CHAPTER VIII

A CASE STUDY OF HAYAGRIVA MADHAVA TEMPLE

SCULPTURES

8.1 Introduction

The Hayagriva Madhava temple is one of the important centres for

Vaishnavism. Instead of large numbers of Saivite temple, Vishnu temple is found

in limited numbers throughout Assam. Though, the practice of religion is main

purpose of this temple but there is a great contribution towards the sculptural

activities because numerous images are inscribed on the temple walls. The

Vaishnavism plays a predominant role in sculpting of the images in this temple.

The temple exists on a hilly place which located at Hajo nearby Guwahati. The

hilly place is known as the Manikuta parbat where a flight of stone steps lead to

the temple campus. The original structure of the temple does not exist because the

temple was reconstructed many times. It was not knovm when the original temple

building was built but it was estimated that the temple was built during the Pala

period of 10"̂ -12''̂ century A. D (Goswami, 1984). But stylistic features of some

sculptures go back to a very early period of art of India.

Since, the temple was reconstructed; therefore, different artistic styles

were captured in the temple art. It was important to note that Hajo was

amalgamations of different religions like Hinduism, Buddhism and Islam which

influenced on the sculptures of this temple. Though, Vaishnavism greatly

influenced the temple but Buddhism was one of the influential factors of this site.

Architecturally, the temple consists of four parts such as math, jagmohan, nat

mandir and bhaga ghar. In the vertical elevation, the temple is consisted with

three parts namely basement, middle portion, and sikhara. The inscription which

was fixed on the temple wall, informed that the temple was reconstructed during

the time of Koch emperor, Raghu Deb in 1583 A. D (1906).

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8.2 Historical Background of Hayagriva Madhava Temple

The Hayagriva Madhava temple is dedicated to Lord Vishnu. But there

was a big controversy regarding the original temple building saying that it

belonged to Buddhism and Buddha died at this place. According to this believe, a

great number of Buddhist pilgrimages from neighboured states like Sikkim,

Bhutan, Tibet, China etc still visit the Hayagriva Madhava temple in every year.

The Buddhist people believe that in early time, a great Caitya was constructed

over the cremated relics of Buddha's body at the place of Hayagriva Madhava

temple. There are many literary references given by many scholars regarding this

matter. The existing ruins prove that the place is a centre for worshiping of

various deities like Surya, Vishnu, Buddha and the deities of Taw/r/c-Buddhist

affiliation (Choudhury, 1988). In this context, Dalton remarked that the middle

image of sanctum of the temple was of Buddha which was called Madhava by

Brahmans. Further he states, "//'5 modern votaries have, to conceal mutilation,

given it a pair of silver goggle-eyes and a hooked, gilt or silvered nose, and the

form is concealed from view by cloths and chaplets of followers but remove these,

and there is no doubt of the image having been intended for the ruler of all, the

propitious, the asylum of clemency, the all-wise, the lotus-eyes, the comprehensive

Buddha"'{\S55).

It was assumed that the main image of sanctum was originally of Lord

Buddha. In latter period, the image had unfortunate mutilated and transformed

into an image of Hayagriva Madhava (Talukder, 1957). Regarding this matter,

Sridhara Babu points out, "77ze Hayagriva Madhava figure is in fact a Buddha

image, broken and mutilated, was fitted with an artificial horse-head said to be

made of a compound of eight substances of which resin is the main and was kept

tied with a piece of polished wood, that can be seen from a distance and with a

white cloak over the body there is no means of verifying this because observers

are not allowed to peep into it. It is narrated by some people whenever the

artificial part of the image gets damaged it is secretly repaired by the priests at

night" (1990). According to Kakati, "There is no doubt that when the temple was

rebuilt the site contained extensive remains of an older temple the antiquity of

which cannot now be properly estimated. It is also possible that some of the

images mounted on the body of the temple were recovered from the older ruins."

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(1935). In this context, Shakespear also mentioned, ''At Hajo, once an important

centre of Moghul rule, and opposite Guwahati, six or seven miles from the river,

on a wood hill 300 feet high, stands a remarkable and celebrated temple

containing a large image of Buddha six feet high and cut from a solid block of

black stone''(\9\4).

Waddell mentioned that Assam contained a most holy place of Buddhist

pilgrimage which was called 'Tsam-cho-dun' and next one great temple was the

most holy spot for Buddhism at Buddh-Gaya (1895). According to Jaschke's

Tibetan dictionary, the word 'rtsa-mcog-(gron) means a town in west Assam,

Kamrupa where Buddha died (1881). This statement was also given on the

authority of the Gaylrabs, a vernacular history of Tibet. Cosma de Koros, a

Hungarian traveller mentioned that the death of Shakhya occurred in Assam near

by the city of Kusa or Kamrupa (1895). Waddell remarked, "With their extremely

scanty knowledge of Indian geography, the Lamas evidently concluded that this,

'town of Sal-Kusa' was 'the town of Kusa,' where Buddha entered into Nirvana

between the two Sal trees.'' (1895). It is interesting to note that a pair of Sal tree

existed nearby the Hayagriva Madhava temple, but at present, the Sal trees have

destroyed due to natural calamities.

Numerous references showed that in ancient time, the Buddhism was

strongly prominent at the place of Hajo including Hayagriva Madhava temple. A

Buddhist historian of 16"' century, Taranath mentioned that two Buddhists

preachers like Dhitika and Asvabhava were made responsible for spreading the

Buddhism in Kamrupa. During the time of Dhitika, a great Caitya was established

in Kamrupa (1970). In later period, this Caitya was identified as the original

Hayagriva Madhava temple. According to Choudhury, some relics of Buddha

were brought to Assam and were enshrined probably at Kamakhya temple where a

relic casket of stone had found and contained some ashes of Buddha, over which

a Stupa or Caitya was constructed or at Hajo (1987).

It was noted that Hiuen Tsang who was a Chinese Buddhist scholar of 7'

century visited Kamrupa and he did not mention about the establishment of any

Stupa or Caitya in Kamrupa. He remarked that people of Kamrupa did not faith in

Buddhism but only a few Buddhist people performed their devotional rites

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secretly (1933). In addition, Waddell remarked, ''Any Caitya or other Buddhist

building would seem to have been subsequent to the 7''' century A.D; and in all

probability marked a site visited by the great founder of Lamaism, St. Padma-

sambhava, or one of his disciples."' (1895). Besides, it was thought that some of

the temple ruins were undoubted Buddhist origin (Shakespear, 1914). On the

contrary some scholars provide other views. Choudhury mentioned that Buddhism

was not accepted by the people of old Assam (1985).

In 7"̂ century A. D, Hayagriva Madhava temple was already a well

established centre of Vishnu worship. The image of Hayagriva worship was

introduced at Hajo from the 3'''-4"' century A. D. From the 4"̂ century A. D

onwards there was no chance of construction of any Buddhist monastery at the

site of Hayagriva Madhava temple. Therefore, the Caitya might be constructed

prior to that period. During the period of 3̂ ''-4"̂ century A. D, Brahmanism

revived under the patronage of the Gupta ruler, at that time, the Buddhist Caitya

of Hajo certainly converted into a Hindu temple where the idol of Hayagriva

Madhava was installed as the worshiping deity of the temple (Das, 1999).

Different references as well as authentic visual evidences of the temple

ruins showed that undoubtedly a Stupa or Caitya of Buddhism existed before

erecting any Hindu temple at this place. In some circumstances, the Buddhist

edifice was transformed to the temple of Hinduism.

At present, the Hayagriva Madhava temple is a well established Vishnu

worshiping centre of Vaishnavaism. Available references had been found in the

history of Assam regarding the worship of Vishnu and his various incarnations. In

addition, "Vaishnavism was established in Assam at a time when Surya worship

and Brahamanical culture made considerable progress" (Choudhury, 1987).

Before introduction of Buddhism, the people of Kamrupa were the worshipper of

Sun (1970). Mythical king of Kamrupa, Naraka traced his descent from the Boar

incarnation of Vishnu. Bana in his Harsacarita stated that Bhaskaravarman was as

a descendant of the Vaishnava family. The Badaganga rock inscription (554 A. D)

was the first epigraphic record where the king Bhutivarman was compared with

Vishnu. Vaishnavism was started in Assam in early mediaeval period and attained

popularity during the period between 10'*̂ and 12"̂ century A. D. The inscription

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of Dharmapala (12"' century A. D) mentioned about the worship of Vishnu's

incarnation (Barua, 1986). Large numbers of Vishnu images from Assam

belonged to the period ranging from lO"" century to 12"̂ century A. D. Before 8"'

century A. D, the images of Vishnu cults were very rare in Assam (Choudhury,

1985). Therefore different literary references showed that Vaishnavism strongly

prevailed in Assam since the ancient time.

8.3 Origin of Hayagriva Form

Lord Vishnu is worshiped in the form of Hayagriva which is installed in

the garbhagriha in the Hayagriva Madhava temple. The Hayagriva is a composite

form of the horse and man. In the visual representation, the face is of horse's head

while the body part is of man. Hayagriva is one of the incarnations of Lord

Vishnu. The concept of Hayagriva form was developed since the very earliest

time. In the Vedic period, Vishnu is compared with solar deity. According to

mythological concept, the horse is associated with Sun God as vehicle. The

Hayagriva form is not included within the ten well known incarnations of Vishnu.

Different ancient texts described about the Hayagriva form of Vishnu.

There were many legends that how Vishnu assumed the horse headed form which

were described in numbers of ancient texts such as the Mahabharata, Agni

Purana, Mastya Purana, Vishnu Purana, Harivamsa Purana, Markandeya

Purana, Kalika Purana, Yogini Tantra etc.

The Mahabharata (Santi Parva, chapter 349) mentioned about the origin

of Hayagriva form of Vishnu. According to the account. Lord Vishnu assumed the

form of Hayagriva to recover the Vedas from the possession of two demons. It

was described that Lord Brahma was seated on a thousand petals lotus creating

the Vedas while Vishnu was sleeping. At that time, two demons named Madhu

and Kaitabha noticed that Brahma was creating the Vedas. They became jealousy

being see the Vedas and wanted to steal the Vedas. Immediately, the demons stole

the Vedas and went down to the Rasatala where they kept the stolen Vedas.

Brahma became very much angry with them and worried about the Vedas because

Vedas were regarded as the eyes of wisdom of Brahma. He requested to Vishnu to

recover the Vedas. With the help of divine power, Vishnu assumed a new form

which was a horse headed form to recover the Vedas. Assuming the Hayagriva

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form, Vishnu went to the Rasatala and started to recite the Vedic hymns with his

melodious voice. The demons were attracted to the sweet recitation and searched

the source of the melodious voice. Immediately Vishnu took the chance to recover

the Vedas and returned to Brahma. The demons saw that Vedas were taken by

Vishnu and they were ready to fight with Vishnu. Finally, Vishnu killed them and

again slept in the north-east comer of the great sea in his Hayagriva form. The

Mastya Purana (chapter 53) recorded another version that when the world was

burnt down in a great dissolution, Vishnu in the form of a horse recompiled the

Vedas, Vedangas, Nyaya-Vistara, Mimamsa and Dharmashastra. The Kalika

Purana of ll"^ century A. D provided detailed description about the Hayagriva

form on the Manikuta hill. Purana stated that after killing the demon, Jvarasura,

Lord Vishnu in his Hayagriva form stayed at Manikuta hill for the good of all

men, Gods and demons and he took a recovery bath nearby in a lake which was

known as ''apunarhhavd' (Sridhara Babu, 1990).

The Yogini Tantra of 14"̂ century A. D described another legend of origin

of the Hayagriva Madhava temple. According to legend, the king of Orissa,

Indradyumna wanted to make a perfect statue of Lord Vishnu and roamed the

whole World but did not find out. Vishnu was satisfied for his attitude and

appeared before him in his dream. Vishnu advised him that in early morning, one

big tree would come floating by seashore and king would have to cut into seven

pieces for making the idol. According to his dream, king found the tree on the

seashore and cut the tree into seven pieces. He made seven idols from the tree and

established in different parts of the country. Legend said that the main part of the

tree was established in Orissa known as Jagannath temple and another idol which

was brought over to Manikuta hill was established in Hayagriva Madhava temple

(Das, 1999).

According to the temple legend of Hayagriva Madhava temple, before

establishing the temple, once a sage named Urba, the son of Bhrigumoni, came to

the Manikuta hillock for the meditation. Jvarasura and Hayasura who were the

leaders of the demon's group lived at this hillock. Therefore, Urba was disturbed

by the demons. The sage prayed to Lord Vishnu for save him from the demon's

group. Then Vishnu appeared in front of him and killed the demon's group. When

Vishnu was ready to kill Hayasura then the demon prayed to Lord that he wanted

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to stay with him at this place. Vishnu fulfilled the Demon's request, therefore, the

temple was known as Hayagriva Madhava temple.

Numerous references show that a great number of legends are developed

behind the Hayagriva Madhava temple. Some legends are recorded in the numbers

of ancient texts and some are passed verbally through the generation by

generation.

A good number of ancient texts mentioned about the iconographic

representation of the Hayagriva image. According to Kalika Purana, Hayagriva is

seated on a white lotus. He is decorated with the earrings and all kinds of other

ornaments; he has four arms performing the postures of granting boon and

providing safety while other hands hold a white lotus and a book. Sometimes,

Hayagriva associates with mount Garuda (Shastri, 1994).

8.4 Sculptures of Hayagriva Madhava Temple

The exterior walls of the garbhagriha contain most of the images, which

are moulded and chiseled in the form of divinities, foliage, fauna, abstract

geometrical ornament etc. Some of the images of elegant carvings which are of

original temple building are lying scattered within the temple campus. Five

numbers of images of different sizes which are locally called as Bura Madhava,

Hayagriva Madhava, Govinda Madhava, Basudeva and Garuda are installed in the

garbhagriha which is like a cave. All the images are covered with garland of tulsi

and cloth for the religious prohibition; therefore, it is impossible to observe the

images. Only the heads of the images are visible. Among them, the image of Bura

Madhava is of gigantic size. A carved door frame of stone which reveals the

influence of Gupta art is placed in the sanctum of the temple because floral

designs with makara figures which are depicted on the door frame carry the

characteristic features of the Gupta art. The main attractive part of the temple is

the temple plinth where numerous sculptures of elephant are placed. The nature of

the elephants shows that they support the whole superstructure of the temple. This

plinth moulding is the original part of temple building which is thought to be the

original part of a Buddhist shrine. It was observed that the old sculptural materials

were used with the new materials for the reconstruction of the temple. Besides,

numbers of old sculptural pieces of gigantic sizes are lying scattered within the

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temple campus. The sculptures of Hayagriva Madhava temple are divided into

four parts,

8.4.1 Religious Sculptures

Religious sculptures play a vital role in the Hayagriva Madhava temple.

Among the religious sculptures, the images of different Gods and Goddesses

occupy the conspicuous position in the sculptural art of Hayagriva Madhava

temple. The religious images are the twelfth incarnations of Vishnu, eight

guardian deities called Dikpalakas, Sakti image etc. Besides these images, some

narrative scenes from the Indian epics are enshrined in the temple art. Though, a

small group of sculptures are inscribed on the interior walls of the temple but most

of the sculptures are carved out on the external walls of the temple building.

It is important to note that male image is depicted in large numbers while

females are depicted in limited numbers. In addition, Waddell mentions, "The

upper walls are covered with sculptural figures nearly life size. The ten avatars of

Vishnu are represented with Buddha as the ninth. The remaining figures are of a

rather nondescript character but they are mostly male " (1895). The

trident is held by the most of the sculptured figures on the walls, and Sakti rites

are more pronounced here, than in any other place in northern India (1895).

a) Incarnations of Vishnu

Mythologies play a great role in the depictions of various images because

the sculptural representations of Vishnu's twelfth incarnations which are inscribed

on the outer wall of the garbhagriha reveal the various myths. Vishnu's well

known ten incarnations are the Matsya avatara, Kurmma avatara, Varaha

avatara, Narasimha avatara, Vamana avatara, Parasurama, Rama, Balarama,

Buddha and Kalki. Some ancient texts such as Mahabharata, Gita Govinda,

Brihat Samhita, Matsya Purana, Vishnudharmottara Purana etc described about

the visual representations of various incarnations of Vishnu.

In the visual representation of Vishnu, he holds a sankha symbolizes as

eternal Space; chakra symbolizes as eternal Time; gada, symbolizes as eternal

Law and the unfailing punishment, consequent on its breach; padma symbolizes

as the ever renewing creation and its beauty and freshness. The vehicle of Vishnu

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is Garuda which is the composite forms of bird and man. He is accompanied by

two wives namely Saraswati and Lakshmi (BhattasaH, 1929). It is notable that in

the Hayagriva Madhava temple, all the incarnations are not visible due to the

reconstruction.

According to mythology, Lord Vishnu is the second member of the Hindu

and he assumed many incarnations to protect the World. The images of Vishnu

show the characteristic styles of the different periods.

i) Varaha Avatara

The Varaha avatara, which is also called as Boar incarnation is the third

incarnation of Vishnu. This image is the composite form of man and boar and is

well executed on the outer wall of the garbhagriha of the temple (Plate 8.2).

According to mythology, Vishnu assumed the form of Varaha to save the earth

Goddess, Prithivi from the clutches of the demon Hiranyaksha. During the Great

flood, the earth disappeared under water. At that moment, Vishnu took the form of

a boar diving into the deep water, slew the demon after a long struggle and

rescued the earth from deep water (Gupte, 1972).

This incarnation has special significant regarding the ancient Assam

because there is a popular legend which is found in the epigraphic records that

Naraka, the founder of mythical line of emperors of Assam is described as the son

of Vishnu in his Varaha form (Barpujari, 1990). Descriptions of several forms of

Varaha avatara are found in the Puranas as well as in Agamas.

The Boar incarnation of this temple is of four handed image, which is

represented in standing posture with the nature of Vishnu of which usual attributes

such as the sankha, chakra, gada, padma are given. For the beautification of

image, the headgear, ear ornaments, necklace, armlet and wrist ornaments are

given. His dhoti extends up to the knee where a fold is shown in the middle part of

dhoti. The image is carved out in low relief The characteristic feature indicates

that the image is done in later period.

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ii) Narasimha A vatara

The Narasimha avatara who is the fourth incarnation of Vishnu is found

on the temple wall (Plate 8.3). He is also called man-lion incarnation. The carving

nature of the image indicates that the image is of original temple building. This is

a composite form of man and lion. The image creates a horrible look in visual

representation. The Vedic literature also mentioned about this incarnation. Ancient

texts like Mahavarata, Agni Purana, Matsya Purana, Bhagavata Purana, Vishnu

Purana etc mentioned about this incarnation. Mythology informed that Vishnu

assumed this composite form to kill Hiranyakasipu who was a demon. According

to Vishnu Purana, Hiranyakasipu acquired a boon from Brahma that nobody

could kill him including all human, animal or any divine power. He also would

not be killed either in heaven or on earth, neither in night nor in day. Acquiring

the boon, demon became powerful even he did not any care to God. Demon had a

son named Prahlada who was the follower of Lord Vishnu; therefore, demon

disliked his son because of this cause and he tortured Prahlada. To kill the demon,

Vishnu assumed the form of a Man-lion incarnation with his nails tore the belly of

the demon open. According to Bhagavata Purana, to find out Vishnu,

Hiranyakasipu hit a pillar and broke the pillar, Vishnu in the form of a being a

half-man and half-lion came out from the pillar and tore the stomach of the demon

open (Bhatnagar, 1994-1995). On the basis of this legend. Artist tried to visualise

the sculptural depiction of the Narasimha avatara.

The ancient texts recorded about the iconographic norms of the image of

Narasimha. According to the authority, the figure of Narasimha is sculpted with

eight hands; two of them are employed in tearing open the belly of Hiranyakasipu,

while four others carry the sankha, the chakra, the gada, and the padma. The

remaining two hold the drawn out entrails of Hiranyakasipu garland-wise (Rao,

1914). The Matsya Purana also described about this image, 'T/ze God and demon

should be shown fighting with their legs interlocked; the former should appear as

being repeatedly attacked by the tired demon who should be shown as holding a

sword and a shield' (Banerjea, 1956).

The image of Narasimha is shown with four handed and illustrated with

the terrific aspect. The whole composition is able to create a horror atmosphere. In

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the visual representation, the upper hands of the image are engaged in bringing

out the entrails from the stomach of the demon where lower hands are busy in

tearing out the stomach of Hiranyakasipu. To show the terrific aspect, the artist

carved teeth sharply which distinctly visible in the mouth of the man-lion

incarnation. He is given all the necessary ornaments where his headdress is of the

unique representation.

iii) Rama

An image is identified as Ram who is one of the important incarnations of

Vishnu and found on the outer wall of the temple (Plate 8.4). He is the hero of the

great epic Ramayana. He appeared for the purpose of destroying the demon

Ravana. Rama is the popular deity in the Northern India. In the iconographic

representation, it is described that Rama is always depicted with two hands. His

emblems are the arrow and the bow in his hands. Rama is illustrated as standing

image of the tribhanga variety. The image is beautified with different ornaments

(Rao, 1914).

The figure of Rama of the Hayagriva Madhava temple is found in standing

posture. Here, the figure adorns different ornaments and is depicted a headgear on

his head. He holds bow and arrow in his hands where the holder of arrows is

shown on his back side. His lower garment is extended up to the knees. This

figure's characteristic feature reveals that the image is done in later period.

iv) KalkiAvatara

The Kalki avatara which is the last incarnation of Lord Vishnu is

visualized on the exterior wall of the temple (Plate 8.5). According to mythology,

it was thought that Kalki avatara appeared at the end of the Kali-yuga or the

present Dark Age. The image of Kalki avatara is seated on a white horse, with a

drawn blazing like a comet, for the final destruction of the wicked, the renovation

of creation, and the restoration of purity (Dowson, 1888). The Vishnu Purana

described about this incarnation. According to this authority, ""Thus, when

ceremonies based upon the Vedas and the institutes of the sacred law shall have

nearly ceased, and the end of Kali-yuga will approach, a portion of that divine

being, who is the creator of the whole universe, the protector of all removable and

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moveable beings, M>ho is identical with Brahma and all created beings, shall

incarnate himself on earth. He will be born as Kalki" (Rao, 1914). Numbers of

iconographic texts explained about the visual representation of Kalki avatara.

According to Vishnudharmottara Purana, "A powerful man angry in mood, riding

on horseback with a sword in his raised hand" (Banerjea, 1956).

The Kalki image of Hayagriva Madhava temple is of two handed and

seated on an ornamented horse. The deity holds sword in his right hand while

other hand holds the bridle of the horse.

b) Sculptures of Dikpalakas

A group of deities which are called as Dikpalakas is illustrated in the

temple art. According to Hindu mythology, the Dikpalakas contain eight members

of deities who are the guardian deities of the Universe and each deity controls

each side of the universe. The concept of guardian deities was developed from the

Vedic time. The guardian deities are Indra (the Lord of the east), Agni (the Lord

of the south-east), Yama (of the south), Nirruti (of the south-west), Varuna(of the

west), Vayu (of the north-west), Kubera (of the north) and Isana (north-east) (Rao,

1914). The exterior walls of the Hayagriva Madhava temple display almost all the

guardian deities.

i) Indra

The image of Indra which is displayed on the exterior walls of the

Hayagriva Madhava temple is the first guardian deity. He is accepted as the

guardian deity of the eastern side of the universe (Plate 8.6). During the Vedic

period, he was the most popular deity. He was described as the atmospheric deity;

therefore he governed the weather and dispensed the rain. This image was also

famous for Buddhist art. In the sculptural art, the image of Indra is found in

different poses such as the meditative mood or dancing mood or warrior. The

sculpture of Indra in the Hayagriva Madhava temple is shown in fighting mood. In

the visual representation, Indra rides on an elephant which name is Airavata and

attacks a demon with his thunderbolt. In the composition, the Airavata is fully

ornamented like a royal animal carved in realistic manner. In the background of

the composition, a tree of realistic representation is depicted. Artists tried to create

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a natural atmosphere depicting the tree motif in the background scene while the

whole scene gives a lifelike expression.

ii) Agni

An image is identified as Agni who is God of fire inscribed on the outer

wall of the garbhagriha of the temple (Plate 8.7). He is the Lord of south-east

comer of the universe. Most of the hymns were composed addressing to God

Agni. In addition, '''Agni is the lord, protector, king of men. He is the lord of the

house, dM'elling in every abode. He is a guest in every home; he despises no man,

he lives in every family. He is therefore considered as a mediator between Gods

and men, and as a witness of their actions; hence to the present day he is

worshipped and his blessing sought on all solemn occasions as at marriage,

death." (Wilkins, 1882). According to Vedic concept, he was illustrated as a red

man having three legs, seven arms, dark eyes, eye-brows and hair. He adorns a

Brahamanical thread and a garland of fi-uit and Ram was his vehicle. Flames of

fire come out from his mouth and seven streams of glory radiated from his body

(Wilkins, 1882).

According to Vishnudharmottara Purana, Agni holds the flames of fire

and the trisula. The left hand holds the aksamala while the remaining left hand

embraces his wife Svaha. The image has four sharp tusks and his chariot is driven

by four parrots having a banner which is like smoke and Vayu is the driver of his

chariot. When consort is depicted with him then Agni carries a ratna patra. The

Agamic texts provide another version of this deity whom is represented as four or

two handed. When he is depicted as four handed then his attribute are the varada

pose, abhaya, pose, sruk and sakti. But when he is shown as two handed then the

image's emblems are the sruk and sakti respectively (Rao, 1914).

The image of Agni in the Hayagriva Madhava temple is depicted as two

handed. He is seated on back side of his vehicle, ram. The right hand holds a sakti

while the left hand carries a ratna patra. Artist tried to follow the iconographic

norms in depicting the image. Besides, the sculptor tried to give motion on the

running ram.

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iii) Yama

An image of Yama is carved out on the outer wall of the Hayagriva

Madhava temple and is regarded as the Lord of south direction of the universe

(Plate 8.8). He is the judge of men of unseen world. In the Vedic period, he was

also accepted as God of dead. According to Rig Veda, Yama was represented as

having anything to do with the punishment of the wicked (Wilkins, 1882).

According to Padma Purana, ''Yama fulfils the office of the judge of the dead, as

well as sovereign of the damned; all that die appearing before him, and being

confronted with Chitragupta the recorder, by whom their actions have been

registered. The virtuous are then conveyed to Swarga (Indra 's heaven), whilst the

wicked are driven to the different regions of Naraka (hell)" (Wilkins, 1882).

Besides, the Vishnu Purana mentioned, "All men at the end of their existence

(life) become slaves to the power of Yama, by whom they are sentenced to painful

punishments'" (Wilkins, 1882). Further, it is stated that if Vishnu is worshiped in

his many incarnations, people can be free from Yama's authority. According to

Vedic concept, the image of Yama is presented as a green man while the garment

is of red colour. The figure has a crown and flower on his head. He is given a club

as attribute and the buffalo is vehicle of him (Wilkins, 1882).

The image of Yama of Hayagriva Madhava temple is presented as one of

the guardian deities of the south. Here, the figure of Yama is seated on back side

of the Buffalo which is fully ornamented. The animal is depicted in profile view

while Yama is shown in frontal view. His two hands hold a club and the rounded

belly is shown prominently. A small piece of cloth which is given on his upper

body part is flying on his back sides. Depicting the cloths on his back sides, artist

tried to give lifelike atmosphere.

iv) Varuna

A sculptural image of Varuna is found in the Hayagriva Madhava temple

(Plate 8.9). Instead of depicting on the temple wall, the image is found as

scattered sculpture within the temple campus because the original temple is

reconstructed. The figure of Varuna which is original image of the temple

building is given high artistic qualities.

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Varuna is the guardian deity of the west and is the Lord of rain, water and

sea. He came to be focused as deity during the Vedic time and was sovereign ruler

of the universe. The visual representation of Varuna is of white colour and wears

yellow garment which gives a pacific look. The figure adorns karandamukuta,

sacred thread along with other ornaments. The fish or makara or crocodile is the

vehicle of him. When he is represented as two handed, his emblems are the

varada pose and pasa while he is depicted as four handed, the emblems are the

varada pose, pasa, snake and kamandalu respectively. In the sculptural

representation, Varuna is associated with the figure of Ganga and Yamuna (Rao,

1914).

The image of Varuna of this temple is illustrated as seated figure in

meditative mood on a makara figure. The carving nature of Varuna is completely

different from other images because the image of Varuna is carved out smoothly.

It is noteworthy that the image of Varuna along with makara figure is showed in

frontal view on a single stone block. Therefore, both the figures come out from

the stone slab. It is rare depiction that most of the vehicles of divine images are

illustrated as side view; on the contrary, makara is represented as frontal view.

Depicting this image, artist tried to give a new perspective in the sculptural art of

Hayagriva Madhava temple. He is fially ornamented with a tall conical headgear.

He is two handed image carrying an aksamala in his right hand and a snake in the

left hand.

v) Vayu

Vayu who is God of wind is the important guardian deity of the north-west

inscribed on the outer wall of the Hayagriva Madhava temple (Plate 8.10). In the

Veda, he was often associated with Indra because sometime, Vayu performed

being a charioteer of the car of Indra. According to Vedic concept, three Gods

connected to each other such as Agni is placed in the earth, Vayu or Indra is

placed in the air and Surya is placed in the heaven. In the Mahabharata, he is the

father of Bhim and Hanumana. The Purana also mentioned him as the son of

Aditi. In the iconographic representation, Vayu is a white man riding upon a deer

(Wilkins, 1882).

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The image of Vayu of this temple is shown seated on back of a deer which

is prescribed in different texts. The two handed Vayu holds a tree in his right hand

while a banner is depicted in the left hand. Here, the deer is seemed to be running

and Vayu is fully involved in motion. A natural atmospheric situation is created

by the image of Vayu. The artist carved out the image in flat relief sculpture.

vi) Kubera

Kubera who is another member of Dikpalakas, the Lord of north and the

God of treasures is sculpted on the exterior wall of the Hayagriva Madhava

temple (Plate 8.11). According to Buddhist mythology, Kubera is also God of

riches and is the guardian deity of the northern region of the universe. The

Ramayana also mentions that Kuvera is represented as the giver of riches. The

visual representation of Kubera is described as two handed or four handed. When

Kubera is depicted as two handed then emblems are the varada and abhaya or

gada, on the contrary, if he is carved out as four handed image then he embraces

his consorts, Vibhava and Vriddhi by his two hands while other hands carry the

gada and sakti. He is fully ornamented with karandamukuta, kundalas and

necklaces which are composed of a series of golden coins. His appearance is

given either good looking or even terrific looking. According to

Vishnudharmottara Purana, Kubera wears clothes like westerners and the body is

protected with armour. He is given moustache along with side tusks on his mouth.

He is seated on padmapitha or on a chariot. The Rupamandana mentions that the

elephant as vahana is given to Kubera and emblems are the gada, a purse

containing money, a pomegranate fruit and a kamandalu (Rao, 1914).

The image of Kubera of the Hayagriva Madhava temple is shown seated

on the shoulder of a man and they are flanked by two women who are the consorts

of him. Each figure holds the gada, on the other hand, Kuvera holds a ratna patra

because he is a Lord of treasurer. Stylistic feature indicates that the sculptural

composition is done in later period.

viii) Isana

Isana, the Lord of north-east quarter of the universe is found on the outer

wall of the garbhagriha in the Hayagriva Madhava temple (Plate 8.12). Though,

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Isana is a guardian deity but he is accepted as one of the manifestations of Siva. In

the visual representation, he has three eyes and wears a tiger's skin which is his

usual dress. He has given ajatamukuta having crescent moon. The deity adorns a

sacred thread or snake as ornament. He is seated either on apadmasana or upon a

white bull. When he is depicted as two handed then he carries the trisula, kapala

or varada pose. The vina, varada and abhaya poses are illustrated when the image

is displayed as four handed (Rao, 1914).

The image of Isana of this temple is shown as four handed while the upper

left hand is slightly mutilated. He holds a trisula, therefore, he is very similar to

image of Siva, but other hands are not clearly identified. The carving style

indicates that the image is not original and possibly is done in later period.

c) Miscellaneous Sculptures

Some of the miscellaneous religious sculptures are found on the exterior

wall of the garbhagriha, on the other hand, some are scattered within the temple

campus.

A sculptural composition is inscribed on the exterior wall of the

garbhagriha (Plate 8.13). In the sculptural depiction, two warriors go to battle

riding on a mythical animal, makara, which is their vehicle. Interestingly, their

vehicle is of peculiar type which is the rare representation in the sculptural art of

Assam. The makara figure shows the tremendous movement in body. The artist

added his own creativity in depicting the makara figure because five number

horses in miniature form are placed in the body of makara motif which is aquatic

animal. All the horses are encircled by circles. The middle one horse is carved out

in full circle while the remaining horses are showed in half circles. The first one

who is seated in vehicle appears like a royal man because he adorns all types of

ornaments and also is given headdress. He also holds bow in his left hand. His

face is in profile view while the body is in frontal view. On the contrary, the

charioteer is given a coiffure and adorns with simple ornaments. The face of the

charioteer is placed as semi profile while body is in frontal view. Artist was able

to capture the motion on both of the seated figures. On back side of them, a small

flag is flying. The carving style of the composition indicates that this sculptural

scene is done in mature phase of the sculptural art of Assam. Besides, the

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depiction of makara figure with floral motif reveal about the influence of Gupta

art.

An image of Vishnu with his vehicle, Garuda in standing posture is found

on the exterior wall of the sanctum of the temple (Plate 8.14). The image holds the

usual attributes such as the sankha, chakra, gada and padma. The feature

indicates that the image is done in later period.

It is noteworthy that among different images of Vishnu, an image of

Goddess Sakti, which is identified as Goddess Kali appears on the temple wall

(Plate 8.15). Possibly, due to the influence of Tantricism of Vaishnava religion,

this type of image is displayed in this Vishnu temple. The image of Sakti is shown

as large in size. In the visual representation, Goddess Kali stands on God Siva.

The female divinity holds the sword and the shield in upper hands. The lower left

hand holds a skull and right hand holds an unidentified object. Devi adorns all

types of ornaments but she also adorns a mundamala. The image is placed upon a

human figure, which is Siva. Her headdress is of peculiar type. The Goddess is

represented as semi nude.

A gigantic image, which is associated with the religious sculpture, is

carved out on the outer wall of the sanctum of the temple (Plate 8.16). The figure

is strongly carved out while his headdress recalls the ancient Egyptian art. This

type of figure appears uncommonly in the sculptural art of Assam.

A horrifying image which is identified as the Yamduta is inscribed on the

outer wall of the garbhagriha (Plate 8.17). He is given a terrific look depicting the

tongue and open eyes. Depiction of image of Yamduta is rarely found in the

temple art. According to mythological concept, Yamduta gives punishment to the

sinner men after their death. The image of Yamduta holds a whip on the right

hand while other hand holds a danda. He wears a peculiar dress in the lower

portion, which is called langoti.

The sculptural art of Hayagriva Madhava temple contains numbers of

images of sages, which are found on the outer walls or as scattered images (Plate

8.18 and Plate 8.19). Most of them are placed in meditative mood as well as in

standing posture. According to the authority, in the sculptural representation.

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rishis are seated or standing on the padmapitha. They are shown as peaceful old

men with flowing beards reaching up to the chest, with their foreheads marked

with three streaks vibhuti. They carry a walking stick in their hands while the right

hand performs the jnana mudra and the left arm keeps on the knee of the left leg.

They wear garments made of barks of trees while white cloths are depicted in

upper body part (Rao, 1914).

The image of meditative man in semi profile is covered the whole body

by cloth and is in standing posture (Plate 8.18). He has a coiffure representing as

the beard man. This image is found within the temple campus as scattered image.

On the other hand, Plate 8.19 illustrates another image of meditative man which is

found on the outer wall of the sanctum. He has also a coiffure on the top of his

head and holds a sacred thread on his hand. Stylistic feature is not similar with the

plate no. 8.18.

A sculptural scene is shovm of a procession of women inscribed on the

exterior wall of the temple (Plate 8.20). The village women possibly go to some

religious programme because the first one woman carries bananas in her hands;

the second one holds his son and the third one also bears a fruit in her hand. Artist

tried to depict perspective carving the images in this composition. Stylistic

expression indicates that the work is done in later period. The women dressed like

traditional Bengali woman. It can be said that Bengal is too nearer state of Assam

therefore, the images were easily influenced by the tradition of Bengal.

Besides, a large number of religious images, some narrative scenes are

also displayed on the temple walls. Among them, a scene represents from the

event of Ramayana, where Ravana tries to kidnap Sita. A combat scene which is

borrowed from the event of the Mahabharata is found. Feature of the sculptural

scene indicates that the work is carved out in later period. Amalgamated of

narrative scenes with other religious images of this temple enhanced the aesthetic

expression in uniqueness.

Some architectural piece of the Hayagriva temple contains a limited

numbers of images of erotic nature. The figures are seemed to be engaged in

coital posture. Due to the Tannic influence of Vaishnavism, these of types of

images are installed in the sculptural art of Hayagriva Madhava temple.

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8.4.2 Flora and Fauna

Both the flora and fauna are noticeable matter for this temple site.

a) Depictions of Flora

Under the flora section, numbers of floral motifs are seen in the different

architectural parts of the temple building. The most prominent floral motif is

observed on the friezes of the temple plinth, where the petals of lotus are depicted

in design pattern (Plate 8.21). Some of the lotus petals of different type are carved

out on the surfaces of temple walls to relieve from monotonous carvings of the

images (Plate 8.22). This kind of lotus motif is illustrated in rhythmic manner as

well as in designable pattern. Most of them are enclosed with the divine images to

enhance the aesthetic grandeur. Sometimes, floral motifs are blended with the

geometrical forms. Plate no. 8.23 shows that full bloomed lotuses are

amalgamated with geometrical forms such as circle and diamond. The lotus motifs

are placed within these geometrical forms. These are also added as border designs

on the outer walls of the temple.

A depiction of graceftil creeper motif is found on the door frame of the

garbhagriha. This kind of creeper motif is also available in the sculptural art of

Daparbatiya temple and Kamakhya temple also. This creeper motif reflects the

influence of Gupta art. In addition, '"'The stone-door leading to the Manikuta

contains fine foliage decorations recalling Gupta arf (Choudhury, 1988).

Besides, the floral motifs of realistic representation are found on the lower parts of

the door jambs of the garbhagriha.

A realistic depiction of tree motif is observed on back side of Indra (Plate

8.24). This tree motif is uniqueness due to the natural carving of the tree. Besides,

realistic representations of floral motifs are also observed on the stone block

where the lion motifs are placed.

b) Depictions of Fauna

Among the fauna group, the animals are found in realistic representation

as well as composite forms. The most prominent sculptural figure is the elephant.

The numerous images of elephant are depicted as the base moulding at this temple

330

architecture (Plate 8.25). Numerous elephant motifs are represented in a row

giving the support of the super structure of the temple. In the depictions, the

elephants are given a royal look because they adorn ornaments. All the tusker

elephants of the temple plinth are carved out in high relief From the literary

evidences as well as sculptural evidences, it can be said that the temple is the

original part of the Buddhist shrine. The sculptural portion of the elephant is very

similar to the decorative style of the Kailas cave temple of Ellora (Waddell,

1895). Elephant stands as the symbols of strength, power, courage, gentleness,

fortitude, devotion etc.

According to Hindu mythology, elephant is the vehicle of Indra. Indra

along with his vehicle, elephant is connected to the rain. In Buddhist world,

elephant also connected to Buddha's Birth. Elephant is the symbolic

representation of Buddha. According to Jataka story, before birth of Gautam

Buddha, mother Mayadevi had a dream appearing white elephant. Elephant was

the most sacred animal for the Buddhist world. Therefore, elephant was depicted

as symbolically in the Buddhist art and architecture. The earliest sculptural

representation of Indra on Airavata was found on the entrance to the cave at

Bhaja. An image of Indra who is seated on Airavata was showed visiting Buddha

in Gandhara art. According to mythology, Vishnu also connected with elephant.

The mythology is described in Bhagavata Purana. According to legend, once

upon a time, there was a king of elephant named Gajendra. In a hot day, Gajendra

planned to bath in a nearby lake. A crocodile lived in that lake. When Gajendra

took bath in the lake, the crocodile attacked Gajendra and caught tightly one of

his legs. At last, Gajendra prayed to God Vishnu holding a lotus up as an offering

for saving his life. Immediately, Vishnu was visible in front of him to save

Gajendra's life. Vishnu detached the crocodile's head by his chakra saving the

life of Gajendra (Gupta, 1983). This mythology reveals that the elephant is

closely connected to Lord Vishnu. Though, the elephants of Hayagriva Madhava

temple are sculpted as relief sculpture but this animated motif is carved out like

free standing sculpture.

Besides elephant, verities of animals are displayed on the surfaces of the

temple because a great verity of animals is engaged as vehicle of the divine

images. The animals are ram-vehicle of Agni, elephant-vehicle of Indra, deer-

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vehicle of Vayu and buffalo-vehicle of Yama and lion. The depictions of large

numbers of animals reveal that the artists had good knowledge about the animals.

The figures of lion are observed on fragments of the pillars (Plat 8.26).

Nature of the sculptured block reveals that these are originally parts of the temple

building. Representations of three lion motifs of a stone block lying scattered at

the temple campus. The figures of lion of frontal view are carved out in

stylisation. These are attached to the floral motifs. Depictions of lions recall the

Lion capital of Mauryan art. In addition, ''At that time of the reconstruction of the

temple in the sixteenth century it appears that a large number of carved stones

belonging to an older temple were spread over the court- yard in front of the

temple and some were used to make a flight of steps leading up to the temple.

Some of these have now been brought out by excavation. These include a massive

lion capital of the Mouiya type made up in two equal halves (1935).

The makara figure which is accepted as mythical animal in Indian art is

elegantly carved out in good numbers. This aquatic animal is used as vehicle or

independently in art of this temple. God Varuna uses this animal as vehicle.

Besides, another makara figure which is attached as vehicle in the battle scene is

found in the temple art. A pair of makaras is observed on the door frame of the

garbhagriha of the temple. The makara figures are displayed with some floral

motifs. In Indian mythology, the makara figure is the vehicle of Ganga but the

river Goddess is absent here. Goddess Ganga along with makara figure is very

commonly met on the temple art of the Gupta period. Therefore, it can be

assumed that the makara figures are illustrated during time of Gupta art. The

makara figure is well executed at this site. The aquatic animal, makara motif is

found in composite form where the crocodile and fish are composited.

8.4.3 Geometrical Designs

Though, the depictions of geometrical forms are not found available but

the most intricate cravings of the geometrical designs are noticed on the temple

plinth. Plate 8.27 displays the designs like fence. These are the finest carvings

depicted above the friezes of elephants on the temple plinth.

332

A motif of complex design in repeating manner is observed on the temple

walls (Plate 8.28). There are two kinds of motifs observed, where one is like star

design and other is very similar to the anata, which is one of the members of eight

auspicious motifs of Indian art and symbolises continuous knot. This motif is

uncommonly found in temple art. This carving creates a peaceful expression

which is called Shanta rasa.

8.5 Conclusion

The chapter concludes with the following analysis.

The sculptures are amalgamated with the influences of Hindu as well as the

Buddhism. Since, the sculptures carry the characteristic features from both of the

religions. Various incarnations of Vishnu with others some Hindu images are

inscribed on the outer walls of the garbhgriha. On the contrary, the temple plinth

contains numerous elephants which reveal the influence of Buddhism. The

elephant is most common symbolic representation of Buddha. This type of carved

temple plinth is rarely found in the sculptural art of Assam.

A great verity of mythologies associate with the temple and are recorded

in the different ancient texts. Each image of religious theme also connected with

the legends. The legends and motifs are interrelated in the temple art.

In the sculptural scheme, religious sculptures play a vital role because a

large number of images show the iconographic canons. Among them, Vishnu's

numbers of incarnations occupied a major place on the surfaces of the temple

walls. Besides, members of Dikpalakas and Sakti image are inscribed which are

the rare representations in the sculptural art of Assam.

The sculptures of Hayagriva Madhava temple show the characteristic

features of different times because the temple was reconstructed many times. The

sculptures show the characteristic features from early Indian art that is Mauryan

art to the late mediaeval art of Assam.

Evidences reveal that the temple is influence by Gupta art because on both

sides of the door frame of garbhagriha, figures of makara with the floral motifs

are inscribed while makara is the symbolic representation of Ganga. Depictions of

333

the Ganga and Yamuna with their vehicles, makara and tortoise are the

characteristic features of the Gupta art.

The influence of Mauryan art is found in the sculptural art of Hayagriva

Madhava temple because some fragments of pillar reveal this idea while lions of

large size in frontal view are displayed.

A large number of animated motifs which are realistic representations as

well as composite form are found. The numerous elephants of realistic

representations are depicted on the temple plinth as the supporter of the temple

building. Mostly the representations of the realistic animals are placed as vehicles

of the divine beings. Among the composited animated figures is the makara motif

is found in good numbers.

The most of the sculptures of this temple expressed the Shringar rasa, Shanta

rasa, Raudra rasa and Veer rasa of heroism. Depiction of Shringar rasa is

observed in the sculptures of erotic motifs which are found at the temple campus.

Most of the divine images along with meditative figures reveal the Shanta rasa.

The combat scenes which are installed on the temple wall show the depiction of

Veer rasa. Table 8.1, Table 8.2 and Table 8.3 provided detail analysis of some

sculptures.

Table 8.1

Religious Sculptures

Incarnations of Vishnu

a) Varaha avatar a

h)Narasimha avatara

Analysis

The image of Varaha avatara is available on the

exterior wall of the temple. He is represented as four

handed in standing posture. The usual attributes such

as sankha, cakra, gada, padma are depicted in his

hand. The image is of low relief carving (Plate 8.2).

Narasimha avatara is the fourth incarnation of

Vishnu. God is given terrific look depicting open eyes

and mouth. The upper hands of the man-lion image

are engaged in bringing out the entrails from the

stomach of the demon where lower hands are busy in

tearing out the stomach of Hiranyakasipu.

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c)Rama

d)Kalki

Sculptures of Dikpalakas

e)Indra

f)Agni

g)Yama

Characteristic feature indicates that the image is

original part of the temple building (Plate 8.3).

Rama is the seventh incarnation of Vishnu where this

image is illustrated on the outer wall of the sanctum

of the temple building. Rama is holding a bow and

arrow in standing posture (Plate 8.4),

Kalki is the tenth incarnation of Vishnu which depicts

on the outer wall of the garbhagriha of the temple.

The image is well carved out. Two handed image is

seated on a horse which is the symbolic representation

of him. The image is holding a sword by his one hand

and other hand holds the bridle of the horse (Plate

8.5).

The image of Indra who is depicted on the outer wall

of the sanctum is considered as the guardian deity of

eastern deity of the Universe. In the sculptural

depiction, Indra along with his vehicle Airavata is

shown fighting with a demon. Indra is attacking the

demon which seems to be lion like animal with his

thunderbolt. In the background, a motif of tree is

depicted (Plate 8.6).

An image of Agni who is the guardian deity of the

south-east comer of the Universe is depicted on the

outer wall of the garbhagriha of the temple. The

image is seated on the back side of the ram which is

the iconographic representation of him. The two

handed figure holds a sakti and vessel in his hands

(Plate 8.7).

An image of Yama is carved out on the outer wall of

the garbhagriha. According to mythology, Yama is

the Lord of south. Yama is depicted on the back side

of his mount the Buffalo, which is symbolic

representation of him. He holds a club and is given a

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h)Varuna

i)Vayu

j)Kubera

k)Isana (Plate 8.12)

Miscellaneous Sculptures

1)

m)

terrific look by his open eyes, but his face is slightly

mutilated (Plate 8.8).

An image of Varuna is seated on a makara found as

scattered sculptural piece. According to myth, the

Varuna is the guardian deity of west. He is holding

the aksamala and snake which are the emblems of

him. The characteristic feature indicates that the

sculptural piece is original part of the temple building

(Plate 8.9).

An image of Vayu is found and seated on the deer

which is the emblem of Vayu. He carries a banner and

tree in both of his hands (Plate 8.10).

Kubera is the Lord of north and another member of

Dikpalakas. The image is carved out on the outer wall

of the garbhagriha of the temple. Kubera is presented

with his two wives and he is seated on a man. The

image is carrying a club and ratna patra, since; he is

the Lord of treasurer. The image is possibly done in

later period (Plate 8.11).

The image of Isana is the guardian deity of north-east

quarter of the Universe inscribed on the outer wall of

the sanctum of the temple. The four handed image is

very similar to the God Siva because he holds a

?mw/a (Plate 8.12).

A sculptural depiction shows a scene where two

figures go to the battle place because they hold the

bow and the sword in their hands. The warriors ride

on a mythical animal, makara. The depiction of

makara reveals the influence of Gupta art. A

dynamic movement is captured in the scene (Plate

8.13).

An image of Vishnu who holds his usual attributes

like sankha, chah-a, gada and padma is depicted on

336

n)

0 )

P)

q)

r)

s)

the wall of the garbhagriha. The image indicates that

the work was done in later period (Plate 8.14).

An image of Sakti Goddess, who is Kali is inscribed

on the outer wall of the garbhagriha of the temple.

The image is given horrible look depicting a

niundamala as garland. She holds the sword and the

shield, a skull and an unidentified object. She is

placed upon a Siva's body regarding the mythological

story. The image reflects the Raudra rasa (Plate

8.15).

A gigantic image is inscribed on the outer wall of the

garbhagriha. The image is strongly carved out and

recalls the ancient Egyptian art (Plate 8.16).

An image is called Yamduta inscribed on the outer

wall of the garbhagriha of the temple. A horrible look

is given to the image. The two handed image holding

a danda and wears a small piece of cloth which is

called langoti (plate 8.17).

An image of meditative man is carved out from a

stone block. The hand posture indicates that he fully

involves in meditative mood. The nature of the

carving of the image reveals that the image is original

piece of the temple building. He has a head coiffure of

large size. His body is covered by a long scarf The

figure is carved out in semi profile view (Plate 8.18).

An image of rishi is enshrined on the outer wall of the

garbhagriha. The image is presented in frontal view.

The image belongs to later period (Plate 8.19).

A sculptural representation displays three figures of

women carrying fruits. One of them holds a child.

These figures belong to later period. Their dresses

reveal about the influence of Bengali dress (Plate

8.20).

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t) A sculptural depiction shows the Ramayana story

where Ravana tries to kidnap Sita. This work is done

in later period.

Plate 8.2

Flora and Fauna

Flora

a)

b)

c)

d)

Fauna

e)

f)

g)

h)

Analysis

Some motifs of lotus petals are used for the surface

decoration of the temple. These motifs are placed

uniform pattern (Plate 8.21).

The lotus petals are placed in rhythmic manner as well

as in design pattern. Nature of the motifs reveals that

these are applied for the surface decoration (Plate

8.22).

Some lotus motifs are amalgamated with the

geometrical forms (Plate 8.23).

A realistic representation of tree motif is placed in the

hand oflndra (Plate 8.24).

Numerous images of elephant are applied on the

temple plinth as supporter of the temple (Plate 8.25).

A great variety of animals are associated with the

divine beings.

The depictions of lion motifs are carved out from a

huge stone block, which is used for the pillar. The

lions recall the lion capitals of Mauryan art (Plat 8.26).

A pair of makaras is illustrated on the doorframe.

These makara figures reveal the influence of Gupta art

because in Gupta art, this motif was very popular to

depict on the doorframe of the temple.

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Plate 8.3

Geometrical

a)

b)

Analysis

Friezes of outer wall of garbhagriha of the temple

display geometrical designs like fence (Plate 8.27).

Friezes depict the geometrical forms of star motifs

along with ananta, which is one of the eight

auspicious motifs of Indian art. The ananta

symbolises the continuous knot. The motifs create the

Shanta rasa (Plate 8.28).

339

Plates and Figures

PLATE 8.1: EXTERIOR VEW OF THE GARBHAGRIHA, HAYAGRIVA MADHAVA TEMPLE

PLATE 8.2: IMAGE OF VARAHA HAYAGRIVA MADHAVA TEMPLE

PLATE 8.3: IMAGE OF NARASHIMHA

PLATE 8.4: IMAGE OF RAMA

340

PLATE: 8.5 PLATE: 8.6

PLATE 8.5 IMAGE OF KALKI, OUTER WALL

PLATE 8.6 IMAGE OF INDRA,Ol3TER WALL

PLATE 8.7:IMAGE OF AGNI, OUTER WALL

PLATE 8.7

PLATE 8.8 PLATE 8.9 PLATE 10

PLATE 8.8: IMAGE OF YAMA PLATE 8.9: IMAGE OF VARUNA PLATE 8.10: IMAGE OF VAYU

341

•ft ^ * V -; 5i ^̂

•B^^^^Ht*^|^||lk

W^/j^' M ". ^ - T ^ ^

- JiW^

' 1

^ K " i^Hi^^l

STi • *- ^ ^ ^ 1

^ ' ^

PLATE 8.11: IMAGES OF KUBER AND HIS CONSORTS, OUTER WALL,GARBHA GRIHA

PLATE 8.12 IMAGE OF IS ANA

PLATE 8.13: COMBAT SCEAN PLATE 8.14:IMAGE OF VISHNU

'm.

PLATE 8.15: IMAGE OF KALI,

HAYAGRIVA MADHAVA TEMPLE

PLATE 8.16: IMAGE OF MAN,

HAYAGRIVA MADHAVA TEMPLE

PLATE 8.17: IMAGE OF PLATE 8.18: IMAGE OF YAMDUTA RISHI

PLATE 8.19: IMAGE OF RISHI

343

PLATE 8.20: DEPICTION OF WOMEN ON THE OUTER WALL OF THE GARBHAGRIHA, HAYAGRIVA MADHAVA TEMPLE

PLATE 8.21: DEPICTION OF LOTUS PETALS ON THE TEMPLE PLINTH, HAYAGRIVA MADHAVA TEMPLE

PLATE 8.22: LOTUS PETALS ON THE OUTER WALL OF THE ' GARBHAGRIHA, HAYAGRIVA MADHAVA TEMPLE

PLATE 8.23: FLORAL MOTIFS ON THE OUTER WALL OF THE GARBHAGRIHA HAYAGRIVA MADHAVA TEMPLE

344

PLATE 8.24: TREE MOTIF ON THE OUTER WALL OF THE

GARBHAGRIHA, HAYAGRIVA MADHAVA TEMPLE

la- y -s , V. Jv >->;• J. ••i^J' Ac:̂ '- Si^. - w . .\̂ >. .^ V. -V vv %^. -vri^ ->—^rV-r^^

PLATE 8.25: ELEPHANT MOTIFS ON THE FRIEZE BAND OF THE TEMPLE PLINTH, HAYAGRIVA MADHAVA TEMPLE

PLATE 8.26: LION MOTIF ON THE PILLAR, HAYAGRIVA MADHAVA TEMPL

345

PLATE 8.27: GEOMETRICAL FENCING DESIGN ON THE OUTER WALL OF THE GARBHAGRIHA, HAYAGRIVA MADHAVA TEMPLE

PLATE 8.28: GEOMETRICAL STAR MOTIFS WITH ANATA MOTIFS AND FLORAL MOTIFS ON THE OUTER WALL OF THE GARBHAGRIHA, HAYAGRIVA MADHAVA TEMPLE

346

References

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Banerjea, J. N. The Development of Hindu Iconography, Munshiram Manoharlal

Publishers Pvt. Ltd. New Delhi, 1956

Ibid, P.425

Barpujari, H.K. The Comprehensive History of Assam, Publication Board, Assam,

1990, Pp.396-397

Barua, B. K. A Cultural History of Assam (Early Period), Vol. I, Bina Library,

Guwahati, 1986, P. 169

Bhatnagar, M. Iconography of NUsimmha, Kala, The Journal of Indian Art

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Chattopadhyaya, D. (Edt.), Taranatha's History of Buddhism in India, Matilal

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Ibid, P. 47

Ghoudhury, P. C. Assam Bengal Relations, Spectrum Publications, Delhi, 1988, P.

331

/6/W,P. 331

Choudhury, P. C. The History of Civilisation of The People of Assam To The

Twelfth Century A. D, Spectrum Publications, Delhi, 1987, Pp. 401-402

Ibid, P. 409

Choudhury, R. D. Archaeology of The Brahmaputra Valley of Assam, Agam Kala

Prakashan, Delhi, 1985, P. 20

Ibid,?. 16

347

Dalton, E.T. Notes on Assam Temples Ruins, Journal of The Asiatic Society of

Bengal, Vol. XXIV, No. I, 1855, Pp. 8- 9

Das, P C. The Blessed Land, Guwahati, 1999, Pp. 63-64

Ibid, Pp. 85-88

Dowson, J. A Classical Dictionary of Hindu Mythology and Religion, Geography,

History and Literature, Trubner & Co., London, 1888, P.38

Gait, E. A. A History of Assam, THACKER, SPINK &Co, Calcutta, 1906, P. 62

Goswami, A. Places of Worship and Pilgrimage in Assam, Vivekananda Kendra

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Gupta, S.K. Elephant in Indian Art and Mythology, Abhinav Publications, New

Delhi, 1983, Pp. 23-28

Gupte, R.S. Iconography of the Hindus Buddhists and Jains, D. B. Taraporevala

Sons & Co. Private Ltd., Bombay, 1972, Pp. 29-30

Ibid

Ibid, P. 70

Ibid, P.538

Ibid, P.567

/^/^,P.71

Ibid, ?p. 70-7 \.

Ibid, ?pAS-l9

Jaschke, H.A. A Tibetan-English Dictionary, The Charge of The Secretary of

State for Indian in Council, London, 1881, P. 437

Kakati, S. The Temple of Madhab at Hajo, Journal of Assam Research Society,

Kamarupa Anusandhan Samiti , Vol. II, No. 4, Gauhati, 1935, P. 93

Ibid, P. 93

348

Rao, G.P. Elements of Hindu Iconography, Vol. I, Part I, Motilal Banarsidass

Publishers Private Ltd. Delhi, 1914, Pp. 149-153

Ibid, P.201

Ibid, P.222

Rao, T.A.G. Elements of Hindu Iconography, Vol. II, Part II, Motilal Banarsidass

Publishers Private Limited, Delhi, 1914, P.515

/6/^,P.515

Ibid, Pp.529-530

Ibid, Pp.535-536

Shakespear, L. W. History of Upper Assam, Upper Brmah and North- Eastern

Frontier, Macmillan and Co, London, 1914, Pp. 72-73

Ibid, P. 73

Shastri, B. Kalika Purana, Indira Gandhi National Centre for the Arts, New Delhi,

1994, P.93

Sridhara Babu, D. The Hayagriva, The Horse-Headed Deity in Indian Culture,

Oriental Research Institute, Tirupati, 1990, P. 75

Ibid, Pp. 23-29

Talukder, U. C. The Place of Mahaparinirvana of Gautama Buddha, Calcutta,

1957

Waddell, L.A. The Buddhism of Tibet, W.H. Allen & Co, Limited, London, 1895,

P. 308

Ibid, P. 307

Ibid, P. 313

Ibid

Ibid

349

Wilkins, W. j . Hindu Mythology Vedic and Puranic, Thacker, Spink & Co.,

Government Place, Calcutta, 1882, P.20

Ibid, P.68

Ibid, P.56

350