṇ-Tempel, Region 2) und im 11.Jh. in Bhusawar (Region 1) hergestellt.
#11.
Im 11.-12.Jh. erscheit die 20-armige Variation, die mit der Beschreibung des Viśvarūpa im Aparājitapṛcchā (219.28-32) verglichen werden kann und die die spateste Vaikuṇṭhaformentwicklung der mittelalterlichen Plastik dieser rajasthanischen Region darzustellen scheint.
TEIL I.1
REGION 1
SONDERBERICHTE (EINZELBERICHTE)
D:alphasitereports-2/Region1.VK
TSM 1989/90
DFG-AZ.: Ma 1069/3-1
Kennwort: Vaikuṇṭha-Viśvarūpa
Bericht uber die Ikonographie, Chronologie und Interpretation
des archaologischen Materials
TEIL I.1
SONDERBERICHTE
ZUR ANALYSE VON IKONOGRAPHIESPEZIFISCHEN ENTWICKLUNGSPROBLEMEN
T. S. Maxwell
THE Viśvarūpa SCULPTURE FROM BHUSAWAR AT BHARATPUR
1. General description
The sculpture (Plate 1) is in the Rajasthan State Government Museum at Bharatpur (179/61: Vaikuṇṭha). The central figure is badly damaged, all the hands, along with most of the hand-held symbols being broken, and the face of the central head having been cut off; figures on the plinth and at the top of the composition have suffered similarly. The entire sculpture stands 110cm high and measures 70cm across the base. The image is sculpted from a single block of dark stone 45cm thick. It was reportedly brought to the Museum from Bhusawar, Rajasthan.
2. The central figure
The dominant figure1 In the icon is male (A in Diagram 1), standing in an exaggerated ābhaṅgaposture with the weight on the left leg. It was originally six- or eight-armed. The body is adorned with a long vanamālā curving around the left upper arms and reaching to below the knees, a short necklace of elongated pendant beads and a long five-strand necklace which curves into the centre of the chest and loops above the abdomen. The yajṅopavītafollows the curve of the larger necklace and continues down the torso to disappear beneath the girdle on the left side; the keyūrason the upper arms, like the girdle and its pendant chains which hang down nearly to knee level, are heavy and ornate. The waistband of the lower garment is indicated by a double line around the hips above the girdle, its hem by a single line incised across the knees.
From the left side of the central face projects the head of the Varāha (B), from the right that of Narasiṃha (C), both damaged. Despite the shape of the remains of the central face2 it does not, on close inspection, fully justify a conclusion that it was originally that of a horse, although other evidence (Bijoliyam3) proves that such images existed. The impression may be gained from photographs that the profile of the broken head was equine, since the lower part appears to project in a manner incompatible with human physiognomy. This is a trick of the light. When studied at first hand, the neck — bearing the trirekha — and the broken profile including the jawline are seen to be quite in keeping with the expected shape of a human head which has been cut away vertically across the chin and mouth, and then at a sloping upward angle to the back of the skull.
Moreover, there are remains of lobes and pendant ear-ornaments beside the back of the jaw on either side (Pls. 3, 4), where the ears of a horse could not conceivably appear; comparison with the horse-headed figures at Bijoliyam indicates that no ear-pendant is, or could be, represented in this position on contemporary sculptures of figures having equine faces. The technique used at Bijollyam to represent a horse head on a human frame was to show the horse’s jaw lowered on to the upper chest, thereby completely covering the throat; in the Bharatpur Viśvarūpa, the throat is unmarked, and was clearly never covered by an overhanging equine jaw. The base of a pierced human earlobe can, in fact, clearly be seen on the right side of the jaw of the Bharatpur figure. I therefore conclude that the main figure originally possessed the three faces typical of many icons of the so-called ‘Vaikuṇṭha’ type4, namely Nṛsiṃha-Viṣṇu-Varāha.
3. The structure of the framework
The design of the framework (Diagram 2) within which the central deity is presented has points of similarity with the structure surrounding the Gwalior Viśvarūpa5 and the Mandi Viśvarūpa6.
The plinth7 consists of a salient centre panel with three receding angle8, like three steps of a stairway turned on its side, to left and right. The central salient9 supports the main figure; the first angles on either side support the two āyudhapuruṣas;the second angles form the bases of two other plinth figure and of two false pillars which flank the main figure; and the third angles support a further two plinth figures in addition to two carved vertical panels which engage with the pillars on the outside, forming the margins of the whole composition.
The projecting centrepiece serves to make the central figure stand out from its background. The first angles ensure that the weapon-personifications stand beside the main image, at its feet. The two square pilaster 10 based on the second angles are divided into three by two horizontal bands11, the lowest of which are vertically incised, creatingthe impression that they are meant to represent cords; the upper two bands are damaged. The square capitals of these pilasters are incised with upward-radiating lines, perhaps in imitation of fan-palm leaves. The top third of the left-hand pilaster and its capital are noticeably out of true, a defect which may originally have been concealed by the large object held in one of the upper left hands of the god, the ruined stump of which remains where it was carved out of the backslab between the top third of the pillar and the nimbus. A seated deity is represented on a rectangular slab at the top of each pilaster.
The area around the main image, from the surface of the plinth up to the god’s shoulders12 and outward from his sides to the inner edge of pilasters, is pierced, as are the interstices between the circle surrounding the lotus-halo and the tips of its petals, and between the serrations of the second circle of the nimbus13. This latter feature was probably intended to create the impression of rays emanating from the lotus-halo as part of the effulgence of the god (prabhāmaṇḍala). Outside the pierced serrated ring is a plain circular band, and the outermost rim of the nimbus is carved with a repeated leaf design. Running parallel to pilasters on their inner side, and touching the circumference of the halo, are two plain vertical surfaces; these were the surfaces from which multiple arms and hand-held symbols of the god were sculpted, and the plain background areas were left as anchor-blocks to bear the forward of this articulated mass, behind which they would have been largely concealed.
Between the capitals of the two pilasters is a plain horizontal band, touching the penultimate ring of the halo and overlapping its foliate rim. This band forms the base of the lower of the two horizontal friezes14 containing minor figures. In the two angles formed by this band, the inner edges of the two plain vertical surfaces just described and the curve of the halo, are two tilted, lion-like gargoyle faces of the type generally known in temple architecture as kīrttimukha.
A marginal vertical surface projects from the outer edge of each of the two pillars; upon each surface are carved, one above the other, five small figures or scenes15, each supported upon a lotus with a triple stalk. The lotuses are made to appear as if growing from the surface of the outer śākhā of the doorframe.
3.1 Iconographic structure as architecture
The theme of the frame is thus a consistently architectural one16, showing the deity enshrined upon a heavy plinth, between pillars with a double architrave. As at Suhania, in the design of the Viśvarūpa image now in the Gwalior Museum, the intention here was to represent the god standing in a temple doorway. The form of this doorway, consisting of a plain jamb or śākhā flanked by a stambhasākhāand a rūpaśākhā, is reconstructed in Diagram 2. Although the design of the image was thus clearly conceived and organised, the abruptness of the flat top tends to compress an already crowded and heavy composition; there is no evidence of breakage or jointing to suggest that there was originally a curved or sloping finial to the stele, which was therefore designed for insertion into a rectangular wall niche.
4. Figures on the plinth / threshold
4.1 Figures of the doorstep
The top half of the central salient of the plinth (that is, the doorstep before the threshold, to follow the doorframe analogy) is carved with a seated group of three semi-anthropomorphic nāgas17, the middle figure facing forward and the two on either side facing the centre (H). All three have multiple cobra-hoods behind their heads. The central figure does not, as in several other groups of three placed beneath the feet of Viśvarūpa icons, represent the Earth-goddess; a group of three nāgas already occurs on the centre of the plinth of the Viśvarūpa at Banaras Hindu University18. Between them rise stalks which support the abbreviated, flat-topped lotus19 upon which the god stands, a little elevated above the level of the plinth.
4.2 Base-figures of the plain śākhā
On the first “step” of the plinth to the immediate left of the main image stands a male figure20 with the cakra — evidently the only weapon remaining of the hand-held attributes of the god — resting upon its head; and the same figure also holds a cakra in the crook of his right arm (I). The left arm of this Cakrapuruṣa is broken off, but it may originally have rested upon the figure (J) kneeling in front of him on a lotus, in an attitude similar to that in front of the disk-personification in the Gwalior Viśvarūpa21. In the corresponding position to the right of the god stands another male figure22 — where one would expect to find the mace-goddess, Gadādevī — holding a śaṅkha in the left hand, the right hand being lost (K). A kneeling figure (L) also appears upon a lotus in front of this Śaṅkhapuruṣa23. One presumes from this evidence that the two foremost arms of the god were lowered, the hands resting upon the heads of these two standing āyudhapuruṣas and holding the disk and conch in the left and right hands respectively.
Although the two kneeling figures associated with the weapon- personifications are badly damaged, that on the right (L) appears to have held a long object at a near-vertical slope against its left shoulder; this and the posture of the figure suggest that it may have represented a vīnā-player. It is thus possible that the kneeling figures on the plinth of this icon of the Gwalior Viśvarūpa represented musicians. But the degree of damage sustained by these figures in both sculptures makes identification uncertain.
4.3 Base-figures of the stambhaśākhā
Upon the second step of the plinth, at the base of the stambhaśākhā on the left, stands a female figure (M) of which the face, hands and front of the left leg are missing. It probably represents Lakṣmī, chief consort of Viṣṇu, in the conventional location to the left of the god. A male figure (N) stands in the corresponding space on the right, his right arm raised aloft and what appears to be a damaged cluster of snake-heads above his own head; this would identify him as Saṅkarṣaṇa / Balarāma, elder brother of Kṛṣṇa, but again damage makes this uncertain.
The last plinth figure on the left (O) is a standing male, crowned, with a lotus held at chest level in his right hand and the left resting against his thigh. His counterpart on the far right (P) is another male figure, the top of the head broken but the remains elongated, suggesting the original presence of a crown. He wears what appears to be a breastplate, undecorated, and carries in his two hands a spear or arrow, or possibly the krīḍā-yaṣṭi of Kṛṣṇa, point downward, transversely across his body.
4.5
There are eleven minor figures at the foot of the sculpture (H to P). Eight of these (I to P) are conceived as threshold-figures, each associated with the base of a jamb of the door; the central three, a group of nāgas (H), are to be seen as doorstep-figures, providing the aquatic base for the doorstep-lotus which is a feature of actual temple doorways.
5. Figures of the vertical registers / śākhās
5.1 Figures onthe stambhaśākhā
Seated on the capital of the proper right-hand pilaster is a pot-bellied figure with three human heads (G). Although the hand-held symbols are lost, there can be no doubt that this represents Brahmā. On the opposite capital is another damaged figure (F), seated and originally four-armed; the shape of the object held vertically in the right hand, although broken, appears from its outline to have been the trident of Śiva. These two gods, here as in many mediaeval sculptures of similar intention, complement the central figure of Viṣṇu and complete the leading triad of the male pantheon.
They are represented upon rectangular blocks erected on the capitals of the pilasters, Śiva above Lakṣmī (M) and Brahms above Balarāma (N), in upward continuation of the stambhaśākhā;it is therefore problematical as to whether they were conceived primarily as deities of the door-jambs or of the architrave, since in their elevated position they flank the group gods of the lintel. The answer seems to be that in terms of design-structure they belong to the śākhās, like the avatāra-series (5.2); while in terms of iconographical placement they are gods of the lintel (6.1-2). Placed at on abacus-like blocks at points of transition between the vertical series of direct incarnations and horizontal registers of semi-autonomous group deities, the intention might have been to depict them as sharing the burden of creation with the central Viṣṇu.
5.2 Figures on the rūpaśākhā
The outer margins of the stele (the rūpaśākhā of the doorframe design) contain two vertical sets of five figures each; these appear to represent a conventional decade of Vaiṣṇva avatāras, which has to be read simultaneously in ascending order and from left to right of the observer. The figures are listed here as they occur from the base upward, first on the proper right margin (observer’s left) and then on the proper left, with their place in the intentional sequence given in parentheses.
5.2.1 Figures of the proper right śākhā
R1.(1) Matsya, depicted entirely as fish; above Its head appears a human face with the hair drawn straight back, probably representing the ṛṣi Manu, survivor of the Deluge, being rescued by the fish he fostered.
R2.(3) Varāha, represented in characteristic form and posture, animal-headed, striding upward with the rescued Earth-goddess seated upon his
raised left elbow (karpūra-sthā).
R3.(5) Vāmana, with the right arm broken off, is nevertheless identifiable by the unmistakable squat, rotund figure and a parasol (damaged) held up in his left hand. It may be noted that his opposite number, Paraśurāma, is also depicted as rather plump individual.
R4.(7) Rāma, holding a bow in his left hand and a raised sword in his right.
R5.(9) Hayagrīva, standing, horse-headed, with a human body.
5.2.2 Figures of the proper left śākhā
L1.(2) Kūrma, in the form of a representational scene showing the churning of the ocean: two male figures, representatives of the devas and asuras, stand facing each other, pulling on the rope (the serpent Vasuki) wound around the churning-stick (Mandara) which is inserted into a pot (the milk-ocean) which rests upon a small image of the turtle incarnation.
L2.(4) Narasiṃha, depicted in his conventional seated, animal-headed form, disembowelling Hiraṇyakaśipu stretched across his knees.
L3.(6) Paraśurāma, who appears as a standing, dwarfish figure, holding the long-hafted axe in his right hand.
L4.(8) Balarāma (Saṅkarśaṇa), whose identification is quite certain here by virtue of the plough.
L5.(10) The figure at the top of this margin appears to have been Kalkin on the horse.