A Sixth-Century A.D.

Temple from Kosala

Author(s): Donald M. Stadtner
Source: Archives of Asian Art, Vol. 33 (1980), pp. 38-48
Published by: University of Hawai'i Press for the Asia Society
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 A a.D. from Kosala
Sixth-Century Temple

Donald M. Stadtner
at Austin
University of Texas

Oituated 25 kilometers south of Bilaspur, Madhya the sixth century in Kosala was so receptive to influ

Pradesh, near the

village of Tala are the remains of ences from areas.
surrounding
two The source of patronage and a precise date for the
historically important but previously unnoticed
stone A.D. Known at Tala are difficult to determine,
temples of the sixth century lo temples for there
as the and the are neither associated with
cally Jith?n? Devar?n?, temples occupy inscriptions any of the
separate and adjacent hillocks the bank remains in Kosala nor re
overlooking sixth-century certainty
of the Mani?ri River (see map).1 The Devarani is in
garding the exact nature of political power in the
an excellent state of except for itsmiss this period. The earliest dynasty in
preservation region during
so ruined are the
ing superstructure, whereas the Jithani is Kosala for which there is extensive evidence
that even an cannot be de who in the last quar
approximate groundplan Sarabhapur?yas, began their rule
termined. ter of the fifth century A.D. from their unidentified
The Devarani shrine is the only standing sixth capital of Sarabhapura.4 Sarabhapuriya rule extended

century temple known from ancient Kosala in south Kosala from the area in the south
throughout R?jim
eastern Pradesh.2 This fact and its unique all along the Mah?nadi River to the re
Madhya Sarangarh
features make this site important for the history of gion in the northeast and included the area of Tala.
and architecture of Kosala and, indeed, of The last two
sculpture Sarabhapuriya kings ruled from ancient
all of north India during
the late Gupta period. The or modern
Sripura, Sirpur, in the Raipur District
at Tala bear strong before control of the entire was assumed
magnificent sculptures surviving region by
affinities with Gupta art of the north; at the same
time architectural and iconographie features of the

temples important connections with

reveal so-called
Dravidian, or south Indian, forms.
The art of Kosala during the sixth century isknown

only from the temples at Tala and a handful of stone

architectural remains found throughout the region.
There are no monuments or
surviving inscriptions
in Kosala that can be dated to the preceding third,
fourth, and early fifth centuries, nor does it appear
that a strong or stable local dynasty ruled in the area
until as late as the second half of the fifth century.
The earliestepigraphic reference to Kosala is con
tained in the famous Allahabad pra
fourth-century
sasti of in which the of Kosala,
Samudragupta king
Mahendra, was classified as to those
belonging kings
of south India (daksin?patha) who were captured
and then released.3 When to north India,
compared
the region's lack of monuments and evidence of

strong political organization during the fourth and

fifth centuries can partially explain why the art of

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the Somavarhs? or Panduvarhs? sometime
Dynasty
around the middle of the sixth century. The Soma
vamsis also ruled from Sripura until their demise in
ca. A.D. 650, and it is under the Somavamsi ruler
A.D. 595-ca. at the
Sivagupta (ca. 650), beginning
turn of the seventh century, that the majority of the
at were constructed, includ
standing shrines Sirpur
the famous Laksmana A.D.
ing temple (ca. 595-605).5
The sculpture and architecture of Sirpur of the early
seventh century not only demonstrate little connec
tion with the earlier sixth-century remains, such as
at Tala, but reveal forms that to an idiom dis
point
tinctive of Kosala and characteristic of much north
Indian art of the entire seventh century.
Entrance to the Devarani is from the east, and the
rear of the shrine faces theManiari River. The
ground
an east-west axis and consists
plan is arranged along
of two large rectangular rooms a small
preceded by
vestibule or entrance chamber that contains an elab
to a
orately sculpted doorway (Fig. 1). The walls,
of 245 centimeters, are constructed of
height large
ashlar blocks set one upon the other without the use
of masonry or metal
clamps. The temple's super
structure is but it was constructed
missing, possibly
of brick because a great amount of brick rubble is o i 2 3 4 sin

now located around the base. The inner room or

i. Tala, Pradesh. Devarani
sanctuary is slightly larger than the antechamber; the Fig. Bilaspur District, Madhya
This and all are
two rooms are one another two temple, groundplan. drawing photographs
separated from by
by the author.
wide ornamented pilasters. The vestibule containing
the richly ornamented is small in compari not nor are there among
doorway ably placed in them, the
son with the other two rooms. stone at the site that
fragmentary images sculptures
A distinctive feature of the exterior of the temple could have been attached to the exterior.
are the vertical niches whose massive frames extend Vertical exterior niches, alternating recessed and
from the temple base to the roof cornice. The ar projecting and with or without
images,
are a charac
of the exterior niches corresponds to the teristic of early
rangement temples of the Deccan and of south

disposition of the two large rooms; the two central Indian architecture in the earliest
general. Among
recessed niches, each bearing a simple makara arch at surviving from the Deccan, a similar ar
examples
its top, conform in position to the center of each of rangement of exterior niches occurs on the Upper
the two interior rooms
(Figs. 1,2). To either side of at Badami, inwhich, unlike the De
Siv?laya temple
the central niches are additional niches varani, the central niche from the shrine
projecting projects
that are protected by their heavy unornamented
cor walls and from the walls of the There
mah?mandapa.6
nices. In the corner divisions, where there are no are no on the shrine walls in this example,
images
projecting niches, the wall surface itself is given the but the central projecting niches of the
mahamandapa
appearance of a very narrow niche by slight projec contain large
images. On the exterior of the Arjuna
tions same at
along the top and sides of the wall. The Ratha temple Mamallapuram, the central and cor
formal arrangement of nichesis repeated on the rear ner niches
project from the wall surface and each
narrow
(Fig. 3). The bases and shallow sides of all of wall niche contains large images. An
example from
the niches indicate that stone were that resembles more one
sculptures prob Mamallapuram closely the

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 2. Devarani view from southwest.
Fig. Temple,

3. Devarani rear side, view from west.

Fig. Temple,

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atTala is the partially unfinished Valaiya?kuttai Ratha liest example occurs in the dated
Jambuli?ga temple
temple, in which the recessed central niche is flanked of a.D. 699, in which it also occurs above the foun
two niches.7 In this case, as at Tala, dation cornice. the eighth century C?lukya
by projecting Among
were not intended for the exterior. monuments in the Deccan this appears to be a regu
sculpted images
Although there is much disagreement concerning lar feature.
the precise dates for these early southern examples, The presence of these distinctly southern features
nowhere has it been that any of these tem in Kosala should probably be interpreted as a bor
suggested
ples should date before the early seventh century A.D. rowing of architectural forms that probably existed
Certain elements of the base (adhisth?na) mold in the sixth century in the Deccan and in south India

ings of the Devarani also indicate a relationship be but that appeared on temples constructed of perish
tween the temple and south Indian forms. Although able materials and therefore have not survived. It is
the wide, at the in Kosala
sloping member (khura kumbha) highly unlikely that these forms originated
bottom is characteristic of the brick architecture of in light of Kosala's rather
during the sixth century
the seventh century in Kosala, the series of simple provincial and isolated position. Perhaps the clumsy
above can in early south and the massiveness
moldings this be identified rendering of the makaras of the
Indian examples in which this series commonly sur vertical niches are indications that the craftsmen des
mounts the foundation to work on the exterior were
cornice (Fig. 4). A similar ignated uncomfortable

sequence of moldings is present on the with what were new and unfamiliar forms
Dharmar?ja probably
Ratha temple atMamallapuram immediately below borrowed from the south.
the wall surface; from the early on The shrine doorway the major focus for
eighth century provides
ward this form becomes common on the entrance vestibule that precedes the antechamber
temple super
structures in the Tamil area.8 In the Deccan the ear (Fig. 5). Unlike typical north Indian shrine doors the

**'
?i^V* :.v.'v .^?.*V*\.

:.-;<; ?-?'^^i-:,:

4. Devarani base, southwest c?rner.

Fig. Temple,

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 "'
?&s

1
V
^?s??bs
5. Devarani front side, view from east.
Fig. Temple,

important figurai sculpture is carved on the lateral among the finest sources of sixth-century Indian art.
face of the jambs and not on the outer face.9 Also At the base of the jambs are two large
standing
different from many Indian doorjambs of this period female figures and their entourages which, although
is the absence of distinct pilasters whose
capitals unite effaced, probably represent the river goddesses Ganga
with miniature shrine on the lintel. and Yamun? on the
replicas placed (Figs. 6-8). Above the goddess
Absent also are small indentations at the top of the south jamb is a narrow in which
register depictions
jambs that create a in many of amorous are seated, and on the north
T-shaped appearance couples
north Indian doorways. even the construc two small groups of ganas and
Finally, jamb stand images of
tion of the itself is unusual because the risis surrounding a representation of Siva and Par va t?.
doorway
formed from a rests on the south
lintel, single block of stone, Above the projecting kirtimukha jamb
upon jambs whose front faces are set obliquely into is a seated Kubera with attendants, and on
standing
the wall plane; the narrowmost wall of each three the north jamb is another representation of Siva and
sided jamb forms the inner side, which bears the fig Parvati, here in their mountain retreat surrounded
urai
sculpture. by ganas. The carving of the south jamb is some
Thesculpture of the doorway and within the ves what more accomplished in design and execution,
tibule is extraordinarily in in for example in the more fanciful conception of the
high quality and, style,
can be considered a formulation of late north and in details of the horizontal bands
regional large kirtimukha
Indian Gupta modes. The execution of a number of separating each register. In particular, the grouping
motifs common to north India exhibits such inven on the north at
jamb of the river deity among her
tiveness and even genius that Tala must be counted tendants, who are stationed behind her in a
variety
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 Fig. 7. Inner side of north
doorjamb.

6. Inner side of south

Fig. doorjamb.

of complex poses, is conceived with a sense of dra

matic liveliness (see Fig. 8). The hairstyles and the
naturalism of the facial expressions all connect this

style in a fashion to the best of later

generalized
Gupta period work in north India at such sites as
Nachna Kuthara, Bhumara, and Deogarh.
The remainder of the sculpture on the jambs con
sists of vertical foliate bands, the most of
prominent
which is a tubular at the top in
molding culminating
a miniature member
?malaka-shaped (see Fig. 10).
Beside this is a smaller tubular band comprising four
and distinct twisted strands of
compact foliage that
in its richness represents a tour de force in sixth-cen

tury A.D. Indian decorative sculpture (Fig. 9). The

innermost band, consisting of deeply undercut fo
numerous small birds, continues on
liage filled with
the lintel, where it is connected to the trunks of two 8. Inner side of north river at base.
Fig. doorjamb, goddess

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 trees that rise above two small damaged elephants
the three central on the lower sec
flanking figures
tion of the lintel (Fig. io).10
a
The lintel, single massive piece of stone, is di
vided on the front face into two separate horizontal
zones
by the
same wide band of foliage that is con
tinued from the jambs (Fig. 10). The topmost regis
ter bears an elaborate representation of the Gaja
Laksm? theme with Laksmi seated in the center flanked
two a number of
by elephants and supplicants bear
The icono
ing garlands and other objects. major
is located in the center
graphie focus of the doorway
of the bottom section of the lintel; like the architec
ture of the to south Indian
temple's exterior, it points
traditions. The chief standing figure can be identified

tentatively
as a
representation of Siva known as Ka?

k?la, a form the deity assumed while undertaking a

to Varanasi
special pilgrimage (Fig. 11). The story
of Kankala is found inmany north and south Indian
texts, but representations of this form of Siva are un
known in north India even are com
though they
mon in the art of south India beginning with the
Colas.11 If this figure at Tala can indeed be identified

9. Outer side of south detail of foliate bands.

Fig. doorjamb,

10. Door lintel.

Fig.

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 as Kankala, it would be the earliest extant
example
of this form.
iconographie
The story of Kankala and its allied form of Bhiksa
tana is stated most in the K?rma Pur?na.12 In
fully
response to Brahma's boast to a group of risis on Mt.
Meru that he, Brahma, was the creator of the world,
Siva to sever one of the five heads
deputed Bhairava
of Brahma. After the wicked deed was accomplished,
Bhairava was advised to
gather food
in the skull
to
(kap?la) in order expiate his crime. In the form of
a young and handsome nude mendicant known as
Bhiksatana he approached the residence of Visnu and
slew the gate-keeper, Visvaksena, whose skeleton _. m li^??r w.r_..z^fl
was then placed on Bhiksatana's staff. Vishnu sug
11. Door lintel, detail from center
to rid himself of his two sins, the death of Fig. showing
gested that Kankalamurti.
now the death
Brahma represented by the skull and
of Vishvaksena It ismore that the
represented by the bones, Bhiksatana (ka?kaladanda). likely, however,
should undertake a to Varanasi. lower right hand of the central image holds this im
pilgrimage Upon
to the
reaching Varanasi the skull and bones vanished, and portant attribute. right hand of the figure
The
account in the Kurma Purana is concluded rests
the by right of the central image against his bent right
to the spot at which this occurred as the sa while his left arm is too to
referring leg fragmentary permit
cred site of the skull-release tir tha).x 3 an
interpretation.
(kap?lamochana
At in the story that Bhiksatana
the point sets out on In the majority of the texts four arms are pre
his pilgrimage to Varanasi with the skull of Brahma scribed for Kankala. For the two anterior arms the
and the bones of Vishvaksena, a rod or
themendicant assumed right should hold (prah?ra yasti) and the
the form of Kankala. no left should bear a drum or
Although single later north (damaru dhakk?). The
or south Indian iconographie of Kankala arm should be extended near themouth
description posterior right
completely conforms to this early representation of of a deer whereas the posterior left hand should bear
the deity at the Devarani there are the staff adorned with bones. The two objects in the
temple, enough
considered to two upper arms of this are indistinct but the
features, when together, identify this figure
with Kankala.14 It is not certain whether a small object in his upper right hand and the large
figure
or a southern tradition was the source as a rod
northern of object in his left hand should be interpreted
this representation, for texts from both the north and a drum, respectively. The staff adorned with
and the south concur on the
significant attributes. bones is held in the deity's right hand and the left
The central image and the slightly smaller flank arm ismissing below the elbow.
are remains Another aspect in the identification is
ing figures chipped, but enough
badly important
to reconstruct their condition the deliberately conceived stance of
cautiously original (see asymmetrical
11 The main is clothed in a lower gar the figure, despite its appearance as the central focus
Fig. ). figure
ment a of the lintel. The figure's turn to the right, with his
bearing finely worked sash, clearly distin
guishing this image from Bhiksatana, whose nudity left leg distinctly bent, serves to represent Kankala at
is one of his major features. The two the moment of his departure on his pilgrimage to
iconographie
can be identified as bh?tas or Varanasi, a on which the majority of the texts
surrounding figures point
ganas, which are as attendants in the ma are in
recognized agreement.

jority of the texts. The right hand of the figure

to the Because
the representation of Kankala at Tala ap
left of Kankala holds a rosary (aksam?la) while his pears to be the earliest extant example, the fact that
seems to rest not
damaged left hand either against his the iconography of the image does conform pre
waist or to grasp a staffadorned with indistinct cisely
to the contained in texts that date
long description
objects that can be interpreted probably
as bones
considerably later is hardly surprising. Moreover,

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 the research of Adiceam has revealed that not only
are the of Kankala far less fre
images represented
quently in south India than are those of Bhiksatana,
but that these representations are more diverse and
seem to adhere less to fixed
iconographie descrip
tions. None of the extant Kankala images in south
India dates prior to the Cola the
period, although
earliest of Bhiksatana on are found
representations
two
temples
at
Alampur that date to the second half
of the seventh century and to the early eighth cen

tury.15
The underside of the lintel bears in its center me
12. Door lintel, underside.
Fig. dallion small and identical figures, perhaps
fifteen
as risis, each
identifiable squatting with his right hand
in front
placed upon the head of the figure squatting
This unusual, if not repre
(Fig. 12). unprecedented,
sentation perhaps relates indirectly to the iconography
of the lintel, for if these figures can be identified as
risis they may represent the husbands of women
who are said in the of texts to accompany
majority
Kankala on his pilgrimage to Varanasi.
The remaining of the vestibule is found
sculpture
on the north and south sides. The relief on the south
side is in a better state of preservation, but enough
remains of the sculpted slab on the north side to in
dicate that both were probably identical. Occupying
the center is a standing female figure who holds in
both hands a that ends in a small vase
long garland
(Fig. 13). Above this figure is the head and partial
torso of a small male
figure who, with both hands
raised, appears to support the top of the panel. Paral
lel to the figurai sculpture are two bands of foliage.
Fig. 13. South wall of vestibule, upper segment of
sculpted
slab. The outer band, of foliate form twisted
consisting
around a is similar in conception to a
straight staff,
number of examples found in north India during the

Gupta period.16
At the entrance to the vestibule are two enormous

sculpted pilasters that rise from

heavy square bases
and that would probably have been concealed par
tially by the superstructure covering the vestibule

(see Fig. 14). The decorative sculpture is limited to

five small half-medallions that are superbly sculpted
in low relief.
Perhaps the most unusual depiction
occurs on the on the north side in which the
pilaster
body and head of the makara face outward and the
foliate tail cascades down both sides (Fig. 14).
Unfortunately the second of the Tala structures,

Fig. 14. Detail of north

pilaster
base.

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 so ruined that even a tentative inKo
the Jithani temple, is The few remaining sixth-century fragments
cannot be determined without remov sala are isolated architectural pieces that reveal north
groundplan
sur on the one hand, and on the
ing the stone rubble. The style of the sculpture Indian Gupta influences
to that of the Devarani, other a debt to the art of the Deccan
rounding the Jithani conforms neighboring
and it can be concluded that both temples were con under the V?k?takas. The mostimpressive example
structed at the same time. However, the fragments is a set of doorway of the R?machandra tem
jambs
of architectural members reveal that the Jithani prob ple, Rajim, south of Tala in the Raipur District (see
are treated here
ably differed in construction from the Devarani. The map).17 Vakataka and Gupta motifs
most are at least three stone in a style that is reminiscent of Gupta work but that
important of these large
amalakas which, if they were used in the superstruc lacks the proficiency or inventiveness demonstrated
ture, may indicate that the temple adopted a form at Tala. Other
sixth-century remains inKosala would
more two near
consistent with north Indian standards. include pillars from Turturiya Sirpur in
Because so little work has survived from the sixth the Raipur District, which are similar to Vakataka
in Kosala it is difficult to determine a
century precise examples from Ajanta; pillar fragments from Mall?r
date for the temple at Tala. The only early monu in the and a pair of jambs from
Bilaspur District;
ment in the region that is relatively near
securely dated is Senakapat Sirpur.18 All of these examples should
the Laksmana temple (ca.
a.d.
595-605)
at
Sirpur. date to the first half of the sixth century. There is no
Inasmuch as the in Kosala that can be dated to the
sculptural style and the architectural surviving work
forms of the Laksmana and other early temples at second half of the sixth century and that could pro

Sirpur display features that

are
markedly different vide a transition to the earliest temples at Sirpur.
from those at Tala, it probably may be assumed that The picture that Kosala presents in the sixth cen
a gap of at least these two dis tury is of a region that lacked a strong indigenous
fifty years separates
tinct phases of art in Kosala. Because the sculptural at the same time was
style and that highly receptive
at Tala relates in a to to influences from areas. The southern
style general way Gupta work neighboring
of the late fifth and early sixth centuries, by looking elements in the architecture at the Devarani
temple
backward in time from Sirpur and forward from and the Gupta character of the sculptural work are
a date of ca. a.d. fluid artistic milieu in
Gupta period sites 525-550 for the reflections of this extremely
Devarani would seem reasonable. which different modes of influence coexisted.

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Notes

Editor's note: Words transliterated from Sanskrit or other Indian 12. Kurma Purana (Uttarakhanda 31). Abbreviated accounts

languages
are given with full diacritical marks in thefirst usage and in a are found in the Skanda Purana (Avantikhanda 2-3), Padma
version thereafter. Purana (Sristikhanda 14), and the Matsya Purana (182, 83-100).
simplified
i. Tala was first noted in the nineteenth century by J. D. Beg The terms Bhiksatana and Kankala are not used in the Kurma

lar, who did not visit the site but who was informed of it in Rai Purana but in the later texts.
at
pur; see J. D. Beglar, Archaeological Survey of India, vol. 7 (Cal 13. The Matsya Purana claims that the incident took place
cutta: Government of India, 1878), p. 168. The terms Devarani the famous Avimukta Tirtha.
and Jithani in Hindi refer, respectively, to a husband's younger 14. Among the that describe Kankala are
important ?gamas
and older brothers' wives. Iwas led to the site by Mr. V. S. Thakur the following: Kamika (Uttara-pat?la 52, 2-21); Purvak?rana
of Raipur. (adhyaya 11.303-325); Uttarak?rana (patala78, i-5a); Ajita (pra
2. The ancient of Kosala, often referred to in modern tim?laksane 194-198); D?pta (patala 5D-14); Sahasra (Kankalast
region
asMah?kosala or Daksina Kosala in order to distin hapanapat 3-6); Raurava (patala 270D-281); Sant?nasamhit? (pa
scholarship
of Uttar tala 63D-66). The references the Silpa Sastras
guish it from the Kosala Pradesh, roughly corresponded important among
to the modern and Raigarh dis are the
Durg, Raipur,
Bilaspur, Bastar, following: Amsumatk?syapa (patala 75, 1-27); Silparatna
tricts, known as Chhattisgarh. (22, n6b-i28); S?rasvat?yacitrakarmas?stra (adhyaya 24, 1-21);
collectivelytoday
3. J. F. Fleet, Inscriptions of the Early Gupta Kings and Their Suc ?s?nasivagurudevapaddhati (IV, 43, 6ib-64); Sr?tattvanidhi (59,
cessors, Corpus Inscriptionum Indicarum vol. 3 (reprint Varanasi: 1-6).
Book House, 1970), p. 7, verses 19-20. Mahendra 15. Adiceam, Les
Images de Siva de du Sud; III et IV.?
l'Inde
Indological
may have issued gold repouss? coins with the legend "Mahen Bhiksatanamurti et Kankalamurti, p. 100, to a damaged
refers
see V. P. Rode, The Khairtal Hoard of the Coins of relief at Mamallapuram that represents Kankala. The figure car
dr?ditya";
10 ries on his right a an indistinct
Mahendr?ditya, fournal of the Numismatic Society of India (2) shoulder long staff adorned with

(1948): 137-142. The dynasty to which Mahendra belonged is object. Adiceam did not cite the location of the example, and it
unknown. is therefore not to determine if it is of Pallava date or
possible
4. V. V. Mirashi, Three Ancient of Mahakosala, later. Even if the figure were to belong to the Pallava the
Dynasties period
Institute 8 (1-2) (1946-1947) : in Kosala it. The of Bhiksatana at
Bulletin of theDeccan College Research example precedes examples
47-56. Possibly and the same time as the occur on the east wall of the Svarga Brahma
preceding ruling during Alampur temple
is the S?ra Dynasty, known from its single sur (ca. a.d. 680-696) and on the north wall of the Visva Brahma
Sarabhapuriyas
from dated in the Gupta Era (ca. A.D. 730-745).
viving copper-plate grant, Arang, temple
182 or a.d. 501-502; R. B. Hiralal, of Bh? 16. Early Gupta examples appear at Bilsad, whereas a late Gupta
Arang Copper-plate
masena II. Gupta-Samvat 282, Epigraphia Indica 10 (1909-1910): occurs on one of the doorjambs in situ at the Main Tem
example
432-445. Mirashi, ibid., has demonstrated convincingly that the ple at Sarnath. The only other example of this device that I have
date of the plate should be read as Gupta Era 182. The inscriptions located in Kosala is found on
the two doorjambs in the entrance
of the Sarabhapuriyas and the Somavamsis are dated in regnal chamber of the ?nandaprabha Vihara, which should be
Sirpur,
years. considered contemporary with the Laksmana temple, Sirpur.
G.
5. The date of the Laksmana temple at Sirpur and other brick See Douglas Barrett, Mukhalingam Temples and Moreshwar
shrines of the seventh century in Kosala is discussed in my Sirpur Dikshit, Sirpur and Rajim (published jointly in one vol
Temples
to Rajim: The Art of Kosala During the Seventh Century (unpub ume, Bombay: Bhulabhai Memorial Institute, i960), pi. 51.
lished Ph.D. dissertation, University of California, Berkeley, 17. To my there are no published of
knowledge photographs
1976). this doorway at Rajim.
6. I wish to thank Michael Tartakov for his generous 18. Both branches of the Vakatakas claim to have subdued
Gary
of information Deccani architectural mate Kosala the second half of the fifth century; see V. V.
sharing concerning during
rial. There seem to be no extant C?lukya temples with exactly Mirashi, Inscriptions of the Vakatakas, Corpus Inscriptionum Indi
the same disposition of alternating recessed and projecting niches carum vol. 5 (Ootacamund: Archaeological Survey of India,
as found at Tala. 1963), inscription numbers 18 and 25. Both Vakataka claims are

7. K. R. Srinivasan, The Pallava Architecture of South India, because not only has there not been any record of the
improbable
Ancient India no. 14 (1958): 114-138, xliv b. Vakatakas found in Kosala but the Sarabhapuriyas were known
pi.
8. This series of moldings in the Tamil zone does not bear to have ruled in the heart of Kosala the latter half of the
during
across its surface the makara, which is a prominent and consistent fifth century. Itmay be significant that Prithiv?sena II of the Main
feature in the Calukya area. Branch of the Vakatakas established sometime during the second

9. For a comparable see the doorway half of the fifth century as Padmapura
a capital known in the
Gupta example frag
ments from Bilsad. Bhandara District of Maharashtra,
borderswhichthe Durg Dis
10. Conceivably this band represents the sr? vriksa or Tree of trict of Chhattisgarh. The pillars from Turturiya are
reproduced
Fortune, referred to in the Brihat Samhit? (adhy?ya 56, 25) as an in J. D. Beglar, Archaeological Survey of India, vol. 13 (Calcutta:
motif. Government of India, 1878) pi. XVII (the middle pillar in this
auspicious doorway
11. For the iconography of Kankala and Bhiksatana I have illustration belongs to the seventh century). One fragmentary
drawn from Marguerite E. Adiceam, Les Images de pillar from Mallar is preserved in the Raipur District museum;
extensively
Siva dans l'Inde du Sud; III et IV.?Bhiksatanamurti et Kankal seeB. C.Jain, P?s?naPratim?e (in Hindi) (Raipur: Mahant Gas?d?s

murti, Arts Asiatiques 12 (1) 83-102. Sm?raka i960) no. 31.

(1965): Sangrah?laya:

48

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