{"id":16513,"date":"2016-08-09T04:43:05","date_gmt":"2016-08-09T04:43:05","guid":{"rendered":"http:\/\/ignca.gov.in\/?page_id=16513"},"modified":"2016-08-09T08:26:22","modified_gmt":"2016-08-09T08:26:22","slug":"the-archaeological-reports-of-professor-t-s-maxwell-09","status":"publish","type":"page","link":"https:\/\/ignca.gov.in\/hi\/the-archaeological-reports-of-professor-t-s-maxwell-09\/","title":{"rendered":"The Archaeological Reports of Professor T. S. Maxwell 09"},"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<\/strong><\/h3>\n<table border=\"0\" cellpadding=\"3\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"5%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:16px\"><strong>F.<\/strong><\/p>\n<\/td>\n<td width=\"91%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:16px\"><b>The G&#299;t&#257; and the Mathura Vi&#347;var&#363;pa fragments<\/b><\/p>\n<p>        <\/strong><\/p>\n<p align=\"JUSTIFY\">At Mathura, the sources of Vi&#347;var&#363;pa iconography are essentially two: (A) the descriptions of the vision of cosmic K&#7771;&#7779;&#7751;a contained in Bhagavadg&#299;t&#257;10 and 11, and (B) the sculptural techniques of representing multiple and multiheaded figures in Ku&#7779;&#257;&#7751;a-period Hindu statuary. Both of the surviving fragments from Mathura are explicable as plastic expressions of the main features of A through a development of the techniques evolved by B. Mathura appears to have developed the Proto-&#8216;Vaiku&#7751;&#7789;ha&#8217; image and the Vi&#347;var&#363;pa image virtually at the same moment; it has to be asumed however that the Proto-&#8216;Vaiku&#7751;&#7789;ha&#8217; icon marginally preceded the Vi&#347;var&#363;pa image, because the former is not a logical development from the latter, but rather an iconographical definition of K&#7771;&#7779;&#7751;a as Vi&#7779;&#7751;u, which was then used as the central figure of the Vi&#347;var&#363;pa image. The primary iconographical element which was created to define Vi&#347;var&#363;pa was the populated nimbus1. A comparison of the archaeological fragments from Mathura with the themes of the Bhagavadg&#299;t&#257;descriptions shows the nature of the interconnection between text and sculpture.<\/p>\n<\/tr>\n<tr>\n<td width=\"5%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>1.<\/strong><\/p>\n<\/td>\n<td width=\"91%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><b>The central figure of View<\/b><\/p>\n<p>        <\/strong><\/p>\n<p align=\"JUSTIFY\">One of the Mathura Vi&#347;var&#363;pa fragments has the upper part of an image of Proto-&#8216;Vaiku&#7751;&#7789;ha&#8217; as the central figure, having the heads of N&#7771;si&#7747;ha and Var&#257;ha to the proper right and left respectively of the middle and anatomically only natural head. If the image expresses the Bhagavadg&#299;t&#257;text, this figure must represent K&#7771;&#7779;&#7751;a as Vi&#7779;&#7751;u (Thematic Index, Theme 2.14). The animal heads represent avat&#257;ras as emanations within the nimbus (A.1.21-23, 26-291, and the source of these emanatory descents can only be Vi&#7779;&#7751;u in his creative phase, theologically (Para-)V&#257;sudeva2. The Proto-&#8216;Vaiku&#7751;&#7789;ha&#8217; image therefore appropriately stands for K&#7771;&#7779;&#7751;a as Vi&#7779;&#7751;u, source of the universe, as he is described in the Bhagavadg&#299;t&#257;. Inthis form, clearly defined by the avat&#257;ra heads as Vi&#7779;&#7751;u, the image was considered appropriate as the central figure of the Vi&#347;var&#363;pa icon at Mathura. The multiplicity of heads in itself was not the basis of Vi&#347;var&#363;pa iconography: the two emanating avat&#257;ras do not in any sense express the universal manifestation of faces (sarvatomukba)which Arjuna saw in his vision of Vi&#347;var&#363;pa, and of course the text makes no mention whatever of N&#7771;si&#7747;ha and Var&#257;ha.<\/p>\n<\/tr>\n<tr>\n<td width=\"5%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>2.<\/strong><\/p>\n<\/td>\n<td width=\"91%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><b>The periphery of heads<\/b><\/p>\n<p>        <\/strong><\/p>\n<p align=\"JUSTIFY\">The series of heads forming the periphery of the nimbus in the Mathura Vi&#347;var&#363;pa s (C.3.8) is in terms of its conception explicable as a curved adaptation of the Ku&#7779;&#257;&#7751;a vertical emanation series (A. 1.7).<\/p>\n<p align=\"JUSTIFY\">In terms of iconography they are aspects of &#346;iva-Bhairava with gaping mouths, fangs and bulging eyes.<\/p>\n<p align=\"JUSTIFY\">Their positioning, at the edge of the nimbus, facing outward, indicates that they represent one of the dominant themes of the physical description of Vi&#347;var&#363;pa contained in the Bhagavadg&#299;t&#257; the many surrounding faces (Thematic Index: Theme 1.3: vi&#347;vato-mukha), with their gaping fiery mouths (Thematic Index, Theme 1.1:10 references, including d&#299;ptahut&#257;&#347;avaktra, vaktr&#257;&#7751;y abhijvalanti, vadanair jvaladbhi&#7717;, vyatt&#257;nana),cruel fangs (Thematic Index, Theme 1.2: 3 references, including da&#7747;&#7779;&#7789;rakar&#257;la), and large burning eyes (Thematic Index, Theme 1.4: 5 references, including &#347;a&#347;sr&#363;ryanetra, d&#299;ptavi&#347;&#257;netra). These are the most prominent features both of the Bhagavadg&#299;t&#257;descriptions and of the Mathura sculptures.<\/p>\n<p align=\"JUSTIFY\">These peripheral Bhairava &#346;iva-faces in the sculpture (not the N&#7771;si&#7747;ha and Var&#257;ha faces) therefore represent the faces turned in all directions (sarvatomukha)of K&#7771;&#7779;&#7751;a Vi&#347;var&#363;pa himself, at the edge of his nimbus of fire and light (Thematic Index, Theme 1.9: bh&#257;sa, tejor&#257;&#347;i, svatejas).<\/p>\n<p align=\"JUSTIFY\">Their connexion with the head of the central figure of K&#7771;&#7779;&#7751;a as Vi&#7779;&#7751;u is made by means of the nimbus, which is a Gupta-period employment of Ku&#7779;&#257;&#7751;a emanation iconography: like the heads of the N&#7771;si&#7747;ha and Var&#257;ha avat&#257;ras,which identify K&#7771;&#7779;&#7751;a as Vi&#7779;&#7751;u (Thematic Index, Theme 2.14), these Bhairava heads are conceived as emanating from him, not as anatomically joined to him (A.1.16- 29).<\/p>\n<p align=\"JUSTIFY\">The juxtaposition of peaceful forms on the surface of the nimbus with these wrathful forms around the curve of its periphery, a juxtaposition which is seen in both the Mathura Vi&#347;var&#363;pa fragments as a primary compositional feature, is explained and prefigured in the first stanza of Arjuna&#8217;s second description (11.36c-d):<\/p>\n<p align=\"JUSTIFY\">Rak&#7779;&#257;&#7747;si bh&#299;t&#257;ni di&#347;o dravanti, same namasyanti ca siddhasmigh&#257;&#7717;, &#8220;the terrified R&#257;k&#7779;asas rush in all directions, the hosts of Siddhas all pay you homage&#8221; (where, in planning an icon, the r&#257;k&#7779;asa element would have been assimilated to the bhairava nature of &#346;iva, and the siddhaelement [mentioned by name three times in the text: Thematic Index, Theme 5.7] to the hosts of &#7771;&#7779;is and devas)<em>.&nbsp;<\/em>The separation of demonic and divine elements evident here was further developed in later Vi&#347;var&#363;pa iconography.<\/p>\n<p align=\"JUSTIFY\">The creation of the curved and outward facing periphery of heads in the Vi&#347;var&#363;pa iconography created at Mathura, and their &#8216;negative&#8217; character in contrast to the &#8216;positive&#8217; character of the straight lines of figures within the nimbus, therefore both have their literary source in the Bhagavadg&#299;t&#257; descriptions.<\/p>\n<p align=\"JUSTIFY\">The principal conclusion to be noted from this is that, in Vi&#347;var&#363;pa iconography of Mathura, the heads of N&#7771;si&#7747;ha and Var&#257;h define K&#7771;&#7779;&#7751;a as Vi&#7779;&#7751;u, while the heads of &#346;iva Bhairava define Vi&#7779;&#7751;u as Vi&#347;var&#363;pa. The spheres of emanation are twofold, and the hosts of &#7771;&#7779;is and devas are incorporated (in the graphic terms of the text, they have been eaten: 11.27) between them.<\/p>\n<\/tr>\n<tr>\n<td width=\"5%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>3.<\/strong><\/p>\n<\/td>\n<td width=\"91%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><b>The linear groups in the nimbus<\/b><\/p>\n<p>        <\/strong><\/p>\n<p align=\"JUSTIFY\">Both Vi&#347;var&#363;pa fragments from Mathura, which represent the left and right sides of the nimbus of separate Vi&#347;var&#363;pa images, contain figures which, at least in part, are clearly intended to depict &#7771;&#7779;is with ja&#7789;&#257;s and, in the less complete piece, kama&#7751;&#7693;alus;most also hold the right hand in the abhayamudr&#257;. In both fragments, these figures are arranged in formal linear groupings horizontally and vertically (with no implication of emanation from each other). The groups mentioned in the G&#299;t&#257; text are Gandharvas, Yak&#7779;as, Asuras, Siddhas (twice), Suras (twice), Mahar&#7779;is, Manus, and bh&#363;tas (Thematic Index, Themes 3, 5, 6): the word used for &#8216;group&#8217; is sangha (and, once, ga&#7751;a)<em>.&nbsp;<\/em>The iconography of the Mathura figures shows that from these groups, it was the mahar&#7779;is,and posibly the siddhas with them (mentioned together at 11.21, mahar&#7779;isiddhasa&#7749;gh&#257;&#7717;),that were chiefly represented in sculptures of Vi&#347;var&#363;pa. as far as the archaeo-logical evidence allows one to judge. Their organisation into ranks, one above the other, was clearly intended to express the conception of their grouping into sa&#7749;ghasin the textual descriptions.<\/p>\n<p align=\"JUSTIFY\">The figure included in the lower rank on the larger Mathura fragment, near the periphery of the nimbus, appears to represent Yama with the yamada&#7751;&#7693;a,the oblique figure with a halo is Agni, and the pair of heads below him may stand for the A&#347;vins. These Vedic deities are all mentioned in the G&#299;t&#257; text (Thematic Index, Themes 2, 3).<\/p>\n<p align=\"JUSTIFY\">The inclusion of Agni as a large figure in the nimbus of the more complete fragment at Mathura suggests the blazing, fiery nature of the vision of Vi&#347;var&#363;pa (Thematic Index, Theme 1.10), while his positioning suggests that he has risen from the shoulder of Vi&#7779;&#7751;u as a personification of the shoulder-flames known in northwestern Buddhist iconography.<\/p>\n<p align=\"JUSTIFY\">Although the damaged nature of the evidence makes this inconclusive, it therefore appears that the earliest Vi&#347;var&#363;pa iconography, created at Mathura in the 5th century, concentrated mainly on the representation of group-figures from the G&#299;t&#257; descriptions, and from among them, unon the mahar&#7779;i-siddha groups, with the inclusion of individual Vedic gods. These seem to have appeared on both sides of the nimbus, without the division into opposed or complementary groups which appears in all subsequent Vi&#347;var&#363;pa iconography.<\/p>\n<p align=\"JUSTIFY\">These figures were extended upon the surface of the nimbus and between the two spheres of emanation represented by the avat&#257;ra heads and the bhairava heads, as if &#8216;eaten&#8217; (da&#347;&#257;ntare&#7779;u, lelihyase grasam&#257;na&#7717;, 11.27,30) by the bhairava heads and &#8216;entering&#8217; (vi&#347;anti, 11.21,28,29) the substance of transfigured K&#7771;&#7779;&#7751;a, as in the G&#299;t&#257; text. The Ku&#7779;&#257;&#7751;a multiple-emanation iconography has been given a reverse sense for these group-figures, who are seen being not radiated, but incorporated.<\/p>\n<\/tr>\n<tr>\n<td colspan=\"2\">\n<hr>\n<\/td>\n<\/tr>\n<tr>\n<td width=\"5%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:16px\"><strong>G.<\/strong><\/p>\n<\/td>\n<td width=\"91%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:16px\"><b>The Gitaand the Samalaji Vi&#347;var&#363;pa sculptures<\/b><\/p>\n<p>        <\/strong><\/p>\n<p align=\"JUSTIFY\">At Samalaji, the sources of Vi&#347;var&#363;pa iconography are the same as those of the fragmentarily preserved Mathura Vi&#347;var&#363;pa images (the Bhagavadg&#299;t&#257; descriptions and the emanation and multiheaded iconographies of Ku&#7779;&#257;&#7751;a-period Mathura), but differently interpreted. There is no trace at Samalaji of the Proto-&#8216;Vaiku&#7751;&#7789;ha&#8217; image created at Mathura, although this development occurred in the 5th century, perhaps a hundred years earlier than the appearance of the Vi&#347;var&#363;pa image at Samalaji.<em>The concept of&nbsp;<\/em>the Vai&#7779;&#7751;ava axis flanked by the N&#7771;si&#7747;ha and Var&#257;ha avat&#257;ras does, however, reoccur in the nimbus of Samalaji Vi&#347;var&#363;pas, suggesting a doctrinal parallelism between Mathura and Samalaji, though without iconographical contact. The Samalaji Vi&#347;var&#363;pas are independent regional creations; they are not logical developments of Gupta-period iconographical constructs. The (Post-) Gupta elements in the Samalaji sculptures relate to style, not structure. The axial and ramifying constructs of Samalaji Vi&#347;var&#363;pa iconography derive directly from Mathuran emanation iconography in the Ku&#7779;&#257;&#7751;a period.<\/p>\n<\/tr>\n<tr>\n<td width=\"5%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>1.<\/strong><\/p>\n<\/td>\n<td width=\"91%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><b>The migration of symbols<\/b><\/p>\n<p>        <\/strong><\/p>\n<p align=\"JUSTIFY\">The stages by which this early emanation iconography was developed between the 3rd century in Mathura and the 6th century in Samalaji are unknown, and more research is required to establish the transitional phases.The route by which the Ku&#7779;&#257;&#7751;a forms were transmitted from Mathura into northern Gujarat was almost certainly the trade route which followed the eastern edge of the Thar desert southwestwards through Bairat and Pushkar; the Ku&#7779;&#257;&#7751;a-period column with vertical emanation iconography on its four sides at Nand near Pushkar (Sculpture #23) is the obvious testimony to this migration of symbols.<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td width=\"5%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>2.<\/strong><\/p>\n<\/td>\n<td width=\"91%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><b>The central figure of Vi&#7779;&#7751;u<\/b><\/p>\n<p>        <\/strong><\/p>\n<p align=\"JUSTIFY\">The central figure of the Samalaji Vi&#347;var&#363;pa series is a seated god with three faces which are all represented in human form. This is clearly evolved from the iconography of Brahm&#257;, not that of Proto-&#8216;Vaiku&#7751;&#7789;ha&#8217;. Early Brahm&#257; images created at Mathura in the Ku&#7779;&#257;&#7751;a and Ku&#7779;&#257;&#7751;a-Gupta periods show three faces of the mythologically four-headed god, plus an emanatory figure emerging from the back of the central head. This is clearly the source of the Samalaji Vi&#347;var&#363;pa, the conversion being marked by the triple crown of Vi&#7779;&#7751;u and the characterisation of the emanating figure as Hayagr&#299;va. This iconographical vision of Vi&#7779;&#7751;u as derived from Brahm&#257; has curious parallels in the Bhagavadg&#299;t&#257; in which K&#7771;&#7779;&#7751;a-Vi&#7779;&#7751;u is referred to by Arjuna as Pra-Pit&#257;maha (Thematic Index, Theme 2.7), and as &#8220;You the Prime Creator, more to be praised than Brahman&#8221; (gar&#299;yase brahma&#7751;o &#8216;py &#257;dikartre,words also spoken by Arjuna, at 11.37). He is also Praj&#257;pati (Theme 2.6). The concept of Vi&#7779;&#7751;u as the primordial creator, of whom Brahm&#257; is but a secondary form (as he appears in the Samalaji sculptures, above Hayagr&#299;va), is present both in the Bhagavadg&#299;t&#257; and in the Samalaji Vi&#347;var&#363;pas; given the stylistic and iconographical sophistication of these latter sculptures, it is entirely think-able that the unusual (indeed, unique) form of the main image results in part from a close reading of the G&#299;t&#257; text.<\/p>\n<\/tr>\n<tr>\n<td width=\"5%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>3.<\/strong><\/p>\n<\/td>\n<td width=\"91%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><b>The couch and the N&#257;gas<\/b><\/p>\n<p>        <\/strong><\/p>\n<p align=\"JUSTIFY\">The fact that this image is seated on a bedstead (kha&#7789;v&#257;, parya&#7749;ka, &#347;ayy&#257;) above a N&#257;ga group derives from the Puru&#7779;a &#346;e&#7779;a&#347;&#257;yyin concept of Vi&#7779;&#7751;u &#8220;whose resting place is water, whose couch is the four oceans&#8221; (catu&#7717;samudraparya&#7749;katoyanidr&#257;laye), which had been well known since the early 5th century as far south as Mandasor, as the inscription of Satya (Haraprasad Shastri, Epigraphia Indica 12, 1913-1914, Inscription 35, pp.320- 321) clearly shows. The two N&#257;gas at the foot of the parya&#7749;kain the Samalaji sculptures can refer to the passages in the Bhagavadg&#299;t&#257; (Thematic Index, Themes 9.2 and 9.8-10) where K&#7771;&#7779;&#7751;a specifically identifies himself with the two major serpents, Vasuki and Ananta, as the archetypes or supreme exemplars of sarpa and n&#257;ga; in the vertical chain of evolution depicted in the iconography of the sculptures, they represent the aquatic origins or boundless oceans of the creation.<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td width=\"5%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><strong>4.<\/strong><\/p>\n<\/td>\n<td width=\"91%\" valign=\"top\">\n<p align=\"JUSTIFY\" style=\"font-size:14px\"><b>The figures in the nimbus<\/b><\/p>\n<p align=\"JUSTIFY\">The identities of the many figures in the nimbus of the Samalaji sculptures (T. S. Maxwell, Vi&#347;var&#363;pa, Oxford\/New Delhi 1988: pp.148, 151-155, 172-174) are drawn from the gods and heroes mentioned in the Bhagavadg&#299;t&#257;;they include Brahm&#257;, &#346;iva, the sun and moon gods, Varu&#7751;a, Agni, Arjuna, R&#257;ma (Thematic Index, Themes 2 and 4).<\/p>\n<p align=\"JUSTIFY\">None of these individual elements of the Samalaji sculptures derive from Ku&#7779;&#257;&#7751;a-period iconography at Mathura; the latter provides the framework or iconographical structure, upon which the 29 elements of the Bhagavadg&#299;t&#257; vision are hung. The Samalaji Vi&#347;var&#363;pas are the product of the elements of the G&#299;t&#257;, the Ku&#7779;&#257;&#7751;a Mathuran emanation frameworks, and the style of Gupta Mathura.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><\/p>\n<p align=\"justify\"><b>D:Alphasitereports-2\/Tu:2<b><\/p>\n<p align=\"justify\"><b>TSM 1989\/90<\/b><\/p>\n<p align=\"justify\"><b>DFG-AZ.: Ma 1069\/3-l<\/b><\/p>\n<p align=\"justify\"><b>Kennwort: Vaiku&#7751;&#7789;ha-Vi&#347;var&#363;pa<\/b><\/p>\n<p align=\"CENTER\" style=\"font-size:14px\">&nbsp;<\/p>\n<p align=\"CENTER\" style=\"font-size:14px\"><b>THE LATER EVOLUTION OF<\/b><\/p>\n<p align=\"CENTER\" style=\"font-size:14px\"><b>Vi&#347;var&#363;pa ICONOGRAPHY SOUTH OF THE GANGES<\/b><\/p>\n<p align=\"CENTER\" style=\"font-size:14px\"><b>(REGION 2, 8TH &#8211; 11TH CENTURIES)<\/b><\/p>\n<p>\n&nbsp;<\/p>\n<p align=\"CENTER\" style=\"font-size:16px\"><b>#1.<\/b><\/p>\n<p align=\"CENTER\" style=\"font-size:16px\"><b>Chronology and evolution<\/b><\/p>\n<p align=\"JUSTIFY\">In terms of iconography and style, the Tumain fragment1&nbsp;represents a development later than the Deogarh Vi&#347;var&#363;pa (8th century) and earlier than the Kannauj Vi&#347;var&#363;pas (9th century). On the basis of the archaeological documentation now available through this research project, including the Suhania (Region 2) and Bhusawar (Region 1) Vi&#347;var&#363;pas, the key place of the Tumain fragment in the evolution of Vi&#347;var&#363;pa iconography in the 8th to 10th centuries can be demonstrated as follows.<\/p>\n<p align=\"justify\">\n  &nbsp;<\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>#2.<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>Region 1: 8th century<\/b><\/p>\n<p align=\"justify\">The Deogarh Vi&#347;var&#363;pa (8th century) has the side-heads of the same four animal avat&#257;ras, but has a double row of heads encircling the nimbus, the right half representing the ja&#7789;&#257;-bearing Rudras, the left half the crowned &#256;dityas; the vertical axis above the crown of Vi&#7779;&#7751;u consists of three figures, representing Brahm&#257;, Hayagr&#299;va, and &#346;iva at the apex; Vedic gods appear at the top of the stele, primarily Indra and Agni on opposite sides, but there is no dividing ridge. The spatial organisation of the groups of miniature figures on either side of the stele is informal, as in the Mathura prototype (5th century); and the identity and placement of the figures of the vertical axis and of the periphery indicate greater planning and intellectual content than the corresponding figures of the Tumain fragment.<\/p>\n<p align=\"justify\">&nbsp;<\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>#3.<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>Region 2: 8th century: Evolution A<\/b><\/p>\n<p align=\"justify\">The earliest archaeologically recorded post-Deogarh development is partly represented by a damaged Vi&#347;var&#257;pa stele from Manwadi (Sitapur District, Uttar Pradesh), to the northeast of Kannauj and well north of the Ga&#7749;ges. Two N&#257;gas flanking the Earth goddess are represented at the base, as at Deogarh, and a miniature image of Arjuna in a kneeling and praying attitude beside his bow at the proper right extremity of the plinth indicates that the sculpture represents the Vi&#347;ve&#347;vara Vi&#347;var&#363;pa of the Bhagavadg&#299;t&#257;. The edges of the stele are straight, unlike the Deogarh image which is elliptical in form. The lowermost member of a group of &#256;dityas originally shown in the proper left side of the nimbus appears between the disk and shield of Vi&#7779;&#7751;u, and the remains of a probable trident-bearing Rudra occurs above the profile head of the Fish avat&#257;raon the proper right side, indicating that the Rudra\/&#256;ditya opposition was introduced into Vi&#347;var&#363;pa iconography during the 8th century. The remainder of the nimbus is lost. Small mounted figures beside the arms of Vi&#7779;&#7751;u were probably intended to represent avat&#257;ras.<\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>#4.<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>Region 2: 8th\/9th century: Evolution A<\/b><\/p>\n<p align=\"justify\">The remainder of the development from the Deogarh nimbus structure is represented by a fragment of the upper right quadrant of a Vi&#347;var&#363;pa nimbus, formerly in the possession of John Eskenazi. The style and iconography indicate an origin in Region 2, probably to the north of Deogarh in Madhya Pradesh. In this piece, the minor figures are organised into linear ranks, and the organisation of the Vedic gods into a procession (Indra leading Yama) at the top of the stele is already seen; though these Vedic deities are not separated by a ridge from the figures below, there is what appears to be the remains of such a ridge under the feet of the fourth and fifth Rudras from the observer&#8217;s left in the lower group.<\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>#5.<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>Region 2: 9th century: Evolution A<\/b><\/p>\n<p align=\"left\"><strong><\/strong>This development was taken up at Kannauj in the 9th century, resulting in the well known sculptures originating there (Kannauj 1, 2, 3); these images retain the Vedic gods at the top, though greatly reduced in size, and without a dividing ridge. The iconographically decadent further development of this branch of Vi&#347;var&#363;pa evolution north of the Ganges is represented by the Bhuili sculpture, now at Varanasi.<\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>#6.<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>Region 2: 8th\/9th century: Evolution B<\/b><\/p>\n<p align=\"justify\">A development from the Vi&#347;var&#363;pa type separate from that represented by the Tumain fragment is seen in another fragment, in the Russek collection in Zurich, so similar in concept as to suggest an origin in the vicinity of Tumain, in which the figures of Hayagr&#299;va(?) and Brahm&#257; continue to constitute the vertical axis and the dividing ridge is retained and straightened, with R&#257;ma D&#257;&#347;arathi standing on the right side along with &#346;iva and P&#257;rvat&#299;, and with the smaller figures on the face of the stele now organised in ranks.<\/p>\n<p align=\"justify\">&nbsp;<\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>#7.<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>Region 2: 10th century: Evolution B<\/b><\/p>\n<p align=\"left\">The first development from the Tumain and Russek fragments appears in the Suhania Vi&#347;var&#363;pa at Gwalior. Here, in the 10th century, the formalisation of the organising structure has evolved further, resulting in a semi-architectural framework for the Vi&#7779;&#7751;u figure, with the dividing ridge triplicated to serve as bases for three levels of group-gods. The curved top of the nimbus is here preserved by rounding the corners of a rectangular stele and dislocating the outer ends of the two upper ridges in order to conform to the shape of this vestigial nimbus and continue the topmost horizontal series down the margins (as on the proper left margin of the Tumain fragment).<\/p>\n<p align=\"justify\">There were clearly intermediate evolutionary stages between the Tumain fragment and the Suhania sculpture, which have yet to be discovered; images representing this phase should be sought between Guna and Morena Districts in northern Madhya Pradesh.<\/p>\n<p align=\"justify\">&nbsp;<\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>#8.<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>Region 1: 11th century: Evolution B<\/b><\/p>\n<p align=\"justify\">The later evolution of form and iconography from Tumain and Suhania (Region 2) is confirmed by the sculptures from Khajuraho (Laksman temple, Region 2) and Bhusawar sculpture (Region 1), in both of which the architectural framework of the Vi&#347;var&#363;pa image is fully developed, at Bhusawar taking the form of a temple door, on which the triple ridge has become a double architrave for the depiction of two series of group-gods, while the jambs are used for the representation of a da&#347;&#257;vat&#257;ra series2.<\/p>\n<p align=\"justify\">&nbsp;<\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>#9.<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>Evolution of Vi&#347;va&#363;pa iconography<\/b><\/p>\n<p align=\"justify\">Starting from Deogarh in the 8th century, two distinct lines of Vi&#347;var&#363;pa evolution can thus be traced:<\/p>\n<p align=\"justify\"><strong><u>&#8212; Evolution A<\/u><\/strong>&nbsp;took place chiefly within Region 2, on or north of the Ganges, with its chief manifestation at Kannauj in the 9th century; this evolution appears to have seen no further creative development into the 10th century.<\/p>\n<p align=\"justify\"><strong><u>&#8212; Evolution B<\/u><\/strong>&nbsp;occurred mainly in Region 2, south of the Ganges, with an as yet unknown point of efflorescence, which was followed by a migration of the still developing formula to the north, east and finally west, marked by sculptures from Suhania (Region 2), Khajuraho (Region 2, Laksmana temple) and Bhusawar (Region 1).<\/p>\n<p align=\"justify\">&nbsp;<\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>#10.<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>Conclusion<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>The temple of the Tumain fragment<\/b><\/p>\n<p align=\"center\" style=\"font-size:14px\"><b>In the evolution of Vi&#347;var&#363;pa iconography<\/b><\/p>\n<p align=\"justify\">The fragment from Tumain thus represents a vital document in tracing the development of Vi&#347;var&#363;pa iconography beyond the relatively well known forms north of the Ganges (Evolution A). It proves that there was a second, and more persistent, evolution south of the Ganges (Evolution B), beginning in the 8th century with the experimental image executed at Deogarh and progressing through increasingly more formal structures until, in the 11th century at Kahjuraho in Region 2 and Bhusawar in Region 1, a fully architectural formula was developed. Both these lines of evolution (A and B) show the association of Vi&#347;var&#363;pa with R&#257;ma D&#257;&#347;arathi, but only the second impetus (Evolution B), which appears to have commenced at Tumain, led to the iconographical identification of Vi&#347;var&#363;pa with R&#257;ma3.<\/p>\n<p>\n&nbsp;<\/p>\n<p style=\"font-size:14px\"><strong>These conclusions are summarised inthe following two charts.<\/strong><\/p>\n<p>&nbsp;<strong><\/strong><\/p>\n<p align=\"CENTER\" style=\"font-size:16px\"><b>THE EVOLUTION OF Vi&#347;var&#363;pa ICONOGRAPHY<\/b><\/p>\n<p align=\"CENTER\" ><b>in Regions 1 and 2<\/b><\/p>\n<p align=\"CENTER\">&nbsp;<\/p>\n<p align=\"center\"><b>EVOLUTION&nbsp; A<\/b><\/p>\n<table border=\"0\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"100%\">\n<p>Century AD<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table border=\"1\" cellpadding=\"3\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">5<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">6<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">7<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">8<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">9<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">10<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">11<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table border=\"0\" cellpadding=\"3\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"19%\" valign=\"TOP\" colspan=\"3\">\n<p align=\"JUSTIFY\">MATHURA2<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"10%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<\/tr>\n<tr>\n<td width=\"13%\" valign=\"TOP\"><\/td>\n<td width=\"17%\" valign=\"TOP\" colspan=\"4\">\n<p align=\"JUSTIFY\">SAMALAJI1<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"12%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<\/tr>\n<tr>\n<td width=\"15%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"21%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<td width=\"18%\" valign=\"TOP\" colspan=\"7\">\n<p align=\"JUSTIFY\">DEOGARH2<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<td width=\"12%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<td width=\"4%\" valign=\"TOP\"><\/td>\n<\/tr>\n<tr>\n<td width=\"15%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"12%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<td width=\"18%\" valign=\"TOP\" colspan=\"9\">\n<p align=\"JUSTIFY\">ESKENAZI*2<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<\/tr>\n<tr>\n<td width=\"15%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<td width=\"4%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"17%\" valign=\"TOP\" colspan=\"7\">\n<p align=\"JUSTIFY\">MANWADI2<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<td width=\"20%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<\/tr>\n<tr>\n<td width=\"15%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<td width=\"7%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<td width=\"7%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"19%\" valign=\"TOP\" colspan=\"11\">\n<p align=\"JUSTIFY\">KANNAUJ2<\/p>\n<\/td>\n<td width=\"22%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<\/tr>\n<tr>\n<td width=\"15%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<td width=\"7%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<td width=\"22%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<td width=\"3%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"24%\" valign=\"TOP\" colspan=\"9\">\n<p align=\"JUSTIFY\">BHUILI2<\/p>\n<p align=\"JUSTIFY\">&nbsp;<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table border=\"0\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"100%\">\n<p align=\"JUSTIFY\"><b>Superscript1\/2&nbsp;indicates Region 1 or 2.<\/b><\/p>\n<p><b>ESKENAZI* marks the divergence of Evolutions A and B.<\/b><\/p>\n<p>        <strong><\/p>\n<p align=\"CENTER\" style=\"font-size:16px\"><b>THE EVOLUTION OF Vi&#347;var&#363;pa ICONOGRAPHY<\/b><\/p>\n<p align=\"CENTER\"><b>in Regions 1 and 2<\/b><\/p>\n<p align=\"CENTER\">&nbsp;<\/p>\n<p>          <u><\/p>\n<p align=\"CENTER\"><b>EVOLUTION B<\/b><\/p>\n<p>        <\/u><\/strong><\/p>\n<p align=\"JUSTIFY\">Century AD<\/p>\n<p>&nbsp;<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table border=\"1\" cellpadding=\"3\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">5<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">6<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">7<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">8<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">9<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">10<\/p>\n<\/td>\n<td width=\"14%\" valign=\"TOP\">\n<p align=\"CENTER\">11<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table border=\"0\" cellpadding=\"3\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"16%\" valign=\"TOP\" colspan=\"2\">\n<p align=\"JUSTIFY\">MATHURA2<\/p>\n<\/td>\n<td width=\"13%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<td width=\"4%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<\/tr>\n<tr>\n<td width=\"11%\" valign=\"TOP\"><\/td>\n<td width=\"17%\" valign=\"TOP\" colspan=\"3\">\n<p align=\"JUSTIFY\">SAMALAJI1<\/p>\n<\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<td width=\"5%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<\/tr>\n<tr>\n<td width=\"11%\" valign=\"TOP\"><\/td>\n<td width=\"25%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"18%\" valign=\"TOP\" colspan=\"10\">\n<p align=\"JUSTIFY\">DEOGARH2<\/p>\n<\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"4%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<td width=\"9%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<td width=\"5%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"7%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<td width=\"9%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<\/tr>\n<tr>\n<td width=\"11%\" valign=\"TOP\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"17%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"17%\" valign=\"TOP\" colspan=\"10\">\n<p align=\"JUSTIFY\">ESKENAZI*2<\/p>\n<\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"4%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"6%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<\/tr>\n<tr>\n<td width=\"11%\" valign=\"TOP\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"8%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"15%\" valign=\"TOP\" colspan=\"7\">\n<p align=\"JUSTIFY\">TUMAIN2<\/p>\n<\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"10%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<\/tr>\n<tr>\n<td width=\"11%\" valign=\"TOP\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"7%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<td width=\"4%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"7\">\n<p align=\"JUSTIFY\">RUSSEK2<\/p>\n<\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"19%\" valign=\"TOP\" colspan=\"13\"><\/td>\n<\/tr>\n<tr>\n<td width=\"11%\" valign=\"TOP\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<td width=\"22%\" valign=\"TOP\" colspan=\"10\"><\/td>\n<td width=\"19%\" valign=\"TOP\" colspan=\"14\">\n<p align=\"JUSTIFY\">SUHANIA2<\/p>\n<\/td>\n<td width=\"6%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"5%\" valign=\"TOP\" colspan=\"5\"><\/td>\n<td width=\"3%\" valign=\"TOP\"><\/td>\n<\/tr>\n<tr>\n<td width=\"11%\" valign=\"TOP\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"10\"><\/td>\n<td width=\"22%\" valign=\"TOP\" colspan=\"13\">\n<p align=\"JUSTIFY\">KHAJURAHO2<\/p>\n<\/td>\n<td width=\"3%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"5%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<\/tr>\n<tr>\n<td width=\"11%\" valign=\"TOP\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"2\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"3\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"8\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"4\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"11%\" valign=\"TOP\" colspan=\"6\"><\/td>\n<td width=\"8%\" valign=\"TOP\" colspan=\"7\"><\/td>\n<td width=\"14%\" valign=\"TOP\" colspan=\"9\">\n<p align=\"JUSTIFY\">BHUSAWAR1<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td width=\"99%\" valign=\"TOP\" colspan=\"47\">\n<p align=\"JUSTIFY\"><strong>Superscript1\/2&nbsp;indicates Region 1 or 2.<\/strong><\/p>\n<p><strong>ESKENAZI* marks the divergence of Evolutions A and B.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\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 F. The G&#299;t&#257; and the Mathura Vi&#347;var&#363;pa fragments At Mathura, the sources of Vi&#347;var&#363;pa iconography are essentially two: (A) the descriptions of the vision of cosmic K&#7771;&#7779;&#7751;a &hellip; <a href=\"https:\/\/ignca.gov.in\/hi\/the-archaeological-reports-of-professor-t-s-maxwell-09\/\" class=\"more-link\"><span class=\"screen-reader-text\">The Archaeological Reports of Professor T. S. Maxwell 09<\/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-16513","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/16513","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=16513"}],"version-history":[{"count":0,"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/pages\/16513\/revisions"}],"wp:attachment":[{"href":"https:\/\/ignca.gov.in\/hi\/wp-json\/wp\/v2\/media?parent=16513"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}