Licchavi Art

Background

One of the ancient dynasties, Licchavi ruled in Kathmandu Valley from 200 A.D. to 879
A.D. The art from 200 A.D. to 879 A.D. of Nepal is known as 'Licchavi art.' Nepali art is based
on various religions, such as Saivism, Vaishnavism, Saktism, and Buddhism. These religions
were widely spread and popular among the people of Nepal in the Licchavi period. The Kings of
Nepal during the Licchavi period were quite generous and they believed in the policy of religious
easiness. This provided an equal opportunity for the practices of all the sects without any hatred.
It is proved that the Licchavi inscriptions narrate the history of these religions. Some sculptures
belonging to the Licchavi period are installed in different places and some Licchavi sculptures
are displayed in the museum. Before King Manadev, who reigned in the 5th century A.D., the
history of Nepal was not clear. Thus, we cannot clearly say about the art before Mahadev.

Saivism Religion

From the time of Manadev, Saivism became a stronger and more popular faith in the
Kathmandu Valley. The early Licchavi inscriptions mention Ratnasvara-Siva-Linga, Vijayasvar-
siva-Linga, Manesvara-Siva-linga, Vijayasvar-siva-linga, Manesvara-siva-linga, Lalitmahesvara-
shiva-linga etc. These were erected and worshipped by the Royal families and general people.
Manadeva's two queens, Ksemasundari and Gunavati built Shiva-lingas. The daughter of
Manadeva, Vijayavati installed the Vijayesvara Siva-linga. Although Manadeva was personally a
Vaisnava, his family and general people were free to adopt any religion.
From the time of Amsuvarma, who was ruled in the 7th century A.D., Pashupati
worshipped Siva. King Amshuvarma took on the title of Bhagavat Pasupatibhattaraka
Padanugrihita (devoted to the feet of Lord Pashupati) for the first time. After this, the Licchavi
and Thakuri kings adopt this title, which lasts until the collapse of the Licchavi rule Jayadev II
mentions in his inscriptions that all his ancestors were devotees of Siva. This shows that Saivism
had become the national religion and the Pasupat god was the main object of worship.
During this period, the four-faced Siva-linga was worshipped by the people. The four-
faced Siva belongs to Aghor, Tatpurusha, Vamadeva, and Sadyajata. Aghor and Vamadeva are
terrific in facial expressions and two serene expressions. Uma-Mahesvara images were also
worshipped during this time. The prayers offered to Siva indicate that Siva was Ista Devata of
the Saivites. He was the creator, the preserver, the destroyer, and the giver of pleasures,
knowledge, and enlightenment to the people.
The available Licchavi inscriptions refer to fifteen Siva Lingas and twenty-four Siva temples.
Among one hundred and fifty inscriptions, forty-nine inscriptions emphasize the greatness of
Savism in the Licchavi period.

Vaishnavism
 Vaishnavism was an also ancient religion in Nepal. Manadev was a devotee of Vishnu
and had built a temple of his favorite god Vishnu on the hill of Changu, which is known as
Changu Narayana. The inscription of Changu Narayana indicates that the image of Visnu-
vikranta along with Laxmi was dedicated to the sanctum of the temple by Manadev at the time of
its construction. In the Licchavi period, the Vishnu Vikranta aspect of Vaishnavism seems to be
very favorite among the people of the Kathmandu Valley. Manadev also ordered the installation
of Vishnu Vikrant and placed it in a temple built in Lajimpat and Tilaganga etc, which is
inscribed on the pedestal of the images.
The Hadigaon inscription of Amsuvarma says, "He gives due donations to
Daulasikharswain, Narasimhadeva, Bhubhukkika Jalasayanswamin, which stands for Trivikram
Narasimha and Buddhanilkantha images. During the Licchavi period, Vaishnavism was
practiced by the people. His primitive and incantatory forms enjoined in the texts of iconography
were worshipped. The images of Vishnu Vikrant, Vishnu, Vishnu-boar, and Narasimha
incarnations from the sites like Changu Narayana, Lajimpat, and Tilaganga. In this period, the
Vishnu Visvarupa form was also worshipped as is evidenced by the Changu Visvarupa image.
Sixteen inscriptions of the Licchavi period indicate Vaishnavism and they refer to about sixteen
Vaishnava temples
.

Buddhism

The inscription of manadeva refers to that he built Manavihara. Thus, Buddhism is the
popularity in the Licchavi time. Since the rule of Manadeva until Jayadev II, we find various
names of Viharas, the stupa, the Vikshusanghas, and Buddhist images of Padmapani, Vajradhar,
and Vajrapani. Mandeva built the Manavihar, but he was not a Buddhist, which is indicated by
his religious tolerance.
The Avalokitesvara images of the Licchavi period found at Lagan tole, Brahma and tole,
and Banhiti carries inscriptions at their base mention about the Vajrayana Buddhist. There is
mention of the Chaityas also along with the name of Aksobhya indicating that the five Buddhas
of Vajrayana were worshipped in Nepal during the Licchavi inscriptions indicate that monastery
institution had widely developed here during the Licchavi period. The association of the viharas
with Manadeva in the case of Manadeva Vihar, Sriman-Vihar, Gun Vihar, Kharjurika vihar, and
Madhyam Vihar indicated that there were existed numerous viharas in Nepal in the
Licchavi period and they were supported by the donation by the kings.
According to the Chinese traveler, Wang Huen Tse writes both sects Mahayana and
Theravada were widely spread. In the Sankhu inscriptions there we find mentions of
Mahasanghika. In the Licchavi inscriptions, there is the mention of eighteen Buddhist
inscriptions and twenty Buddha Viharas. Thus, it can be suggested that the condition of
Buddhism was good in the period of Licchavis.
The Sakta cult was identified in the image of the goddess Durga and worshipped by the royal
families and the general people equally. The wife of Manadev, Vijayaswamini was a devotee of
Bhagavati Vijasri. She installed an image of Devi Vijayaswamini or Palanchowk Bhagavati. In
the Hadigaon and Kumha tole inscriptions of Bhaktapur Amsuvarma refers to the temples of the
goddess.
The Sun god was also popular in Nepal and it is known from in inscription of Manadeva
Lele inscription.
Saivism

Siva is shown in both anthropomorphic as well as in symbolic forms. The symbolic form
is the lingam. There are three types of Siva-linga widespread in Nepal: one is the plain Siva-linga
with a round shaft; second is the Ekamukha-linga with a single human head; and the third type is
the Panchamukhi Siva linga with four human faces in four directions, and the fifth on the top.
The five faces represent Aghora, Vamadeva, Sadyojata, Tatapurusha, and Isan. They are off with
matted locks and hold rosary of aksamala and a water vessel in their hands.
The inscriptions of Licchavis worship a large variety of lingas and now a few of them
have been discovered and reported also. In the Hadigaon inscription of Amsuvarma, there is a
reference to seven Siva temples of which the Pasupatinath temple is still being worshipped by
the people with great.
The Siva-linga of Pasupati have completed released evidence of the destruction of the
temple and the image broke into three parts by the hands of Shamsuddin Ulyas of Bengal in the
year 1349 A.D. and of their restoration by Jay Ram Singh in 1361 A.D. The present image of
Pasupati is in the visible form of a Chatumukha linga with two hands corresponding to each face
on each of the four sides of the Shaft. The hands hold an aksamala and a water vase respectively.
It is a black stone image.
Among the dated Siva-linga, the earliest so far known is from Lazimpat, consecrated by
Naravarma in A.D. 466 in the Licchavi period. A second dated Licchavi Siva-Linga was found in
the same vicinity, consecrated by Ksemasundari, wife of King Manadev in the year A.D. 467.
Two other dated Siva-lingas are from Pasupati A.D. 480 and Panchadevala. A.D. 488. The
lingam is roughly cylindrical, standing vertically and rounded at the top.
Standing Siva

Siva is represented standing alone by his attributes: the trident, aksamala, vase, and
varada mudra. His vehicle is a bull. Three early images of Siva in anthropomorphic form have
been discovered in the Valley. A four-handed Siva from Balambu stands on a simple base and
holds his attributes in his four hands, Aksamala, and trident in his upper right and upper lefts
hand respectively, and a water vase in the lower left hand and lower right hand is displayed in a
palm Varada mudra. Another early example of standing Siva is from the Ganesh temple,
opposite Baghbhairav temple, Kirtipur. Here, Siva is shown in his two-handed forms. A seated
Siva from Chikanmughal, Kathmandu, dated to the 4th century AD, holds aksamala in his left
hand while the right hand is held in the Varada mudra of the early images.
A unique sculpture of a two-handed with curly locks and a third eye is raised on the bank
of the sacred river Bagmati. The people offer libration of water daily to him, too as it was done
to other Naga deities. This image is locally known as 'Virupaksa'. According to the Pauranic
myths, the Nagas were the gatekeepers of Pasupati Siva. Virupaksa was the chief of the Nagas.
The image was possibly, installed by Shree Bhogini, the Naga wife of the Licchavi King
Manadev of the 5th century A.D. in the memory of the tutelary or the guardian deity of her
mother's side. Bhogini was a Naga Women. According to the Saiva text, Virupaksa is also one of
the names of Siva.
Virukpaksha is installed in a standing position. The image appears from head to hip and
the palms and two legs have covered the ground. The nude image is a muscle body. The image
consists of curly hairs, two open eyes horizontal and a third eye vertical, a long nose, a thin
upper lip, a thick lower lip, long ears, and a short neck. The pelvis is raised and wearing a
waistband tied on the left side.
Uma- Mahesvara

Shiva's anthropomorphic form representation with his consort Uma, in a composition known as
Uma Mahesvara. Siva is shown sitting in a Lalitasana Siva embraces his consort with his left arm
while she bends on his thigh in a gentle relationship. Siva is generally depicted in his two-hands
or four-armed form. The right hand is Abhaya or varada gesture and the left hand embraces the
Uma, while the four-hand shiva, the upper right hand holds an aksamala and the upper left-hand
clutches trisula, the lower right-hand displays a varada gesture and grasps to Uma. The left hand
holds the breast, or the waist, or below the breast of the waist, or the breast of the Uma. Uma is
also portrayed in a different position. She sits on the left lap of Siva or next to him. Her right
places on the left thigh of Shiva and her left-hand keeps on her left leg. Both of them are
depicted wearing a waistband (udarbanda) and all sorts of ornaments. Nandi is always present.

Sculpture of Vishnu Vikranta

Vishnu Vikranta sculpture is a dwarf incarnation of Vishnu. It is known as 'Vamana

Avatara', or 'Trivikram', or 'the three steps of Vishnu'.Vamana is especially popular in Nepal. The
Avatara is known in many forms, such as Trivikrama (Vishnu of the three strides),
Vishnuvikranta (striding Vishnu), or simply Vamana (Dwarf). Images of Vishnu in Trivikram
are found around the Kathmandu Valley from the Licchavi period onwards. Vishnu Vikranta's
image is found in a paddy field on the bank of the river Tilaganga near the temple of
Pashupatinath. The next Vishnu Vikranta from Lazimpat is now preserved in the National
Museum at Kathmandu. Vishnu Vikranta stands in the compound of the Narayana temple at
Changu, Sikharaat Pharphing, and inside the Hanumana Dhoka Palace. All five Trivikram
sculptures are sculpted according to Hindu Iconography although they differ stylistically.
In the Pasupatinath Tilganga figure, Vishnu is shown with eight hands. Of his four right
hands, one has a clenched fist and may have held a round object-vees of lotus. The second and
third outstretched right hands most probably hold a cakra and tarvara respectively. The
remaining one is probably in Pataka mudra. The uppermost left-hand holds a shield with flaming
quality. The attributes of the remaining hands are very difficult to notice as both the inscribed
images are two mutilated. But from the outlines, there can be little doubt that they held sankha.
Another left hand is in tarjanimudra and the remaining one must be carrying a bow. A deity
seems to be shown with the three-peaked crown. He is wearing the ornaments like
shankhapatras, earrings, a broad hara, and broad keyuras. Vishnu wears a dhoti which is
transparent.
In the Changu Panel, the upper two hands are seen with cakra and dhala. Similarly, in
another two hands holding taravara on the right and gada on his left. The third right hand is fully
stretched straight in an unnatural way while the fourth one is broken, but this hand may have
held the lotus seed, and one of the left hands is also broken. This hand may be in the tarjani
mudra or held sankha while the hand rose to the shoulder probably carrying a bow. The dhoti
that Vishnu wears in this figure is diaphanous and transparent which clings closely to the body.
The border that is shown below the knee and the hanging pleats in the front only indicates the
diaphanous dhoti worn by the deity. The Sasha is shown hanging down on either side as in the
Lazimpat figure, but with more in a stylized form. The figure is shown with three striped
waistbands. He wears the three peaks kirita mukuta, kundalas, the hara, keyura, baju (armlets),
and simple valayas (waistbands). This figure has been dated to the 7th - 9th century AD.
Varaha

In Nepal, there are very few sculptures of Vishnu's Varaha Avatar found in Kathmandu
Valley. Among them, is the famous image of Varaha at Dhumvarha. The next Varaha image is at
Bhaktapur Siddhapokhari. Another Varaha figure is found in the famous Varahshetra situated at
the sangham of the Koka and Kashi rivers that lies in the southeastern region of Nepal.
Varaha's image of Bhaktapur is dated to the 4th/ 5th century AD. The image is shown in an
alidhasana with the head of Varaha and the human body. He is carved in two hands. His right
hand is resting on the waist while the left is holding the goddess earth to the level of his shoulder.
His foot is being supported in adoration by the great serpent Sesha. He is shown in a massive and
powerful form. The figure seems to be similar to Mathura Kushan's art. His curly hair is shown
in locks style and is set in three waves and spread over the left shoulder and arm. He is shown
embedded with very limited but simple ornaments with necklaces, bracelets, and armlets. A belt
is tied around the bulky abdomen. The face of Varaha is damaged.

Dhumvarahi

It is dated to the early 7 th century AD. Varaha is shown in alidhasana and sculptured with
two hands. The oval nimbus is carved behind the head. The serpent is supporting the left foot of
Varaha with great adoration. The intertwined coils of the shesha in this figure may be
symbolizing the nether regions from where the goddess Earth was rescued. The god has placed
his right hand on his waist and holds a shankha in his left hand. Varaha is shown as touching a
Devi Prithvi with his nose, who is sitting on his powerful left arm in an attitude of adoration. In
this figure, Varaha is adorned with triple but simple band armlets, broadly embedded necklaces,
and thick wristbands. Long but thin Yajnopavita is dangling up to the thigh.
Among several others, kaliyadamana sculptures are found in the Kathmandu Valley
foremost is the one from Sundari chowk of Hanumana Dhoka Darbar. The Kaliyadamana
sculpture remains one of the most dynamic portrayals of a religious subject in Nepal. He is
shown as a small child like a rural shepherd boy. He is naked except for a strip of loin cloth that
emphasizes his round belly. His hair is tied in a shape of a bun and the halo symbolizes his
divinity. With effortless grace and a smiling countenance, this displays his self-confidence, he is
about to strike the amazed serpent with only an unsuspecting whisk. Kaliya holds another serpent
with his two hands as he looks up at the small lord Krishana, who has placed one foot on his
shoulder and the other on his crown holding a piece of the club in his right hand. The nagingi,
probably the wife of Kaliya is displayed in the namaskar mudra and is shown as pleading for
mercy as narrated in the texts.
Jalashayana Murti of Budhanilkantha

The text tells that Vishnu is always asleep in yoginindra on the bed of the serpents in a
cosmic ocean and wakes up only when a specific duty is to be done. The image of
Buddhanilkantha is extraordinary work of the Licchavi period. Vishnu is lying on the coils of
Anantanaga inside of a tank his head is protected by the multiple hoods of Ananta and his legs
are relaxed in the form of a cross at the ankles. Eventually, it is an Anantashayi Vishnu locally
called Budhanilkantha, which however means that the local people considered it as the image of
Harihar, the composite image of Shiva and Vishnu.
The reclining Vishnu's lower right hand is shown in varada mudra with a circular object,
probably Padma veej, while the upper right holds a chakra. His upper hand clenches a Gada and
his lower left-hand grasps a conch shell. He lies on the coils of primitive Ananta whose hoods
numbering eleven provide a canopy over his head. He wears kirita mukuta, Ratna kundals,
nagabandha armlets, valayas, and torque. His eyes are wide open. His legs cross each other at the
ankles and he is dressed in a dhoti with an udarbandha and a Sasha that falls across the thighs in
a loop way. Images are represented all over the coils of the serpent in the ancient waters. The
Budhanilkantha is carved out of a single piece of a rock outcropping.
Garudasana shows Vishnu riding his mount, Garuda. The 8th-century th century Licchavi
sculpture from Changu Narayana shows Vishnu seated on Garuda with his legs pendant, resting
on Garuda's shoulders. Both Garuda and Vishnu are shown in their usual iconographic forms.
Here Garuda is more bird-like, depicted in a squatting position with his hands outstretched as if
ready to fly. His wings are spread behind Vishnu to form an oval aureole, which characterizes
the style of the Licchavi period. Here too, Garuda wears two different kinds of earrings.

Buddha Image

In Licchavi Period, the image of Buddha is shown either in a seated or standing

position. There are two types of standing Buddha images found in Nepal: one is a free-standing
image while the other part of a sarvotobhava caitya, with four standing Buddhas carved in each
direction. In the free-standing Buddha, he is shown in an usnish on the head, curly hair or
dakshinavarta, an urna between the two eyebrows, half-closed eyes and downcast, elongated
earlobes, and wearing a sanghati and untaravasaka. The nimbus is behind the head. His right-
hand displays a varada gesture and his left-hand holds the ends of the robe with his left hand.
Another type of Buddha is also standing position, in which he exhibits the varada gesture
in his right hand and his left hand holds a hem of sangha up to the level of his shoulder. This type
is gesture is termed visvavyakaran mudra. Some scholars say the Buddha is Maitreya, but the
Buddhist iconographic text mentions Maitreya's right hand is shown in varada mudra and left
hand holding a water vase of Champa flower. We can find the Maitreya Buddha is a similar form
to the Gandhara according to the Iconographic text.
The second type of standing Buddha is found sarvotobhadra type of caitya, which has
four standing figures in the cardinal directions. The pedestal of Caitya is rectangular and tall in
shape with a caitya at the top. The four cardinal directions of the pedestal have four standing
Buddha images. The sarvotobhadra caitya are found in Dhwakabaha and Svayambhu in
Kathmandu, and Nagabahal, Patan.
The seated Buddha is established at Chabahil, where he shows the bhumisparsa gesture in
the right hand and left hand in the lap. The oval shape halo is behind the head, which is
decorated with the edge of the halo. The next seated Buddha is Guitabahi, which is dated to the
sixth century A.D. Buddha is shown in the Dharmacakra gesture in front of the chest. His legs
are vajraparyankasana and seated on Visvapadmasana. The nimbus is behind the head and
decorated in it. Both of images are shown in an usnish on the head, curly hair or dakshinavarta,
an urna between the two eyebrows, half-closed eyes, and downcast, elongated earlobes.
Features of Licchavi Art

Art in Nepal reached its zenith in the Licchavi period. Lichchhivi sculptures are mainly
represented by stone images of Uma-makes or, Vishnu and his various forms and incarnations,
Buddha, and Avalokitesvors. The sculptural art of the Lichchhvis is similar to India, which is
transmitted during the golden age of the Gupta dynasty. But the local artists gave it different
effects and the faces of the icons reflect a native style from the Gupta sculpture.
Theme: Licchavi sculptures are based on different religious themes.
Face: The face is oval. The face of the image is in native style. Hindu deities such as Vishnu,
Lakshmi, Uma-Mahesvor, Garuda, and Krishna are found in the child.
Facial Expression: The local artist tried to give a facial expression from the classical Sanskrit
tests. The nose of female deities are portrayed as likely a parrot's beak, the eyelashes curved like
a highly depicted bow shape, the eyes like the restless fishes, and the lips red like the bimbafal.
The male deity always has open eyes and slightly heavy lips. Buddha and Avalokitesvara images
are highly meditative eyes in bow shape and downcast. Their faces reflect sober serenity.
Nimbus: The nimbus is always an oval shape and its border is decorated with floral motifs.
Headdress: Either the crowns are put on their heads or there is a matted lock of hair. . In the
case of Padmapani, the image shows a three-peaked crown with a big diamond in the central hole
within the floral design. In the case of Uma-Mahesvor, the goddess was executed with a big bun
of incised lines and a crown on the forehead with a fall down above the ear. Shiva is always
shown in the shape of a matted lock. In the case of the female deity, the hair is thrown on the
back or the sides and beautiful curls touch the shoulders. The Buddha figure always shows in
curly hair or dakshinavarta with a unit in the middle.
Earrings: The earrings are hanging from the punch of a hole in the lobes. In the case of the Siva
and Parvati relief sculpture, Shiva has the snake ear-ornament which is eye-shaped and executed
with a floral design, and the center looks set in the gem. Parvati has lotus shaped ear ornament.
Garuda wears a snake ear ornament. In the case of Buddha image never portrays earrings but his
earlobes are long.
Body: The body is muscular with flexibility and the whole body is right proportion according to
the classical Sanskrit texts.
Necklace: Necklaces are executed to both the male and female deities with floral designs and a
gem in the center on the chest or a big gem held in the string between the breasts. In any case,
the necklace is short and close to the neck. In any case such as Shiva and a garuda, wear a snake
necklace tied around the neck.
Yajnopavita: Yajnopavita, the sacred thread worn by males run from the left shoulder up to the
right thigh. There was no tradition of giving yajnopavita to the Buddha image but in the case of
Padmapani portrays yajnopavita. In the case of the female deity, upaviti shows from the right
shoulder hanging on the left thigh.
Armlets: Huge armlets which tightly bind the arms of the deity. Armlets never show in the case
of the Buddha image.
Bangles: Bangles wears on the wrist in a simple design. Bangles are absent in some cases.
Buddhas are never shown in bangles.
Gestures: Abhaya and Varada gestures are depicted in both Hindu and Buddhist deities. Garuda
and donors are found in folded palms or namaskar gestures.
Attributes: There are several attributes in the hands. There is never shown in any attribute of the
Buddha image.
Dress: The dress is always shown in the lower part only. The dress covers the thighs covering
one end artistically hanging between the legs. The male deity is always wearing a dhoti whereas
the Lokesvora is always wearing a Jama. The female deity is always wearing a simple sari with
wavy lines and a tight waist. The waistband is often used in Licchavi sculptures. Generally, it
ties the lower garment to the portion of the hips. The upper part of the Body is always shown in
the nude except for Buddha. Buddha is always worn the long shanghati on the upper body and
antaravasaka on the lower part. Buddha image wears the long sanghati hanging from the
shoulder has been held by the left raised arm. Dress is always shown in transparent.
Anklets: Anklets are also shown in the Licchavi images but are absent of anklets in some cases.
Buddha is never shown wearing anklets.
Various positions: Licchavi images are found in standing, reclining, sitting, and Garudasana.
Garuda and donors are found seated in their seats on their knees and toes during this period.
Stone: The stone sculptures are always black stone and stone polished too.