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Relig Ie Indo Arq Art Elements of Hindu Iconography 1 1 Rao - Livro
Relig Ie Indo Arq Art Elements of Hindu Iconography 1 1 Rao - Livro
g THE :
A siatic Society of Bombay I
Tow n H all, Bom bay. |
HINDU ICONOGRAPHY
BY
T . A . G O P I N A T H A R A O . M .A .
S U P E R IN T E N D E N T O F A R C H E O L O G Y , TR AV AN CO RE ST A TE .
VoL I—Part I.
00147784
00147784
P R IN T E D A T T H E L A W P R IN T IN G H O U S E ,
M O U N T RO AD , M AD RAS,
DEDICATED
W ITH KIND PERMISSION
To
HIS HIGHNESS SIR RAMAVARMA.
Sri Padmanabhadasa, Vanchipala, Kulasekhara Kiritapati,
Manney Sultan Maharaja Raja Ramaraja Bahadur,
Shamsher Jang, G.C.S.I., G.C.I.E.,
MAHARAJA OF TRAVANCORE.
Member of the Royal Asiatic Society, London,
Fellow of the Geographical Society, London,
Fellow of the Madras University, Officer de L’ Instruction Publique. —
By
HIS HIGHNESS’ S HUMBLE SERVANT
THE AUTHOR.
PEBFACE.
vu
H IN D U lO O N O G E A PH Y.
vm
PEEFAOE.
uc
II
H IN D U IG O N O G EA PH Y .
Zl
H IN D U lO O N O G B A PH Y .
XU
P R E I’ACE.
XUl
H IN D U lO O N O G E A P H Y .
X17
PEEFACE.
XV
H IN D U IC O N O G E A PH Y .
ZVI
P E E I’ACE.
I ll
xvn
CONTENTS.
PAGES.
Preface ... ... ... ... vii— xvii
General Introduction __ ... ... 1— 59
Explanatory description of certain technical terms. 1— 32
Gapapati .. ... ... ... 35— 67
Vishpu ... ... ... ... 69— 279
ia) Dhrupa-bSras or Fixed Images ... 71— 115
(b) Dasavataras or the Ten Incarnations of
Vishpu ... ... ... 117— 223
(e) Ohaturvimsati-murtayah ... ... 225— 244
(d) Minor Forms of Vishpu ;— ... 245— 279
Purusha, Kapila, Yajnamurti, Vyasa,
Dhanvantarin, Dattatreya, Hari-hara-
pitamaha, Vaikuptha, Trail6kya*m5hana
Ananta, Visvarupa, Lakshmi-Narayapa,
Hayagriva, Adimurti, Jalasayin.Dharma,
Varadaraja, Eahganatha, Venkatesa,
Vi^hoba, Jagannatha, Nara-Narayapa,
and Manmatha.
Garuda and Ayudha-purushas ... ... 281— 296
Adityas, including the Nava-grahas ... ... 297— 323
D §vi:— ... ... ... ... 325—400
^riohakra, Devi, Durga, Nilakapthi, Kshemahkari,
Harasiddhi, Eudramsa-Durga, Vaha-Durga,
Agni-Durga, Jaya-Durga, Vindhyavasi
XIX
H IN D U IC O N O G R A PH Y .
PA G E S.
Durga, Eipumari-Durga, Mahishaaura-
marddani or Katyayani, Oharidika, Nanda,
Nava-Durgas, Bhadrakall, Mahakali,
Amba, Ambika, Mangala, Sarvamangala,
KalaraM , Lalita, Gauri, Uma, Parvati,
Rambha, Totala, Tripura, the eight Dvara-
palakas of the Gauri temple, Bhntamata,
Ydgauidra, Varna, Jyeshtha, Raudri, Kali,
Kalavikarpika, Balavikarpika, Balaprama-
thaui, Sarvabhutadamaui, Maudumani,
Varupi-Ohamuntda, Eakta-Ohamupda,
slivaduti, Ydgesvari, Bhairavi, Tripura-
Bhairavi, Siva, Kirti, Siddhi, Eiddhi,
Kshama, Dipti, Rati, Sveta, Bhadra, Jaya,
Vijaya, Kali, Ghan^karpi, Jayanti, Diti,
Arundhati, Aparajita, Surabhi, Krishpa,
ludrakshi, Annapurna, Tulasidevi, Asvaru-
dhadevi, Bhuvanesvari, Bala, Rajamatahgi,
Lakshmi, Sri, Mahaiaksbmi, BhumidevI,
Saraswati, Sapta-matrikas and Jyeshthadevi.
Appendix A— A description of the plan and of the
disposition of pariv&radevatas in a Vishtm
temple of seven duaroi(ias 1—45
Appendix B — A detailed description of the
UUama-dasa-tdla measure to be used in the
making of images 1—71
Appendix 0— Sanskrit Texts relied upon for the
description of the im ages 1—160
XX
LIST OF IL L U S T B A T IG N S /
XSl
H IN D U lO O N O G E A PH Y.
EXIU
H IN D U lO O N O G EAPH Y.
XXIV
LIST 0 1 ILLUSTBATIONS.
xxy
IV
H IN D U lO O N O G B A PH Y.
XXVI
LIST o r ILLUSTEATIONS.
xxi%
HINDU ICONOGEAPHY.
sXxi
H IN D U ICON OGRAPH Y.
xxxu
ADDENDA AND OOEEIGENDA.
XXXIll
G EN EEAL INTEODUOTION.
4
INTRODtIOTION.
II.
The objects worshipped by Hindus are images,
of gods and goddesses, salagramas, hatia-lingas,
yantras, certain animals and birds, certain holy
rivers, tanks, trees and sepulchres of saints.
Besides these, there are several minor objects of
local importance and personal predilection, which
are also used as objects of worship.
The Hindu images of gods and goddesses are
broadly divisible into two classes as the Vaishnava
INTE0DUC5TI0N.
9
H IN D U IC O N O G E A PH Y .
10
P L A T E A.
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Y a n t r a S.
11
H IN D U ICO N O G EAPH Y.
13
H IN D U lO O N O G E A PH Y.
14
raTRODUGTION.
15
H IN D U IC O N O G E A PH Y.
16
INTEODUOTION
III.
Images are divided into three classes, as cliala
(moveable), achala (immoveable),
c^O'lacJiala (moveable-immove
able). Tbe moveable images
are those which are made of metal and are
easily portable ; of these the Jcauiuha-beras are
meant for archana ; the utsava-heras are taken
out, on festive occasions, in procession; and
haliberas, and mapana-beras, * are employed in
relation to the daily services, for the purpose of
offering halt to the parivaras, and for bathing
respectively. The immoveable images are com
monly known as the mula‘-vigrahas or dhruva-
beras, and are generally made of stone and
permanently fixed in the central shrine. They
are invariably large and heavy images. Dhruva-
beras are of three kinds called stlianaha, asana
and §ayana, that is, standing, sitting and reclining.
In the case of Vaishnava images each of these
three kinds of images is further divided into, yoga,
blwga, vlra and abhicMrikd varieties. These
varieties of the standing, sitting and reclining
g 3 I ^rrfr
17
IN TR O D U C TIO N .
18
INTR0DT3CTI0N.
19
IN TE O D U C TIO N .
20
INTE0DI3CTI0N.
21
INTEODUOTXON.
23
in t e o d u c t io n .
V.
23
IN TRODU CTIO N .
24
INTEODUCTION.
25
IN TEODU OTION .
VI.
To the Hindu, the omnipresent God, who is
the father of the universe, appears
Hindu point to reside in everything, as much in
*^^°'** the loving heart of the devotee as
in stocks and stones. His God
may or may not be conceived as anthropomorphic;
the form of the conception depends upon the stage
of advancement of the worshipper in the culture
of divine knowledge and spiritual wisdom. To
a yogin, who has realised the Supreme Brah
man within himself, there is no need of any
temple or any divine image for worship; but to
those, who have not attained this height of realisa
tion, various physical and mental modes of worship
are prescribed, and rules of various kinds are laid
down in relation to conduct. The Hindu kastras
prescribe image worship to weak unevolved persons
in particular.* The Jabala-upanishad distinctly
asserts that the yogin perceives Siva in his heart,
and that images are meant for ignorant men.f
♦ 3 T f[R T
SrtrTflT i Chhalari’a commentary on Madhva-
charya’s Tantra-sara.
+ w 2?!^: ? 3T?tTTrt
26
INTEODUOTION.
27
H IN D U lO O N O G EAPH Y.
28
INTEODUCTION.
VII.
The foregoing remarks lead us naturally to
look at the probable causes of the
Decadence of decadence of the iconoplastio art in
Indian Art and _ _.
its causes. India. There is no doubt that the
arts of sculpture and painting
attained an amount of perfection in ancient India,
which could stand comparison with what was
attained in other civilised countries. The Indian
artist was not wanting in originality and vigour in
the handling of his subjects; he was also true to
nature, and in his representations of animals and
birds he is often unsurpassed. In the early period
of the history of Indian art, the imagination of the
artist was not tied down by mechanical rules, which
became the bane of art in later times. The early
sculptor was guided by his own observation and
imagination, and dealt with his subjects with a
freedom, which made him able to produce very
29
IN TE O D U C TIO N .
30
IN TBODU CTIO N.
31
H IN D U IC O N O G E A PH Y.
32
PLA TE B,
'sS
•d
[T o face page 32 .J
INTRODUCTION.
V III.
If one studies the sculpture of India from the
historic point of view, he cannot
£eat^if*^of” the to notice that there have been
vlriou^periods°* different stages in the evolution
of the art here' as elsewhere. To
be able to assign a given piece of sculpture to the
particular stage of its evolution, it is necessary to
know with some amount of accuracy the various
peculiarities of the earlier and later sculptures.
All the earlier specimens of sculpture are in general
free from the cramping influence of artificial rules,
and are notably realistic ; a desire on the part of
the artist to copy nature as faithfully as possible,
is plainly visible in his work. In his human
studies, the bust, though fully formed, is not stiff
and severe in its contours as in the later speci
mens, As in later workmanship, the chest does
not end abruptly, and the abdomen begins making
sharp angles with the former. There is a gentle
merging in of the one into the other without any
marked line of demarcation between them ; the
outline of the whole of the body is like two gently
curved brackets placed at a little distance from
each other with their concave opening side turned
outwards and resembles more or less the outline
of the face of a cow. 'Whereas, in later sculptures,
33
£
H IN D U IC O N O G R A PH Y.
Si
INTEODUOTION.
35
H IN D U IC O N O G E A PH Y.
36
P L A T E C.
PQ
[T o face page 36 )
INTEODUCTION.
37
H IN D U lO O N O G E A PH Y.
IX .
It is an interesting phenom enon to note that
there are vicissitudes in what may
Vicissitudes in be Called the fortune of images as
the history of ,. , , , . . ,.
gods. objects of worship. As time passes
on certain images somehow cease
to be popular and their worship is eventually
discarded. Similarly, the contrary process also
takes place and images unknown to religious fame
become quite famous. New images are often set
up, and in time they too become populiir and
famous. The three important goddess-images of
earlier times (from the 5th to the 9th Century
A.D.) are seen to be those of §ri, DurgS and
Jyeshtha. Of these the two first are still popular;
but the last one is almost completely forgotten
as an object of worship. That Jyeshtha was
once an important goddess is evidenced by the
fact that in the Bddhayana-griliya-sutms a whole
chapter is devoted to the description of the worship
of this goddess, and that the Srivaishnava Saint,
Tondar-adippodi, complains in one of his Tamil
hymns that people were in his days wasting their
veneration upon Jyeshthadevi, ignoring the
Supreme G-od Vishnu, the greatest giver of all good
gifts. The Jyeshthadevi group of three figures—
a large female figure in the middle with a
38
INTEODUCTION.
39
H IN D U IC O N O G R A PH Y.
40
INTBODUCTION.
X.
New deities and their images are also seen to
come into existence from time to
time. This is due generally to two
or three causes. One of these is
the apotheosis of saints and acharyas. In S. India
we find in various temples many images represent
ing Saiva and Vaishnava saints who are known to
history as having been great centres of light and
leading in their respective faiths. For instance,
Siruttondar was a contemporary of the Pallava
king Narasiriahavarman, having in fact been one of
his generals. Tirujnanasambandha and Vagina
41
H IN D U rO ONOGEAPHY.
42
PLATE D.
43
H IN D U ICO N O G RAPH Y.
44
PLATE E.
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C
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H IN D U ICO N O G RAPH Y.
XL
46
IN TEODU CTION.
X II.
47
H IN D U ICO N O G RAPH Y.
48
INTEODUCTION.
^9
a
H IN D U ICONOGEAPHY.
§0
INTEODUCTION.
51
H IN D U lO O N O G E A PH T.
X IV .
The images in the central shrines, the dhruva-
heras, whether made of stone or
of'^oid are In these days' covered
made to look black.
At what period in the history of
image worship this practice of smearing the images
with oil came into existence, it is difficult to sa y ;
but there is not the slightest doubt that it is com
paratively a recent practice. The dhruva-beras, the
kautuTca-beras and the utsava-beras are, according
to the Agamas, not to be bathed in water. For this
purpose of offering the bath the snapana-bera is
52
INTRODTJOTION,
53
H IN D U lOON OGBAPH Y.
XV.
34.
INTEODUOTION.
X V I.
The Sanskrit authorities relied upon in this
work are mainly the Agamas, the
auSrftiesfJiL and the early Vedic_^and
wwk. ^ Upanishadic writings. The Aga-
mas and the Tantras do not appear
to have received much attention from modern
scholars. Many of them are probably not older
than the fifth or sixth century A. D., and some
may be even later than that. The Kdmifcagama,
among the Saivagamas, is perhaps the oldest. In
the Uttara-Kdrandgama, we find it laid down that,
on the seventh day of the mahdisava of 6iva, the
impalement of the Jainas, said to have been carried
55
H IN D U lOON OGEAPH Y.
8S
INTRODUCTION.
67
H IN D U IC O N O G R A PH Y.
58
INTEODUOTION.
F ig . 1 P ig . 2
P ig. 4
F ig. 11
F ig . 5
F ig. 3
To face page 4.
D EI'IN ITIO N AND DESCRIPTION OE TERMS.
P ig. 12
Pig. 13
To face page 6.
D E I'IN ITIO N AND DESOEIPTION 0 1 TEEMS.
F ig . 2 F ig. 16
F ig . 1
F ig. 12
!JP
F ig. 14
To face page 8 ;
D E FIN IT IO N AND DESOEIPTION OF TEEMS.
10
D E FIN IT IO N AND DESCEIPTION O F TEEM S.
11
H IN D U IC O N O G E A PH Y.
12
PLATE IV.
F/g. 22
Fig. 18 pv-0
F ig . 17
13
H IN D U lO O N O G E A PH Y.
14
PLATE V.
F .g , 2
F ig. I Fig. 3 F ig. 7 Fig. 8
P ig. i P ig . 5 F ig. 6
Fig. 15
F ig. 14
Fig. 10
Fig. 17
16
H IN D U IC O N O G E A PH Y .
16
DEFINITION AND DESCRIPTION OF TERMS.
17
H IN D U IC O N O G E A PH Y .
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P L A T E VI,
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Fig. 6
DEFINITION AND DESOEIPTION OF TEEMS.
19
H IN D U IC O N O G E A P H Y .
20
DEFINITION AND DESCEIPTION OF TEEM S.
* ^ 0 U !S 3 )U ® 0 ® e u ir ^ u S ^ p G l^ iL ia
(^iB en un M ir ^iEi(^iSoQLDeir
21
H IN D U lO O N O G E A PH Y.
22
DEFINITION AND DESCRIPTION O F TEEM S.
23
H IN D U lO O N O G R A PH Y.
24
DEFINITION' AND DESORIPTION OF TERMS
25
H IN D U IC O N O G E A PH Y .
^ ^ R T R T r r J T ^ : II
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26
DEFINITION AND DESCEIPTION OF TERMS.
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PLATE VII,
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29
H IN D U IG O N O G EA PH Y.
30
D E FIN IT IO N AND DE SC R IPTIO N OF TERM S.
31
H IN D U leO N O G E A P H Y .
32
PLATE IX.
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36
GANAPATI.
37
H IN D U lO O N O G E A PH Y .
38
GAN APATI.
39
H IN D U IC O N O G R A PH Y.
40
GAN APATI.
41
H IN D U laONOGEAPHY.
42
GANAPATI.
43
HINDU ICONOGRAPHY.
U
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4^
HINDU ICONOGEAPHY.
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GANAPATI.
47
H IN D U lO O N O G E A PH Y .
48
P L A T E X.
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GANAPATI.
51
H IN D U ICON OGEAPH Y.
52
P L A T E X I.
53
H IN D U lOON OGEAPH Y.
54
P L A T E X II,
55
H IN D U ICON OGEAPH Y.
56
P L A T E X III.
67
H IN D U lO O N O G E A PH Y.
68
PLATE XY.
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H IN D U IC O N O G E A PH Y.
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GANAPATL
61
H IN D U lO O N O G E A PH Y.
62
GANAPATI.
63
H IN D U IC O N O G E A PH Y.
64
GANAPATI.
65
H IN D U ICONOGE'APHY,
66
GAN APATI.
67
VISHNU
DHRUVA-BERAS.
VISHNU
73
10
HINDU ICONOGRAPHY.
74
VISHNU.
75
HINDU .ICONOGRAPHY.
76
VISHNU.
77
HINDU ICONOGEAPHY.
78
VISHNU.
79
H IN D U IC O N O G E A PH Y.
80
PLATE X V II.
[T o face page 8 1 ]
VISHNU.
81
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H IN D U IC O N O G R A PH Y.
A dh a m a B h ogasth a n ak am u rti :
S to n e : T iru v ottiy u r.
83
H INDU IC O N O G E A PH Y.
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84
PLATE XXI
:?r«n ii
ii)
If a village is divided into five (concentric) divisions, the
outermost one is called the paisachapada : temples for Siva,
Vishnu and the Saptamatrikas must be built in this division.
Or the village might he conceived as divided into sixty-four
squares by two sets of nine lines drawn at right angles. The
space covered by the four central squares is called the brahma-
pada, the next outer circuit of twenty squares is called the
daivika-pada, the circuit of twenty squares immediately
surrounding this daivika-pada is called the mdnusha-pada
and the outer-most circuit of twenty-eight squares is called
the paisacha-pada.
* Chara-rdsi is the same as chara-bhavanam; this is said to
be ‘ the varying signs of the zodiac, i.e., the first, fourth, seventh
and tenth ’ which are Mesha, Earkafaka, Tula and Makara.
85
HINDU lO O N O G E A PH Y.
86
PLATE X X IY ,
87
H INDU lOON OGEAPH Y.
88
PLATE XXV
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VISH NU .
89
13
HINDU ICON OGEAPH Y.
90
p l a t e X X IX
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H IN D U ICON OGRAPH Y.
92
PLATE X X X III
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H IN D U lO O N O G E A P H Y .
94
VISH NU.
95
H IN D U IC O N O G E A PH Y .
96
VISHNU.
97
13
H IN D U IC O N O G E A PH Y.
98
VISH N U .
99
H IN D U lO O N O G E A PH Y.
100
VISHNU.
101
H IN D U 4 C 0 N 0 G E A P H Y .'
102
VISHNU.
103
H IN D U lO O N O G E A P H Y .
104
VISH N U .
105
li
H IN D U IC O N O G E A P H Y .
106
VISH NU.
107
H IN D U lO O N O G E A P H Y .
108
V ISH N U .
109
H IN D U IC O N O G R A PH Y .
no
P L A T E X XX II.
I ll
H IN D U IC O N O G E A P H Y .
112
VISH N U .
113
1$
H IN D U lO O N O G E A P H Y .
114
V ISH N U .
119
H IN D U lO O N O G B A P H Y .
120
DASAVATAEAS 0 1 V ISH N U .
121
16
H IN D U IC O N O G E A PH Y.
122
P L A T E XXX V
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124
DASAYATAEAS OF V ISH N U .
125
H IN D U ICON OGRAPH Y.
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DASAVATAEAS 0 1 V IS H N U .
127
H IN D U IC O N O G E A PH Y.
128
DASAVATABAS OF V ISH N U .
129
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H IN D U IC O N O G R A PH Y.
130
DASAVATAEAS O P V ISH N U .
131
H IN D U IC O N O G E A PH Y.
132
DASAVATAEAS OF VISHNU.
133
HINDU ICONOGEAPHY.
134
DASAVATAEA8 OF VISHNU.
135
HINDU lOONOGEAPHY.
136
DASAYATAEAS OF VISHNU.
137
18
HINDU ICONOGEAPHY.
138
P L A T E XXXYI.
139
H IN D U IC O N O G B A PH Y.
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H IN D U IC O N O G E A PH Y.
144
DASAVATAEAS OE V ISH N U .
145
19
H IN D U ICON OGEAPH Y.
146
DASA7ATAEAS O F V ISH N U .
147
H IN D U lO O N O G E A PH Y.
148
DASAVATAEAS O F VISH N U .
149
H IN D U lOON OGEAPH Y.
160
PLATE X L II.
151
H IN D U IC O N O G B A PH Y .
153
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H IN D U IGO N OG EAPH Y.
154
P L A T E X L iIIi;
155
H IN D U IG O N O G E A P H Y .
156
P LA T E X LIY .
157
H IN D U IC O N O G E A PH Y.
158
PLATE XLYI
159
H IN D U lO O N O G E A P H Y .
160
DASAVATAEAS 0 1 V ISH N U .
161
21
H IN D U IC O N O G R A PH Y.
162
DASAVATAEAS O F V ISH N U .
163
H IN D U IC O N O G E A PH Y .
164
DASAVATAEAS O F V ISH N U .
leit hand carries the chahra and the right hand the
hanklia. The other right hand should be held up
with the palm upwards, and the other left hand
stretched out parallel to the uplifted leg ; or
this right hand may be in the ahhaya or the
varada pose. On the other hand, if Trivikrama
is sculptured with eight arms, five of the hands
should carry the sankha, chakra, gada, sdrnga
(bow) and hala, the other three being kept
as in the previous instance. The right leg of
Trivikrama is to be firmly planted upon the earth;
and the left sliould be used in taking the stride of
world-measure. The colour of the image is to be
dark as that of the rain-cloud*; it should be
clothed in red garments and decorated with all
ornaments. Behind it there should be sculptured
the tree called kalpaka, and Indra should be shown
holding over Trivikrama’s head an umbrella. On
either side Varuna and Vayu should be made to
wave chamaras ; and over them on the right and
the left there should be the figures of Surya and
Chandra respectively. Near these again there
should be seen Sanyasa, Saiiaka and Sanatkumara.
Brahma should be made to take hold of the uplifted
165
H IN D U IC O N O G E A PH Y*
166
DASAVATARAS O F VISH N U .
167
H IN D U IO O N O G EA PH Y .
168
PLATE X L V m
32
169
H IN D U IC O N O G R A PH Y.
170
P LA TE X L IX .
171
H IN D U lO O N O G E A PH Y.
172
P L A T E L.
173
H IN D U IC O N O G E A PH Y.
174
P L A T E LI.
175
H IN D U lOON OGEAPH Y.
176
PLATE L IU
177
33
H IN D U IC O N O G R A PH Y .
178
DASAVATAEAS OF VISHNU.
179
H IN D U IC O N O G E A PH Y.
* Bhag. Pur. Bk. V III, ch. 18. “ And the righteous B ali
held OH the crown of his head that auspicious and sacred
water with which Hari’ s feet had been washed, and which is
capable of destroying the sins of one’s race,— (that water)
which was held on his head in profound reverence by that
god of gods Girisa (Siva) who is wearing the moon (as an
ornament) on his forehead.
180
DASAVATAEAS OF VISH N U .
181
H IN D U IC O N O G E A P H Y .
182
DASA7ATAEAS OF VISH NU.
183
HINDU ICONOGEAPHY.
184
DASAVATAEAS OF V ISH N U .
185
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H IN D U IC O N O G R A P H Y .
186
DASAVATAEAS OE VISH N U .
187
H INDU lOONOGEAPHY.
188
PLATE L IV
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H IN D U IC O N O G R A PH Y .
190
DASAVATAEAS OF V ISH N U .
191
H IN D U IC O N O G R A PH Y.
192
PLATE LY.
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PLATE L Y I.
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H IN D U lOON OGEAPH Y.
196
DASAVATAEAS OF V ISH N U .
197
H IN D U ICON OGEAPH Y.
198
DASAVATAEAS OB' V ISH N U .
199
H IN D U lO O N O G E A P H Y .
200
DASAVATAEAS OF V IS H N U .
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H IN D U IC O N O G E A PH Y.
202
DASA7ATABAS OF V ISH N U .
203
H IN D U IC O N O G E A PH Y.
204
P L A T B L V III,
205
H IN D U lOON OGBAPH Y.
206
PLATE L IX .
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H IN D U lO O N O G E A PH Y.
208
PLA TE L X I.
G a n a-G op ala : S to n e :
Halebldu.
[T o face page 208.]
P LA TE L X II.
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H IN D U ICO N O Q EAPH Y.
210
DASAVATAEAS OF V ISH N U .
211
H IN D U IC O N O G E A PH Y.
212
PLATE L X IY .
213
H IN D U ICON OGRAPH Y.
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DASAVATAEAS OF VISHNU.
217
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H IN D U IC O N O G E A P H Y .
218
DASAVATAEAS OF VISHNU.
219
H IN D U lO O N O G B A PH Y.
220
P L A T E L X Y III,
221
H IN D U IC O N O G E A PH Y .
222
DASAVATAEAS 0 1 VISHNU.
22S
CHATURVIMSATI-MURTAYAH.
29
THE TW ENTY-EOUR IM AG ES OF
VISHNU.
227
H IN D U lO O N O G B A PH Y.
228
PL A TE L X IX .
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H IN D U ICON OGEAPH Y,
230
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TWENTY-FOTJE IM AGES OE V ISH N U .
Corresponding name of
No. Name of Vishnu.
the Sakti.
1 Kesava Kirti
2 N^ayaria Kanti
3 MMbava Tushti
4 Trivikrama Santi
5 Vamana Kriya
6 Achyuta Daya
7 ^ridhara Medha
8 Hrishikesa Harsha -
9 Padmanabha Sraddha
10 Damodara 1 Lajja
1
12 Samkarshana 1Sarasvatl
1
13 Pradyumna i Priti
i
14 Aniruddha Eati
233
30
H IN D U IC O N O G R A PH Y .
234
TWENTY-FOUE IM AGES O F V ISH N U .
235
H IN D U lO O N O G E A PH Y.
236
TWBNTY-FOUE IM AG ES OE V IS H N U .
237
H IN D U IC O N O G B A PH Y.
238
TWENTY-FOUR IM AGES O F V ISH N U .
239
H IN D U IC O N O G E A PH Y .
240
TWENTY-FOUE IMAGES OF VISHNU.
241
31
H IN D U lO O N O G EAPH Y.
242
TWENTY-FOUE IM AG ES O F VISH N U .
243
H IN D U IC O N O G E A PH Y.
247
H IN D U lO O N O G E A PH Y.
248
M INOE AVATAEAS & M AN IFESTATION OF VISH N U .
249
33
H IN D U lO O N O G E A P H Y .
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MINOB A V ATAEAS & M A N IFESTATIO N OF VISH NU.
251
H IN D U IC O N O G E A PH Y .
252
PLATE LXXII.
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H IN D U lO O N O G E A P H Y .
255
H IN D U IC O N O G E A P H Y .
256
PLATE LXXV.
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257
38
H IN D U IC O N O G E A PH Y .
258
P liA T B liX X Y I .
269
H IN D U IC O N O G E A P H Y .
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260
PLATE liX X Y I I .
261
H IN D U lO O N O G E A P H Y .
262
PLATE L X X Y III.
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H IN D U IC O N O G E A P H Y .
264
PLATE L X X IX .
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H IN D U IC O N O G E A P H Y ,
266
M IN O E AVATARAS & M A N IFESTATIO N O F V ISH N U .
267
H IN D U IC O N O G R A P H Y .
268
PLATE LXXX,
(Fig. 1.) Kari-A’ arada: Stone : (Fig. 2.) Varadaraja : Stone : Dadikkombu.
M vsore Province.
[T o face page 268.]
M IN O E AVATAEAS & M A N IFESTATIO N OF V IS H N U .
271
H IN D U lO O N O G E A P H Y .
272
P L A T E L X X X I.
273
35
H INDU lOON OGEAPH Y.
274
M IN O E AVATAEAS & M A N IFE STATIO N OF V ISH N U .
275
H IN D U ICO N O G RAPH Y.
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276
P liA T E L X X X II.
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H IN D U lOON OGEAPH Y.
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P L A T E L X X X III.
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GARUDA AND AYU DH A-
PURUSHAS.
86
G A E U D A A N D A YU D H A -PU EU SH AS.
283
H IN D U lOON OGBAPH Y.
284
G A E U D A AND AYU DH A-PUEUSHAS.
286
H IN D U ICO N O G RAPH Y.
286
P L A T E LX X XIV .
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H IN D U ICO N O G EAPH Y.
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HINDU ICONOGEAPHY.
290
P L A T E L X X X Y -A .
291
HINDU ICONOGEAPHY.
292:.
GARUDA AND AYUDHA-PUEXJSHAS.
293
H IN D U ICONOGEAPHY.
294
GAEUDA AND AYUDHA-PURUSHAS.
295
H INDU ICONOGRAPH Y.
296
00147784
00147784
Digitized with financial assistance from the
Dr. Geetha Ravikumar
on 02 April, 2019