PITALKHORA YAKSHA : SANKARIN ?

Author(s): M. S. Mate
Source: Bulletin of the Deccan College Post-Graduate and Research Institute , 1965-66,
Vol. 26, No. 3/4 (1965-66), pp. 1-3
Published by: Vice Chancellor, Deccan College Post-Graduate and Research Institute
(Deemed University), Pune

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 PITALKHORA YAKSHA : SANKARIN ?

BY

M. S. Mate

Among the numerous sculptural finds from the ruins of

cave-temples at Pitalkhora (the ancient Pitañgalya) perhaps t
resting is the free-standing Yaksha figure (Fig. 1) The excav
ruins, who has subsequently published an exhaustive report on
has suggested that this Yaksha figure may be that of the Y
referred to in the Mahâmâyurî, a text of Tantric Buddhism
the present paper is to examine this suggestion in greater detail,
regarü to the artistic context of the figure.
The caves and their ruins have been assigned to a time sp
seven centuries. The latest of them are given the date of the
A.D. whereas the earliest supposedly belong to the 'centuries
and following Christ. . . . The sculptures both in situ and recover
the debris, all belong, as stated above, to this first phase of occu
caves, covering the first two centuries before and after Chris
figure under examination is specifically dated (on the basis of th
of a short inscription on its palm) to the second century B.C.
The figure is described as unique by the excavator and he
able to get anything parallel to it from the various places he
As to the figure, it is three feet six inches in height as extant -
the knees are broken off. It represents a standing corpulent mal
its arms raised upwards to hold a shallow bowl. The corpulenc
is emphasized by the two fleshy rolls on the sides and its dw
robust features give it a distinction of its own. The head is adorn
rows of rolls of hair; around the neck are necklaces of gadroo
beads rather large in size but highly successful in accentuatin
sion of bold corpulence the artist desires to impart. In the p
lobes are spiral 'kuñdals'. Above all, the expression on the f
'It is a broad chuckle verging on the mischievous.' Its gay hil
strong contrast to the dignified aspect of the mahuts who o
lovingly stroking the trunks of their charges.

As to the artistic aspect, the figure is certainly remarkable

ling conveys most successfully the impression of a happy-go-luc

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2 M. S. MATE

servant ever willingly an

the excavator took this to
The point to be examine
be conceded that if abse
criterion then the piece
has not in mind; it is the
of the style. It is only
identification. If the fi
to be found elsewhere a
quently its value in iden
by the author himself, at
Pitalkhora itself; one fro
first centuries B.C. It ha
likeness to the dwarf fig

On a mutilated portio
chauri-bearer and a sma
form on his head. His knees buckle under the weight but his face has
wrinkles on the forehead, open and bulging eyes, fleshy cheeks and the
mouth open as a result of unsuppressed laughter'. The expression of jovial
abandon is unmistakable. A close comparison of this figure with the free-
standing Yaksha is highly revealing. The body postures of both are the same,
the knees are slightly bent under the weight of the load, the general corpulence
of the figure and above all the jovial face, are so similar to each other as to
betray a family resemblance. There certainly are points of difference : one
is in the full round, the other is in relief; sizes differ; one has received detailed
treatment with so many ornaments, hairdo and all, the other is dealt with in
a more or less cursory fashion. These have arisen either due to technical
considerations or out of the functional position of the particular sculpture
concerned. Unlike the free-standing Yaksha this figure is a part, and a less
important part at that, of a design in architectural decoration. The atten-
tion is focussed on the Yakshi (who has therefore received very elaborate treat-
ment) . Thus if due allowance is made to such factors that account for the
differences, the two figures have a conceptual and stylistic affinity.

Another figure, from the sculptured panel on the southern side of the
steps to Cave No. 3 is also remarkable in this context (Fig. 3) * Its overall
bodily position appears somewhat distorted but it is due to the position of the
beam it is supporting. This beam is slanting in one direction. Otherwise
bent knees, raised arm9, pot-belly are the same. Most important, the jovial
face is there. Even the method of carving the eyes and eyelids is the same
in all three figures. Significantly each of the Yaksha figures from this place and
from similar position does not have this expression. It seems to be the specia-
lity of an individual craftsman or a school of sculptors.

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 PITALKHORA YAKSHA : SAMKĀRIN ? 3

Next to be considered is a sculpture from Sarnath.5 It

cavated or recovered here. Unfortunately it is in a fragmen
has lost the legs below the knees - or rather below the an
the arms as well as the head. It is a free-standing figure wi
knees and arms raised to support a load on the head. The treat
and ornaments though not as rich as the Pitalkhora Yaksha, is
The workmanship is good, with a fine sense of modelling.
can be said about the face, the body position is similar to
Yaksha, the height is 2'.9" (as extant i.e. without its head) -
nor too big than the latter. It is quite corpulent and is capable
same sculptural or architectural role as the other image. On
been too much surprised if this figure, when intact, had a
the same jovial laugh.

The last example is a fragment from Mathura6 (not i

is a head with a bowl on it and has clear marks showing th
porting it have been broken off. The face has a mild smile

" The position then is : there exist figures that are not t
the Pitalkhora Yaksha and not removed from it in respect
words it is a common motif current in Indian plastic art and
conceptually. There would be little point then in trying to tre
dual' and as such capable of identification. One line of inv
be to try to discover any differentia it has - in the icono
there is any, then alone a comparison with a text could be
again, nothing tangible comes out; but worst still, the text is
this point. The passage from the Mahâviîyuri does not even
the text refers to the guardian spirits of the various places or
any sort. The former seems to be the only correct explanation

Ihe Pitalkhora Yaksha, highly artistic creation though it is,

symbol common in the Sunga-Kushan-Andhra art and
with any Sankārin.

References :

1. Deshpande M. N., The Rock-cut Caves of Pitalkhora in the Decc

No. 15, pp. 66-93, pls. XLVII to LXVI (1959).
2. Ibid., 69-70.
3. Ibid., pl. LVII, p. 83...
4. Ibid., p. XLIX, A, p. 73.
5. Archaeological Survey of India - Annual Report N.S. 1904-05, p. 83, fig. 16.
6. A.S.I.-A.R., 1930-34, Part 2, p. 253.

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