{"id":15813,"date":"2016-08-08T10:14:52","date_gmt":"2016-08-08T10:14:52","guid":{"rendered":"http:\/\/ignca.gov.in\/?page_id=15813"},"modified":"2016-08-09T08:07:10","modified_gmt":"2016-08-09T08:07:10","slug":"the-archaeological-reports-of-professor-t-s-maxwell-06","status":"publish","type":"page","link":"https:\/\/ignca.gov.in\/hi\/the-archaeological-reports-of-professor-t-s-maxwell-06\/","title":{"rendered":"The Archaeological Reports of Professor T. S. Maxwell 06"},"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\">Disk: alpahasttereporta-1\/Bi<\/p>\n<p align=\"justify\">TSM 1989\/90<\/p>\n<p align=\"justify\">DFG-Az.: Ma 1069\/3-1<\/p>\n<p align=\"justify\">Kennwort: VAIKUNTH-VISVARUPA<\/p>\n<p align=\"justify\">Sonderbericht 1.1.(13.\/14.)-Bijoliyam<\/p>\n<p align=\"JUSTIFY\">&nbsp;<\/p>\n<p align=\"CENTER\" style=\"font-size:16px;\">THE TRICEPHALOUS VA&#7692;AV&#256;MUKH&#298; AT BIJOLIYAM:<\/p>\n<p align=\"CENTER\" style=\"font-size:16px;\">a combined Yogin&#299; and &#346;akti form of P&#257;rvat&#299;-Durg&#257;<\/p>\n<p align=\"CENTER\"><strong>T. S. Maxwell<\/strong><\/p>\n<p>\n&nbsp;<\/p>\n<hr>\n<p><\/p>\n<p align=\"JUSTIFY\" style=\"font-size:16px\"><strong>Introduction<\/strong><\/p>\n<p align=\"JUSTIFY\">On the external wall surfaces of two adjacent temples at Bljoliyam, Rajasthan, are two images which have not yet been interpreted. The central head in each case is that of a horse. This is flanked by the profile heads of the Vai&#7779;&#7751;ava avat&#257;ras N&#7771;si&#7747;ha and Var&#257;ha, as they appear in images of the Vaiku&#7751;&#7789;ha type. One image, affixed to the Mah&#257;k&#257;la temple, represents a male deity; the other, on the U&#7751;&#7693;e&#347;vara temple, depicts a goddess. Both sculptures stand approximately 66cm high on plinths 40cm wide. In previous discussions, they have been treated as separate images. without regard to the context of the iconographic programmes in which hey occur. Neither the history of their form nor their religious significance- has been explained. Preliminary descriptions have been published by Banerji1, Desai2&nbsp;and Agrawala3.<\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>1. The Mah&#257;k&#257;la temple sculpture<\/strong><\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>1.1 Iconographical description<\/strong><\/p>\n<p align=\"JUSTIFY\">The sculpture, a high relief on a rectangular slab, is cemented into the south wall of the Mah&#257;k&#257;la temple porch (Plate 1). This is clearly not its original position, and the Mah&#257;k&#257;la, dateable to the llth\/l2th century AD, is certainly not its original temple. The central and proper left heads of the image are badly damaged. Nevertheless, there is sufficient detail remaining to enable one to identify the central head as having been that of a horse: the pricked ears are placed well forward and there is some fine carving at the top of the head and on the brow, representing the mane. The features of the left side-head (Plate 3) are obliterated, but clearly depicted the Var&#257;ha, the top being smooth and curved downward, as in the better preserved boar-head of the U&#7751;&#7693;e&#347;vara temple image. Protruding from the proper right side is the head of a lion, its fangs bared (Plate 2).<\/p>\n<p align=\"JUSTIFY\">The three-headed god stands in an &#257;bha&#7749;gaposture with the weight on the right foot (Plate 1). The clothing and body ornaments are almost identical to those of the U&#7751;&#7693;e&#347;vara temple goddess. The image appears to have had four arms; all the hands and attributes are broken off. To the proper right of this image, a diminutive male figure stands upon the base, its hands in namask&#257;ramudr&#257;.There is no counterpart on the left.<\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>1.2 Iconographic sources<\/strong><\/p>\n<p align=\"JUSTIFY\">In its damaged state, the only iconographically treatable feature of the image is the unusual combination of heads. This particular combination of Vai&#7779;&#7751;ava forms has a known iconographlcal source in the late 6th or early 7th century Vi&#347;var&#363;pa sculptures from Samalaji in northern Gujarat. These images represent seated Vi&#7779;&#7751;u having three human heads and projecting multiple aspects of himself upward to form a large populated prabh&#257;ma&#7751;&#7693;ala. The best preserved is installed in a small shrine on the bank of the Mesvo River at Samalaji, where it is worshipped today as the daughter of Brahms, called Kalasi Chokra ni Ma. Among the many figures clustered above the heads of Vi&#7779;&#7751;u, the first to emerge from the central head of the god, rising vertically from his crown, is Hayagr&#299;va. From the left shoulder of this horse-headed emanation rises, at an angle of forty-five degrees, the Var&#257;ha incarnation, while from the corresponding point on his right side rises Narasi&#7747;ha. The Boar and Man-Lion thus appear as second projections from Visnu, their immediate source being Hayagsva, the first emanation. The further emanatory forms appear above and around this primary triad.<\/p>\n<p align=\"JUSTIFY\">The art historical process by which these svat&#257;ra-projections became abbreviated to appear as mere heads on either side of the central face, as in the Mah&#257;k&#257;la temple sculpture at Bijoliyam, is not recorded in the known archaeological remains of Western India. In the Mathura region, however, just such a process had taken place during the Ku&#7779;&#257;&#7751;a period, perhaps 350 years before the Samalaji sculpture and as much as 700 years earlier than the Mah&#257;k&#257;la temple image. The Ku&#7779;&#257;&#7751;a precedent consisted of what were almost certainly early P&#257;&#7749;car&#257;tra sculptures representing the evolutionary axis or Vi&#347;&#257;khay&#363;pa taking the form of a populated column (Nand), ramifying figures very like the Samalaji primary triad but representing the Caturvy&#363;ha and its hexadic &#346;akticounterpart (Mathura), followed by the first three-headed sculptures of such gods as Brahms (Mathura) and &#346;iva (Rang Mahal)4. As two of the sculptures in this process were discovered in what is now Rajasthan, one has to assume that both the emanatory or ramifying forms (Samalaji) and the abbreviated forms (Bijoliyam) were created in Western India, without local intermediate phases of development, on the basis of these Ku&#7779;&#257;&#7751;a and late- Ku&#7779;&#257;&#7751;a precedents. Elsewhere in India, Hayagr&#299;va is not depicted as the primary projection of Vi&#347;var&#363;pa, although he often appears among the figures in the vertical register above the central head of Vi&#7779;&#7751;u. In the Kannauj sculptures, he is the apical figure, replacing &#346;iva in the Samalaji icon; the Vi&#347;var&#363;pa image at Deogarh represents him as the second in the vertical chain of emanations. Only in Western India at Samalaji does he appear&#8217; as the first to spring from Vi&#7779;&#7751;u and as source of the two incarnations, Man-Lion and Boar.<\/p>\n<p align=\"JUSTIFY\">The art historical source of this 11th-century image at Bijoliyam, original cult context, are thus known, but the identity of the god is not clear. It could be interpreted, in accordance with the art historical evidence, as a primary emanation of Vi&#7779;&#7751;u which projects the Narasi&#7747;ha and Var&#257;ha incarnations as secondary forms, but this is not compatible with the exclusively &#346;aiva character of the Bijoliyam temple complex. However, the female image on the neighbouring U&#7751;&#7693;e&#347;vara temple brings the mythological and religious background into sharper focus.<\/p>\n<hr>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>2. The U&#7751;&#7693;e&#347;vara temple sculpture<\/strong><\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>2.1 Iconographical description<\/strong><\/p>\n<p align=\"JUSTIFY\">Discussions of the identity of this goddess (Plate 4) have centred exclusively on the heads, with the result that one of the most important aspects of the image has been overlooked, namely that it is syncretistic. If the long vanam&#257;l&#257;and the combination of heads are clearly Vai&#7779;&#7751;ava symbols, the rest of the iconography which remains undamaged is, equally clearly, &#346;aiva.<\/p>\n<p align=\"JUSTIFY\">The goddess stands in a slight &#257;bha&#7749;gaposture with the weight on the left foot, the right knee being slightly bent. The three heads are very similar to those originally appearing on the male image on the Mah&#257;k&#257;la temple (compare Plates 2, 3, 5, 6, 7). An object was originally held on either side of the three heads; these are now damaged, but the broken surface above the rear right hand seems to have been a tri&#347;&#363;la.Upon the palm of her left front hand she holds a shallow kap&#257;la from which she is depicted in the act of picking something with the fingers of the right. The gesture clearly shows that she is eating something from the skull-bowl. Below, to the right of her feet, stands a lion, its back to her and its left forepaw raised, but turning its head back to look up at the goddess with a bulging eye, its fangs bared, as if attracted by its mistress&#8217;s business with the bowl and expecting a morsel from it. The second right hand of the goddess, over which is looped an ak&#7779;am&#257;l&#257;, is extended downward toward the animal, in the boon-granting gesture (varadamudr&#257;)which appears to promise the animal its share from the bowl. On the opposite side of the plinth a fire is shown in the conventional form of tongues of flame rising from a brazier. All these details are very clearly represented.<\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>2.2 The triple identity of the goddess<\/strong><\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>2.2.1 The two lions<\/strong><\/p>\n<p align=\"JUSTIFY\">There is a marked similarity between the face of the lion at the feet of the goddess and that of her lion side-head. This, appearing in conjunction with the boar side-head which is its counterpart on the left, must represent the female form of the Narasi&#7747;ha avat&#257;ra of Vi&#7779;&#7751;u; the heads of these two animals appear on either side of the central V&#257;sudeva face as the emanating incarnations &#8212; Narasi&#7747;ha and Var&#257;ha &#8212; of Vi&#7779;&#7751;u in the icon-type known generally as &#8216;Vaiku&#7751;&#7789;ha&#8217;. The lion on the base of the stele, however, is fully theriomorphic and so by definition can have no connexion with the Narasi&#7747;ha side-head. Standing at her feet, the animal must be the v&#257;hanaof the goddess. The lion is the conveyance and fighting ally of one of the earliest syncretistic Hindu icons, namely the goddess Durg&#257; as Mahi&#7779;&#257;suramardin&#299;, Destroyer of the Buffalo Demon. The lion was given to Durg&#257; by Himav&#257;n when she was created out of the wrath of all the gods for the destruction of the demon, as recounted in the Dev&#299;m&#257;h&#257;tmya(2.10-31). The text, in which the avenging goddess is known by names that are mainly Vai&#7779;&#7751;ava (Vi&#7779;&#7751;u&#347;akti, N&#257;r&#257;ya&#7751;&#299; etc.), yields further information.<\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>2.2.2 The lion and the boar<\/strong><\/p>\n<p align=\"JUSTIFY\">V&#257;rah&#299; and N&#257;rasi&#7747;h&#299; are among the &#346;aktis who issue from the bodies of the gods to assist the goddess in the battle against the asura army of &#346;umbha and Ni&#347;umbha in the third myth contained in the Dev&#299;m&#257;h&#257;tmya.The sequence of the emanation of three of the &#346;aktis is in this passage (8.12-21) seems to point to their source being the three-headed Vi&#7779;&#7751;u -concept represented in the 5th-century sculpture of Mathura:<\/p>\n<p align=\"JUSTIFY\">The&nbsp;<em>&#346;aktis&nbsp;<\/em>of Brahm&#257;, &#298;&#347;a (&#346;iva), Vi&#7779;&#7751;u and Indra, issuing from their bodies, in their forms went to Ca&#7751;&#7693;ik&#257; (the form of the Goddess in this particular myth) &#8230; Vai&#7779;&#7751;av&#299; arrived, then &#8230; the &#346;akti of Hari (Vi&#7779;&#7751;u ) in his Yaj&#7749;a-Var&#257;ha form also arrived there, having a Var&#257;ha body &#8230; N&#257;rasi&#7747;h&#299; reached there, having the form of N&#7771;si&#7747;ha . . .<\/p>\n<p align=\"RIGHT\">(8.18-20)<\/p>\n<p align=\"JUSTIFY\">The Dev&#299;m&#257;h&#257;tmya<em>,&nbsp;<\/em>which has been dated to about 550 AD5, thus yields some valuable mythological concepts with regard to the identity of the Un&#7693;e&#347;vara temple goddess. Firstly, the Vai&#7779;&#7751;ava-&#346;aiva syncretism evident in the icon finds a mythological precedent in the syncretistic, but independent, Goddess of the text. Secondly, the female counterparts or &#346;aktisof the N&#7771;si&#7747;ha and Var&#257;ha avat&#257;ras are given a textual basis (and the si&#7747;ha-mukhaof the image, being identified as the &#346;akti N&#257;rasi&#7747;h&#299;, is clearly differentiated from the si&#7747;ha-v&#257;hana<em>).&nbsp;<\/em>Thirdby, the physical conjunction of the Avat&#257;ra-&#346;aktis with the single body of a goddess is explained:<\/p>\n<p align=\"JUSTIFY\">The Goddess said: &#8220;I am alone in the world here; who is there other than I? See&nbsp;<em>&#8212;&nbsp;<\/em>these [&#346;aktis]aremy own powers (vibh&#363;taya&#7717;),entering me.&#8221; Then all those goddesses, Brahm&#257;&#7751;&#299; and so forth, went into the body of the Goddess; Ambik&#257; [one of the many names of the one Goddess] was then one alone. The goddess said: &#8220;I stood here, by means of my power (vibhuty&#257;),in many forms; those I have drawn in; I stand alone&#8221;.<\/p>\n<p align=\"RIGHT\">(10.4-8)<\/p>\n<p>There are several points in the text, moreover, at which the Goddess either is an emanation of another figure, or herself projects aspects of her nature; anatomical multiplicity in the iconography Is merely a partial correspondence to the dynamics of myth. Finally, after the slaying of the arch-demon, &#346;umbha, in the third myth of the&nbsp;Dev&#299;m&#257;h&#257;tmya,the Goddess is praised by the gods who are led by Agni (Vahni as the sacred fire, at 11.2); in their praises, they address her with many epithets, among them Var&#257;ha-r&#363;pin&#299;;and in the next stanza speak of her &#8220;Man-Lion form&#8221;(n&#7771;si&#7747;ha-r&#363;pa).<\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>2.2.3 The fire<\/strong><\/p>\n<p align=\"JUSTIFY\">It is particularly important to notice that the Goddess in this myth arose from the &#8220;body-sheath&#8221; (&#347;ar&#299;ra-ko&#347;a) of P&#257;rvat&#299; (it is for this reason that the emanatory Goddess is also known as Kau&#347;ik&#299;. &#8220;She-Out-Of-The-Sheath&#8221;: 5.85,87), daughter of Himav&#257;n who added the lion to the weaponry of her transformation. The fire to the left of the U&#7751;&#7693;e&#347;vara temple goddess is one of the five fires of the pa&#7749;c&#257;gnitapasof P&#257;rvat&#299;, thus identifying this multiheaded image with three of the independent &#346;aktiswhose corporate identity, through Durg&#257;, is with P&#257;rvat&#299; herself.<\/p>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>2.2.4 The horse<\/strong><\/p>\n<p align=\"JUSTIFY\">The text of the Dev&#299;m&#257;h&#257;tmyadoes not include a horse faced &#346;aktiamong the forms of the Goddess. The source of this iconography lies in the identities of the Yogin&#299;s.Certainly there were circular Yogin&#299; temples in western Central India, such as those at Mitauli and Dudhai, both in northern Madhya Pradesh6&nbsp;far closer to Bijoliyam, on the border with Rajasthan, the site of Hinglajgadh has yielded many Yogin&#299; sculptures7&nbsp;dateable to the 10th century.<\/p>\n<p align=\"JUSTIFY\">Among the sets of such images from other sites which are inscribed. One from Shahdol in the area of the more famous Bheraghat, with a horse head and seated on a lion, bears an inscription reading &#8220;Itar&#257;l&#257;&#8221;; the name seems to be without classical significance, and the inscriptions themselves are unreliable. A horse headed Yogin&#299; image from the Bheraghat temple itself is named &#8220;Erudi&#8221;8&nbsp;another at Hirapur9, near Bhubanesvar, is not inscribed.<\/p>\n<p>The Agnipur&#257;&#7751;a(52.1-g and 146.18-28) lists sixty-four and sixty-three names, the twentieth and twenty-second being Va&#7693;av&#257;mukh&#299; (&#8220;Mare-faced&#8221;)10; Monier-Williams cites the Caturvargacint&#257;maniof Hem&#257;dri (late 13th &#8211; early 14th century) as giving Va&#7693;ab&#257;mukh&#299; (&#8220;Mare-faced&#8221;) as the name of a Yogin&#257;11; the form Va&#7693;av&#257;mukh&#299; apparently occurs in the outer 64 compart-ments of a khecar&#299;cakradescribed in an&nbsp;undated manuscript on Yogin&#299;s entitled &#346;r&#299; Matottaratantra12.Both the K&#257;lik&#257;pu&#7771;&#257;&#7751;a (54.43-44 and 63.37-43) and the Bengali B&#7771;hadnandike&#347;varapur&#257;&#7751;agive N&#257;rasimh&#299; and V&#257;r&#257;h&#299;13&nbsp;without mentioning a horse faced form. Hayagr&#299;v&#257;, Si&#7747;hamukh&#299; (not N&#257;rasi&#7747;h&#299;) and V&#257;r&#257;h&#299; all occur in the same list of 64 names in the Skandapur&#257;&#7751;a(45.34-41)14, suggesting that all three faces of the Bijoliyam goddess could have represented Yogin&#299;s. The appellation Hay&#257;nan&#257; (&#8220;Horse-Faced&#8221;) occurs in the second Agnipur&#257;&#7751;alist in thirty-third position15, denoting a Yogin&#299; in the company of Vai&#7779;&#7751;av&#299;, and as a Yogin&#299;-name in Hem&#257;dri16.<\/p>\n<p align=\"JUSTIFY\">The western projection of the ma&#7751;&#7693;apa of the U&#7751;&#7693;e&#347;vara temple has a frieze compartmented figures along the top, above the ch&#257;dya (Plate 8). The image at the extreme southern end, adjacent to seated Vai&#7779;&#7751;av&#299; in conformity with the Agnipur&#257;&#7751;agrouping, represents single-headed Hayagr&#299;v&#257; or Hay&#257;nar&#257; (Plate 9); the horse-faced goddess is seated with the gad&#257;in the upper right hand and the cakrain the upper left.<\/p>\n<p align=\"JUSTIFY\">The existing early mediaeval Yogin&#299; statuary from eastern, central, and western North India shows a predilection for animal-headed forms; indeed, at certain sites, such as Lokhari in Uttar Pradesh, they are in the majority17. An 11th-century iconographical form which incorporates the ancient combination of lion and boar side-heads (begun at Mathura, in a completely different cult context, in the 5th century), with another animal headed figure from the Yogin&#299; context is therefore art-historically unsurprising. In religious terms, the rise of the yogin&#299; iconographies in stone sculpture represents a coalescence of unorthodox (tantric) forms with orthodox (brahmanical) imagery, and insofar as these can ever be separated the U&#7751;&#7693;e&#347;vara temple goddess is symptomatic of the same tendency in reverse. The reason, for this coalescence at Bljoliyam is suggested below.<\/p>\n<hr>\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>3. Identifications and reconstruction<\/strong><\/p>\n<p align=\"JUSTIFY\">The Bijoliyam goddess is most clearly to be identified as the &#346;aktis N&#257;rsi&#7747;h&#299; and V&#257;r&#257;hi emdodied in the mare-faced (hay&#257;nan&#257;, va&#7693;av&#257;mukh&#299;) Yogin&#299; known in inscriptions as Erudi or Itar&#257;l&#257;. She is definitely not the mere consort of the unidentified god having the same three heads on the Mah&#257;k&#257;la temple; he is, rather, the subordinate male reflex (Hayagr&#299;va integrated with N&#7771;si&#7747;ha and Var&#257;ha, all issuing from one source in Vi&#7779;&#7751;u, and deriving as a group from 6th-century Vi&#347;var&#363;pa iconography) of this triple &#346;akti.<\/p>\n<p>As to the original placement of this sculpture in an iconographical programme, this question is complicated, as in all similar situations, by the factors of natural decay, wilfuldestruction, and unrecorded local renovation. The navabh&#363;miMah&#257;k&#257;la temple, in its architectural style, is certainly younger than the U&#7751;&#7693;e&#347;vara, belonging to the 12th or 13th century AD. The sculpture of the tricephalous god has been fairly recently cemented into the ma&#7751;&#7693;apawall of the Mah&#257;k&#257;la, where it is stylistically out of place. Being a product of the 11th century, and clearly the iconographical counterpart of the goddess on the U&#7751;&#7693;e&#347;vara temple, it may be suggested that he belongs to one of the two now empty niches opposite each other on the U&#7751;&#7693;e&#347;vara ma&#7751;&#7693;apa(numbers 03 and 23 in the listing of the iconographical programme18). The stele would most appropriately be restored to niche 03 on the north side, between kevala Narasi&#7747;ha and the group of two dikp&#257;las(Yama and V&#257;yu); the goddess would then be immediately flanked by &#346;iva Gaj&#257;surasa&#7747;h&#257;ra and an aspect of Brahm&#257; on the west, and by the two mixed forms of &#346;iva (Harihara and Ardhan&#257;r&#299;&#347;vara) on the east. The transformation from male to female deities, begun with Ardhan&#257;r&#299;&#347;vara, Is continued beyond Kubera and Candra&#347;ekhara to the east, with the images of her sisters C&#257;mu&#7751;&#7693;a and Vai&#7779;&#7751;av&#299; on the north wall of the antar&#257;laand in the north bhadraof the sanctum.<\/p>\n<p align=\"JUSTIFY\">The wider context for this goddess is provided by the corresponding image in the main bhadra(niche 23) on the south side of the ma&#7751;&#7693;apa.This severely damaged sculpture represents the three-headed (intentional catur-mukhi) &#346;akti Brahm&#257;&#7751;&#299;. She is depicted with the ha&#7747;sa-v&#257;hanaof Brahm&#257; and, like the horse-faced goddess opposite, with one of the five fires of P&#257;rvat&#299;. Brahm&#257;&#7751;&#299; is thus also identified with the Daughter of the Mountain, and hence with her emanation Durg&#257;, the immediate source of all the &#346;aktis,of whom this Brahm&#257;&#7751;&#299; is one. The empty niche (27) on the south wall of the ma&#7751;&#7693;apawould have housed her male counterpart, catur-mukha Brahm&#257;; this specific Brahm&#257; image is lost.<\/p>\n<p align=\"JUSTIFY\">The religious purpose of this complicated iconography on the U&#7751;&#7693;e&#347;vara temple was to show the transforming power of Dev&#299;, that is, of P&#257;rvat&#299;, the &#346;aktiof &#346;iva to whom the temple is consecrated. The male figure with the horse-head flanked by those of the Man-Lion and the Boar, which I suggest be restored to the niche (03) adjacent to Narasi&#7747;ha (02) on the north side, must ther efore ultimately be identified with &#346;iva himself, as the form in which he appears to complement the more powerful transformation of his &#346;akti whose image (08) is installed in the principal niche.<\/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 Disk: alpahasttereporta-1\/Bi TSM 1989\/90 DFG-Az.: Ma 1069\/3-1 Kennwort: VAIKUNTH-VISVARUPA Sonderbericht 1.1.(13.\/14.)-Bijoliyam &nbsp; THE TRICEPHALOUS VA&#7692;AV&#256;MUKH&#298; AT BIJOLIYAM: a combined Yogin&#299; and &#346;akti form of P&#257;rvat&#299;-Durg&#257; T. S. &hellip; <a href=\"https:\/\/ignca.gov.in\/hi\/the-archaeological-reports-of-professor-t-s-maxwell-06\/\" class=\"more-link\"><span class=\"screen-reader-text\">The Archaeological Reports of Professor T. S. Maxwell 06<\/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-15813","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/15813","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=15813"}],"version-history":[{"count":0,"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/15813\/revisions"}],"wp:attachment":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/media?parent=15813"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}