{"id":14619,"date":"2016-08-06T12:56:02","date_gmt":"2016-08-06T12:56:02","guid":{"rendered":"http:\/\/ignca.gov.in\/?page_id=14619"},"modified":"2016-08-09T08:06:23","modified_gmt":"2016-08-09T08:06:23","slug":"the-archaeological-reports-of-professor-t-s-maxwell","status":"publish","type":"page","link":"https:\/\/ignca.gov.in\/hi\/the-archaeological-reports-of-professor-t-s-maxwell\/","title":{"rendered":"The Archaeological Reports of Professor T. S. Maxwell"},"content":{"rendered":"<div class=\"row\">\n<div class=\"col-sm-3 bubble\">\n<div class=\"rectangle\">\n<h2>Vaiku\u1e47\u1e6dha-Vi\u015bvar\u016bpa Vol. I<\/h2>\n<\/p><\/div>\n<div class=\"triangle-l\"><\/div>\n<div class=\"listabt\">\n<ul class=\"MT20\">\n<li><a href=\"\/?p=14619\">Page 001<\/a><\/li>\n<li><a href=\"\/?p=15231\">Page 002<\/a><\/li>\n<li><a href=\"\/?p=15396\">Page 003<\/a><\/li>\n<li><a href=\"\/?p=15544\">Page 004<\/a><\/li>\n<li><a href=\"\/?p=15642\">Page 005<\/a><\/li>\n<li><a href=\"\/?p=15813\">Page 006<\/a><\/li>\n<li><a href=\"\/?p=15888\">Page 007<\/a><\/li>\n<li><a href=\"\/?p=16231\">Page 008<\/a><\/li>\n<li><a href=\"\/?p=16513\">Page 009<\/a><\/li>\n<li><a href=\"\/?p=16724\">Page 010<\/a><\/li>\n<li><a href=\"\/?p=16805\">Page 011<\/a><\/li>\n<\/ul><\/div>\n<\/div>\n<div class=\"col-md-9\">\n<h3 class=\"hdng\" align=\"center\">Vaiku&#7751;&#7789;ha-Vi&#347;var&#363;pa Vol. I<\/h3>\n<table border=\"0\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"100%\"><strong><\/p>\n<p align=\"JUSTIFY\">D:alphasitereports-2\/Ti<\/p>\n<p align=\"JUSTIFY\">FELDFORSCHUNGSPROJEKT 1989\/90<\/p>\n<p align=\"JUSTIFY\">DFG-AZ.: Ma 1069\/3-l<\/p>\n<p>Kennwort:&nbsp;Vaiku&#7751;&#7789;ha-Vi&#347;var&#363;pa<\/p>\n<p>        <\/strong><\/p>\n<p>&nbsp;<\/p>\n<p align=\"center\">&nbsp;<\/p>\n<p>        <u><strong><\/p>\n<p align=\"CENTER\"><stong>BERICHT<\/strong><\/p>\n<p>          <\/strong><\/p>\n<p align=\"CENTER\" style=\"font-size:15px;\">UBER DIE IKONOGRAPHIE, CHRONOLOGIE UND INTERPRETATION<\/p>\n<p align=\"CENTER\" >DES ARCHAOLOGISCHEN MATERIALS<\/p>\n<p>        <\/u><strong><\/p>\n<p align=\"center\"><strong>T S Maxwell<\/strong><\/p>\n<p>            <\/strong><\/p>\n<p align=\"center\">Alle Rechte der Vervielfaltigung und Weiterverwendung des<\/p>\n<p align=\"center\">Inhaltes dieses kataloges sind dem Verfasser vorbehalten<\/p>\n<p align=\"center\">Copyright (c) T. S. Maxwell 1990<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>\n&nbsp;<\/p>\n<table class=\"table table-bordered\">\n<tbody>\n<tr class=\"heading-rowng\">\n<th colspan=\"2\">INHALT<\/th>\n<\/tr>\n<tr>\n<td  valign=\"middle\" width=\"50%\" style=\"text-align:center\" >i.<\/td>\n<td  valign=\"middle\" width=\"50%\" style=\"text-align:center\" >Einleitung zum Bericht<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">ii.<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Forschungsbericht:<br \/>\n          Einseitige Kurzfassung der Hauptergebnisse<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">iii.<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Englische Zusammenfassung mit<br \/>\n          zusatzlichen Schlubfolgerungen<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">1.<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Teil I:<\/p>\n<blockquote>\n<p align=\"justify\" style=\"text-align:center\">Bericht uber die Ikonographie, Chrono-<\/p>\n<p align=\"justify\" style=\"text-align:center\">logie und Interpretation des archao-<\/p>\n<p align=\"justify\" style=\"text-align:center\">logischen Materials<\/p>\n<\/blockquote>\n<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">1.1<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Landkarte, Region 1<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">1.2<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Skulpturen des Vaiku&#7751;&#7789;ha- und Vi&#347;var&#363;pa-<br \/>\n          typus in Region 1<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">1.3<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Chronologische Entwicklung<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">1.4<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Teil 1.1:<br \/>\n          Sonderberichte<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">2.<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Teil II:<br \/>\n          Bericht uber die Ikonographie. Chrono-<br \/>\n        logie und Interpretation des archao-<br \/>\n        logischen Materials (Region 2)<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">2.1<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Landkarte, Region 2<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">2.2<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Ursprung und Evolution der Vi&#347;var&#363;pa-<\/p>\n<p align=\"justify\" style=\"text-align:center\">Ikonographie in Region 2 und die Weiter-<\/p>\n<p align=\"justify\" style=\"text-align:center\">entwicklung in Region 1 (3.-6.Jh.)<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">2.3<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Die spatere Entwicklung der Vi&#347;var&#363;pa -Ikonographie<\/p>\n<p align=\"justify\" style=\"text-align:center\">in Region 2:Evolutionen A und B<\/td>\n<\/tr>\n<tr>\n<td  valign=\"middle\" style=\"text-align:center\">2.4<\/td>\n<td  valign=\"middle\" style=\"text-align:center\">Teil 11.1: Sonderberichte<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>\n&nbsp;<\/p>\n<h3 align=\"center\" class=\"hdng\">EINLEITUNG ZUM BERICHT<\/h3>\n<p align=\"JUSTIFY\">Das vorliegende Feldforschungsprojekt und seine Fortsetzung ist auf eine ausfuhrliehe Dokumentation des fur die Entstehung, Entwicklung und Ausbreitung der Vaiku&#7751;&#7789;ha- und Vi&#347;var&#363;pa- Kunsttraditionen relevanten archaologischen Materials in Kashmir, Himachal Pradesh, Uttar Pradesh, Rajasthan, Gujarat und Madhya Pradesh angelegt.<\/p>\n<p align=\"JUSTIFY\">Abschlubziel der Arbeit ist die Darstellung einer Gesamttheorie fur die Analyse und Interpretation dieser komplexesten kosmologischen Ikonographie Nordindiens des 5.-12. Jarhrhunderts und deren Integration in den existierenden Wissensehaftskorper der Disziplin Orientalische Kunstgeschichte, wobei die chinesische und eventuell die sudostasiatische und japanische Ikonographie in Betracht gezogen werden konnte.<\/p>\n<p align=\"JUSTIFY\">Die Auswertung der Dokumentation wird an der Universitat Bonn durchge-fuhrt. Zum Teil wird dieses Forschungsvorhaben als Erweiterung der van Wlllibald Kirfel, dem ehemaligen Ordinarius fur Indologie an der Univer-sitat Bonn unternommenen Arbeit (Die dreikopfige Gottheit, Ferd. Dummlers Verlag\/Bonn 1948) betrachtet, zum Teil als Fortsetzung der an der Universitat Oxford begonnenen verwandten Arbeit des Verfassers selbst (Thomas S. Maxwell, Vi&#347;var&#363;pa, Oxford University Press\/New Delhi 1988).<\/p>\n<p align=\"JUSTIFY\">Die Feldforschungsarbeit wird zeitlich und geographisch in mehrere Forschungsgebiete aufgeteilt, wobei Region 1 aus Rajasthan und dem nordlichen Teil Gujarats und Region 2 aus dem sudwestlichen Uttar Pradesh und dem nordwestlichen Madhya Pradesh besteht.<\/p>\n<p align=\"JUSTIFY\">Weitere Forschungen zur Untersuchung des Themas sind fur die als Region 3 (Himachal Pradesh), Region 4 (Kashmir), Region 5 (Zentral-GuJarat), Region 6 (Zentral-Madhya Pradesh), und Region 7 (ostliches Uttar Pradesh) bezeichneten Gebiete geplant.<\/p>\n<p align=\"JUSTIFY\">Die erste Stufe des Projektes, Untersuchung des archaolologischen Materials in den Regionen 1 und 2 einschlieBlich einer Auswahl der dort beflndlichen hinduistischen Tempel. wurde 1989 mit Untersttitzung der Deutschen Forschungsgemeinschaft durchgefuhrt. Fiir diese Gelegenheit, die beiden Themen Vi&#347;var&#363;pa und Vaiku&#7751;&#7789;ha weiterzuerforschen und die theoretische Basis dieser Untersuchungen zu verstarken, bin ich der Deutschen Forschungsgemeinschaft sehr dankbar. Der Rektor Magniflcus der UniversitKt Bonn hat mir zu diesem Zweck ein Forschungsfreisemester (das Wintersemester 1989\/90) genehmigt.<\/p>\n<p>Die Anordnung des Bildmaterials ist im Februar 1990 in Bonn begonnen worden: diese Arbeit konnte noch nicht abgeschlossen werden. Die Schreibarbeit wurde im Verlauf des Sommersemesters 1990 unternommen. Mit Ausnahme des Sonderberichtes uber Suhania wurde der nachstehende Bericht in den Monaten Marz bis Juni 1990 in Bonn aus den ikonographischen Feldforschungsergebnissen und einem Teil des Bildmaterials vorbereitet. Der Haupttext bleibt in englischer Sprache fiir eventuelle Publikations-zwecke; Schlubfolgerungen sind, soweit dies mir in dem vorhandenen Zeitraum und ohne Mitarbeiter moglich war, auf Deutsch aufgezeigt.<\/p>\n<p align=\"right\"><strong>T. S. Maxwell<br \/>\n        Bonn, den 30. Juni 1990<\/strong><\/p>\n<p>\n&nbsp;<\/p>\n<h3 class=\"hdng\" align=\"center\">FORSCHUNGSBERICHT: EINSEITIGE KURZFASSUNG DER HAUPTERGEBNISSE<br \/>\n(vgl. englische Zusammenfassung mit zusatzlichen Sehlubfolgerungen)<\/h3>\n<p style=\"width:50px; float:left\">1.<\/p>\n<p align=\"justify\">Die literarische Basis fur die Entstehung in Mathura sowie in Samalaji des Vi&#347;var&#363;pa- Bildwerks ist das Mah&#257;bh&#257;rata; im Bhagavadg&#299;t&#257; wird diese kosmische Offenbarung K&#7771;&#7779;&#7751;as van drei Personae des Epos funfmal beschrieben.<\/p>\n<p style=\"width:50px; float:left\">1.1<\/p>\n<p align=\"justify\">Im 10.Jh. wlrd die Identitat der Hauptflgur der Vi&#347;var&#363;pa-Ikonographie. namlich K&#7771;&#7779;&#7751;a, durch andere Erseheinungsformen Vi&#7779;&#7751;us, z.B. Rama. ersetzt.<\/p>\n<p style=\"width:50px; float:left\">2.<\/p>\n<p align=\"justify\">Die asthetlsche Basis des Hauptcharakterlstikums des Vi&#347;var&#363;pa-Bildwerks, d.h. der Vereinigung selner ikonographisch unterschiedllchen Kompositionselemente, besteht aus Weiterentwicklungen der Emanationsikonographie des kusanazeitlichen Mathuras.<\/p>\n<p style=\"width:50px; float:left\">2.1<\/p>\n<p align=\"justify\">Diese asthetische Basis hat als Grundlage aller Vi&#347;var&#363;pa-Bildwerke in Regionen 1 und 2 bis in das 10.Jh. uberdauert.<\/p>\n<p style=\"width:50px; float:left\">2.2<\/p>\n<p align=\"justify\">Im 10. Jh. ist eine andere, architektonische Vereinigungssttruktur in die Vi&#347;var&#363;pa-Ikonographie in Region 2 sudlich des Ganges eingefuhrt worden; im 11.Jh. ist diese Struktur in Region 1 ubertragen worden.<\/p>\n<p style=\"width:50px; float:left\">2.3<\/p>\n<p align=\"justify\">Bis zur EinMhrung der architektonischen Vereinigungsstruktur gelten Vi&#347;var&#363;pa- Bildwerke auf Grund ihrer alleinigen Fortsetzung der kusanazeitlichen Emanations-struktur als eine besondere Nebenschule in der Geschichte der hinduistischen Plastik.<\/p>\n<p style=\"width:50px; float:left\">3.<\/p>\n<p align=\"justify\">Erst nach der Entwicklung der archltektonlschen Vereinigungsstruktur konnen Vi&#347;var&#363;pa- Bildwerke als Elemente van ikonographischen Programmen an Tempelwanden betrachtet werden, und zwar erst ab dem 11.Jh. in Region 1.<\/p>\n<p style=\"width:50px; height:50px; float:left\">3.1<\/p>\n<p align=\"justify\">Im 5.-10.Jh. sind alle Vi&#347;var&#363;pa- Bildwerke als alleinstehende Kultbildnisse fur Einrlchtung in eigenen Sanktuarien zu verstehen, und zwar auf Grund ihrer Form, ihrer komplizierten und in sich eingeschlossenen Symbolik. und des ausdrucklich kosmischen Charakters des symbollsierten Themas.<\/p>\n<p style=\"width:50px; float:left\">4.<\/p>\n<p align=\"justify\">Die Entwicklung der Vi&#347;var&#363;pa- Ikonographie weist im 8.-10.Jh. zwei verschiedene Evolutionsrichtungen auf (in diesem Bericht als Evolutionen A und B gekennzeichnet).<\/p>\n<p style=\"width:50px; height:50px; float:left\">4.1<\/p>\n<p style=\"text-align:justify\">Diese beiden Evolutionsrichtungen entstehen nlcht zeitgenossisch mit der Entstehung der beiden ursprunglichen Versionen des Vi&#347;var&#363;pa-Bildwerktypus im 5. und 6.Jh. in Mathura und Samalaji, sondern im 8.Jh. in Region 2. als die ikonographischen Einflusse der letztgenannten beiden Fruhversionen schon vereinigt gewesen waren; es handelt sich urn eine zweite Verzweigung der Tradition.<\/p>\n<p style=\"width:50px; float:left\">5.<\/p>\n<p align=\"justify\">Das dreikopflge, auf Garu&#7693;a thronende Vaiku&#7751;&#7789;ha-Bildnis mit acht Handen entsteht im 9.Jh. in Region 1.<\/p>\n<p style=\"width:50px; float:left\">6.<\/p>\n<p align=\"justify\">Im 10.Jh. in Region 1 entsteht eine sitzende. halbmeditierende Vaiku&#7751;&#7789;haform als Entwicklung des Yogan&#257;r&#257;ya&#7751;athemas.<\/p>\n<p style=\"width:50px; float:left\">7.<\/p>\n<p align=\"justify\">Im ll.Jh. in Region 1 entstehen 8 weitere Valku&#7751;&#7789;haformen, die in diesem Berieht dokumentiert werden.<\/p>\n<p style=\"width:50px; float:left\">8.<\/p>\n<p align=\"justify\">Die Vaiku&#7751;&#7789;haform wird im 11.Jh. in einer Gegend van Region 1 als Kultbild des &#346;&#257;ktakultes weiterentwickelt.<\/p>\n<p>\n&nbsp;<br \/>\n&nbsp;<\/p>\n<h3 class=\"hdng\" align=\"center\">ENGLISCHE ZUSAMMENFASSUNG MIT ZUSATZLICHEN SCBLUSSFOLGERUNGEN ENGLISH SUMMARY AND CONCLUSIONS<\/h3>\n<p>Vi\u015bvar\u016bpa is a violent cosmic vision of the Hindu god incarnate K\u1e5b\u1e63\u1e47a, which K\u1e5b\u1e63\u1e47a himself reveals to the warrior Arjuna on the eve of the final battle in the war of the Mah\u0101bh\u0101rata. This vision is described in the Bhagavadg\u012bt\u0101. The tenth and eleventh books of the G\u012bt\u0101 contain five descriptions of Vi\u015bvar\u016bpa of which two are spoken in the first person by K\u1e5b\u1e63\u1e47a, another is given in the third person when Sa\u1e45jaya describes Arjuna&#8217;s vision to the blind king Dh\u1e5btar\u0101\u1e63\u1e6dra, and the other two are in the second person, being spoken by Arjuna&#8217; to K\u1e5b\u1e63\u1e47a as he experiences the vision. Several hundred years after the composition of these descriptions, sculptors at the artistic centres of Mathura and Samalaji began the attempt to depict Vi\u015bvar\u016bpa in sculpture as a cult icon.<\/p>\n<p>There were obvious aesthetic and compositional problems involved, and at the same time fairly fixed iconographic rules had to be obeyed. At Mathura, an existing image of K\u1e5b\u1e63\u1e47a as Vi\u1e63\u1e47u, having the extra heads of two of Vi\u1e63\u1e47u&#8217;s animal incarnations, as a man-lion and as a boar, was used as the central figure. This tricephalous image was later developed in Kashmir and the western half of North India, to represent a different cult form of Vi\u1e63\u1e47u known by the abbreviated title of Vaiku\u1e47\u1e6dha. Both types of image &#8211; Vi\u015bvar\u016bpa and Vaiku\u1e47\u1e6dha &#8211; continued to be made and worshipped in northern India at least until the 11th century. This research project is the beginning of an attempt to understand these various iconographic forms, their development, and their influence during the approximately 800 years of their existence.<\/p>\n<p>At the basis of the earliest Vi\u015bvar\u016bpa iconographies (5th century in Mathura, 6th century in Samalaji) are the Ku\u1e63\u0101\u1e47a-period emanation iconographies of Mathura sculpture (ca. 3rd century). These provide the aesthetic framework for the iconographic depiction of the main characteristic of the Vi\u015bvar\u016bpa concept, namely its unification of multiple forms in a single image (see Part 2 of this Report, Origin and Evolution, Sections A, B, E). The development of these Ku\u1e63\u0101\u1e47a-period Mathuran iconographies at Samalaji is explained by the exportation of early sculptures having emanatory forms from Mathura southwestwards along the edge of the Thar Desert, by way of Bairat and Pushkar, into the northern part of modern Gujarat.<\/p>\n<p>The outstanding piece of evidence for this migration of symbols is the Ku\u1e63\u0101\u1e47a-period populated column at Nand near Pushkar. Although the outskirts of Nand village are today being pushed westward by the erection of new temples, the column appears originally to have been erected at the boundary between cultivated land and desert, only a few hundred yards from the periodic course of the Luni River in Rajasthan. The date of its erection at Nand is unknown (it is regarded locally as having been born from the earth at an indeterminate date in the recent past, and was not remarked by Tod when he passed the very spot in 1819); the reason for its establishment there may be connected with the importance of Pushkar as a tirtha and with the related significance of surrounding villages as stations on the pilgrimage route which defines the Pu\u1e63kara-k\u1e63etra. Further research is required to discover more evidence of the exportation of Ku\u1e63\u0101\u1e47a-period sculpture from Mathura along this route.<\/p>\n<p>The Vi\u015bvar\u016bpa fragments at Mathura and the series of Vi\u015bvar\u016bpa images and fragments from Samalaji, in their present condition indicate that the emanation iconographies were first developed further, not at Mathura itself, but at Samalaji after a time lapse between the 3rd and 6th centuries. The time lapse requires further investigation to account for this dormant period in the activity of the migrating symbols. The Mathura &#8211; Samalaji connexion is demonstrated by the vertical and branching emanatory forms comprising the nimbus of the Samalaji Vi\u015bvar\u016bpas. Such interconnected forms are scarcely detectable in the Mathura Vi\u015bvar\u016bpa fragments, which from fragmentary evidence appear to have concentrated on representing the innumerable devouring faces of Vi\u015bvar\u016bpa by a peripheral chain of \u015aiva-Bhairava heads around the nimbus, plus rows of ascetics upon its enlarged surface, depicting the hosts of sages and saints who disappear into the universal fire. The literary basis for both Vi\u015bvar\u016bpa types was the series of five descriptions of K\u1e5b\u1e63\u1e47a as Vi\u015bvar\u016bpa contained in the 10th and 11th adhy\u0101yas of the Bhagavadg\u012bt\u0101 as it now exists (see Part 2 of this Report, Origin and Evolution, Section E. G\u012bt\u0101 Index-1 and -2, and Sections F and G).<\/p>\n<p>The design of the Samalaji Vi\u015bvar\u016bpa series, as local interpretations of the Bhagavadg\u012bt\u0101 or an allied text, was clearly based on an equally localised re-employment of Ku\u1e63\u0101\u1e47a-period emanation motifs. The Samalaji Vi\u015bvar\u016bpas are not logical developments of Gupta-period iconographical constructs, from which they were apparently isolated. Gupta elements relate to style, not structure. This shows that individual sculptures of Gupta style were influential in northern Gujarat, not iconographical combinations such as the proto-&#8216;Vaiku\u1e47\u1e6dha&#8217; form in which the heads of Var\u0101ha and N\u1e5bsi\u1e43ha were added to define the Vi\u1e63\u1e47u image.<\/p>\n<p>The Samalaji sculptures depict the multiple heads (&#8216;mouths&#8217;) of Vi\u015bvar\u016bpa, not by means of Bhairava masks as at Mathura, but by a conversion of caturmukha Brahm\u0101 imagery, in effect using a triple-crowned Brahm\u0101, with three heads in human form, to represent the central figure of the Vi\u015bvar\u016bpa image. A possible relationship between this redeployment of Ku\u1e63\u0101\u1e47a Brahm\u0101 iconography (complete with the vertically emanating form reinterpreted as Hayagr\u012bva) and the Pra-Pit\u0101maha concept of the Bhagavadg\u012bt\u0101 is marginally noted. The seated posture of this figure at Samalaji has female precedents in the Ku\u1e63\u0101\u1e47a Mathura iconography and a terracotta proto-&#8216;Vaiku\u1e47\u1e6dha&#8217; of Gupta date is also known, showing perhaps a parallel development in Vai\u1e63\u1e47ava iconography at both sites, which was taken up chiefly at Samalaji. The main themes of the nimbus are an evolutionary cosmogony (the Vai\u1e63\u1e47ava axis) and the generation of gods and heroes. The base of N\u0101gas, perpetuated as an important element of later Vi\u015bvar\u016bpa images across North India, seems to have been a Samalaji innovation.<\/p>\n<p>The combined influence of the Samalaji Vi\u015bvar\u016bpa series and that represented by the Mathura fragments, is seen in the iconography of later Vi\u015bvar\u016bpa sculptures father east in Region 2 between the 6th and 9th centuries. In Region 1, only the dying echo of Samalaji is definitely known for this period, in the damaged Vi\u015bvar\u016bpa sculpture at Kathlal, although this Report shows some evidence of later forms of Vi\u1e63\u1e47u having three human heads. Western Indian Vi\u015bvar\u016bpa sculptures (i.e. in Region 1) dating from the 7th and 8th centuries therefore must exist, and research to find them and to chart their iconographical evolution is required. The development of Vi\u015bvar\u016bpa iconography in Region 2 during this period, and beyond, is better known and has been traced through two evolutionary processes in Part 2 of this Report (see Evolutions A and B). This shows a definite trend toward increasingly architectural structures, which appeared in the 10th and 11th centuries south of the Ganges, as the Ku\u1e63\u0101\u1e47a emanation-aesthetic was forgotten and finally superseded.<\/p>\n<p>Between the 5th and 9th centuries, the Vi\u015bvar\u016bpa sculptural tradition represents a persistent minor theme within the major stylistic traditions of Northern and Western India. Because an unusual aesthetic structure (basically consisting of the populated nimbus) was required to compress many miniature images together in a single icon, the relatively rare representations of this theme almost amount to a sculptural sub-school. It was not until the rise of the architectural structure for these icons in the 10th century that Vi\u015bvar\u016bpa iconography was finally integrated with the main North Indian traditions. The architectural frame of these later Vi\u015bvar\u016bpa icons closely resembles a temple doorframe, so that only from the 10th century onward does it become possible to consider Vi\u015bvar\u016bpa images as panels for the bhadra-niches of temples.<\/p>\n<p>No Vi\u015bvar\u016bpa image dating from before the 10th century has been found within the iconographic programme of a temple, and only the very latest of the 9th-century images (Bhuili: see T. S. Maxwell, Vi\u015bvar\u016bpa, Oxford\/New Delhi 1988, p.269 and P1.70) is sculpted on a rectangular slab suitable for placement in a bhadra-niche. The possibility therefore arises that in the first 500 years of their production, Vi\u015bvar\u016bpa images were not intended for installation on temple walls, but were independent cult icons which may have been set up in separate small shrines of their own. This would reflect not only the negative or potentially destructive character of the theme, but also the self-contained imagery of the icons, which makes them unsuitable as units in an extended iconographic programme. This was not true of Vaiku\u1e47\u1e6dha icons, which were definitely designed, from the beginning of their appearance in the 9th century, for placement in temple niches (see Sculptures 15 and 16 in this Report, Part 1).<\/p>\n<p>The architectural construct evolved for the later Vi\u015bvar\u016bpa images re-entered Region 1 in the 11th and 12th centuries, when it also became involved with later Vaiku\u1e47\u1e6dha iconography (compare the shape of the stele of the 10th-century Suhania Vi\u015bvar\u016bpa with that of a 12th-century three-headed Vi\u1e63\u1e47u published by Pal, Indian Sculpture 2, Los Angeles\/Berkeley 1988, p.56, no.56).<\/p>\n<p>The development of Vaiku\u1e47\u1e6dha iconography in Region 1 and its various cult contexts has been traced in Part 1 of this Report. Discounting the images of Vi\u1e63\u1e47u with the side-heads of lion and boar (Proto-&#8216;Vaiku\u1e47\u1e6dha&#8217;) created at Mathura in the 5th century, the archaeological evidence examined shows the following major evolutionary stages.<\/p>\n<p>Stylistically, the earliest three-headed and eight-armed Vaiku\u1e47\u1e6dha image that was found in Region 1 is datable to the 9th century (Sculpture 16, from the region of Jhalavadh in eastern Rajasthan, also published by K. Desai, Iconography of Vi\u1e63\u1e47u, New Delhi 1973, p.44 and Fig.39), which probably follows closely on the adoption of this deity as the royal god of Avantivarman at his first temple, the Avantisvamin at Avantipura in Kashmir circa 850 AD. The Avantisvamin bronze is a standing figure, while the Jhalavadh sculpture shows three-headed Vi\u1e63\u1e47u seated on Garu\u1e0da.<\/p>\n<p>The texts relating to these icons and meditational images are discussed in K. K. Dasgupta, &#8220;The P\u0101\u1e45car\u0101ta Tradition and Brahmanical Iconography&#8221; (Shastric Traditions in Indian Arts, edited by A. L. Dallapiccola, Stuttgart 1989, 71-91), and in T. S. Maxwell, &#8216;Vaiku\u1e47\u1e6dha&#8217; (Festschrift for Debala Mitra, pp.1-29 and Sanskrit Appendix, in press since 1988). This basic difference in the iconographical depiction of Vaiku\u1e47\u1e6dha in separate regions at the same historical moment suggests two spontaneous reactions to a single religious impetus. The precise nature of the connexions, and differences, between Vaiku\u1e47\u1e6dha iconography in Kashmir and Rajasthan in the 9th century requires explanation through careful re-search in Kashmir itself, where a number of such images have been found.<\/p>\n<p>The partial integration of Yogan\u0101r\u0101yana iconography with that of Vaiku\u1e47\u1e6dha occurs in the 10th century, to produce a Vaiku\u1e47\u1e6dha image seated in a near-meditation posture, but with the front hands still holding two attributes loosely in front of the folded legs. This form is evidenced at two sites, Nilakantha and Candravati, indicating a fairly widespread phenomenon. The Nilakantha material is removed from its original context and has almost perished due to erosion; the slightly later Candravati image appears on the north bhadra-niche of a small tantric Vai\u1e63\u1e47ava temple.<\/p>\n<p>In the 11th century at least eight new types appear. Three of these occur on a single temple, the s\u0101sb\u0101hu at Nagda. Of these, two occur within architectural frames at the base of the main doorway \u015b\u0101kh\u0101s; they are both standing images which hold the standard eight Vai\u1e63\u1e47ava attributes, though in differing order, and they are associated with different avat\u0101ras and gods, namely: N\u1e5bsi\u1e43ha. V\u0101mana\/Trivikrama, and \u015aiva on the one hand; and Var\u0101ha, Vi\u1e63\u1e47u Gajendramok\u1e63a, and Vi\u1e63\u1e47u on the other. Specific interpretations of the avat\u0101ra-heads seem to be implied, but this requires further research. On the south wall of the same temple, a version of Garu\u1e0da-mounted Vaiku\u1e47\u1e6dha appears which holds the attributes of Yama and Brahm\u0101 in addition to those of Vi\u1e63\u1e47u.<\/p>\n<p>On the &#8216;Mira&#8217; temple at Eklingji a self-contained iconographic programme on the north, east, and south walls of the sanctum exterior show forms of Vaiku\u1e47\u1e6dha with eight, twelve, and sixteen hands respectively, which may correspond to the three icon types described in the Apar\u0101jitap\u1e5bcch\u0101 as Vaiku\u1e47\u1e6dha, Ananta, and Trailokyamohana.<\/p>\n<p>The other two 11th-century developments stem from the Undesvara temple at Bijoliyam. More obviously than the Candravati image, these might appear to relate to a Tantric or Yogini cult; on the basis of the iconographic programme of the Undesvara temple, I have suggested in fact that they were taken over by a \u015a\u0101kta cult to represent aspects of P\u0101rvat\u012b and \u015aiva &#8211; a total cult reversal of the original icon. Their most striking feature is the replacement of the central face of Vi\u1e63\u1e47u with that of a horse. One of these images is male, the other female, and it is the iconography of the goddess which is the more elaborate. These images are discussed, with their iconographic context, in an attached Special Report. Another, severely damaged version of horse-headed Vaiku\u1e47\u1e6dha, seen in Cittaurgadh, has the position of the avat\u0101ra heads reversed and appears to have been seated (the legs are broken) like the Nilakantha and Candravati images. This was first reported by R. C. Agrawala (Note 3 in the attached Special Report) but not interpreted. It appears to represent the same god as that now affixed to the Mahakala temple at Bijoliyam, in a different posture. All three sculptures stem from the stretch between Cittaur and Kota, and none of the same type were found outside this predominantly \u015aaiva region.<\/p>\n<p>In conclusion, certain iconographical tendencies are worth a brief notice. All the Vaiku\u1e47\u1e6dha images datable to the 10th century and later are represented without a nimbus. Three of the images have the usual position of the animal heads reversed, the lion appearing on the left and the boar on the right; in these examples all the hands are destroyed, making the analysis of any further iconographical variations impossible. But they are of variable date (9th\/10th, 10th\/11th, and 11th centuries) and posture (seated on Garu\u1e0da, standing, seated on a throne), suggesting no consistent variant form of Vaiku\u1e47\u1e6dha. The disappearance of the nimbus from Vaiku\u1e47\u1e6dha images approximates in date (10th century) to the disappearance o f the populated nimbus from Vi\u015bvar\u016bpa images and the introduction of an architectural framework for the support of the many minor figures. At the same time, a growing tendency is noticeable in succeeding centuries to identify the main figure, in images of both the Vaiku\u1e47\u1e6dha and Vi\u015bvar\u016bpa types, with forms of Vi\u1e63\u1e47u other than K\u1e5b\u1e63\u1e47a notably with Hayagr\u012bva or R\u0101ma, and even a coalescence with \u015a\u0101kta imagery was discovered in one area.<\/p>\n<p><strong>D:alphasitereports-2\/Region1.vk<br \/>\nTSM 1989\/90<\/strong><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Vaiku\u1e47\u1e6dha-Vi\u015bvar\u016bpa Vol. I Page 001 Page 002 Page 003 Page 004 Page 005 Page 006 Page 007 Page 008 Page 009 Page 010 Page 011 Vaiku&#7751;&#7789;ha-Vi&#347;var&#363;pa Vol. I D:alphasitereports-2\/Ti FELDFORSCHUNGSPROJEKT 1989\/90 DFG-AZ.: Ma 1069\/3-l Kennwort:&nbsp;Vaiku&#7751;&#7789;ha-Vi&#347;var&#363;pa &nbsp; &nbsp; BERICHT UBER DIE IKONOGRAPHIE, CHRONOLOGIE UND INTERPRETATION DES ARCHAOLOGISCHEN MATERIALS T S Maxwell Alle Rechte der Vervielfaltigung und &hellip; <a href=\"https:\/\/ignca.gov.in\/hi\/the-archaeological-reports-of-professor-t-s-maxwell\/\" class=\"more-link\"><span class=\"screen-reader-text\">The Archaeological Reports of Professor T. S. Maxwell<\/span> <span class=\"meta-nav\">&rarr;<\/span> \u0915\u094b \u092a\u0922\u093c\u0928\u093e \u091c\u093e\u0930\u0940 \u0930\u0916\u0947\u0902<\/a><\/p>\n","protected":false},"author":50282,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-14619","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/14619","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/users\/50282"}],"replies":[{"embeddable":true,"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/comments?post=14619"}],"version-history":[{"count":0,"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/14619\/revisions"}],"wp:attachment":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/media?parent=14619"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}