{"id":15642,"date":"2016-08-08T09:40:33","date_gmt":"2016-08-08T09:40:33","guid":{"rendered":"http:\/\/ignca.gov.in\/?page_id=15642"},"modified":"2016-08-09T08:07:20","modified_gmt":"2016-08-09T08:07:20","slug":"the-archaeological-reports-of-professor-t-s-maxwell-05","status":"publish","type":"page","link":"https:\/\/ignca.gov.in\/hi\/the-archaeological-reports-of-professor-t-s-maxwell-05\/","title":{"rendered":"The Archaeological Reports of Professor T. S. Maxwell 05"},"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<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>6. Figures within the double architrave<\/strong><\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>6.1 Figures of the lower lintel<\/strong><\/p>\n<p><\/strong><\/p>\n<p align=\"JUSTIFY\">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 Brahm&#257; and &#346;iva. Each of these figures holds a pot in the left hand, resting upon the left knee, and raises its right hand in the&nbsp;<em>abhayamudr&#257;.&nbsp;<\/em>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&nbsp;<em>(a&#7779;&#7789;a-nidhis)<\/em><\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>6.2 Figures of the upper lintel<\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p align=\"JUSTIFY\">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 S&#363;rya 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.<\/p>\n<hr>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>7. Iconographical schema<\/strong><\/p>\n<p align=\"JUSTIFY\">On the basis of this analysis, the following total schema can be tentatively drawn up<\/p>\n<p align=\"JUSTIFY\">&nbsp;<\/p>\n<\/td>\n<table class=\"table table-bordered\">\n<tbody>\n<tr>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>Hayagr&#299;va<\/strong><\/p>\n<\/td>\n<td ><\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>Navagrahas<\/strong><\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\" height=\"21\"><\/td>\n<td ><\/td>\n<td width=\"11%\" valign=\"TOP\" height=\"21\"><\/td>\n<td width=\"15%\" valign=\"TOP\" height=\"21\"><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>Kalkin<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td ><\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>Brahm&#257;<\/strong><\/p>\n<\/td>\n<td ><\/td>\n<td width=\"14%\" valign=\"TOP\" height=\"21\"><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>&#346;iva<\/strong><\/p>\n<\/td>\n<td ><\/td>\n<td width=\"11%\" valign=\"TOP\" height=\"21\"><\/td>\n<td width=\"15%\" valign=\"TOP\" height=\"21\"><\/td>\n<\/tr>\n<tr>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>R&#257;ma<\/strong><\/p>\n<\/td>\n<td ><\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>A&#7779;&#7789;anidhis<\/strong><\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\" height=\"21\"><\/td>\n<td ><\/td>\n<td width=\"11%\" valign=\"TOP\" height=\"21\"><\/td>\n<td width=\"15%\" valign=\"TOP\" height=\"21\"><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>Balar&#257;ma<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>V&#257;mana<\/strong><\/p>\n<\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>si&#7747;ha-mukha<\/strong><\/p>\n<\/td>\n<td ><\/td>\n<td width=\"14%\" valign=\"middle\" rowspan=\"6\" height=\"151\"><strong><\/p>\n<p align=\"center\">V<\/p>\n<p align=\"center\">A<\/p>\n<p align=\"center\">I<\/p>\n<p align=\"center\">K<\/p>\n<p align=\"center\">U<\/p>\n<p align=\"center\">N<\/p>\n<p align=\"center\">T<\/p>\n<p align=\"center\">H<\/p>\n<p align=\"center\">A<\/p>\n<p>      <\/strong><\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>varaha-mukha<\/strong><\/p>\n<\/td>\n<td ><\/td>\n<td width=\"15%\" valign=\"TOP\" height=\"1\"><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>Para&#347;ur&#257;ma<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<\/tr>\n<tr>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td width=\"15%\" valign=\"TOP\" height=\"1\"><\/td>\n<\/tr>\n<tr>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>var&#257;ha<\/strong><\/p>\n<\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>N&#7771;si&#7747;ha<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td width=\"15%\" valign=\"TOP\" height=\"1\"><\/td>\n<\/tr>\n<tr>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>Matsya<\/strong><\/p>\n<\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td ><\/td>\n<td width=\"15%\" valign=\"TOP\" height=\"1\"><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>K&#363;rma<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>k&#7771;&#7779;&#7751;a<\/strong><\/p>\n<\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>Balar&#257;ma<\/strong><\/p>\n<\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>&#346;a&#7749;khapuru&#7779;a<\/strong><\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\" height=\"16\"><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>padma<\/strong><\/p>\n<\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>Cakrapuru&#7779;a<\/strong><\/p>\n<\/td>\n<td width=\"11%\" valign=\"TOP\" height=\"16\"><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>Lak&#7779;m&#299;<\/strong><\/p>\n<\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>R&#257;ma<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td ><\/td>\n<td ><\/td>\n<td ><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>kneeling figure<\/strong><\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\" height=\"21\"><strong><\/strong><\/p>\n<p align=\"JUSTIFY\"><strong>3 N&#257;gas<\/strong><\/p>\n<\/td>\n<td ><strong><\/p>\n<p align=\"JUSTIFY\"><strong>kneeling figure<\/strong><\/p>\n<p>      <\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<hr>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>8. Interpretation and Chronology<\/strong><\/p>\n<p align=\"JUSTIFY\">The sculpture represents Vi&#7779;&#7751;u as Vi&#347;var&#363;pa. The iconographical method employed, in part a numerical progression, is to surround seven figures representing Visnu (a central figure of the &#8216;Vaiku&#7751;&#7789;ha&#8217; 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<em>),&nbsp;<\/em>protected by emanations of Vi&#7779;&#7751;u (threshold deities as dv&#257;rap&#257;las),maintained jointly with Vi&#7779;&#7751;u by Brahms and 6iva- (supporting stambha&#347;&#257;kh&#257; figures at the lintel ends), regulated by periodic incarnations of Vi&#7779;&#7751;u (his involvement with humanity through a padmavall&#299; of avat&#257;ras in the b&#257;hya&#347;&#257;kh&#257; enframing the doorway), and governed by the planets and treasures (Vi&#7779;&#7751;u&#8217;s involvement with individuals through the gods of destiny and fortune on the lintel). The sight of the god (dar&#347;ana) through the doorway of his temple or sanctum is thus regarded as the revelation of Vi&#7779;&#7751;u at the heart of the functioning universe.<\/p>\n<p align=\"JUSTIFY\">Duplication of the Man-Lion and Boar incarnations, and seemingly of R&#257;ma and Balar&#257;ma 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 abha&#7749;gastance of the Vi&#347;var&#363;pa from Suhania at Gwalior, where the god is also conceived as standing in the doorway of his temple.<\/p>\n<p align=\"JUSTIFY\">The stylistic evidence, in addition to the iconographic and structural similarities to the Vi&#347;var&#363;pa 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 Vi&#347;var&#363;pa 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 Vi&#347;var&#363;pas 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.<\/p>\n<p>\n&nbsp;<\/p>\n<h3 class=\"hdng\" style=\"font-size:18px\" align=\"center\"><strong>BIBLIOGRAPHY<\/strong><\/h3>\n<p align=\"justify\">AGRAWALA, R. C. 1962. &#8220;Animal-Faced Sculptures from Rajasthan.&#8221;<\/p>\n<blockquote>\n<p align=\"justify\">Bh&#257;rat&#299;ya Vidy&#257; XX-XXI.<\/p>\n<\/blockquote>\n<p align=\"JUSTIFY\">AGRAWALA, R. C. 1971. &#8220;Notes Iconographiques.&#8221; Arts Asiatiques.&#8221;<\/p>\n<p align=\"justify\">BANERJI. A. 1962. &#8220;Interesting Images from South East Rajasthan.&#8221; Lalit<\/p>\n<blockquote>\n<p align=\"justify\">K&#257;l&#257; 12. Fig.8.<\/p>\n<\/blockquote>\n<p align=\"justify\">BHANDARKAR, R. G.1905. Progress Report<em>,&nbsp;<\/em>Archaeological Survey of India,<\/p>\n<blockquote>\n<p align=\"justify\">Western Circle. 53. Poona.<\/p>\n<\/blockquote>\n<p align=\"JUSTIFY\">DESAI, K. Lalit K&#257;l&#257; 13 (Letters). 51.<\/p>\n<p align=\"JUSTIFY\">MAXWELL, T. S.1988 (1). Vi&#347;var&#363;pa<em>.&nbsp;<\/em>New Delhi<\/p>\n<p align=\"JUSTIFY\">MAXWELL, T. S. 1988 (2). Vaiku&#7751;&#7789;ha&#8221;. Festschrift for Debala Mitra (in press).<\/p>\n<p align=\"justify\">MAXWELL, T. S. 1989 (11. &#8220;The Vi&#347;var&#363;pa from Suhania at Gwalior&#8221;.<\/p>\n<blockquote>\n<p align=\"justify\">Festshcrift for .J. C. Harle (in press).<\/p>\n<\/blockquote>\n<p align=\"justify\">MAXWELL, T. S. 1989 (2). &#8220;The Vi&#347;var&#363;pa Sculpture in the Trilokan&#257;tha<\/p>\n<blockquote>\n<p align=\"justify\">Temple at Mandi.&#8221; Festschrift for Douglas Barrett (in press).<\/p>\n<\/blockquote>\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 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, &hellip; <a href=\"https:\/\/ignca.gov.in\/hi\/the-archaeological-reports-of-professor-t-s-maxwell-05\/\" class=\"more-link\"><span class=\"screen-reader-text\">The Archaeological Reports of Professor T. S. Maxwell 05<\/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-15642","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/15642","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=15642"}],"version-history":[{"count":0,"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/15642\/revisions"}],"wp:attachment":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/media?parent=15642"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}