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NĀGA ICONOGRAPHY IN KERALA

The branch of knowledge that deals with the typical art in the form of illustrations

of figures, images or icons is called iconography. The term iconography is derived

from two Greek words, „eikon‟ and „graphe‟ which mean „image‟ and „writing‟

respectively. There is also one another word Iconology, it explains the detailed study of

iconography (Rao 1981; Gupta 2003). It means a holy painting or carving of a divine

human being on different mediums like wood and stone. However, there are different

opinions about the meanings of icon and generally accepted view is that; which are

related to divine attributes of figures for a religious worship are called icons (Banerjea

1956).

In fact the religious icon is an object of reverence basically related to the devotees

or followers of a particular religion. The devotees believe that icons personify the Gods

and Goddesses as such. So the devotees always try to find divine and conceivable

aspects on these icons as representatives of Gods. However, iconography explains

basically about the religious figures and drawings which can found enormously in

temples of different sects. In India icons are generally called as Vigraha / Vigraham

whereas the main icon in a temple is called as Mūrthi.

Religions in India have different types of sculptures which are regarded as icon or

representatives of God. Such believes makes the changes and it lead to the sculptural

development of icons. The icons have different symbolic meanings. Such meanings are

emerged from its different postures, gestures, arms, weapons, dress, ornaments, consorts

and vehicle. These symbols are well discussed in various Purāna like Viśnu Purāna,

Śiva Purāna, Upanishad and Agamas (Akhtar 1972; Acharyam1988).

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DEVELOPMENTS OF ICONS IN INDIA:

In India the iconographic representations have been started since Indus Valley

civilization in the forms of floral and faunal divisions. The subsequent development

found on seals and sealing had taken place during the period of Mauryans, Śunga,

Śathavahana and Gupta (Rao 1981). It reached its zenith in post-Gupta period.

Basically in India customs of making sculptures, paintings and images are based on the

human body. Thus the sculptures are considered as the primary sources for studying the

major streams of Indian art history (Choodamani 2006; Kramrisch 1985).

It is believed that the development of art and architecture in relation to religion

in South India had been witnessed in the period from 5th

A D to 17th

century A D. This

period had witnessed quite a number of canonical works in Sanskrit related to

iconographic manuals called pratimā lakṣaṇas. During the same time, the construction

of temples also had begun in a different architectural form other than stūpa, ćaitya or

vihāra. Simultaneously the mythical stories related to Gods had become popular. The

deities of the lower or indigenous classes had also developed and started complex

worship in their own ritual spaces. Such development gradually makes a movement of

deities from the temples to strengthen the beliefs of people for an existing dominant

religion. With this development, Indian iconography was more or less decided and

formalized by the end of 5th century AD (Rao 1981; Gupta 2002).

ELEMENTS IN ICONOGRAPHY:

Iconography have numerous fundamental features like classification of images,

textual principles of making images, mode of casting, materials used in making images,

the accessories and the characters of Gods and Goddesses. Icons stand as a

representative of divine powers and became the main reason for the getting prominence

of religion. Moreover, God and Goddess have two forms: one is the concrete / finite

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form and the other is the abstract and infinite form (Kramrisch, 1946). Temple

comprises two types of deities; sub-deities and main deity, which differs according to

the belief in temple. Mūrthi (idol) is called as the main deity of the temple. Gradually

sub-deities will appear on the basis of the religious faiths of the temple (Krishnaswami

1920; Kelly 1998).

The Hindu images are divided into three classes; Ćala (movable), aćala

(immovable), and Ćalāćala (movable-immovable). The same classification of icons of

God and Goddesses can be seen in all over Kerala. But the category of Ćala and

Ćalāćala are more common than the rest of classification (Gupta 2002). Other

classifications of divine images are seen in the form of paintings and drawings generally

depicted either in the temple or other ritual spaces. This classification is rarely seen in

Kerala.

The rules of making images of Nāgas are not been strictly followed throughout

Kerala. Actually the details of different postures and measurements of the various parts

of the body is needed for making a relative proportioned image and it is usually given

by concerned iconographic or sacred texts. The partial details of the measurement

related to Nāga image are available in the texts like Dhyānaslōka and

Thantrasamuchaya. Instead of these sacred texts, an impression of their power and

personality was created by the Sthapatis (the sculptors). The sacred text Śilpaśāstra,

deals with the rules of the preparation of all kinds of images (Saletore 1981; Smitha

2003; Mishra 1992).

Iconometry:

This is the most important aspect of Icons or iconography. The study of the

measurement of icons or images is known as iconometry. These measurements are

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discussed in sacred texts like Śilpaśāstra, Thantrasamuchaya and Dhyānaslōka

(Namboothiripadu 1998). The sculptors make the image according to the prescribed

measurements and produce a well-finished image. The sculptor usually follows two

types of measurements which is known tālamāna and the aṅgulamāna. Among this,

tāla or tālamāna system of measurement is generally used for the preparation of the

idols. The word tāla refers to the length of the palm, which is considered to be

equivalent in sculptures, as in human beings, to the length of face from forehead to chin

(Gupte 1972). Generally, images are made according to different tālamāna systems

such as uttama, madhyama, adhama dasatālās, navatāla measurement for Rakśasa

(demon), Yaksha (Sylvan deities), Saptatāla for Vetālās etc. The measurement of

making the Nāga idols are not mentioned completely in the above mentioned text. Only

some measurements like Adhama-daśatāla (of 116 dehāṅgulas) for Śeśa and navatāla

and uttama navatāla for Yakṣa or Yakśi (sylvan deities) are explained. But in Central

Kerala normally Nāgas images are made in navatāla measurement and it explains the

length of image is nine times the length of its palm or face. The nine-face length is

distributed thus:

Face One tāla;

Throat to navel Two tāla;

Navel to the tip of the knee Three tāla

Lower knee to ankle Two tāla

Remaining one tāla is divided among the height of foot, knee and top knot (Gupta

2002).

Dwarfish figures are made according to the ćaturasratāla, or four-tāla formula,

four times the length of the image‟s face (Sivaramamurti 1963). Nāga figures can be

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seen with or without dwarf or Gana. Most of the times, male dwarf figures are

dominating rather than of female dwarfs. The details of the iconography of such ganās

will be discussed in the latter section of this chapter.

Simultaneously, there is also another measurement which is used in image making

is called Aṅgula. It can be measured in three ways: mānāṅgula, one-twelfth of a tāla;

mātrāṅgula, the length of the middle digit of the middle finger of the right hand of a

man; dehalabdāṅgula, the length of the middle digit of the middle finger of the right

hand of the donor or the Sthāpati. For measuring lengths along with plumb-lines an

instrument called the Lamba-phalaka is employed. Between the two schemes, tālamāna

iconometry is more popular probably due to the differences that exist as to the size of

the basic unit (Bhattathirippadu 1974; Stapati 2006).

There are different attributes, weapons and postures that are specially intended for

each deity and it is based on different religious aspects for worship. These features are

described in the various texts like Dhyānaslōka, Thantrasamuchaya, Śilpaśāstras and

aesthetic views of sculptures. Sculptors may show a special preference for one or

another sacred text. It may lead a slight variation in the similar images.

The iconographic text, Śilpaśāstra, mentions that the materials such as stone,

bronze, ivory, panchalōha and clay are used for the making of images. The most

important and popular material is stone due to its durability. Infact, wood is also used

to make images whereas stone and metal is used well than the wood. Nāga images in

Central Kerala are usually made in stone rather than other materials and such sculptures

made by the local sculptors on the basis of related locally available texts. Nāga images

are also made in metal and this is used as offering object in the Nāga worshiping temple

for Nāga related problems.

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NĀGA ICONOGRAPHY IN CENTRAL KERALA:

Nāga icons attained a significant position in Kerala Hindu mythology without

having a support of different vast iconographical texts. Images of Nāga have been

identified as a decorative motive in the early centuries of Christian era. Because, the

earlier temple in Central Kerala, particularly, Thiruvanchikkulam Siva temple and

Bhagavati temple at Kodungallur have the details of intertwined Nāga depiction in

theriomorphic pattern. Such temples can be placed in the earlier stages (9th

century

A.D) of structural temples. It was also associated with both Buddhism and Jainism all

over India in general and Kerala in particular. However their images occur in

independent forms. Infrequently they have figural or iconic representation similar to the

major deities. The presence of Nāga can be seen in iconic and non-iconic features and

were found both in female and male forms. The details of iconometry related texts of

Nāga images already mentioned above. Only two hymns are found in Dhyānaslōka,

which are describing the attributes, ornaments, garments of Nāgayakśi (female Nāga

deity). These works portray the Nāgas sometimes as a mere animal or as a human being

caped with snake hood behind the head. But, generally both the human and animal

blended figures (Therio-anthropomorphic) are absolutely unavailable in this region. The

male form of Nāga is called Nāgarāja whereas female called Nāgayakśi; a counter part

of Nāgarāja. Other nomenclature is given to represent female Nāga figurine is Nāgini,

Nāgayakśi, Nāgaćāmundi, Nāga Kanni, Sarppayakshi and Nāga dēvata. In the

theriomorphic representation, same terminology has been given without denoting any

distinguishable changes in the forms. Such names are Kannināgam, Manināgam,

Kuzhināgam, Anjilamanināgam and Karināgam. There is one more classification that

has been evidenced from this area on the basis of caste in Nāgas which is similar to the

social classifications in the societies of Kerala. These are Brahmanasarppangal (Nāga

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in Brahmin category) (Plate5.1), Kśatriyasarppangal (Nāga in Kshatriya category)

(Plate5.2) and Śūdrasarppangal or Adhamasarppangal (Nāga in lower category)

(Plate5.3). This classification can be seen only in the temple and household sacred

groves of Brahman community. On the basis of such classifications, these deities are

hallowed separately in sarppakkāvūs. So the pūjas also varied according to these

hierarchical socio-religious classifications.

The iconographic text, Śilparatna explains different forms of Nāga deities. It

suggests that the iconic form of Nāga should be in snake characters on the lower portion

and human characters on upper part (therio-anthropomorphic figures). The head portion

of the human must be covered by the snake hood (anthropomorphic figures). The

number of the hood varies from 1, 3, 5, 7, 9 and so forth. Each of the mouth must be

shown with bifid tongue and hands should hold two attributes (Namboothiripadu 1998;

Rao 1914).

The sacred text Dhyānaslōka explains the iconic form of Nāgayakśi. Two hymns

are dedicated to this female Nāga deity. One hymn is;

“Japākusuma sat prabhām

Kalitha chāru rakthāmbarām

Jwālad bhujanga bhōshanām

Phanila sanmani dyōthithām

Varadabhayakaradwayam kanaka

Kumbha thungasthanim smarāmi

Vishanāshinim manasi

Nāgayakshim sadā” (Dhyānaslōkangal) (Namboothiripadu 1998)

As mentioned above, this quoted hymn gives the details of the attributes and

characters related to the peculiar deity. She appears like a reddish colour (colour of a

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typical flower), wearing a beautiful red coloured draperies (lower and upper), having

different patterns of ornaments (hāra, keyūra, kankana, kuņdala), hands showing the

mudras of Abhaya and Varada, having beautiful golden colour like big breast, shining

like Nāgamānikyam (A precious mythical gem usually keep in the head of snake God)

and also it praise, able to give cure from any kind of high poisons. Such type of

beautiful Nāgayakśi is remembered always in everyone‟s minds.

The iconographic text Māyamata of Mayāsura explains that Nāga must have

white complexion and her body is shining like a pearl (Gupta 2002). In addition to this,

seven great Nāgas are described with the name: Ananta. Takśaka, Vāsuki, Karkkodaka,

Mahapadma, Samkhapala and Kulika. These are having two arms and carrying rosary

(japamāla) and water pot on each hand. It also explains the details of mythical seven

hooded snake adorned with precious gems on each hoods. Another canonical text

Matsyapurāna explains that the representation of Nāgas should have hood with crown

and should be half human and half snake mode (Therio-anthropomorphic).

Amśumathbhedagama, a sacred text mentions about the anthropomorphic representation

of Nāgas. Here Nāga has been described in human form with five hoods and stands on

a „patmapīta‟. He has to be shown with either three eyes or four arms. Abhaya and

Varada mudra should be shown in lower right and left hand respectively, whereas both

of the upper hands hold two snakes. The complexion is red but adorned with white

clothes. His head is highly ornate and the face should be in Saumyabhāva (peaceful

expression). The references about Nāga sthambās is shown in the lines from 142 to 164

of Shilparathnakōsa and also explain the sculptural style of Nāgas. According to this,

Nāgas are sculptured with round body and gem stone should be studded on its hood

(Smitha 2003; Panda 1986; Vogel 1926).

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Several canonical texts systematically describe the details of iconographic

features. But most of the times, sculptors or sthāpati or śilpi may have their own

intuitions and ideas gained from their ancestors. The sculptors in the whole Kerala

makes the Nāga images on the basis of guidelines given by Tantri (chief priest) or

astrologer.

It is believed that, on a religious point of view, all of the lands in Kerala are

belonging to Nāgas. The legend of Paraśurāma clearly explains the accommodation of

snakes in the land of Kerala. According to the astrological laws and theories, Nāgas are

believed that the guardians of earth, water and it represent ancestors too. If any

problems are related to family or temple, usually, the people go to an astrologer to get

the reasons behind the problems as well as for its solution. If the problem is related to

the temple, usually tantri proposes the preparation of a sanctified ritual which is called

Aśtamangalapraśnam or Dēvapraśnam. It is a lengthiest and expensive ritual conducted

only in the temples. It is believed that tantri can identify the problems related to the

temple through this holy act. If the problem is related to the Nāga, he proposes to

consecrate new Nāga images in the sarppakkāvu. Infact, he is well aware of

iconographic texts like Dhyānaslōka, Thantrasamuchaya etc. So usually, he gives the

features of Nāga images. He can also have a right to decide the number of Nāga images

for the sanctification on the basis of the concerned problem. However, he gives all types

of measurement and attributes to the sculptors related to the particular Nāga deity

(female or male) like measurement (tālamāna), number of hood, details of arms,

postures, details of crown and ganās. The list of such details is called as chārthu. After

getting the list or chārthu, sculptor starts the process of making the image of Nāga by

referring some of the above mentioned iconographic texts. Lack of iconographical texts,

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variations in tantri (chief priest) and astrologer and the nature of available raw materials

for art work make regional slight variation for each icon.

CLASSIFICATION OF NĀGA ICONS:

Generally Nāga figures are shown in different patterns. Typologically they can

be classified under four broad divisions as stated below:

Theriomorphic: It stands for animal form of snake worship. It is simplest form of snake

worship and diverge its hood numbers. Under this category Nāga figures usually

showed in multiple hoods which varies from three, five, seven and nine (moly-

cephalous) or single hoods (monocephalic).

Anthropomorphic: This category is always shown in human form caped with cobra

hood behind head. Number of hoods are varies according to the deity. Generally both

carved male and female figures are shown in this category. Such deities sit over the

coiled snake body served as pīta. Sometimes these coiled designs may cover

completely behind the body.

Therio -anthropomorphic: It is the combination of both human being and animal

elements in Nāga figure. Usually the upper part has the appearance of human being

whereas the lower part, below the waist, provides snake coils looped in various patterns.

Symbolic representation: Peoples are worshipping Nāgas by consecrating natural

pebbles, cobbles, simple stone slab, and laterites instead of images and also construct

miniature form of house locally termed as Chitrakūdom of all not only in Central Kerala

but Kerala also.

Systematic and gradual chronological development in artistic evolution of Nāga

figures with distinct forms and features have not been explored or studied yet in Central

Kerala. Nāga figures in theriomorphic forms are seen in the maņdapa of the early

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medieval temple (1000 A.D to 1200 A.D) at Thiruvanchikkulam, near Kodungallur,

Trissur district. It will be explained in the following portions. The wide development

of anthropomorphic Nāga images are started to see in the later periods of Kerala. Nāga

in anthropomorphic form do not appears in the early centuries of Christian era at

Central Kerala. So the identification and dating of Nāga images can be studied only by

analysing the associative evidences and also keeping a full consciousness about the

importance of available iconographic texts for the study.

As mentioned above Nāga deities in Kerala are appearing in theriomorphic,

anthropomorphic and symbolic forms. Therio-anthropomorphic sculptures are

completely absent in the central part of Kerala. The antiquity of Nāga images in Kerala

can be partially done by tracing the iconographic characters and its developments

through the ages in Kerala. The earlier evidence of Nāga depiction in Central Kerala

can be placed in the period after 9th

century A D.

Majority of the images found are invariably carved in chlorite (Kriśnaśila) and

rarely in laterite, metal and sometimes in woods (Plate5.4). The chlorite stones are used

for making all kind of icons related to the temples worship. It is because; Nāga icons in

Kerala are placed open to the nature for worship. The sculptors have a division on such

stone i.e. purusha (male), stri (female) and napumsaka (neutral). Puruśa stone is used

to make the idol of male Nāga whereas stri is used for female deity. So, purusha stone

for Nāgaraja and stri for Nāga Kanni, Nāgayakśi, Nāgaćāmundi and Nāgamātha. They

are devoid of „tālamāna‟ for making Nāga icons in Kerala due to the lack of related

iconographic texts.

INCLUSION OF NĀGAS WITH GODS AND GODDESS:

The presence of Nāga can be seen together with most of the Gods and Goddesses

of Brahmanical religious pantheon. Though they are associated with other Gods, it has

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its own independent iconographic features. However their association shows that,

before the advent of such Gods and Goddesses into this area, it might be worshipped as

an independent deity. The adoptions of Nāga by various Gods are different in each

other. The details are following;

Śiva : Kandābharanam (Necklace)

Viśnu : Nāgaśayya (Coat)

Ganapathi : Pōnūl & Aranjānam (Yagnopavitha & girdle)

Durga : kayar & Āyudham (Coir & Weapon)

Kāli : Vala (Bangle)

Sūrya : Coir for his Ratha (Chariot)

Dakśināmūrthi : Utharēyam (Upper garment)

Thwarithādevi : Kundalam (Ear ring)

Saptamātrikkal : Pōnūl, Vala & Kundalam (Bangle Ear ring)

NOMENCLATURES OF NĀGA IMAGES IN KERALA:

Study on Nāga images, particularly its history and antiquity still remains

to be understood. In the present work a brief description on Nāga images has given on

the basis of available survey materials. It can be said that, sculptural representation of

Nāga started to be seen in larger quantities since 9th

century A.D in Kerala. There are

several texts which give the details of various major Brahmanical deities. However,

none of these works except Śilparatna, Kuzhikkattu Pacća, Thantrasamuchaya and

Dhyānaslōkangal avoided the appearance and attributes of Nāga icon. Moreover, it is

possible to presume that the Nāga icons was a part of other religion like Buddhism and

Jainism in India generally and Central Kerala particularly. However, in later stage,

followers of Brahmanical religion adopted and merged the Nāga concept into their

pantheon. For the better understanding of the analysis the data has been classified in the

following way (Fig. 5.1):

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The intensive and extensive exploration in the different part of central Kerala

such as Ernakulam, Trissur, Kottayam, Alappuzha, Palakkad and Idukki districts has

given the evidence near about 500 Nāga and Nāgini images. Most of them are in a bad

state of preservation causing very difficult in their detail identification. However, on the

basis of the good condition of the image from around 150 ritual spaces, 300

Nāga/Nāgini sculptures is been selected for the present analysis (Fig. 5.2). Among the

150 ritual spaces, there are 100 ritual spaces belongs to households and the rest 50

comes in temples. Apart from this there are also 210 single hoods and multi hooded

theriomorphic figures was identified. At the same time, 190 symbolic representations

(Chitrakūdom) of Nāga also documented from 150 Nāga ritual spaces. The following

figure will shot the details of total number of Nāga images which were identified from

the study area (Fig 5.2). The study more concentrated into some part of Kottayam,

Alappuzha Ernakualam, Trissur and Idukki. The researcher has covered only some

Fig. 5.1: The chart showing the model of the categorisation of Nāga iconography in the

study.

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parts of Palakkad region whereas complete survey could done in other parts of Central

Kerala. The following figures are also gives the idea of the distribution of snake sacred

groves with in the study area (Fig 5.4). The geo-coordination of each snake sacred

groves have taken during the field exploration and thus on the basis of these the

researcher could plot each ritual space either temple or household sarppakkāvūs at

Ernakulam (Fig. 5.5), Trissur (Fig. 5.6) , Alappuzha and Kottayam districts (Fig. 5.7).

Fig. 5.2: Figure showing the total number of Nāgas related ritual spaces.

Fig. 5.3: Figure showing the total number of Nāgas of each category.

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Fig. 5.4 : Showing the distribution of Nāga related ritual spaces in the study area

Fig. 5.5: Showing the distribution of ritual spaces in Ernakulam and south of Trissur district

Courtesy: www.googleearth.com

Courtesy: www.googleearth.com

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The distributions of snake sacred grove or sarppakkāvūs in this region are

attached to either temple or household. The red circle marks are given for pointing the

distribution of household related nāga ritual spaces and the square white marks are

given for identifying the temple related Nāga worship.

Fig. 5.6: Showing the distribution of ritual spaces in Trissur and north of Ernakulam districts Courtesy: www.googleearth.com

Fig. 5.7: Showing the distribution of ritual spaces in Alappuzha and

Kottayam districts

Courtesy: www.googleearth.com

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THERIOMORPHIC IMAGES:

As seen in the history of worship and Gods in India, earliest representation of

theriomorphic or zoo morphological Nāga has been reported from the Indus valley

civilization (Marshal 1931). Following to this a number of terracotta Nāga figurines

belonging to about 1650 BC have been identified at Chirand, Saran district in Bihar

(Sankalia 1974) and other parts of India. The depiction of Nāga has been identified with

single and multiple hoods in all parts of India in general and Central Kerala particularly.

Such Nāga images were found from different ritual spaces like temple and household

related sacred groves.

Theriomorphic figures of Nāga are seen in different ritual spaces like temple and

household related sacred groves of almost all parts of Central Kerala. Nearly 150 ritual

spaces (sacred grove in temple as well as households) were explored and studied for

understanding the system of worship along with iconography of Nāga. The details of

ritual space (sarppakkāvūs) have already been discussed in the fifth chapter. These

ritual spaces are located different areas of six districts like Alappuzha, Kottayam,

Idukki, Ernakulam, Trissur and Palakkad. The distribution of theriomorphic figures of

Nāga can be seen in all sarppakkāvūs along with other representations. Infact, mostly,

the sacred grove holds all types of figures together such as anthropomorphic,

theriomorphic and symbolic representations. The exploration over the central part of the

Kerala could collect total 210 theriomorphic figures by including 150 single hooded

Nāga, 59 multi hooded and one two hooded Nāga. However the study has been done by

concentrating 65 theriomorphic figures which was found from the different districts of

study area. These figures were selected on the basis of the basis of its shapes. These

selected figures are located in the areas like Anikkadu, Kadanad, Edathanadil,

Kakkarupilli, Melukavu, Mampilli, Churamala etc. in Kottayam district where as others

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are located in the areas of Ernakulam district such as Parayakad, Manakkapady,

Paravur, Chendamangalam, Kochangadi, Aluva and Pallippuram. There are some

examples, which will give the details of characteristic features of iconography of

theriomorphic figures. The theriomorphic figures are taken and divided randomly into

above mentioned six districts. The following figure will explain the total number of

theriomorphic Nāga classification.

Fig. 5.8: Showing the total number of hooded Nāga classification

The result of the study gives the idea that it is the simplest and mythical form of

Nāga worship. These figures could be monocephalic or polycephalic varying from one

to three. The most common number of hoods is three for theriomorphic figures from

these areas. Monocephalic features for Nāga images also can be seen in this category.

But an interesting thing is that two headed theriomorphic figure could have been found

along with other anthropomorphic figures (Plate 5.5) at Kottayam districts of particular

community called as Chettiyanmar (a business related migrated community). These

communities was migrated from Karnataka region in the earlier time and settled in the

areas of high land.

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Theriomorphic images from Kottayam District:

The following images are basically located in the Taluk of Meenachil (9°42′N

76°42′E / 9.7°N 76.70°E) at Kottayam district.

One of the theriomorphic figure found in Kadanad at Kadanad village, has its own

iconographic features. It is being held by a Brahmin family and consecrated in the

north eastern portion of their house compound. It is in a well preserved form. It is a

single hooded cobra with one coiling on the square pedestal. It is found still in living

condition and getting all types of adoration especially during the Ayilyam puja (Plate

5.6).

Another deity has been identified from temple related ritual space (sarppakkāvu)

at Kalluvattom (N 09046. 55‟ E 76

040. 49‟). The temple is basically dedicated to Śiva and

the Nāgas are considered as a sub-deity over here. There are two theriomorphic figures

along with one Chitrakūdom (symbolic shelter for Nāgas). One is represented in three

hooded Nāga looped in two layers and resting on a square pīta. This deity is having a

broad capped hood and the mythical name of the particular deity is Anjilamanināgam.

Apart from this, the next deity is placed in the left side of Chitrakudom and shown in

three hoods with lean nature. It is also placed in square pedestal and it‟s mythical name

is Nāgayakshi. It is worshipped every day as a part of temple rules and regulation (Plate

5.7).

The depiction of theriomorphic figures also found associated with Śaivite

religious sects of Brahmanical religion. It is found in a temple called as

Vērabhadrakāli, Kunnumala in Meenachil Taluk. The main deity of this temple is Kāli

or Durga. The particular Nāga images are shown like a overlaid snake hood on a small

linga (Plate5.8). This is a unique figure which will get associated with temple as well

as household sarppakkāvūs. The Brahmin households at Mankombu in Alappuzha

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district are having snake coiled linga figure. It shows, the Nāga image is representing

the snake God Vāsuki; an attribute of God Śiva. So the customs and rituals are done

through the Śaivite system only. Along with this deity, there is another Nāga

association can be seen with God Muruga. It is placed near to the above mentioned

deity and along with Chitrakūdom. The particular three hooded Nāga deity is coiling

and topped a Śūl (Plate 5.9).

Moreover there is another typical Nāga image found at Vechoor in Vaikkom

Taluk, which shows a covering of an elongated small mirror like object by its snails.

The Nāga image is shown in three hoods. It exemplifies Śakti (female) associated

worship of Nāga (Plate5.10). An interesting single Nāga figure was found at

Meenadom, Kottayam Taluk. It is a single hood Cobra holding an intertwined Nāga

designed Chitrakūdom over the hood measuring by 1 m height (Plate5.11). The family

is belonging to the Nāyar community. The ritual space (sarppakkāvu) for this particular

deity is too large (5 x 5 m) and kept in north-eastern portion of a household. Generally

sarppakkāvūs are made in south-western portion and rarely in north-eastern portion of

the household. Śaivite mantras are chanting for adoring the typical theriomorphic Nāga

figure during related festivals.

Theriomorphic Figures from Alappuzha District:

The following descriptions of theriomorphic figures are basically found from the

village of Mankombu in the Taluk of Veliyanadu (9°29′N 76°20′E / 9.49°N 76.33°E) at

Alappuzha district. This area is located in the border of the Alappuzha and

Pathanamthitta Districts.

Nāga images of this area have some similarities with the theriomorphic images

which were found from Kottayam. Among this, the images of Nāga associated with

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Siva and Muruga are also evidenced from this area too. But slight changes can be seen,

particularly in the number of hoods.

Theriomorphic images are also found from other districts like Ernakulam,

Trissur, Palakkad and Idukki. The following details are extracted from this category of

Nāga images. 30 images from the theriomorphic sample are included in three hooded

category whereas 15 comes under in single hood. There are total eight snake coiled

linga images explored as yet. Moreover, other two categories like snake coiled Śul and

mirror were found in the number of five and eight respectively.

Generally these deities placed in rectangular or circular shaped pedestals, known

as bhadrapītha. Sometimes the deities are consecrated in high squared platform with or

without making clarity in pedestals. The pedestals of the some deities are made with

two layer of body coiling by showing a tip of tail on the front (Plate5.12). Usually the

number of coil has been unique in everywhere whereas one layer of coiling has also

encountered from different places like Anikkad in Kottayam and Chendamangalam in

Ernakulam districts. The nomenclatures of these poly-cephalous or mono-cephalous

hooded snakes are varied and such names are Alnāgam (Plate5.13), Anjilamanināgam

(Plate5.14), Karināgam (Plate5.15), Kuzhināgam (Plate5.16), Paranāgam (Plate5.17)

and Manināgam (Plate5.18). These kinds of names can be seen only in theriomorphic

category. All these are the mythical names of Nāgas. Such names are usually seen in

the folk songs of Pulluvar community which is generally related to the stories of the

origin of snake worships. Such type of names may stands for showing the vast variety

of snake species which is seen in Central Kerala. The analysis of these mythical names

of snakes will help to understand which kind of snake species is being worshipped in

Central Kerala. The study explains different species of Cobra are worshipping in

several part of this region.

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Altogether it can be clearly said that, Nāga worship in Kerala are associated with

all sects of Brahmanical religion. It is associated with Śiva, Viśnu, Bhagavati and

Muruga of Brahmanical pantheon. Most of the hymns are also related to either with

Śaivite or Vaiśnavite. However Nāga plays a role of minor deity and developing its

own identity by adding itself as an attributes to the major Brahmanical Gods in Central

Kerala. At the same it has got particular ritual spaces for worship as a main deity as

well as minor deity too.

SYMBOLIC REPRESENTATION:

This is the second and most important evidence for which Nāga is being

worshipped in Central Kerala. It is considered as a symbolic shelter for the snake Gods

in their settlement (sarppakkāvūs). Symbolic representation of Nāga is basically include

Chitrakūdom (PL 5.19). Sometimes family from the different communities erects

simple granite or laterite small block without making any carvings on rectangular

pedestal (PL 5.20). In earlier period Chitrakūdom is made out of laterite because inside

it doesn‟t keep heat always. But nowadays, instead of laterite, sculptors use concrete

material for making such kind of Chitrakūdoms. These were usually erected over the

platform which is left for ritual. During the time of festivals, concerned households and

temples gives offering to Nāga through these structural representations. This can be

seen along either with anthropomorphic, theriomorphic figures or together in a sacred

grove. Different names are to be given to such representation in different regions and it

varies like Paranāgam, Kuzhināgam, Manināgam, Anjilamanināgam etc. However, it

is basically called as Chitrakudom and the names which denoting will be different

according to the names of mythical Nāgas.

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Chitrakūdom is a combination of several mythical Nāgas. It is believed that the

mythical power of all kinds of Nāga Gods like Manināgam, Kuzhināgam, Karināgam,

Anjilamanināgam and Paranāgam even Nāgarāja, Nāgayakśi, Nāgaćāmundi can be

invocate from netherworld into the Chitrakūdom through different types of hymns

during the consecration time. During the time of offering the priest gives offering in the

name of such mythical Nāga God or Goddesses. Chitrakūdom is not an icon and it is

called as Kannādibimbam (Mirror Image).

Chitrakūdom is prepared on the basis of measurement as it is described in sacred

text Thantrasamuchaya and Kuzhikkātupacha (Malayalam version of tantric

Thantrasamuchaya). The measurement is followed by Aņgula system. The total height

of the Chitrakūdom varies to 6 ¾, 9 ¾ and 10 ¾ Aņgula. This typical house like

structure has basically three parts like as Pādukam (foundation), Bhithi (wall) and

Melkkūra (roof). The Sculptor makes Adisthāna or Pādukam by measuring one third of

the total measurement which Tantri has given. The most important character is that, the

measurement of Adisthāna and Melkkūra will be in same proportion.

The role of Chitrakūdom in Nāga worship got high profile in religious aspects.

During the time of its consecration, Tantri gives the details of objects which have to put

in that symbolic shelter for mythical Nāgas. The main objects include silver egg, a

small Nāga made by gold and putt (ant-hill) of copper. The number of silver eggs

depends on the number of Nāgas which tantri need to call from the netherworld. Inside

the foundation of the Adisthāna iron sheet is covered and play the role of the fourth

metal; Panchalōha. As mentioned above, all powers of mythical Nāgas were invoked

and installed in the particular symbolic shelter. So it is called as sakudumbaprathiśta.

After the consecration of Chitrakūdom, the ritual space is considered as Sarppakśētram

or snake temple in a symbolic ways. Chitrakūdom itself has the presence of many

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mythical Nāgas. So Chitrakūdom is considered as the most important consecration for

Nāga in the sacred grove rather than other deities. For example, there is some sacred

grove which is having several Chitrakūdom consecrated behind the Nāga images. So,

infact, altogether it makes feeling of a large temple in symbolic aspect.

Instead of Chitrakūdom, there are different other types of small structures which

also plays the role of symbolic representations of Nāga worship in Central Kerala

(Plate5.21). Different communities follow such a kind of typical structures which are

denoting the symbolic aspect of Nāga worship. The dedication of these typical styles of

symbolic representation is done on the basis of astrology. The number of eggs,

measurement of Chitrakūdom and number of mythical Nāgas which have to invoked are

explained by an astrologer by making discussions with Tantri.

ANTHROPOMORPHIC FIGURES:

This form bears a human shape capped with single or multiple hoods of snakes

placed behind the human standing or sitting figures. It has a long history which goes

back to first and second millennium B.C. (Suresh 2000). Most of the Nāga images from

this time particularly from northern and central India encountered anthropomorphic and

therio-anthropomorphic forms.

In most of the cases Nāga images in this category are visible in three or five

hooded. The images are represented either with elaborate headdress or be-jewelled with

heavy ornaments. Sometimes it stands against the coil of a snake, a tail of which seems

going underneath passing through its leg side. Usually Nāga in the anthropomorphic

forms have shown with two hands. Both of the hands are shown in Abhaya- Varada or

Varada-Abhaya mudra. The attributes which hold in the hands are basically khadga,

kamaņdalu, child and Nāgas. The representation of female Nāga images in this form

has been shown both in standing or seated posture with bulbous breasts and prominent

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hips, placing her hands on hip or legs stylistically. Sometimes the right hand is shown in

Abhaya mudra. Moreover, the snake canopied Gods and Goddesses have been

discovered from different part of India and such images were worshiped by considering

as an icon. Different region and sect those are related with the tradition makes

differences in the nomenclature of Nāga icons accordingly (Panda 1986; Panda 2004).

The anthropomorphic figures which were identified from various part of central

Kerala can be classified into two; Male and Female figures. The male figures are

always called as Nāgaraja and the female forms are known in different names like

Nāgayakśi, Nāgachāmundi, Nāgakanni and Nāgamātha. In most of the cases the

Nāga/Nāgini images are found in association with Dwarfish figures (Gana). The

gender variation can be seen in these figures too. Alike to Nāga figures, the dwarfish

(Gana) images are also made according to the tālamāna system. The measurement of

charturasratāla or 4 tāla formula and it is four times larger the length of his or her face.

Nāga images are usually made in saptatāla or navatāla system in Kerala generally and

Centre Kerala particularly. However most of the early Nāga images were not made on

basis of tālamāna system. But, nearly, all images are having a few specific features

other than aesthetic value.

All these deities hold different objects in both hands and also wear variety of

ornaments like Karnapuśpa, Karana Kuņdala, Canna vīra, Hāra, Bhujavalaya,

Aņgada, Valaya, Keyūra, Kankana, Nupura, Upavita and Udarabanda. Moreover,

different draperies like Puramkuppāyam (blouse) and Upavita as the upper and

diaphanous and non-diaphanous dhoti with fold as the lower garment are also seen

(Nāgarāja image from Mankombu, Mannāraśāla, Alappuzha district, Nāgayakshi and

Nāgachāmundi figures from Melukavu, Meenachil Taluk in Kottayam district). Apart

from ornaments and draperies, different pattern of crowns or Mukuta have been also

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noticed. Generally, three types Mukuta i.e. Kirīta-Makuta with and without Śikhamani,

Jatāmukuta and Karaņda Mukuta are the most important and common crowns seen in

India. But, Central Kerala mostly witnessed the category of Jatāmukuta and the other

minor varieties. The other type of crowns includes different local varieties like flora

designed (Fig. 5.2), snake hood shapes (Fig. 5.3), leaf designed (Fig. 5.4) crowns and

buns arranged in segmented tiers (Fig. 5.5). Usually, in Jatāmukuta, the hair arranged

like a ponytail. The Nāgas sculptures are commonly seen arranged with their hair in a

loosely tied like a turban twisted on the left. This style is called as Śirastraka or

Śirastrāna and these styles are started to see from Śunga period onwards. Very often

few images are found with Karaņda mukuta form the study area like Mankombu,

Veliyanadu village in Alappuzha district. The description of such crown is a tall conical

mukuta, often with a series of diminishing tiers of roundels used mostly in the south by

Vaiśnavites (Gupta 2002). A detailed description of each form is given below.

The exploration has given the evidence of about 105 male Nāga images and 195

female Nāgini images in different part of the study area both in the temple as well as in

the household compound. All these sculptures are found either in association with the

Ganas and sometimes are found without the Ganas. The icons without Ganās are

noticed to in both standing and seating posture whereas in association with the Ganas,

the images are found only in seated portion. Again in seated portion these images are

found basically in three postures: Savya-Lalitāsana, Padmāsana and Vāma-Lalitāsana.

As mentioned above the Nāga images can be divided into two; Male and Female

images and the nomenclature has given as for male deity is Nāgaraja only as there are

hardly any other difference is observed specially in attribute. The female deities are also

called as Nāgini in common classification whereas several names can be given in this

category such as Nāgakanni, Nāgayakshi, Nāgachamundi and Nāgamātha depending on

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the basis of attributes holds in the hand. In the present study all of the sculptures are

discussed on the basis of two broad divisions: Images in association with Gana and

without Gana (Fig. 5.6). The other variations have been discussed with these two broad

types.

Fig. 5.10 Classification of Nāga/ Nāgini Iconography

Fig. 5.9: Showing the classification and the total number of male Nāga images

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Male Image:

Male Nāga icons are always called as Nāgarāja. There are lot of regional

variations can be seen in this category whereas nomenclatures are not specified in the

names of such icons. The representation of Nāgarāja is seen not only in

anthropomorphic but in theriomorphic and symbolic forms also. As mentioned above,

early iconic representation of either male or female deity had never followed any

iconographic text. Various forms and attributes given to the particular icons are on the

basis of the above mentioned texts like Dhyānaslōka and Kuzhikāttu Pcća. Nāgarāja is

important among them and is considered as the king of Nāgas who ruled the

netherworld.

The Nāgarāja figures from the exploration at Kottayam, Ernakulam, Alappuzha

district in Central Kerala has been represented in many types. The simplest of his form

is, represented in Savya-lalitāsana posture hold by Gana over snake coiled body. He is

also being shown in Stānaka or Padmāsana posture. The most important feature of

such deities is, the particular sculptural representation sits over the coiled snake body

and which is served as pīta. The number of hoods varies into three and five whereas

one and seven hooded figures are also rarely seen. He wears both locally elaborated

crowns and Jatāmakuta. Rarely some of the images (from Meenachil at Kottayam

district) are found with a head band wrapped around the head. Some icons from

Vaikkom, Vaikkom village in Kottayam district are having gem stone decoration in the

centre part of the crown. He has been represented with several ornaments including

kuņdala, grīva, hāra, keyūra and kankana in most of the cases. He is also shown with

the objects which are held in the hands usually are paraśu, khadga, chakra, conch and

kamaņdalu and also shown varada in hand and abhaya in left hand. Some sculptures

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from Meenachil Taluk (Tholamakkal) at Kottayam district and Mankombu in

Veliyanadu Village at Alappuzha are shown abhaya mudra in right and varada mudra

in left hand. Moreover, only lower draperies are seen in almost all of these sculptural

representations with different designs, mode of wearing and folds. The details of each

attributes in connection with the images are explained in this section.

The early sculptural representations of Nāgas (Nāgarāja and Nāgayakshi) have

been seen in the reliefs and panels of old temple structures. Such a kind of

representations in wood was there in the Patmāvathi temple of 14th

century A. D. at

Enādimangalam, Pathanamthitta district. Now these reliefs are kept in Tripunithura Hill

Placed Museum. These wooden Nāgarāja and Nāgayakshi sculptures are seen in the

four brackets of maņdapa. Among the broader category of Nāgarāja certain variants

can be seen and these variants are described to make understand regional variations in

Nāgarāja sculpture. The following are the male categorisation of Nāga images done on

the basis of its iconic features. There are six categories identifies and discussed its

characteristic features. The following figure will give the details of the total number

Nāga images which were collected from the study area and also come under the

categorisation of with Gana and without Gana.

Fig. 5.11: Showing the classification and the total number of male Nāga images

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Nāgarāja with Gana:

As mentioned earlier the sculpture belonging to this type consists of sitting Nāga

image on coiled snake pedestal or plain rectangular/square pedestal. The image is seen

seated either in Lalitāsana, Padmāsana, Savya-Lalitāsana. However, in most of the

cases the image found to be seated in Savya-Lalitāsana posture. Just below the pedestal

the main deity is accompanied with either a male or female Gana image that appears

holding the pedestal up. The number of Gana may change from one to seven though in

majority case it is either one or two. Very rarely seven Gana appears below the pedestal

which is called as „Ēzhu thattu Nāgayakshi‟. Usually Gana appears in sitting portion

only holding the main Nāga deity with his/her left hand and head. The right hand is

always kept into his knee. During the exploration more than 70 sculptures has been

documented and identified in association with Gana out of 105 male Nāga figures for

the present study. Some examples are discussed below:

Nāgarāja No 1:

This is one among the typical representation of Nāgarāja image. It is a high relief

sculpture identified from Kannadikkadu in Chambakkara village at Ernakulam District.

This place is located (9057‟12.78” N 76

019‟38.29” E) in the south and boarder place of

Kottayam and Ernakulam districts. The area is come under mid land zone (10 m to 300

m). It is in a preserved state and offerings are usually given once in a year. Moreover it

is placed in the sarppakkāvu of south western portion of the household compound and

the family is belonging to Nāyar community.

The particular image is standing along with other two Nāga images and one small

sized Śiva linga. All these three deities and Śivalinga are placed separate in a single

square platform with each. The concerned image is consecrated in the southern side of

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other deities. The image is in Vāma-Lalitāsana posture sitting on a coiled snake body

and hold by a male Gana. This male figurine capped with five hooded snake. The hair

is arranged in Jatāmakuta. His head is wrapped with one gem stone studded band. The

expression of the face shown in peaceful grace (meditation) and the eyes are half

opened only. The image is be jewelled with high ornamentation. The ornaments like

kuņdala, hāra, valaya, nupura and udarabanda are visible in the particular deity.

Upavita is also covered across and which is clearly visible. His hands are shown in

varada and abhaya mudra in right and left respectively. One portion of transparent

cloth covers the lower part till above of the knee. A male Gana holds the coiled snake

body, where the main deity sits and holds with his raised left hand and banded head and

kept his right hand on the knee. Gana figure is less ornate than the main image. Only

kuņdala and kankana are seen as the part of ornament (Pl. 5.22) (Fig. 5.12).

Nāgarāja No 2:

It is a seven hooded male sculpture found also from Mattathippara (90

50‟04.89”

N 760 42‟08.15” E) in Meenachil Taluk at Kottayam district. The particular location is

also come under the midland regional zone. It is partially in preserved state and the

offerings are given to the deity once in a year. This is also a family related deity but not

located in their own house. The land where the deity is consecrated belong the

particular family called in the name of Tholamakkal. This family belongs to the Nayar

community and the south western portions of their property are given for the placement

of worship.

This Nāga image is represented in Padmāsana posture on a snake coiled body.

It is adorned with seven snake hood and local designed crown visible by connecting

only with top of three hoods. The face of the deity is shown in ferocious with protruding

teeth. The head band is clearly visible and it has three layers. Kuņdala and multiple

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patterned hāra are the only visible ornaments in the particular deity. Hāra which he

wears looks like a multiple necklace and one end reaches up to abdomen. He has two

hands and the objects which are held in the hands are sword (khadga) on right and rests

on the knee. The transparent lower garment is evident with its folding whereas the

upper part cloth is completely absent. The association of the Gana can be seen along

with the main deity. Male Gana is holding the main deity with his raised two hands and

head. Gana which is sculptured below the main deity looks ferocious and less

ornamented (elongated hāra and medallion type kuņdala) and he is in a sitting posture

(Pl. 5.23).

Nāgarāja No 3:

This sculpture is traced from Trippunithura (90

57‟01.78” N 760 20‟15.75” E) in

Nadama village at Ernakulam district. Here three anthropomorphic figures are placed

together whereas theriomorphic and the Chitrakudom are consecrated in a separate

platform. It appears to be two Nāgarāja and one Nāgayakshi with Chitrakudom and

one theriomorphic figure.

The image is sitting in a Savya-lalitāsana posture on a coiled snake body.

Crown of the particular deity identifies in a parasol shaped and a head band is wrapped

around the head. It gives a ferocious expression on face and the eyes are partially open.

He is represented with four hands. The upper right hand holds Paraśu and the left holds

Nāga. The lower hands are showing Varada and Abhaya mudra in right and left hand

respectively. The ornaments which the particular deity wears a rope designed with

central locket girdle and kuņdala only. The lower garment is not evident clearly

whereas the upper part is completely covered with cloth. A male Gana supports the

main deity with his raised hands and head (Plate 5.24) (Fig. 5.13).

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Nāgarāja No 4:

This deity is identified at Mankombu, Veliyanad Taluk in Alappuzha district.

The particular sarppakkāvu is situated 1.5 km north west of Mankombu. The area

comes under the category of costal area (0 to 10 m) and surrounded with small streams.

Infact, the area is justifying the mythical appearance of Nāga as a water spirit or

controller of water. It is a small island like area and most of the families are belongs to

Nair community. The socio-economic condition in this area is based on agriculture.

The interesting thing is that, all of these families have Sarppakkāvu in the south western

portion of their house compound. The particular deity is found along with other two

female deities. But the worship of this particular Sarppakkāvu is presently abandoned

due to the regular flood in the kāyal. However, the deities in the sarppakkāvu are in a

good state of preservation and some typical or unique iconic features in relation to Nāga

iconography can be identified.

The particular Nāgarāja is included in the category of Vaiśnava sect. The

posture of the particular deity identified as Savya-lalitāsana or Vaiśnavam pattern of

pāda mudra. This deity is carved and placed inside the niche which represented with

petals of lotus and other leaves. The patterns of intertwined Nāga are given to decorate

side and back portion of this niche. Five hoods are seen clearly and placed behind the

seated deity. This figure is crowned by Kirīta-Mukuta having Śikhamani on the top,

Karnapuśpa and the medallion type ear ornaments also can be seen in the particular

deity. Face is round shaped and the eyes are half opened. Both shoulders are decorated

with bhujavalaya and having kankana on left hand. Upavita and udarabanda are clearly

visible where as katisūtra and urudāma seen in lower garment and it hangs till feet.

Upagrīva and hāra are identified in the neck part of the deity. The deity is represented

with four hands and upper two hands holds śankh (left hand) and the object in the right

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upper hand is remains unidentified. The lower right hand is showing the Abhaya mudra

and the left shows Varada mudra. The deity is in a badly preserved condition and it is

difficult to identify the lower part, specifically association Gana (Pl. 5.25).

Nāgarāja without Gana:

The exploration in the districts of central part of Kerala also identifies Nāgarāja

without associate Gana. As mentioned in the above, there are total 105 male Nāga

images are found and among this 35 are not having the association with Gana. There

are 25 images are standing whereas10 images are in a seating posture out of 35 images

(without associating Gana). In this category almost all of the male Nāga figures are

shown in seating or standing posture on rectangular or semi-circular stone and snake

coiled body pedestals. Seating posture is very rare as compared to standing or Stānaka

posture.

Seating Posture:

Nāgarāja No 1:

It is a small male sculpture found from Neeloor (90

48‟02.32” N 760 43‟01.78” E) in

Meenachil Taluk at Kottayam district. Topographically this area is covered with

hillocks forming the outer fringes of the Western Ghats of the Idukki range. The

particular location is also come under the midland regional zone. It is in good condition

and the offerings are given to the deity once in a year. The ritual space is given for the

consecration of the Nāga images by the family is in the south western part of the house

compound. The family belongs to the Nāyar community.

It is found at the sacred grove located in the south west portion of the house

compound with other two newly consecrated deities (Nāgarāja and Nāgayakshi). This

is an example of male figurine of Nāga represented in Padmāsana posture. He is seated

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on a half circular pedestal (bhadrapītha). But Nāgarāja figures from other

sarppakkāvūs of different places in the Kottayam district are generally sits over the

coiled snake body. This anthropomorphic figurine has five overlapped snake hooded

behind the head. The face of the particular deity is shown in peaceful grace. The

ornaments are not visible because of well-covered draperies. The particular deity has

two hands and shows Abhaya and Varada mudra in right and left hand respectively.

Usually, right hand shows Varada mudra in almost all part of Central Kerala. But here,

right hand showed Abhaya mudra. The presence of the garments which wrapped in the

upper and lower part is featured different. The lower part is covered with transparent

cloth whereas the well-covered dress is seen in upper part (Pl. 5.26) (Fig. 5.14).

Nāgaraja No 2:

It is found from Mevada (9040‟00.70” N 76

040‟32.37” E), Pala Village at

Kottayam district. It is a consecrated in the north eastern side of the particular house

compound and they belong to a Brahmin family. It is in a good state of preservation.

Here these snake gods are considered as Kuladaivam (tutelary deity). This particular

image is found along with three other Nāga images like Nāgayakshi, Nāgachāmundi

and Chitrakudom. The mode of worship is little bit different as compared to the other

communities. Because these deities are belonging to the Brahmin community and the

pujas are also different as compared to the other communities in Central Kerala. Such

differences are already discussed in the fourth chapter.

This particular image is shown in a Padmāsana posture. The deity is capped

with five hoods and unfortunately the right hood portion of the deity is broken. The

crown is absent where-as the presence of Jatāmakuta can be seen in the deity. Apart

from the Jatāmakuta, he wrapped head band and also a gem decoration is visible over

the Jatāmakuta. He wears both upper and lower draperies. The folded lower drapery

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with pleat in front is covered the whole leg portion. He also wears elongated medallion

type with floral designed kuņdala. He is represented with two hands. Varda mudra can

be seen in the right hand whereas Abhaya mudra is seen in the left hand. The

representations of two female attendants with lower draperies and hair bun

arrangements are seen in the side portions of the main deity. Such two female

attendants are shown in a Stānaka posture and standing on the snake coiled body (Pl.

5.27) (Fig. 5.15).

Standing Posture:

Nāgarāja No 1:

This is found from the sacred grove of Chettiyanmar community (Vaiśya) at

Neeloor in Kottayam District. It is located in the rubber plantation. The particular

sarppakkāvu is situated two km north of Neeloor town (90

48‟29.96” N 760

43‟42.56”

E). The deity is placed in the south western portion of house compound. It is in a well

preserved state and as usual they are also giving offerings once in a year.

This is a representation of male Nāga in a Stānaka posture with ferocious face.

The consecration of Nāga deities in this sarppakkāvu shows ferocious aspects. There

are three anthropomorphic (two Nāgarāja and one Nāgayakshi), one theriomorphic and

symbolic representation each. The image is standing on a rectangular pedestal. Three

hoods have been identified on the top of the image and having locally developed crown

in a snake hood shape. The depiction of theriomorphic monocephalous Nāga figure also

placed in the centre of the crown. The face of the concerned deity gives the ferocious

expression and shows the protruding long teeth. Medallion shaped kuņdala, keyūra,

karnabhūśana and nupura are visible ornaments which is ornamented the deity. He is

depicted with four hands. The upper two hands hold snakes whereas the lower hands are

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represented with small sword and pot (kalasa). The thick lower garment is clearly

evident and it covers up to the feet (Pl. 5.28) (Fig. 5.16).

Nāgaraja No 2:

This is the image found at Chambakkara in Kottayam district. It is found along

with Nāgayakshi, one another Nāgarāja with Gana and Śiva ling. It is found in a bad

state of preservation and almost facial portions disfigured. It is associated with

household system of Nāga worship. They belong to the Nayar community. Other

details are also given in the description of Nāgarāja 1 in Nāgarāja with Gana category.

His head is capped with three snake hoods and showing the muscular featured

body. He holds a garland with two hands and wears folded lower garments. He stands

on a semi-circular pīta and a portion of snake body is visible just behind the human

figure. Most of the parts of the deity are not able to see because of the disfigurement

(Pl. 5.29).

Fig. 5.12: Nāgarāja I (with Gana category)

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Fig. 5.13: Nāgarāja II (with Gana) Fig. 5.14: Nāgarāja I Sitting (without Gana)

Fig. 5.15: Nāgarāja II Sitting (without Gana) Fig. 5.16: Nāgarāja I (Standing)

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Female Image:

Female icons of Nāga are also found in different forms along with male Nāga

images from central Kerala. A variety of nomenclatures adopted to denote female Nāga

icons. The names of such female Nāga divinities which were found from central Kerala

are Nāgayakśi, Nāgaćāmundi and Nāgamātha. The nomenclatures has given to female

deities are on the basis of the attributes which they hold in their hands. For example,

some female deities from Pallippuram, Parayakadu from Ernakulam district hold two

Nāgas in their each hand and they termed as Nāgayakshi. Dhyānaslōka mentions the

characteristics of Nāgayakshi like those who have hold Nāga in two hands are called as

Nāgayakshi. Another deity from Vērabhadrakāli temple at Neeloor, Kottayam district

evidenced a typical female Nāga divinity holding a child with her left hand and the right

hand shows an attribute of khadga. This kind of particular Nāga image is also evident

from Bhubaneswar, Odisha (De 1954). The local sculptors from Kerala as well as

Orissa are mentioned that they are belonging to the category of Nāgamātha. The third

categorization within the female Nāga deities is Nāgachāmundi. In several places the

female deity is identified with khadga / sword in right hand and kamaņdalu / pot in left

hand. These types of female deities are identified as Nāgachāmundi. This deity is more

associated with Durga or Kāli temples. Several sarppakkāvūs from different places like

Puthanvelikara, Kottappuram, 3 k south of Kodungallur, Trissur district, places in

Neeloor, Meenachil Taluk Kottayam district are evidenced the female Nāga figures

with the above mentioned attributes. All these three divisions are explained in this

section.

Some of the female images from the study area are badly weathered and

unrecognizable. It is also observed that it does not keep a strict systematic measurement

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for making the idol. On the other side some figures are made in a navatāla

measurement. As mentioned above, recently, most of the female Nāga divinities are

carved on the basis of sacred text Dhyānaslōka, Thantrasamuchaya and

Kuzhikkātupacha; a local text for architecture.

Female Nāga divinities got prominent position in Nāga worship in Kerala along

with the male forms. It is clearly evident from a numbers of female images which were

encountered from the study area. In the previous chapter an attempt has already been

made to explain the role of female devotees in the worship of Nāgas and also discussed

about most of the rituals and customs in Nāga worship related to female. Nāgayakśi is

the commonest and important among all female deities and is considered as the female

counterpart of Nāgarāja. She is represented in various forms. The representation female

deities are usually seen in Savya-lalitāsana posture sitting over a coiled snake body

usually holding by Gana (one, two and three). She may also be shown in standing

posture. The numbers of hoods vary from three or five. Five hooded female Nāga deity

are commonly seen in central part of Kerala rather than one or seven hooded deities.

Crowns of female deities from central Kerala show the features of „local designs‟ and

sometimes wear only head bands. Most of such crowns are highly decorated. The

crowns of female Nāga deities are completely different from male deities. Śikhamani

kind of Kirīta-Mukuta and Karaņda Makuta are absent in female Nāga deities from the

study area. She has been represented with several ornaments including kuņdala, grīva,

upagrīva, hāra, keyūra and Kankana. Her bust portion is generally found bare. Usually

a common type of cloth is used to cover the bust portion completely to the female

figures in this area.

However her body covers different types of draperies sometime shown by short

lower garments with pleats. The presence of katisūtra and canna vīra is also visible in

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some deities. The female deities are showing with two or four hands. Majority of the

icon hold two snakes on each hand. Khadga and Kamaņdalu are the attributes shown in

hands of Nāgaćāmundi. Certain female Nāga sculptures from the central part of Kerala

particularly lowland (300-600 m) are of great aesthetic value. All of these deities are

beautifully carved with fleshy round shaped body. Sarppayakshi or Nāgayakśi images

are worshipped commonly by barren women for fertility in central part of Kerala.

There are several temples in central Kerala which promote fertility cult by worshipping

such female deities. It has been already discussed in the previous chapter (Chapter IV).

In this broader category few variants can also be seen as the female division. Details of

these variants are given below.

As mention in the previous chapter, usually sarppakkāvūs holds more than two

Nāga images apart from the symbolic representation (Chitrakūdom). The exploration in

the study area has identified 195 female Nāga images. The common names are already

mentioned in the above paragraph. The classification of the female deities is similar to

that of male Nāga images. So the female Nāgini (Nāgayakshi, Nāgachāmundi and

Fig. 5.17: Showing the details of classification of female Nāga figures

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Nāgamātha) images are classified into with Gana and without Gana. Nāgini without

Gana classification is again divided into Nāgini in Standing and Seating. The following

figure is showing the total numbers of these two categories.

Nāgini with Gana:

During the exploration more than 120 sculptures has been documented and

identified in association with Gana out of 195 female Nāga figures for the present

study. Some examples are discussed below:

Nāgini 1 (Nāgachāmundi):

This is one among the typical representation of female image, probably of

Nāgachāmundi a life sized sculpture identified from Ramapuram, Pala in Kottayam

district. It is a village situated (9043‟20.93: N 76

0 39‟ 51.58” E) 12 km north of Pala

and 28 km west of Neeloor, (Meenachil Taluk) in Kottayam. It is a household deity and

in a good state of preservation. The sarppakkāvu is located in the north-east portion of

the house compound because they belong to the Brahmin community. The rituals and

customs are conduct only once in a year by the elder male member or priest from the

Brahmin community.

The image is in a Savya-lalitāsana posture sitting on a coiled snake pedestal.

This female figurine is also crowned by five hooded snake. Her head is represented

with a locally designed crown over his round bald head as mentioned earlier. The face

of the particular deity is shown in meditative nature and the eyes are half opened. Head

band is also visible and wrapped around the head by leaving the forehead. The

ornaments visible on the deity are the medallion type kuņdala with floral design on the

centre, karnapuśpa, hāra and cannavīra. The deity is shown in two hands and the right

hand holds khadga and the left hand placed on the knee. The deity is having both upper

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and lower garments. The upper garment covers the whole chest area whereas the lower

garment is found hanging down up to the pedestal. A male Gana holds the snake coiled

pedestal with his head and gives support the right leg of main deity with his right hand.

The face of the Gana is round and having head band with protruding teeth and tongue

(Pl. 5.30) (Fig. 5.18).

Nāgini 2 (Nāgachāmundi):

The particular female Nāga deity was found in a Brahmin family called

Kizhakkedathu Madom in Thalayolaparambu, Vaikkom Taluk at the boarder of

Ernakulam and Kottayam districts. This is situated (90 46‟ 32.87” N 76

0 25‟ 35. 59” E) 6 km

west of Thalayolapparambu Bus stand. It is a small sculpture identified with other one

Nāgarāja, Nāgayakshi and Chitrakudom. It is in a bad state of preservation and thus it

made difficult to identify the details features of the image.

The image is shown in Savya-Lalitāsana posture sitting on the coiled body of

capped hooded snake. Here coiled snake body act as a pedestal for the main deity.

Three hoods are depicted and attached to the crown. She is having locally developed

floral designed crown with a head band wrapped around. The garments are not visible

clearly due to disfigurement of the sculpture. The ornaments used by the deity are

kuņdala and hāra. She is shown in a four hand and her lower hands are holding sword

and pot in right and left hand respectively whereas the upper two hands are holding

Nāga in each. The face of Nāgachāmundi and the Gana are shown in ferocious feature

by showing protruding teeth and eyes. A male Gana supported the coiled snake body

with his raised hands (Pl. 5.31) (Fig. 5.19).

Nāgini 3(Nāgayakshi):

This is one another the beautiful representation of female Nāgini image. It is a

high relief sculpture identified from Pulinchuvadu, Vaikkom Taluk in Kottayam district.

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The sarppakkāvu is located (90 45‟ 28.05” N 76

0 26‟ 05.73” E) 1 km south of Vaikkom bus

stand. It is the area of a rubber plantation and given the south western portion of a

particular property for the worship of Nāgas. It is found in a good state of preservation

and consecrated along with one male Nāga sculptures (Nāgarāja), theriomorphic

representation (Anjilamanināgam) and Symbolic representation of Nāga i.e.

Chitrakūdom. It is owned by Nāyar family.

The image is shown in Savya-lalitāsana posture sitting on a coiled snake body.

This female figurine is topped by five hooded snake. She is having local designed

crown with a head band wrapped around. A gem stone is found inserted over band.

Depiction of single cobra hood can be seen at the top of crown. The folding of the

lower garment is clearly visible with all other characters. The ornaments include

Chakra kuņdala, waist band, hāra, nupura, kankana and karnapuśpa. The kuņdala are

fixed to elongated ear and also showing the karnapuśpa in the upper part of ear. The

face of Nāgayakśi is shown in peaceful grace. A floral motif is provided on the

bhadrapītha. Two male ganās hold the bhadrapītha on the raised hands of the upper

Gana. Upper Gana characterised by showing protruding tongue and teeth. The

striking feature is that one Gana is being carried by the upper one on his shoulder.

Both male ganās are highly ornamented and wears circular locally designed crowns.

The presence of gem stone can be seen in the centre of each ganās crowns. The lower

placed Gana ornamented with kankana, chakra kuņdala, keyūra and bhujavalaya. The

upper male Gana hold one daņd in his right hand. Another important design has given

in the back and two side of the concerned deity. The back side of this deity is decorated

with creepers and leaves and the image is accompanied with three attendants. This

shows the attachment of Nāga with the ecology. Such depictions can also been

explained similar to a canopy of sarppakkāvūs or sacred groves (Pl. 5.32) (Fig. 5.20).

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Nāgini 4 (Nāgayakshi):

It is a „randu thattu Gana Nāgayakśi‟ (two layered Gana figure) figure

identified from Paryakad, Paravur Taluk in Ernakulam district. It is a temple related

deity and dedicated to only Nāga. This is situated (100 10‟ 26.44” N 76

0 12‟ 27.96” E) four

km north of North Paravur in Ernakulam district. This sarppakkāvu owned by Ezhava

community. Here the offerings are given to the snake God in monthly and yearly basis.

This temple related ritual space holds one Nāgayakshi with other two Chitrakūdoms.

This has been documented during the time of Āyilyam puja. Different natural colours

were given to the deity for propitiating the concerned deity. Such kinds of rituals and

customs have been discussed in the previous chapters.

It reveals a well decorated female figure supported by two female Gana and

seated in a Savya-lalitāsana posture. Five hooded cobra can be seen over the head of

this female deity. She is having local designed crown of snake hooded shape and also

decorated with several types of round and elongated beads which made it in three

layers. She used kuņdala and hāra ornaments. She is holding two snakes in both hands

and its tails is reaches up to thigh. Lower garment is clearly evident and a portion of

pleated lower garment is shown hanging down up to feet. The upper garment which she

wore covers the bust portion. Two female Gana are holding the pedestal of main deity

with two hands. Lower placed Gana is in a sitting posture and holding the upper female

Gana with her two hands. Both ganās are wearing kuņdala, nupura, kankana and

kanthābhūśana ornaments whereas lower and upper draperies are in simple forms (Pl.

5.33).

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Nāgini 5 (Nāgamātha):

This is a typical relief sculpture identified from Vēra Bhadrakāli temple at in

Vechoor (90 40‟11.82” N 76

0 25‟ 26.88 “E) in Vaikkom Taluk at Kottayam District.

Temple belongs Nayar community but the Brahmin priest is doing all the pūjas related

the main and sub-deities. Infact, this temple is basically dedicated to Bhadrakāli.

However, Nāgas are worshipping as a sub-deity and placed in the south–western part of

the temple. This is the unique and a single image found from the exploration of all parts

of Central Kerala.

This is a crude image of Nāgayakśi and is shown in Savya-lalitāsana posture

sitting on a coil of hooded snake. One female Gana is holding the snake coiled pedestal

with her raised hands. Three hooded snakes crowned the particular deity. This image

has shown with a child on the left thigh. So it can be named as Nāgamātha. Similar

kind of depiction was seen in Odisha and it is called as Nāgamātha (De 1954). Eyes

are protruding that gives her a ferocious outlook. Akin to other images she is having

local designed crown and used a head band wrapped around. The ornaments are not

clear due to the weathering. She is having four hands; the upper two hold snakes, the

left lower hold the child and right lower is with sword. Lower garment is not clearly

visible (Pl. 5.34).

Nāgini without Gana:

Female Nāga (Nāgini) also is seen in standing and seating posture without make

any association with male or female Ganas. The exploration in the central part of Kerala

helped to get the details of the distribution of Nāgini in a seating posture. But the

evidences of this category are very rare as compared to the standing postures. Only 15

images are identified out of 75 images are not having the association of Gana.

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Generally these images are sitting in a rectangular or semi-circular pedestal. However

60 female images are identified in a standing posture out of 75 (without Gana).

Nāgini without Gana

Seating Posture:

Nāgini 1 (Nāgayakshi):

It is a small relief sculpture identified from Pullūt, Kodungallur Taluk in Trissur

district. This is located in the road side of Kodungallur Trissur route. It is situated (100

14‟ 53.60” N 760 12‟ 23.26” E) 4 km far from Kodungallur town. It is a temple related

sculpture and also seen along with two Chitrakūdoms. It is a temple related deity and

comes under the Ezhava community.

The image is shown in Paryańka posture sitting on a Bhadrapītha. Five hooded

snakes crowned or hallowed the image from backside. The ventral lines of cobra are

clearly visible in such hoods. The hair of female image is tied with a hair band. Here

the face of the particular deity is shown in peaceful grace. This female deity is adorned

with different ornaments which include medallion type kuņdala, pendent like hāra and

garland. The presence of garland is an interesting attribute in this deity. The folded

lower garment is clearly evident and a portion of pleat is hanging down up to the

pedestal. The upper portion of the deity is covered with usual cloth which is seen in

other images. She is holding snakes in both of her hand (Pl. 5.35) (Fig. 5.21).

Nāgini 2 (Nāgayakshi):

It is a small female sculpture found from Neeloor (90

48‟02.32” N 760 43‟01.78” E)

and already discussed its location in the seating category of Nāgarāja No 1. Both of

these deities do not have any association with Gana. This is house hold related deity or

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sarppakkāvu and placed in south-west part of house compound. It is in a good state of

preservation.

The concerned female deity is shown in a sitting posture on a semi-circular stone

are called as bhadrapītha. She sits in a Padmāsana posture. The canopy of three

hooded snake is see behind her head. She wears snake hooded shaped crown. Her face

is looking like elongated and also holding two Nāga by her both hands. The lower and

upper garments are clearly visible and some line designs are seen in the lower folded

cloth (Pl. 5.36) (Fig. 5.22).

Nāgini 3 (Nāgayakshi):

The location of the deity is in Mankombu, Veliyanadu Taluk in Alappuzha

district. The particular sarppakkāvu (90 26‟ 49.71” N 76

0 28‟ 22.12” E) is situated 1.5 km

north west of Mankombu. The area comes under the category of costal (0 to 10 m) and

surrounded with small streams.

The particular female deity looks like a dwarfish figure. The icon is not made on

the basis of any tālamāna system. It is a low relief sculpture. The image is shown in

Ardhaparyankāsana posture sitting on a Bhadrapītha. This female figurine is crowned

by five hooded snake. The hair is arranged like the petals of typical flower called as

Sarppagandhi or Nāgapuśpa. This typical floral design was evident in the pillars of

Mauryans and top of the Bharhūt Gateway. The Nāgayakśi is shown with ferocious

face. She is less ornaments and represented with a few ornaments. The visible

ornaments are kuņdala, karnapuśpa and grīva. The garment which she is depicted in the

upper portion of the body is completely covered by a simple cloth. Her two hands are

represented with two Nāgas (Pl. 5.37).

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Nāgini without Gana:

Standing Posture:

Nāgini 1 (Nāgayakshi):

This is a unique relief sculpture identified from Nediyasala in Thodupuzha

Taluk at Idukki district. It is located (90 53‟ 31.68” N 76

0 40‟ 28.30” E) four km west of

Thodupuzha town. It is found in a house hold related ritual space and consecrated five

deities along with the concerned image. The family belongs to Brahmin community

and according to the members of the family they have been keeping this sarppakkāvu

for three four generations before.

This is a quite polished image of Nāgayakśi and is shown in Stānaka posture.

There are three anthropomorphic Nāga figures consecrated along with the particular

deity. A representation of Nāgarāja in a Padmāsana posture with two attendant deities

is identified over there. She is standing on a circular pīta which is considered as used

for worship. She is capped by three hooded snake which looks unfinished and

unpolished. She is having snake hood shaped crown with the arrangements of small

circular beads on the centre and also characterised a head band wrapped around. The top

part of the crown looks like a hood of a snake. These three hoods like projections are

connected with the real cobra hood which is capped behind the deity. The deity is less

ornamented. The ear ornaments are not clear due to the mutilation. But the other

ornament found on body is hāra. She is holding snakes in both hands. Lower garment is

clearly evident and it covers the lower body completely. Folding of the garment is

arranged such a way that it looks like of three parts (Pl. 5.38) (Fig. 5.23).

Nāgini 2 (Nāgayakshi):

This female deity is identified from Pallippuram, Munambam Taluk in

Ernakulam district. It is belonged to the Ezhava family. It is located near to the sea

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(10009‟57.19” N 76

011‟01.35” E).The position of the sarppakkāvu is similar to that of

other. It is found with one theriomorphic figure and Chitrakudom. This is a crude

image and is shown in Stānaka posture standing on a circular pedestal. The image is

topped with three snake hoods. She has locally designed crest similar to tribal crown. It

is decorated with feather like objects. The deity is ornamented with kuņdala and hāra.

She is holding snakes in two hands. The folding of the lower garment is clearly evident

and a portion of it is shown hanging down up to feet (Pl. 5.39) (Fig. 5.24).

Nāgini 3 (Nāgayakshi):

This is another beautiful representation of female Nāga image. It is a high relief

sculpture identified from coastal region (0-10 m) and is located in the bank of

Vembanattu kayal at Alappuzha district. Unfortunately, the deity is in a bad state of

preservation due to the flood in the kayal (lake). The details of location has already

mentioned in Nāgarāja 4 comes under the classification of male Nāga with Gana.

The lower portion of the deity is completely covered by the river sand, thus, the

identification of the lower part was not possible.

The image is shown in Stānaka posture. This female figurine wears five

designed cobra hooded crown. The face of Nāgayakśi is shown in peaceful grace. The

particular deity is adorned with several ornaments like medallion type kuņdala, grīva

and hāra. There are also one more ornament is seen in the upper part of the ear called

as Karnapuśpa. The hāra which she wears is similar to the design of Kanthābhūśana.

The upper garment commonly used to hide the bust portion also seen with the small

bead design at the edges. The presence of garland also can be seen. The particular deity

is holding two Nāgas in both of the hands (Pl. 5.40) (Fig. 5.25).

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Fig. 5.21: Nāgini 1 (Nāgayakshi)

Fig. 5.19: Nāgini 2 (Nāgachāmundi, with

Gana)

Fig. 5.20: Nāgini 3 (Nagayakshy,

with Gana)

Fig.5.18: Nāgini 1 (Nāgachāmundi with Gana)

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Fig. 5.22: Nāgini 2 (Nāgayakshi, Sitting) Fig. 5.23: Nāgini 1 (Nāgayakshi

Standing)

Fig. 5.24: Nāgini 2 (Nāgayakshi,

Standing)

Fig. 5.25: Nāgini 3 (Nāgayakshi,

Standing)

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Plate 5.3 Adhamasarppangal (Nāga in lower caste)

Plate 5.2 Kśatriyasarppangal (Nāga in Kshatriya caste)

Plate 5.1 Brahmanasarppangal (Upper cast Nāga)

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Plate 5.4 Kriśnaśila (Chlorite)

Plate 5.5 Two headed Nāga, Chettiyanmar

community, Kottayam district

Plate 5.6 Single hood Nāga (Brahmin community): Kottayam

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Plate 5.7 Three hooded Nāga: Ritual Space –Temple. Kalluvattom Kottayam District

Plate 5.8 Snake coiled Linga

Plate 5.9 Snake coiled Śūl

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Plate 5.10 Snake hood cover mirror like object Plate 5.11 Nāga with Chitrakūdom over the hood

Plate 5.12 Tip of the tail positioned in front Plate 5.13 Āalnāgam: Kottayam district

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Plate 5.14. Anjilamanināgam

Plate 5.15. Karināgam

Plate 5.16. Kuzhināgam

195

Plate 5.17. Paranāgam Plate 5.18. Manināgam

Plate 5.19. Chitrakūdoms

196

Plate 5.20. Single stone served as Nāga deity

Plate 5.21. Strictures represent Chitrakūdom

Plate 5.22. Nāgarāja I with Gana

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Plate 5.23. Nāgarāja 2 with Gana Plate 5.24. Nāgarāja 3 with Gana

Plate 5.25. Nāgarāja 4 with Gana Plate 5.26. Nāgarāja 1, Sitting

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Plate 5.27. Nāgarāja 2 Sitting Plate 5.28. Nāgarāja 1 Standing

Plate 5.29 Nāgarāja 2,without Gana; Plate 5.30 Nāgini 1 with standing Gana

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Plate 5.31 Nāgini 2 (Nāgachāmundi) with Gana

Plate. 5.32 Nāgini 3 (Nāgayakshi)with Plate. 5.33 Nāgini 4 (Nāgayakshi) Gana Pulinchuvadu, Kottayam district Parayakad, Ernakulam district

200

Plate. 5. 34 Nāgini 5 (Nāgamātha with Child) Plate. 5.35. Nāgini 1 (Nāgayakshi)

Sitting

Plate. 5. 36 Nāgini 2 (Nāgayakshi) sitting Plate. 5.37. Nāgini 3 (Nāgayakshi) Sitting

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Plate. 5.38. Nāgini 1 (Nāgayakshi): Standing Plate. 5.39. Nāgini 2 (Nāgayakshi):

Plate. 5.40. Nāgini 3 (Nāgayakshi): Standing

Standing