Appreciation of Brahma Panel

Appreciation of Brahma Panel from Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai

Sarayu Kamat 3 December 2015

Writing Tutorial, Indian Aesthetics 2015-16, Jnanapravaha, Mumbai

Introduction “A solid mass of stone, by a subtle artifice of the craftsman, has been converted into a piece of sculpture like a motion picture. The notion that there is nothing static, nothing abiding, but only the flow of a relentless process, with everything originating, growing, decaying, vanishing – this wholly dynamic view of life, of the individual and of the universe is one of the fundamental conceptions.. of later Hinduism.” wrote Zimmer in his book “Myths and Symbols in Indian Art and Civilisation. This theme is a constant, recurring idea across sculptures in temples in India. The Huchchappaiyya Gudi Temple, Aihole, Bagalkot District, Karnataka, 7th Century CE that was constructed in the Chalukyan era also emphasised this theme of origination, growth, decay and vanish. The temple ceiling had collapsed, leaving the sculpture in debris. Some ceiling panels were aquired by Chhatrapati Shivaji Maharaj Vastu Sangrahalaya and displayed in the Sculpture Gallery. They are made from pink sandstone. Three of the ceiling panels depict Brahma, Sheshashayi Vishnu and Uma Maheshwara respectively. The three panels that were once part of the ceiling of the Huchchappaiyya Gudi Temple (Aihole) seem to be part of a theme, that narrates a philosophy of creation, preservation and destruction at the end of a yuga. The Brahma panel is examined closely. The close relationship between the Brahma panel and the other two panels depicting Sheshashayi Vishnu and Uma Maheshwara are discussed in the section “Analysis”.

 

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Brahma

Photograph 1 : Brahma,  Huchchappaiyya  Gudi  Temple,  Aihole,  Bagalkot   District,  Karnataka,  7th  Century  CE

The central main figure in the panel in Photograph 1 is that of Brahma. We know it is Brahma, as indicated by the iconography – the akshamala (rosary), the shruva (ladle) and the kamandalu (water pot) that are in three hands. His fourth hand is in Varada mudra, as when granting a boon. The vahan (mount) of Brahma is the swan, which is depicted in the bottom left of the panel. The swan symbolizes the highest wisdom in separating milk from water or virtue from evil. Brahma is surrounded by rishis and devotees. The figure on the top right bending towards Brahma may be Agni, who is often depicted with a beard with a knot at the end. The carving on the panel is very elaborate. The three faces of Brahma have crowns with a lot of intricate jewellery. There is also a profusion of jewellery around his neck. Brahma is wearing a deerskin on his left shoulder. The rishis and devotees are offering gifts to Brahma, in the form of flowers, fruits and one of the devotees is carrying his offering in a basket. Clouds surround Brahma and are seem to be bellowing upwards. A closer look indicates that the sculptor has taken great pains to illustrate minute aspects such as the knots in the clothing, the complex hair style, even ankle bones and clefts in the muscles of the calf, which appear very real.  

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Interpretation There are two other similar panels that were found in the same Huchchappaiyya Gudi Temple (Aihole) and are displayed in the gallery. These are. Refer Photograph 2 & Photograph 3.

Photograph  2:  Sheshashayi  Vishnu  ,  Huchchappaiyya  Gudi  Temple,  Aihole,   Bagalkot  District,  Karnataka,  7th  Century  CE      

  Photograph  3:  Uma  Maheshwar  ,  Huchchappaiyya  Gudi  Temple,  Aihole,   Bagalkot  District,  Karnataka,  7th  Century  CE   In the Brahma panel, the central theme is one of reverance to Lord Brahma, who appears to his devotees from the skies. Brahma is seated erect on a lotus pedestal.

 

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The rishis and devotees gather in veneration. All the figures depicted are male. Further, the people depicted are young. This is a significant feature because there is a notable difference in the people depicted in the other two panels. The panels depicing Sheshashayi Vishnu, where Vishnu is reclining on the serpent Sesha illustrates the iconography of Vishnu – the Gada (mace), Padma (lotus), Chakra (discus), Shanka (conch). Goddess Lakshmi is seated at the feet. This panel also very elaborate, with ornate jewellery worn by Vishnu, Lakshmi and the devotees, the waves of the cosmic waters, the creases on the lotus petals, the complex hairstyles. The striking feature is the it portrays only female devotees. The panel depicting Uma Maheshwari, depicts the iconography of Shiva – the trident, serpent, axe and his vahan, Nandi. Parvati is seated on his left. There are several devotees with offerings. What is conspicuous is that most of the devotees rendered in this panel are aged or elderly people, with wrinkles on their foreheads and their chest ribs showing. Analysis The three panels when viewed individually do not speak much, but when they are regarded together, one can see that they spell out the philosophy of creation, preservation and destruction. There are no anecdotes represented in the panels. Brahma, Vishnu and Shiva are very prominently portrayed in their respective panels, occupying central positions. Consorts of Vishna and Shiva and devotees/rishis are shown in all panels, much smaller in size. Thus importance is given to the central figure. Brahma’s hands hold no weapons, rather symbols of creation. The akshamala (rosary beads) symbolize time, the ladle symbolizes means to feed sacrificial fire, the kamandalu with water symbolizes the means where all creation emanates from. His four mouths are credited with creating the four Vedas. The devotion on the countenance of the devotee and even the swan is palpable. The fact that there are only male devotees, is probably an indication that the male is required to initiate the creation process. The males depicted are youthful, as in one’s youth is one supposed to create new life. The Vishnu panel depicts him as a supreme authority, as he wears a cylindrical crown, studded with jewels, called kirita mukuta. He wears a vanamala. The presence of the shankha (conch shell), the chakra (wheel), the gada (mace) and padma (lotus), relate to preservation of

 

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humankind in some form. The depiction of only women devotees probably points to the fact the the woman is the main nurturer in the family and thus the preserver of the family. Vishnu is ‘friend’ of man and plays the role of the Preserver and comes to the rescue whenever there is a situation where the earth or man is under duress and he comes in as a saviour and rescues man. All that begins must come to an end. All that is born must die. These are inviolable laws, and Shiva is the principle that brings about this disintegration, and is the power behind this destruction. The Uma Maheshwar panel has the iconography of Shiva. The third eye, called jnana caksu, means eye of wisdom. The vision of this eye reaches beyond that of the two mortal eyes. The third eye is not a flesh organ, but represents a thought. It symbolises that Shiva has the divine vision of reality. What is interesting in the Shiva panel, as if in underscoring the philospohy of the annhilation at the end of a yuga, the devotees depicted are old, with wrinkles on their foreheads and ribs showing prominently. This is towards the end of their life and seems to be a metaphor for Shiva’s time has come to act and he will ultimately annhilate all things, leading to a process of creation in the next yuga. When viewed in conjunction, the three panels emphasise the circle of life - creation, preservation and annhilation. This is a timeless circle. All three panels indicate timelessness. Brahma, which his akshamala, Vishnu on Shesha, the serpent that represents timelessness and Shiva’s crecent moon. The strength of the belief in the philosophy of the eternal nature of time and the circle of creation, preservation and annhilation reflects across when one comes across these images over and over in temples. The architects and sculptors of the panels have done wonderful justice of their philosophy. The panels at Huchchappaiyya Gudi Temple, Aihole is a fine example of this fact. Most large temples constructed in India have the philosphy integrated in their scuplture. The rhythm of the thought through the images and carvings in stone, all laid out in proportion, with intricacy of the carving, each figure with a definitive place, integrated into the whole and leaving this for posterity in stone is a wonderful demonstration of the dedication, passion and zeal of the people.

 

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Bibliography of References 1. The Museum Guide Book. Published by Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Fourth edition 2015 ISBN 81-901020-5-2 2. S.P. Gupta & Shashi Prabha Asthana, Elements of Indian Art (Indraprastha Museum of Art and Archaeology, New Delhi. Third impression 2015. ISBN 13 – 978-81-246-0213-3 (Hb)) 3. Zimmer, Heinrich, Myths and Symbols in Indian Art and Civilisation, Ed Joseph Campbell (New York: Pantheon Books, Bollingen Series VI, 1946) 4. http://arthistory193.blogspot.in/2009/09/vishnu-iconography.html

 

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