Vaikuṇṭha-Viśvarūpa Vol. I

6. Figures within the double architrave

6.1 Figures of the lower lintel

There is a row of eight apparently identical figures (D), seated on cushions or stools, and with what appears to be a pot under the left knee, in the lower of the two friezes which are based on the top of the two pillar capitals supporting Brahmā and Śiva. Each of these figures holds a pot in the left hand, resting upon the left knee, and raises its right hand in the abhayamudrā. Their bodies are anthropomorphic and male, while the heads are those of bulls or goats, with horns pointing straight up and ears extended in line horizontally, the tips touching those of the figures adjacent on either side25. In view of their number and attributes, it may be suggested that these represent the Eight Treasures (aṣṭa-nidhis)

6.2 Figures of the upper lintel

A plain band separates this frieze from the one above, which contains a group of nine. Their individual features are indistinct due to the damage sustained by the top of the stele in general, but Sūrya can be distinguished as the first figure at the right-hand end, standing with a lotus in each hand. At the opposite end, the massive head of Rahu appears, and the diminutive ninth figure is carved in the space above this disembodied head. The definite identifications of the Sun-god and the Eclipser in an ennead make a Navagraha identification of this dominant frieze certain. The Grahas and the Nidhis between them determine mortal destiny, and this must contribute to any full interpretation of the sculpture.

7. Iconographical schema

On the basis of this analysis, the following total schema can be tentatively drawn up

8. Interpretation and Chronology

The sculpture represents Viṣṇu as Viśvarūpa. The iconographical method employed, in part a numerical progression, is to surround seven figures representing Visnu (a central figure of the ‘Vaikuṇṭha’ type flanked by six threshold-figures) with the eight treasures(?), the nine planets, and the ten incarnations, on an architecturally conceived structure modelled on a temple doorframe. The result is a depiction of the god standing in the doorway of his temple. This In turn may indicate an architectural conception of the universe as founded in n3gas (doorstep figures as aquatic symbols of pralaya), protected by emanations of Viṣṇu (threshold deities as dvārapālas),maintained jointly with Viṣṇu by Brahms and 6iva- (supporting stambhaśākhā figures at the lintel ends), regulated by periodic incarnations of Viṣṇu (his involvement with humanity through a padmavallī of avatāras in the bāhyaśākhā enframing the doorway), and governed by the planets and treasures (Viṣṇu’s involvement with individuals through the gods of destiny and fortune on the lintel). The sight of the god (darśana) through the doorway of his temple or sanctum is thus regarded as the revelation of Viṣṇu at the heart of the functioning universe.

Duplication of the Man-Lion and Boar incarnations, and seemingly of Rāma and Balarāma also, suggests a late phase in the development of the iconographic type. A further stylistic indicator of this is the posture of the main figure, which is an exaggerated version of the abhaṅgastance of the Viśvarūpa from Suhania at Gwalior, where the god is also conceived as standing in the doorway of his temple.

The stylistic evidence, in addition to the iconographic and structural similarities to the Viśvarūpa from Suhania at Gwalior (10th century), makes a date in the 11th century virtually conclusive. The iconographic formula for this type of square-topped, architecturally framed Viśvarūpa icon appears to have spread westwards from northern Madhya Pradesh during the tenth century. Whether the prolific Suhania workshops were the point of origin of this type, as seems likely at the moment, can be decided definitely only after the full developmental connexion between the Kannauj and Suhania Viśvarūpas has been brought to light. The present state of research suggests there was a chain of iconographic development, lasting some 400 years, which began with the introduction of a plain horizontal dividing bar in the upper friezes of sculptures of the Kannauj type in the eighth century26, as at Tumain27, and which ended further west in the eleventh, as at Bhusawar.

BIBLIOGRAPHY

AGRAWALA, R. C. 1962. “Animal-Faced Sculptures from Rajasthan.”

Bhāratīya Vidyā XX-XXI.

AGRAWALA, R. C. 1971. “Notes Iconographiques.” Arts Asiatiques.”

BANERJI. A. 1962. “Interesting Images from South East Rajasthan.” Lalit

Kālā 12. Fig.8.

BHANDARKAR, R. G.1905. Progress Report, Archaeological Survey of India,

Western Circle. 53. Poona.

DESAI, K. Lalit Kālā 13 (Letters). 51.

MAXWELL, T. S.1988 (1). Viśvarūpa. New Delhi

MAXWELL, T. S. 1988 (2). Vaikuṇṭha”. Festschrift for Debala Mitra (in press).

MAXWELL, T. S. 1989 (11. “The Viśvarūpa from Suhania at Gwalior”.

Festshcrift for .J. C. Harle (in press).

MAXWELL, T. S. 1989 (2). “The Viśvarūpa Sculpture in the Trilokanātha

Temple at Mandi.” Festschrift for Douglas Barrett (in press).