S A W A Y A Studies in Indian and South East Asian Art

in Honour of Dr. R. Nagaswamy

EDITORS

Prof. Bettina Baumer * Prof. R.N. Misra Prof. Chirapat Prapandvidya * Prof. Devendra Handa

Tamil Arts' Academy Chemai - 600 090

2006

Tamil Arts Academy Series - 12 November 2006

S A W A Y A Studies in Indian and South East Asian Art in Honour of Dr. R. Nagaswarny

0 With the respective contributors

Editors Prof. Bettina Baumer * Prof. R.N. Misra Prof. Chirapat Prapandvidya * Rof. Devendra Handa

T d Arts Aademy No.11. 22"6 Cm. Street. B c ~ t Nagar. Chennai - 600 090. Ph: 2491 6005

Pria Rg 3200.00 Foreign : S 80.00

Printed at :

Jai Ganesh Offset Printers N0.19. Venkatasamy Lane. Santhome, Chennai - 600 004. Ph: 2493 4535

Surya in his Chariot, drawn by seven horses that represent the seven musical notes-sapta-svaras: see page-6.

Contents

Lasting imprint on Archaeology Hindv f tribute to Dr. R. Nagaswomy , The Hbuh 24.02.1995

1. Siirya in a Saiva Perspective:

The S&nbapaiicHSikH Mystical Hymn of Kashmir and its Commentary by WmarHja

Prof: Bettina &uncr, Austria

2. A Spirituality of the Senses in Trika Saivism of Kashmir Dr. E m t Furlinger. Austria

3. Essence o f Kashmir &ism Dr. Mvaitavadini K& India

4. A Buddhist Bhairava Dr. Nandonn Chutiwongs

5 . Saivism in Early Southern Thailand based on Archaeological Evidence

Prof: Phacook Indrmyooth, Bangkok Thailand

6. hvism in Thailand as Recorded in Inscriptions And Old Documents f iun S i t h Century to Early AyudhyL Paiod

Prof. Chimpat Pmprmdvimul. ThPiland

7. AtEtb#in of b r u @ the Thousand Amred Avalokitdvara Dr. Sung Min Kim. Korea

8. Thc MahiWhta Epic Rqmscntation in Cambodia 1 KambujadeSa Prof: Son Soubert. Camboak

9. The MaMbhhta and some Ancient Janapadas Prof: D N e ~ H d In&

10. Daiva and PumsakHta in the VUmiki RhHyana Prof: Saw Vmr Shastri, India

11. An Interesting Kharoshti- Brahmi Inscription from Mid West Bengal Prof: B.N. Mukherjcc, India

12. Who's Who in the Cola Festival Dr. Richard H. Davis. U.S.A

13. The dancing girl ("DevadHsi") of South India in actual early photographs

Dr. Jwchim K. Bautze, Gertnuny

virstu Purug Prof: M. K. Dhn~valikar, India

Art and Architecture of GopSdri region - early phase

(Seventh to Tenth Century) Prof: R.N. Mishra. India

On Measuring Images: a Critical Analysis of the Theory of Tiilatniina Dr. Isabella Nardi. Italy

Terminology of Orissan Sitpa Sbtras Dr. Sadananda Das. Germany

Art Without Artists? Art History and India Dr. Stephen Inglis. CaMda

Once More Tamilnadu and Bengal? Iconographic affiliation: BhiksBfanamhti Siva

Gouriswar Bhanacharya. Germany

A Reclining Gaun- Image with 'Paikadikpdas' in the Khulna Museum, Bangladesh

Gerd J.R. Mevissen, Germany

A Thematic View of Indian Civilization Dr. Michel Danino, France

satism and Tilntrism : Complementary to Each Other Dr. Haripriya Rangarajan, India

The Second Great Diffusion of Buddhism in the Trans-Himalayas Benoy k Behl. India

K6mala-mta PadHvali of Gau& Vanga Mahua Mukherje, /India

Sangam Age Chera Silver Coin with a Portrait and Roman Type Helmet Dr. R. Krishnamurthy, India

Sirpur Excavations 2000-2006 A.K. Sharma. India

Life and work of Dr R. Nagaswamy - tllustrated

Once More Tamilnadu and Bengal? Iconographic affiliation: Bhik$i@narnurti ~ i v a

Gouriswar Bhattacharya

We are greatly indebted to Prof. R. Nagaswamy for throwing new light on the early interesting connection between Tamilnadu and Bengal.' From 1998 he almost regularly attended the International Congress on Bengal Art. htarted by Prof. Enamul Haque, Chairman and Academic Director of the International Centre for Study of Bengal Art. Dhaka. Bangladesh, and each time he presented an illumirtating paper on the close relationship between the two provinces of the Indian Sub-Continent.'

In this paper we wish to draw the attention of the scholars to a solitary stone relief, significant for this theme. from Paharpur (Naogaon Dist.. Bangladesh), which is unique and unusual for Bengal. Fig. 1. The relief is well-known to the art- historians of Eastern India and Bangladesh and it has been published by various scnolars, mostly with a wrong identification. The reason may bc that the theme of the stone relief is unique and outside the realm of the Paharpur iconographic scheme.

K.N. Dikshit (1938: 31-42) described the stone relief in the following waj. "No. 13 is the first sculpture that strikes the eyes of the visitor as one approache> the monument from east. It is in the east wall and measures 1'7" in height and 3' 2" in width and is of the darker and harder variety of sandstone. No attempt at preserving the symmetry of the side decorative pilasters is maintained in this piece as we find in the case of other sculptures on the south-east. The ornamental pilaster on the extreme left shows in the bottom register a vase with foliage flanked by two half-cut figures of dwarfs on the side. The upper register shows a Kirrimukltcr flanked by two half-cut faces of centaurs and the semicircular medallion above the next pilaster which is cut from the main relicf shows a vertical band of scroll-work; the jamb nearest the main relief shows the graceful figure of an attendant in a niche and a fragmentary figure of a centaur in the middle. The main figure of the scene is ~ i v a standing left holding the handle of an umbrella of peacock feathers Onnyurcr-

chhatru) with his right hand (Plate XXXIc). The main distinctive mark of Siva is of course the Urddhv~liri~a, but muyura-chhatru is also considered a distinctive attribute particularly in Cambodian representations. An armlet made up of a cobra wound round the arm. the matted hair and the presence of two dwarf attendants (Ganas) flanking Siva on either side, the one on the right holding a musical instrument, are other distinctive marks. The first female figure to the right holds a cup in her left hand and the right is in the attitude of offering something to Siva. Besides the usual ornaments such as a necklace, bracelets. anklets, etc.. the figure has a fillet (kucha-bandha) round the breasts. The next female figure to the right holds her arms above the head and a small figure clasps her at the waist. Behind her is an emaciated figure in whom we may recognize Bhmghi, the faithful devotee of Siva. Lastly, at the right margin we notice the figures of Khhmiinda. the axetic who is being carried by another figure. The entourage of ~ i v a in the present relief is generally not found elsewhere and it is likely that the scene here depicted is one never portrayed before in any sculpture. A likely identification is the incident in which ~ i v a is offered the cup of poison churned out of the milk-ocean by the Earth- goddess at the instance of other gods.3 The first female figure to ~ i v a ' s left should in this case be considered as the goddess in question. and the other female is PFmati, the consort of Siva. who is apparently distressed at the idea of the god taking poison."4

FA'BRI (1932:29) accepted the identification of DIKSHIT as ~ i v a taking the poison. C.C. DAS GUPTA took this identification as late as 196 1 (1 96 1 : 24, pl. VIIa). DAS GUPTA blindly followed the description given by DIKSHIT.

SARASWAT] (1962: 59. fig. 14) describes the relief. "On the east wall may be seen, as one approaches the monument, a rectangular relief panel (No. 13) which shows Siva standing in a group. Siva is seen to proper left of the panel. with a staff. having a broad knob at the top (described as mayitru-chhatru by Dikshit), in his right hand and a cup (?) in his left. His identity is certain from lirdhva-lingu, as he is always represented with a Pihiirpur. In front of the god stands a lady with a cup in her left hand, while to her left stands another lady with her hands up and her waist clasped by a small figure. Three other figures (probably ascetics, as are to be surmised from the arrangement of the hair in each case), among which we may recognize that of the emaciated sage Bhringi appear to the proper right of the panel." SARASWATI further points out (p. 60). "Compositions, similar to the principal motif in this panel, also occur on the facades of the early temples at Bhuvaneivara, e.g., the Paraiuriimeivara. etc., and also on temple No. IV at Barikar (Burdwan district. West Bengal)." SARASWATI rightly disagrees with the identification of the relief-sculpture by DIKSHIT and FA'BRI and says (pp. 60-61),

''Dikshit identifies this panel as a representation of the episode of the offering of the poison, which came up as a result of the churning of the ocean, to ~ i v a and his drinking up of that poison, the episode that accounts for the origin of his name NTlakaptha Dikshit is supported by Fabri who quotes from the Mahabhdrata the theme of ~ i v a ' s drinking up of the poison, subsequent to the churning of the ocean. The panel under discussion presents ver) little correspondence to the above theme, and it is difficult to say, hence, how far Dikshit and Fabri are correct in their interpretation of the sculpture." SARASWATI \\as verq near to interpret the theme, but missed it. He concluded (p. 62), "It may. however. be pointed out that the principal motif in the composition, a goddess offering something to ~ i v a from a cup, resembles the conception of the Devi as Annapom%. a favourite from of the Devi fiequently worshipped in Bengal in the later days."

Bane jea had no knowledge of the Paharpur relief, although he refers to both the KankBia- and Bhiksilanamtirti from Gopinatha RAO. BANERJEA (1956: 483) remarks, "KankHlamUrti reliefs of ~ i v a mostly hail from south India and they have been elaborately described by Gopinath Rao in his book. Notice here need be taken only of one of the placid image types which is secondarily associated with this dire aspect of the god. It may be noted here that a stor> seems to underlie it, hut the mythological association is not very pronounced. This is the Bhiksatanamurti. assuming which form the god begged for food and received i t from his consort on one occa~ion.~ One such relief, reproduced here (PI. XXXII. Fig. 2,. belong\ to the Brhadiivara temple. Tanjore, and is one of the best cumples 01' C'hola art." Fig. 2 BANERJEA was wrong to say (pp. 483-484). "This fine sculpture seems to be a combination of Kankala- and Bhiksapna-murti of ~ i v a . for the staff (ktrrik61urlr1!7~t~)

laid across the shoulders is a characteristic feature of the former." Because he quotes RAO saying (p. 484), "Rao says that this staff, which had the bones of Brahmi and Viivaksena [sic] killed by ~ i v a tied round its top and for which sin of Brahmahatyi (Brahmanicide, Viivaksena [sic] the gate-keeper of Visnu was also a Brahman) he had to undertake expiatory wandering begging his food. is not to be shown in his Bhiksfitana aspect (op. c i ~ . . Vol-Il, p. 306)." %\la in Bhiksa!anamiirti should carry like a wandering mendicant mayfirci-p~~k.sa-tl/~vaj~~7, a standard of peacock-tail, and not a kurikNIu-dun& (skeleton-bone). BANERJEA (p. 484) however, makes an appropriate comment about the Bhiksitanamtirti of ~ i v a , "But the clay images of Annapiirna worshipped in Bengal in the month of Caitra (March- April) show in their compositio~l the goddess ladling out food to the nude god begging it from his consort." In the late medieval folk-painting of Kalighat at Kolkata this theme. viz., ~ i v a as a beggar begs alms from the goddess Annapurna. was quite popular Fig. 3.

Credit goes to LOHUIZEN-DE LEEUW who finally identified the theme of the Paharpur stone-relief. She comments (1957: 37-38). "However. I am afraid I cannot agree with the interpretation which DIKSHIT gave to this relief, and which was copied by P. THOMAS in his book on Indian Mythology, by C.L. FA'BRI and by H.D. BHATTACHARYA. For, if the relief represents the drinking of the poison by Siva then this does not explain why the woman behind the one offering Siva some food is standing in an attitude typical in ancient Indian sculptures of a woman in love, clasping her hands above her head. Mr. DIKSHIT presumed that she was Uma. ~ i v a ' s wife. distressed at the idea of her husband taking poison. but this is definitely a wrong interpretation of this typical attitude."

"I would rather prefer to identify this charming relief as a representation of the DevadBruvanam&3tmya, a story which occurs in several Pursnas and relates how the liriga cult became an important part of the Siva ritual. Once upon a time Siva in the disguise of a religious mendicant paid a visit to a hermitage in the great jungle called Devadhvana. While he was begging his food from the hermits' wives they became enthralled by the attractive appearance of the young ascetic that they fell madly in love with him and wanted to follow him on his journeq. The hermits, feeling insulted, became very angry with the god whom they did not recognize and drove him out of the hermitage trying to beat him and cursing him that his liriga might fall off. As a result of their curse this actually happened and a series of disasters took place in the \vorld until the gods installed the liriga for worship."

"Looking again at the relief it is clear that this ston fits the representation perfectly. On the left we see Siva begging food and one of the hermits' wives offering it to him. To the right a woman who has fallen in love \vith the jounp ascetic is being prevented from following him by a child. and on the extreme right we discover three of the enraged hermits recognizable by their jaI2 (the ascetic's hair-style) and their emaciated bodies. The hermit at the bottom holds a club in his left hand and the one at the top raises his hand in anger to strike out." This is a vivid and accurate description of the relief by LOHUIZEN-DE-LEEUW.'

ALAM (1985: 108-109) illustrates this unique relief (fig. 34) and quotes several authors, quotes their interpretations, but fails to give his own interpretation.

LOHUIZEN-DE-LEEUW however was right to identify the relief-scene trom P a h q u r with the Pursnic story of the Devadsruvana. RAO (1916: 302-303) refers to the Lirigaprmina for the story. He says, "There is another slightly different account concerning the act of begging for food associated with ~ i v a and this account serves only the purpose of explaining why, in his aspect known as the

Bhikssfanamurti, he is seen stark naked when going out abegging. The Lirigapurfina states that in the forest of DBruvana even women and children took to the performance of austerities and forgot the worldly ways of living @I-avyirti-margal. To make them feel the need also of the worldly ways, Siva started out to beg in their quarters; for this purpose, he became a black. ugly looking being and naked he went into their midst. The appearance of this notable figure drew the attention of all the inhabitants of the DBruvana and through his rnayii the residents of this forest took to all sorts of bad ways of this world. Angered by the bad example set up by the new comer, the rishis cursed him, but instead of being affected by it, he disappeared. The rishis became aware that the intruder was no other than Siva and repented their inability to have offered him worship when they had the good fortune to have in their midst his human embodiment. BrahmB advised them to worship his liriga studiously if they desired to see him in person once again. They followed his advice and were rewarded for their devotion by Siva appearing before them once again and blessing them." This is, no doubt, the story how the lirigu of Siva came to be worshipped. But RAO'S description of the story from the Liriyu-piod!lu is not quite accurate.' RAO, however, illustrated several ~ i v a Bhiksri!anamfirti, both of stone and bronze from Tamilnadu, Plate LXXXVI. Figs. 1. 2; Plate LXXXVIL. Figs. 1 , 2: Plate LXXXVIII and Plate LXXXIX, of which the stone image from Kanchipuram (Conjeevaram)"' depicts the story and Siva is two-armed, but in the other images ~ i v a is four-armed. The image from Valuvur is of bronze and very graceful."

In her elaborate study of the South Indian images of Siva Marguerite E. ADICEAM, following RAO, discusses the Bhiksatrtno- and Kankalamurti together. citing exhaustive textual references. See ADICEAM 1965: 83-1 12. She illustrates several images, both of the Bhiksatanamurti as well as of the Kankiilam~rti. but none of them, excepting fig. 19. is two - armed, and most of the BhiksBtanamurtis are naked following the description of the PitrG!lcrs. ~ i v a Bhiksatanamfirti should cany a stick with peacock feathers. but in one case the bronze image from Chidambaram (fig. 2) holds a trident. Fig. 4 Generally ~iva-~anki lamurt i should carry a trident (triiulu) to which the karikrtlu of Brahmin Visvaksena should be shown attached. Perhaps this is very clear in fig. 13 of ADICEAM. But in the case fig. 9 the deity carried no trident. but perhaps a sikhipicchu-dqzdu and the karikiih of Visvaksena. The deity is not nude, and has been called Kankalamfirti by ADICEAM. RAO (1916, 11-11. App. B., pp. 149-157) cites several descriptions from the Sanskrit iconographic texts of the two forms of "~iva". viz. "Kankala" - and "BhiksBfanami~rti", the main difference between them is that the former is not naked, while the latter is naked (nrigncr) and the latter should not carry the skeleton bone (karikul.sthi). The Bhiksatana should carry iikhipiiichn (Amiu~nadbhedagama), Sikhipiiichudhurum (Uttarakamiksgama), Sikhipiiichu ( ~ i l ~ a r a t n a ) , pi~icha'2

300

(Karanfigama), but Snla (Suprabhedfigama), and in one KankSlam~~ti combination of kanhla-danda and piEcka-danda ( P i i r v ~ k a r a n ~ ~ ~ that's why ADICEAM has difficulty in certain cases to identify definitely a de

RAO illustrates an early 8Ih century image of the BhiksSpnamfirti to the KailfisanStha temple at Kanchipurarn (Conjeevaram, pl. LXXXVI The deity stands in a graceful position sideward. is two-armed, which is co Eastern Indian tradition, holding Siklzipiiicha in the right hand and cin-mudrri in the left hand. RAO doubts (p. 308) whether he wears a cl appears he is not naked, but wearing a kaicpina. Two women sit in front of hi offering alms, and a shouting rsi stands above. This image is very significm context of Tamil Nadu Fig. 5.

The slightly earlier stone BhiksBtanamCirti (end of 71h century) fmm Svarga Brahma temple at Alampur (Mahabubnagar Dist., Andhra although badly damaged, is an accurate illustration of the Purfini ADICEAM, fig. 8. Siva is here four-armed, naked, but not Crdhvalihga. Bhihl!anamtrti was perhaps the precursor of the later Tamilnadu images o deity. Fig. 6.

. * +

For the Tamil sources of the Bhiks5tanamurti connected with . . Dlmkavana. ADICEAM refers to T i r ~ t v i l r i r v G t ~ R ~ u r ~ m . " But it is definite that dw D h - or DHmkavana was Yituated in the northern part of India near the HimUayt region, the river Gang2 flew in~ide this forest and situated here. It appears from a careful study of the

mostly nude, only in two cases, vlz., fig. 18 and fig. 19. thz identification that the KankIlamfirti of Siva is not shown nude. while the

dubious. To us it appears, however. that the two-armed image in fig. 18 does not belong to this theme.

We illustrate a few Bhiksltanamtirti from Tamilnadu here already iflu by ADICEAM. for example the beautiful bronze image from Arakalur (Salem fig 3. The four-armed nude deity holds a dumaru in the upper right hand and in the lower left hand. perhaps the picchadun(ia or Sikhipicckada!@a, is missi upper left hand, with the lower right hand he makes a fondling gesture to jumping antelope. There is no almsgiving female figure. but a short, fat fe bhlita according to ADICEAM) holding a large pot above his head. Fig. 7-

The interesting stone rel~ef from Pullamankai (Dist. Tancavu ADICEAM, may be considered as an Alampur influenced relief -panel The four -armed nude BhiksHlana holds dumuril, kupGla, ~ikhipicch

1

p d w s fonC=r 2 jumping antelope (quite difficult to identify). Two female figures

are F.t~e. one of them offering alms. besides a short and stout bhirta in betwen. Fig. 8. Th= unique Alampur image (our Fig. 5 above) from the Svarga

- , ma te~;, t . n s k e n described in detail by BUCHANAN (1985: 251-252). On be &te of 5 2 terr;,p!e Buchanan remarks (p. 243), "It probably was the first c o n s r ~ ~ t i ~ ~ ri \-ir.~?ZLiy.a's reign at Alampur and may be associated with the -d 681-9: " .&:: s?e 2escribes the relief-sculpture in the following way (pp.

- - a , - - 25 1 - - 2 - #. -- - -2 > - : z g z 3 : ~ ? a temple facade's southernmost image is four-armed ~hil.-c.Er;i~ZZ:.e Fig. 1 - 1 . ~ i v a as a chaste ascetic who excited desire in the wives - of &- Pi:? :::rrr rsir 2 2 antagonism in their husbands. The god stands in a Rlzx>4 --.-s - - 2 & = - - - . - - ,- , _ ;.- ..,- :L ..g loose hair. He is nude but not i thyphall i~. '~ In his upper left ha2 kr %L-5 r 2 ~ 5 Z r chauri, and he apparently receives alms in his damaged lo \,.?? ?>L --=- : -- : - ----. .,-. .. .= - .-\:?!e that he also originally bore a trident or staff with

. . ::- -.-a .:.=.. ..&.. -:CL hand: two small post-Calukya pillar reliefs in the Alarr.~: '\I 25-r. . f i g . 2:: I seem to show this configuration. ... Near the top of the

. - . relief 2: sf.. z'r - z r r : . . .tz :I 2.2 elephant, and at his upper right is a woman with a

- z : - - ; - >--; ::.-. . ., ..., - - -:: . . . . - - ., :he lvoman is Siva's wife 1 Sakti. who appears also in . . . - - - - - - - - . - - -

,- . - --. - .... 5 . - . :... ... :r. :he Svarga Brahma temple LingodbhavamCirti relief - --=->- - _ Fig. 2-i . - ... ,.-- -...- of the elephant may be explained specifically by - .- ref~:?:.:? : r :: 5 , - -:-;:; .-:.-2!:s 'r account of the Pine Forest story in S.M., chapters

9- - - - . ' -- -- . .. -. . -..., . . .:..= . r. -:cz. ~ i ~ a in the form of an elephant aided the gods and . . . . - - - . . ...

N:C .T z t ~ T L . .:I:.:. .:I: : :. I: z:a :rizga for worship."'"

.- - - - . . . - - . . a t . .... . . .:: - - .. :.- few more interesting stone images from Tamilnadu -& e z - . . --- - = - _ . 2 . .._ 1 L:: :::; s::z~c~ by ADICEAM. She illustrates a Bhiks5fana image

- - - - fro= A ~ - - L T : L . - :i: - --.;:a. u r I her fig. 1. In this relief the four-armed deity is shc.zx .; .-.- -.., - - --. - -.... ---. r\n followed by a jumping antelope. A woman in front - .

. - of&:+ Cz.-. 1 5-.L. ::z;:t %old5 a large pot over its head. he is shown with a larze . . face GI: !.:i LT\::-~T.. z.--.; nence may be an itdaremukha.'"he deviation in this

fi-%-t is 5::: E:.. i :s r s r :-..:..\-n naked, he wears a small piece of cloth and a snake is shQu1 -. . - - - - -. -- . .. ...-;- . . :. -., renitals. In this case the sculptor has ignored the e--?*->7 ----:= . . -.- .I:, . ---.- ., -- .,st5 Fig. 9.

-* ~X:Z:X:ZL <curs of Bhiksfipna is the eight-armed deity from T ~ z _ ? L < L T '7:': 5 2 - 3 fis 7). The deity does not carry a piccha-dandu. but a Q~L - --&-... :>-- . -> - a.:>-:.: _r. Lye upper left hand. A fat attendant holds a large pot above

his k12 . Fig. l i t .

4: : -:<- i., : z - > - :-. - - L ---.-.., scene has been depicted in between two pillars where ~P::-L-_.~F ::.--~t :; ;:lo\vn in a begging position. The stone-relief (ADICEAM.

(Karanagama). but Sula (Suprabhedsgama), and in one K d d a m a r t i should hold a combination of karikiila-danda and piiicha-dwda (Ptirvakaranaguma). No doubt, that's why ADICEAM has difficulty in certain cases to identify definitely a deity.

RAO illustrates an early 8Ih century image of the BhiksBtanamiirti belonging t o the KailBsan5tha temple at Kanchipuram (Conjeevaram, pl. LXXXVI, fig. 1). The deity stands in a graceful position sideward, is two-armed, which is common in Eastern Indian tradition, holding Sikhipiiicha in the right hand and uk:umcllcl with cin-mudrii in the left hand. RAO doubts (p. 308) whether he wears a cloth, but it appears he is not naked, but wearing a kuupina. Two women sit in front of him, one offering alms, and a shouting rri stands above. This image is very significant in the context of Tamil Nadu Fig. 5.

The slightly earlier stone Bhiksstanamiirti (end of 71h century) from the Svarga Brahma temple at Alampur (Mahabubnagar Dist., Andhra Pradesh), although badly damaged, is an accurate illustration of the Purfinic story. See ADICEA~I. fig. 8. Siva is here four-armed, naked, but not iirdhvuliriga. This Bhilisfi~anamurti was perhaps the precursor of the later Tamilnadu images of the deity. Fig. 6.

For the Tamil sources of the Bhiksiipnamiirti connected with the Diirukavana, ADICEAM refers to Tit-~o~ilaiY@uRpi~r~nui~~.'' But it is definite that the D ~ I - or Diimkavana was situated in the northern part of India near the Himftlaya region, the river Gangs flew inside this forest and the hermitage of Vasistha was situated here. It appears from a careful study of the illustrations given by ADICEAM that the KalikHlamiirti of Siva is not shown nude, while the Bhiksstanamiirti is mostly nude, only in two cases, viz., fig. 18 and fig. 19. the identification is dubious. To us it appears. however. that the two-armed image in fig. 18 perhaps does not belong to this theme.

We illustrate a few Bhiksstanamhrti from Tamilnadu here already illustrated by ADICEAM, for example the beautiful bronze image from Arakalur (Salem Dist.). fig 3. The four-armed nude deity holds a dumaru in the upper right hand and kapiila in the lower left hand, perhaps the picchudundu or iikhipicchudunQu, is missing the upper left hand, with the lower right hand he makes a fondling gesture towards a jumping antelope. There is no almsgiving female figure, but a short, fat fellow (a bhhta according to ADICEAM) holding a large pot above his head. Fig. 7.

The interesting stone rel~ef from Pullamankai (Dist. Tancavur), fig. 4 of ADICEAM, may be considered as an Alampur influenced relief -panel of the theme. T h e four -armed nude Bhiksiitana holds dumaru, kupiila, sikhipicchadandu and

perhaps fondles a jumping antelope (quite difficult to identify). Two female figures are shown here, one of them offering alms. besides a short and stout bhuta in between. Fig. 8. The unique Alampur image (our Fig. 5 above) from the Svarga Brahma temple, has been described in detail by BUCHANAN (1985: 251-252). On the date of the temple Buchanan remarks (p. 243), "It probably was the first construction of Vinaygditya's reign at Alampur and may be associated with the period 682-90." And she describes the relief-sculpture in the following way (pp. 251-252). "The Svarga Brahma temple facade's southernmost image is four-armed Bhik$ianamiirti (Fig. 421), ~ i v a as a chaste ascetic who excited desire in the wives of the Pine Forest rsis and antagonism in their husbands. The god stands in a relaxed pose and has long loose hair. He is nude but not ithYphallic." In his upper left hand he bears a feather chauri, and he apparently receives alms in his damaged lower left hand. It is possible that he also originally bore a trident or staff with bones in a broken right side hand; two small post-Calukya pillar reliefs in the Alampur Museum (Fig. 422) seem to show this configuration.. .. Near the top of the relief at &a's upper left is an elephant, and at his upper right is a woman with a child riding a bull. Probably the woman is Siva's wife / Sakti. who appears also in an upper comer position in the Svarga Brahma temple Lingodbhavamiirti relief (Fig. 423) .... The presence of the elephant may be explained specifically by reference to the Viimana Pztriina's account of the Pine Forest story in S.M.. chapters 22-23. According to this version, Siva in the form of an elephant aided the gods and riis in the final installation of his liriga for worship.""

We wish to illustrate a few more interesting stone images from Tarniinadu already described and illustrated by ADICEAM. She illustrates a Bhiksatana image from Karantai (Dist. Tancavur) her fig. 1. In this relief the four-armed deity is shown in a walking position followed by a jumping antelope. A woman in front offers alms, a small figure holds a large pot over its head, he is shown with a large face on his abdomen, and hence may be an rtrlcrremrrkhu.'~he deviation in this figure is that Siva is not shown naked, he wears a small piece of cloth and a snake is shown twisted over the genitals. In this case the sculptor has ignored the prescription of the &ama texts Fig. 9.

An exceptional figure of BhiksSIana is the eight-armed deity from Taramankalam (Dist. Salem fig 7). The deity does not carry a piccha-dundf~, but a small trident is shown in the upper left hand. A fat attendant holds a large pot above his head. Fig. 10.

And lastly a dramatic scene has been depicted in betwcen two pillars where the four-armed image is shown in a begging position. The stone-relief (ADICEAM.

fig. 19) is from Sucintiram (Dist. Kanyakumari). ADICEAM has doubt about the image, KankHla- or Bhiksfitanamurti? because the deity is not shown nude. He carries no doubt a fan, may be made of mayiira-piccha Fig. 11.

South Indian images regarding the BhikSitanamiirti are quite known to the scholars, but very little is known as regards the north Indian, or rather eastern Indian parallels. The Paharpur example should not be an isolated case. S A R A S W A ~ had already referred for similar reliefs to the ParaSurfimeSvara temple and others in Bhuvanesvar, Orissa, and temple No. IV at Barakar, Burdwan Dist.. West Bengal (SARASWATI 1962: 60), mentioned above." An elaborate study of the Paharpur theme with profuse illustrations has been made by DONALDSON with the title, Bhiksfiyanamtirti images from Orissa"; see DONALDSON 1986: 5 1-76. DONALDSON has referred not only to the episode of the Liriga-puriina, but also of other Puriinas. There are two episodes described in the PurE!las connected with Siva as a beggar, but for our Paharpur theme we have to avoid the episode of ~ i v a ' s committing the sin of Brahmahatyfi in which he is called Siva KankHlamhrti and stick to the other episode where his liriga will be an object of worship by the sages and Brahmins and in which he is called Siva BhiksHyanamCrti. In the writings of different scholars these two themes are not clearly distinguished and hence create an unnecessary confusion, and in many of the illustrations the captions are also misleading. To us it appears, however, that in Eastern India including Orissa, Siva BhiksHianamtirti was the beloved theme, and Siva Kankiilamurti was not in vogue. It is Tamilnadu where the story of BrahmahatyH was quite popular. and hence the illustration of Siva KalikHlamtirti was widely made. I~ONALDSON'S illustrations from Orissa all depict the BhiksH!anamurti connected with the iiriga worship. For his them DONALDSON quotes several Prtrfi!lcr.s, for exanlple Kitnnrr-prtrG!zo 11. 37, vv. 1 - 136. Ab regards the story connected with the Devadiiru-vana" he remarks (p. 52). "He entered the forest as a handsome, young man followed by Visnu disguised as a beautiful woman. ~ i v a was naked and urdlzvulirijiu. He howled, danced, and smiled In bliss and terror. He offended all conventions. He held out his empty begging bowl" and readily received alms from the entranced women who, excited by his presence, allowed their garments to fall. Filled with lust, the women began to sing, dance, desire, and embrace ~ i v a while the sons of the rsis did likewise with Visnu disguised as his wife (Kiinna Puriina. 11, 37. 13-18)." And further, the story goes "This ri,vis accused him of speaking untruth and ordered him to leave, beating him with sticks. clods and fists. They cried "0 evil-minded one, you should break out this Lirigu of yours". ~ i v a allowed his litiga to fall and he immediately disappeared. The Lirijiu became transfigured as a fiery pillar without beginning or end and traversed the cosmos while portents indicating danger to the world began to take pla~e."~" DONALDSON refers to the Viimuna-purcl~o where the story of ~ i v a ' s

entering to the Devadhvana has been described (6. 25-92 and Sarom&iitmya, 22. 41-86), and in both the stories the falling of the liriga of Siva and its subsequent worship by the r ~ i s The other Puranas viz. ~ i v a - , Skanda and Brahrntinda-purana also describe the incident."

The most interesting and as well as early illustrations of Siva Bhiksfitanamiirti are from Orissa. Rightly DONALDSON remarks (p. 56), "Iconographically the BhiksiitanamGrti is the one major motif of Siva on Orissan temples which restricts his number of arms to two, no doubt reflecting his assumed role as a wandering mendicant, and thus corresponds to the description in the Liriga PurGna (I. 29, 9-10): "He had three eyes and two hands. He was nude, and dark in c~mplexion"."~~ DONALDSON further remarks, "The earliest surviving image, and one of the most complete in details, is housed in the vajra-mastaka design at the base of the gandi on the south side of the ParaSurHmeSvara temple, which dates of the mid-71h century (fig. 5)."23 " ~ i v a stands with his feet together and his body sways back in an awkward manner, possibly suggesting an intoxicated elephant (Kiirma Purtina, 11. 37, 6-7). similar to examples at AIampur and Paharp~r.~' He holds a staff decorated with peacock-feathers over his right shoulder and has a kapala alms-bowl in his extended left hand. He wears a yaj5opavita. tiger-skin and other body ornaments. He is urdhvaliriga [!I and a small bhutu tickles his testicles with a stick." AnnapumH faces him and places alms in his bowl." A female figure behind her, obviously excited by h a , assumes a seductive pose with her garment slipping from her body. Behind Siva is the angry lifting his right hand in a threatening gesture. The vajra-mastaka on the east (back) side is filled with an image of LakuliSa while other examples appear above the vajra-musfaka on the west and on the jagamohana which. along with a small. Srrigclr-ana motif. attest to the influence of the PGupata sect on the decorative program." (Also see DONALDSON 1987, fig. 3497, p. 1523). Fig. 12.

On the later image from the MadhukeSvara temple at Mukhalingam, DONALDSON writes (pp. 56-57), "On the MadhukeSvara temple at Mukhalingam. dating to the mid-ninth century, the placement is reversed with the BhiksHtanamurti appearing in the vajra-mastaka on the east (front) fa~ade of the gcrndi while Lakulisa appears on the south. The left leg of BhiksHtana is bent. suggesting movement, and he is flanked by ~nnapi~mfi*' in front and possibly by Visnu disguised as his wife in back. Six smaller female figures excited by his presence are included within the medallion along with an amorous couple in the background (fig. 6). In the upper border of the design is an elephan?n which possibly alludes to ~ i v a who assumed this form when transferring the lirigu from the Deodar forest to

Sannihatya lake (Viimana PurGna, Scrromiihdtmya, 23. 27-34)." (See DONALDSON 1987, fig. 3498, p. 1323. Fig. 13.

For the Bhiksitanamurti of the Manikeivara Siva temple at Suklesvara the figure number has been given wrongly as 1 1 by DONALDSON (p. 57), it should be fig. 10, see the illustration. This is a beautiful image and is dated in the 9 I h century. (See DONALDSON 1987, fig. 3505, p. 1325). DONALDSON describes (p. 57). "At Sukleivara the Bhiksatanamorti serves as the piiriva-devata on the south side of the deul (fig. 11) Siva stands in a tribhorigcl pose holding a staff at his right hip. His extended left arm is broken at the elbow. A halo frames the head of Siva while the upper comers of the back slab contain a seated rsi with hands folded and a youthful male seated on a ~ too l .~ ' Annapuma is smaller than in previous images and reaches only to Siva's waist. A diminutive bhitcr stands in the opposite corner holding a bag on his head for storing alms.'" Fig. 14.

Finally we illustrate a very dramatic scene of the Bhiksifanamurti from Orissa. DONALDSON writes (p. 59). "There are three images of the Bhiksa!anamiirti on the late 9Ih century Simhanatha temple located on an island in the Mahanadi river ... The third example of Bhiksipnamurti appears in a frieze on the upper part of the south sandhi-sthriltr (wall connecting the deul with the jagamohmla). Bhiksitana is in the center of the composition. He holds the parasol of feathers over his left shoulder while the ktrl~c?lu bowl is held in his extended right hand (fig. 31). Behind Annapuma are three excited female figures while behind Bhik.l;$ana are two emaciated /?is. One of the :.!is holds a stick over his head while the other, holding a rosary, is seated on a dias. In two panels above the frieze are scenes of love-making and one of an angry !-,vi ( ? ) attacking a male (~iva '?) being followfed by two female figures. It is not clear if the scenes represent ~ i v a seducing the wives of the /.!is or if they represent inhabitants of the forest being influenced by ~ i v a ' s niiiy(I and taking up worldly ways." (See DONALDSON 1987, fig. 3501, p. 1324)." Fig. 15.

To come back to the main theme we like to conclude that the three earlier stone reliefs belonging almost to the same period (7Ih century), viz., the Paharpur (Naogaon Dist., Bangladesh) relief, the Paraiuriimesvara (Bhubaneswar Dist.. Orissa) temple relief, and the Alampur (Mahabubnagar Dist., Andhra Pradesh) Svarga Brahma temple relief, are the earliest illustrations of the Bhiksajanamlrti Siva. While the image of the deity is two-armed and ithyphallic (icrdhvtrlitigtr) in Bengal and Orissa, in Andhra Pradesh thc deity is four-armed, naked but not ithyphallic. No doubt the last image was the precursor of the Tamilnadu images of the same type of deity, hut thc story element goes back to the remote corners of Eastern India, nay to far North at Paharpur in Bengal.

End Notes:

1. Bengal denotes modem West Bengal in the Indian Union and Bangladesh

2. The following papers were presented by Prof. Nagaswamy from the Third International Congress on Bengal Art: Eastern Indian contact with Tamilnad. Journal of Bengal Art, Vol. 3. 1998. pp. 17-49, Bengal and Cidambaram, Vol. 4. 1999. pp. 33-47; Bengal's Contribution to Cola Temples. Vol. 5. 2000. pp. 9-28; Cola MSrtanda and Bengal. Vol. 6, 2001, pp. 269-277; Vangala Desa and Ganga Nadu from Tamil Sources. Journal of Bengal Arr. Vol. 8,2003: 103-108.

3. Italics by us.

4. See also Archaeolog~cal Survey of India, Annual Report. 1926-27: 141. pl. XXXIII.

5. Vannasi is the seat of De\.i AnnapGr"l where Siva begs alms from her. See our Fig 3, Kllighit painting.

6. It appears to us that BANERJEA was not aware of the Lbigu-puru!~lt \tory of the Bh~hyitanamurtr.

7. In Hindi it is called morchal, a fan which is made of peacock's feathers.

8. 1 am thankful to Gerd Mevissen for providing me with a copy of this Important article.

9. The Liriga-prrrirna narrates the story of Damvana in ch. 29 where instead of Siva. Rudra IS

mentioned. who assumed a deformed hut attractive appearance. He had three eyes. two arms. and was nude and dark in complexion. But it is not mentioned in the chapter that Rudra came as a begging mendicant.

10. See our d~scussion on Fig. 5 hcln\t

I I. R.AO (pp. 295-309) puts Kankjlamurtl and Bb~li~!arranlunt together and comliients (1). 303). " lhc images of the Kariliilamirrtl and the Bhiksi!a~iarnurt~ are gencrall> found in allnost all ~ i v a [emplet of importance throughout Southern 11idla arid a11 the ~ a ~ \ , l g a m a s contain more or 1 ~ x 5 dctailed dcscrlptions of these imases."

12. It IS quite intcrcsti~~p that \ \ h ~ l e Rno spells thc term a\ pi,iclr~i f~illowi~ig the South Indi.i~i text\. ADICEAM spell\ it as piccho. following the S;tnshrit spcll~rig

13. ADICEAM prefers to use the Talnil spelling.

14. Italics ours. It should be ment~oncd hcre that urdlii~iiliri,q~r or rir~lI~ln.~rn~rill~,-tr is 1101 \;nnc as irrcfl~l,vtrrcrrrs. There is a misunderstanding amongst some writers about the meaning of thc term\.

15. We are very thankful to her for this identification. We are also thankful to Gcrd Mcv~rscn for the reference to this valuable thesis of Susan L. BUCHANAN. For this identification. see also DONALDSON helow.

16. Kindly identified hy Gerd Mevissen.

17. However, the Begunia group of temples at Barakar are of much later date.

18. DONALDSON is wrong in equating the tcrm Dcodar with Dlruvana (p. 52). Hind1 Deodar is Devadlru. Deodar forest is Dcvadlru-vana.

I9 Begging howl has k e n equated in this connection as kupcilrr. Bhik?itana Siva as kapdfr-pmi. There is indeed a confusion in illustrating the Devadlruvana story of BhiL>i!ana Siva connected with the worship o f liri,qa. and the Kankilamtirti of ~ ~ v a sevcrlnp the fifth head of Br;1hni5 and killing Visvaksena and therehy committing the sin of Brahlnahatyl wh~ch led h ~ m to suffer a\vlully 1111 he

was liberated at the Kapdla-mocana-tinha. We have difficulty to accept the descr~ption of DONALDSON of the Simhanatha temple relief (p. 59. fig. 11). "Bhiksa!ana holds a kha,piirigu over his right shoulder and has a kapcila in his left hand. Annapurna appears on his right, however, while the angry, is on his left beneath the kapcila." The BhiksHpna Siva. connected with the linga-worship should not hold a khap~7nga but a mqvura-picchikii or rnrtyurcrdh~~ajrt. which D~NALDSON has also mentioned. For an excellent example of a khapt5hgrt. see DONALDSON 1986. fig. 1, the kneeling Saiva ascetic figure at the extreme left. And we wonder why DONALDSON (p. 59) describes the female figure which offers alms to the BhiksHpna as Annapurni? Annapurns appears quite late in the Indian Mythology. and is associated with Varanasi and is a well-known figure in the late medieval KilighB! Painting. See our Fig. 3 above. None of the early and standard Purrinas records the name of this goddess. For AnnapOmB. see Diana L. ECK 1983 mentioned below. 11 is the wife of sage Vasistha, Anasuya. who is mentioned in the Purcinas to have received the Bhik.@pna Siva and offered alms.

20. The kunno-Puriina (ed. Nilmani Mukhopadhyaya. Calcutta 1890). section 11, ch. 31 describes the story of Brahma-hatyi hy Siva traveling upto Varanasi (Kapiilu-mocana) as a beggar followed by Brahma-hatys in a terrible female form. p. 670.

kapiila hasto Bhugavcin bhikcim grhnriru sctnvatah uktvaivam prcihinot kunycim brahmahur?.eti viirutiirn dhdmsfrci karcilu-vadandm jvcili - mdii - vibhusantiirn yiivad variincisim divyiim purim esu garniqrrri tcivad vibhisan-iikiirii hy anrrgncclra rrisrilir~crm sa deva-devatfi-viikym cikrrr!ryu bhugu~,cirt Itaruh kapala pd!lir vii~~cirrtmii caciirct bh~tr~urrrr-tmyurn

(This edition is unscientific as it does not give the verse numher.) The colophon of the chapter 1s described as it; Sri-Lirrmmcr-prrr-Gne upcr-l~ihhGjic LopGla-r~rn~-crr~n-nrdl~cirnycrm rlcimcr ekurrinlso '(ihyiiycrh)

The Devadiuuvana story is diffcrcnt which is dcscrihed in the 38th Chltliter of thc edtt~on It is fairly a large chapter. The chapter opens wirh the verse

krrrhrrnr clcirrr-~<crrirrnr />I-cipro bhrr,qcr~virr p-l:Grr- dh~ij(r11 rrtolrcr\iirrr~~~r ~~rl~r.~~ndr.rirr slrrr trrd ~nkrum urhosi/

Siva rook thc fonn of a youth of twenty years. naked and walkrtig lrke a rurtcd elephant iscaya vimjuti vrtrsuram rnrtttrr-rniircrrig~~-g~~nrr~~ro dig~~cisci ....

Visnu aqsumed the form of a woman and followed the trident carrier

In this connection i t is narrared that Siva went as a begger (hhiksirrrhr) to the herm~lage of Vasistha and Arundhati welcomed him giving hlln worthy seat and washed hi\ fect. She wanted to know the identily of the god. But as he left thc faithful wife of Vasislha the Brahmins who saw the Giriia roaming nacked and odd. started beating him with sticks. stoncs and fausts. Sankara uprooted his lingo and disappeared with KeSava. Anv.ruvd the wife of Acri reallzed that i t was lord in her dream and she told the great sages that it was lord Siva who appeared as a veggar at her place (bliiksrncina) This second story is narrated to glorify the worship of Sivu-lirrg~t. But the colophon of the chapter describes it as

Surprisingly in this story ~ i v a IS not mentioned as Kapila p2ni

21. DONALDSON quotes KRAMRISCH 1981: 287-92.

22. It is very unfortunate that BANEWEA (1956) had no knowledge of the Orissan Bhikepna images of Siva. He went as far as to Tamilnadu to find an image of the deity belonging to the BrhadiSvara temple at Tanjore (p. 483).

23. SARASWATI (1962: 60) referred to this panel.

24. For the Alampur relief D O N A ~ S O N refers to RAO 1977, fig. 9. and for the Paharpur relief to D I K S H ~ 1938. pl. XXXIc. Unfortunately. for the right interpretation of the Pahwur relief. D o N ~ m s o ~ was not aware of the excellent article of LOHUIZEN-DE LEEUW 1957. fig. 6.

25. The identification may be wrong. A bhuta. Siva's own attendant, won't dare to make this insulting gesture. perhaps it is a young girl.

26. Again the identification seems to be wrong. AnnapumB does not appear in the early Sanskrit literature. The female figure may be a wife of a rsi On Annapuml as a later Hindu goddess of Varanasi, see Diana L. ECK 1983. She describes @. 160). "For pilgrims to Kashi. the darshana of Annaptima always accompanies the d a r s h a ~ of Shiva Vishwanatha. The two are close neighbors ~n the city's Inner Sanctum. their entrances from the Vishvanatha Lane separated by only a few yards Annapurna is Kashi's queen, reigning alongside the king. Vishveshvara. as the city's governing goddess." See also our Fig. 3 referred to above. in which however, ViSveSvara. rather ViSvanHtha is shown as a beggar begging alms from the goddess Annapuma.

27. See our remark on Annapuml above.

28. Italics ours. In note 21 below DONALDSON remarks, "At Alampur there are a bull and an elephant above the scene." BUCHANAN has referred to the story while explaining the presence of elephant in the Alampur relief.

29. Not to be seen in the illustration

30. Not to be seen in the illustration

31. To avoid confusion for the readers it is quite relevant to mention that besides his large essay t ~ t l r d "Bhiksiltanamurti images from Orissa" published in the journal, Artihos Asme. 1986, pp 51-76, DONALDSON published a section on the same topic with illustrations in his monumental work, Hindrt Temple Art of Onssa, Volume Three, 1987 (E. J. Brill), pp. 1098-1102, and the higher numbers given by us in brackets are from his Catalogue of illustrations, given a t the end of the volume

Bibliography

ADICEAM. Marguerite E. 1965. Les images d e ~ i v a dans I' Inde du Sud 111 et IV -

Bhiksiipnamiirti e t Kankilamiirti . Arts Asiatiques, Tome XII, pp. 83-1 12. Paris.

ALAM, A.K.M. 1985. Sculptural Art of Bangladesh: Pre-Muslim Period. Dhaka.

BANERJEA, Jitendra Nath 1956. The Developmerll of Hindu Ic~ono~rcrphy. Calcutta.

Reprinted 1985.

BUCHANAN. Susan L. 1985. Calukya Temples: History a n d Icorrogruplrv Vol. I .

Dissertation, The Ohio State University. U.M.I. Ann Arbor 1991, No. 8510550.

DAS GUFTA, Cham Chandra 196 1. Paharpur and its Monuments. Calcutta.

DIKSHIT. K.N. 1926-27. Excavations at Paharpur, Annual Report of the Archaeological

Survey of India 1926-27. Calcutta, pp. 140-149. pls. XXXII-XXXIV.

DIKSHIT, K.N. 1938. Ercavations at Paharpur. Bengal. Memoirs of the Archaeological

Survey of India, No. 55, Delhi. Reprinted 1991.

DONALDSON, Thomas E. 1986. Bhikdwamtirti images from Orissa. Artibus Asiae. Vol.

47, pp. 5 1-76.

DONALDSON. Thomas E. 1985-1987. Hindu Temple Art of Orissa, Three Volumes. E.J. Brill. Leiden.

ECK, Diana L. 1983. Banaras: City of lnght. Princeton University Press, Princeton. New

Jersey.

FA'BRI. C.L. 1934. Further Excavations at Paharpur, Bengal, Annual Bibliography of

Indian Archaeology for the year 1932. Leiden, pp. 26-3 1.

KNIZKOVA. Hana 1975. The Drawings of the K c l i g h t Style. Secular Themes. National

Museum Prague.

KRAMRISCH. Stella 198 1 , The Presence of Siiiva. Prinreforz.

The Linga-Purana, Part I (Eng. Tr.), 1973. J.L. Shastri. Motilal Banarsidass. Delhi: Patna:

Varanasi.

LOHUIZEN-DE LEEUW. J. E. van 1957. The ancient Buddhist monastery at Paharpur.

Antiquity and S ~ r v i l ~ a l . Vol. 11, No. 1, pp. 29-42.

PICHARD. Pierre et a / . 1994. Vingt arls uprPs Tmjuvur. Gangaikonciclcholrcpuru~rt, 2

Volumes. Paris.

RAO. T.A. Gopinatha 1916. Elements of Hindu Iconography. Vol. 11: Part I. Second

Reprint: Delhi 1985.

RAO. P.R. Ramachandra 1977. Alampur. Hyderabad.

SARASWATI, S.K. 1962. Early Sculpture of Bengal. Calcutta.

List of Figures:

Fig. 1: Bhiksstanamiirti, stone relief, Paharpur, Naogaon Dist., Bangladesh, 7Ih century. Reproduced from DIKSHIT 1926-27: pl. XXXII1.b.

Fig. 2: Bhiksi3@amai. stone. Brhaaisvara temple, Tanjavur, Tamilnadu, early I lXh century. Reproduced from PICHARD 1994, ph. 51.

Fig. 3: Amapiimi giving alms to beggar ~ i v a . Kdighi! Painting, Kolkata, 19Ih century. Reproduced from KNiZKOVA 1975. pl. 49.

Fig. 4: Bhiksfanamwi. bronze, from Chidambaram. Tamilnadu. Reproduced from ADICEAM 1965: 103, fig. 2.

Fig. 5: Bhiksi@namiirti, stone, Kailbanstha temple, Kanchipuram. Tamilnadu. early 8'h century. Photo: G. Mevissen 1987.

Fig. 6: Bhiks2pnamuni. stone, Svarga Brahma temple, Alampur. Andhra Pradesh, late 7Ih century. Photo: G. Mevissen 1997.

Fig. 7: Bhiksitanamiini. bronze. from Arakalur. Dist. Salem, Tamilnadu. Reproduced from ADICEAM 1965: 104, fig. 3.

Fig. 8: Bhik~itanamtirti, stone. BrahmHpuriSvara temple. Pullamangai, Dist.. Tanjavur. Tamilnadu early IUh century. Reproduced from Adiceam 1965: 104. fig. 4.

Fig. 9: Bhiksiitanamiirti, stone. VasistheSvara temple, Karandai. Dist. Tanjavur. Tamilnadu, late 1(rh century. Photo: G. Mevissen 1997.

Fig. 10: Bhiksiitanamuni. stone. KailPsanPtha temple, Taramangalam, Dist. Salem. Tamilnadu, c. 16'h-17'h century. Reproduced from ADICEAM 1965: 106. fig. 7.

Fig. 11: Bhiksitanamurti (?), stone, Sthfqtunathasvimi temple. Suchindram, Dist. Kanyakumari, c. 1 7Ih-1 8Ih century. Reproduced from AEICEAM 1965: I 12. fig. 19.

Fig. 12: Bhiksiitanamiirti. stone. ParaSurimeSvara temple, Bhubaneswar, Orissa, early 7Ih century. Reproduced from DONALDSON 1986: 56, fig. 5.

Fig. 13: Bhiksipnamurti. stone, Madhukesvara temple, Mukhalingam. Orissa. 9Ih century. Reproduced from DONALDSON 1986: 57, fig. 6.

Fig. 14: Bhiksi!anamiirti, stone. from ManikeSvara ~ i v a temple. Suklesvara, Orissa. 9Ih century. Reproduced from DONALDSON 1986: 57, fig. 10.

Fig. 15: Bhiksstanamiirti, stone, from SirphanHtha temple, island in the Mahiinadi' river, Orissa. late 9Ih century. Reproduced from DONALDSON 1986: 59. fig. 2 1.

Fig. I: Bhikslitanarnirrti. stone relief, Paharpur. Naogaon Dist.. Bangladesh. 71h century

Reproduced 1-om DlKSHIT 1926-27: pl. XXXl1l.b.

.2: Bhiksli!anamurti, stone. Brhadisvara temple.

Tanjavur. Tamilnadu. early I I ' ~ century. Reproduced from PICHARD 1994. ph. 5 1 .

Fig. 11: B h i k e a m i i r t i (?). stone, SthanunathasvHmi temple. Suchindl-am. Dist

Kanyakumari, c. 1 7Ih- 1 8'h century. Reproduced from AEICEAM 1965: 1 12. lig. 19

Fig. 12: Bhi+!anamfirti, stone, ParaSurimeSvara temple, Bhubaneswar. Orissa,

early f century. Reproduced from DONALDSON 1986: 56, fig. 5.

Fig. 13: BhiksH!anamurti, stone, MadhukeSvara temple. Mukhalingam, Orissa, 9Ih

century. Reproduced from DONALDSON 1986: 57, fig. 6.

Fig. 14: Bhiksi!anamurti. stone. from Manikeivara

&a temple. Suklesvara. Orissa. 9'h century.

Rt.13roduced from DONALDSON 1986: 57, fig. 10.

i > .- - s -. g rt

'" ti, 5 G

5 * .5 g - - 5 Z

6 c - 5 < 5 z - , c 2 n - I r : = c - 2 ,2 - - - -. - - ., . - m $ s .= - a - +. .- .- .- - - L 2 5 - 2- z i 5 .- - c

85 E = ; 2 -3 , u -. - ,, r; 8. - Y d

1;; 0 - 06 i;;